How To Use This Page
This page is the official companion to Tales from the Mountain. It was created to provide readers with deeper access to the symbolic and philosophical architecture of the book - specifically to cover the many subjects, metaphors, and allusions that were not directly addressed in the book’s footnotes. Tales from the Mountain is intentionally written in a layered, cryptic style. Its structure is dense with hidden meanings, archetypal references, and thematic interweavings that may elude even the attentive reader on first pass. This page offers direct elaborations and clarifications, serving as a kind of key to unlock what is intentionally left between the lines.
The annotations are organized by category to help you navigate with ease. You can use the table of contents to find references by theme, concept, character, symbol, or idea.
This section offers a general explanation for readers reading the book for the first time and trying to understand how to approach it. The annotations on this page are not intended to “simplify” the book or to spoon-feed the reader, but to expand upon and explain the multi-layered structure behind it, the logic, the worldview, the archetypes, and the meaning behind each symbol, character, and event.
The book Tales from the Mountain is deliberately written in a cryptic, poetic, and philosophical language, combining parables, esoteric codes, fragments from ancient wisdom traditions, and ethical dilemmas. This is not accidental. The reader is expected to wrestle with the text, and to dwell within it rather than skim over it. The choice to embed philosophical and spiritual principles within a fictional narrative was intentional: to allow transmission through symbols and stories rather than dogma.
This page is meant to serve those who seek to go deeper - not just to “understand” the book intellectually, but to walk alongside it as a kind of training, contemplation, and perhaps even initiation.
The annotations are divided into thematic sections and major motifs to make it easier to navigate and return to specific topics. Each note corresponds to a certain phrase, scene, symbol, or character in the book, and elaborates on the philosophical, spiritual, or metaphysical idea it represents.
This book is many things, and cannot be reduced to just one. But if we had to define it in the clearest possible way, we would say that Tales from the Mountain is a work of philosophical-literary initiation. It is not a self-help book. It is not a spiritual novel. It is not a religious doctrine. And yet, in some way, it speaks to all of these realms simultaneously, without identifying with any single one. It is built as a parable, or rather - an anthology of visions, philosophical dilemmas, poetic fragments, and symbolic landscapes woven together into one coherent path.
Its purpose is not to describe a belief system, but to awaken. It does not offer a belief to adopt, but rather, a higher state of perception and inner responsibility. The full title of the book contains its essence:
“Tales from the Mountain” – this alludes to insights that were perceived during a period of retreat and deep contemplation, from a high place - physical and mental. The mountain is a central motif in many cultures, symbolizing height, insight, effort, and aspiration toward the transcendent. It is also a place of solitude or spiritual quest. Therefore, this phrase hints at a metaphorical journey to the peaks of the spirit, where the ascents and descents reflect the existential struggles of man.
“A Guide for the Warrior and the Noble-Spirited” – this designates its intended audience: those who walk the path of virtue, strength, discipline, and truth; not for external validation, but for the refinement of their mind and soul.
A detrimental motorcycle accident in July 2013 profoundly changed the author’s life and deeply influenced his philosophical outlook. The accident resulted in a temporary disability lasting about two and a half years, including a shattered femur bone and partial paralysis, as well as a clinical death experience that reshaped his views on life, death, and destiny. This event serves as a cornerstone for understanding the protagonist’s relationship to the absurdity of life, the illusion of control over fate, and the existential struggle between freedom and dependency. References to this experience are scattered throughout the book and serve as a lens through which existential and moral themes are explored.
The Warrior (הלוחם) represents strength, courage, and the ability to act in the world - to fight for moral principles and justice, and to carry them out in practice. The Noble-Spirited (אציל הרוח) symbolizes a deep understanding of universal principles, objective morality, and the metaphysical dynamics that drive the cosmos, with a heightened intuitive and philosophical perception of reality.
Together, they are complementary:
The Warrior embodies and enacts philosophical truths through initiative and action in the world.
The Noble-Spirited offers guidance through profound insight, inner clarity, and spiritual integrity and morality.
The book is structured to reflect both of these archetypes: the first part focuses on the introspective, reflective voice of the Noble-Spirited; the second part follows the Warrior's journey, combining spiritual knowledge with mental and physical power. The central message is that justice and morality without power are hollow, but power without justice and morality turns into brutality in the wrong hands.
In Tales from the Mountain, the absolute truth is presented as a blurred goal, incomprehensible in full through the eyes of man, which are always controlled by the limitations of personal perspective. While the absolute truth is constant and objective, the perspective stems from the individual’s experiences, beliefs, and fears, which shape the way he perceives reality. The conflict between the two represents the struggle between knowledge and belief, between the aspiration to understand the entire universe and the recognition that a person is always bound to his point of view. The book urges the Warrior to always strive to see the absolute truth, wherever it may be, while recognizing that his vision will always be broken, like a cracked mirror, reflecting only fragments of the essence of things.
The relationship between falsehood and truth is based on the principle of containment: truth is the universal, white, and empty substrate upon which countless lies exist that conceal it. Similar to the black and empty space of the universe, which serves as the basis for all celestial bodies, so too does truth serve as a background upon which the deceptive perception of reality is constructed. There is no spectrum and no relativity – a thing can only be either truth or falsehood, with no intermediate degrees. Lies, according to the book, do not contain fragments of truth, but exist as veils that prevent us from seeing the fundamental substrate as it truly is. From here arises the call to the Warrior to break the shell of lies and gaze directly into the empty and unpleasant space where the absolute truth resides.
"Justice without power is powerless, but power without justice leads to tyranny" (Blaise Pascal): justice alone, without the power to defend and apply it, remains an abstract ideal, helpless in the face of reality. Conversely, power that is not guided by justice and morality quickly becomes a tool of tyranny and oppression. The central idea is that both must exist together: justice grants power moral legitimacy and meaning, while power enables justice to influence and change reality. The book describes the Warrior as one who brings actual justice to the world through his strength, and the Noble-Spirited as one who guides that strength according to universal principles of justice.
Free will and the freedom of choice are seen as essential forces of human existence, struggling within the framework of determinism that dictates cosmic order. Determinism provides structure and causality, while free will brings life, creativity, and Karmic responsibility, and both are necessary to avoid, on the one hand, anarchy, and on the other, total alienation. The book suggests that free choice exists as a small space within determinism, allowing man to find authentic meaning and to act out of true awareness, with all the limitations that entails. The Noble-Spirited and the Warrior act out of an understanding of determinism but also create freedom and personal meaning within its bounds. Thus, the central message is that free will and determinism are not opposites, but combine to create meaningful existence.
These interactions are inseparably interwoven. Facing himself, a person confronts the falsehoods of their self-perception and is obligated to strive toward uncovering inner truth. Facing their fellow, they act within the tension between the need for connection and the moral conflicts that arise from mutual influence. Facing a higher power, the person stands before an indifferent universe, in which they must find meaning despite the sense of chaos and confusion. Each of these dimensions represents a stage in the journey toward transcending the limits of self-delusion and approaching absolute truth.
One of the central aims of the book is to expose the spiritual and conceptual depth of terms usually perceived simplistically, to materialize them, and to present them in tangible ways that allow the reader to experience them more concretely. For example, the Tree of Life, sometimes viewed as a physical tree bearing supernatural fruit, is here revealed as a profound Kabbalistic diagram – the Tree of Sefiroth – representing the structure of creation, the connection points between the divine and the human, and the path of soul development and spiritual enlightenment.
Morality, often portrayed as relative and culture-dependent, is defined in the book as a natural and objective system of laws that distinguishes between good and evil based on the harmony or harm they produce, providing a firm framework for understanding natural ethics and moral law.
Karma, frequently used as a shallow term for punishment or reward, is explained as a cosmic law of cause and effect, in which awareness of actions is what creates consequences - not some external educating force, as commonly believed in religious doctrines.
Another example is the struggle between light and darkness, which according to the book is not an external conflict between good and evil, but rather an internal process where the individual learns to understand the wisdom acquired through open eyes and the wisdom acquired through closed eyes.
The term "de-occulting" refers to the process of exposing, unveiling, or revealing a hidden truth, concealed idea, or secret knowledge. It is used in philosophical, mystical, and sometimes psychological contexts to describe the moment when something hidden becomes visible - whether personal deep truths or universal principles.
De-occulting is characterized by a sense of awakening, and is often accompanied by discomfort or difficulty, as the new truth requires processing and confrontation. In the book, this concept serves as a central idea describing the hero’s confrontation with the removal of the masks and layers that conceal the “real” - both in his worldview and in his relations with the surrounding world. It is a process of peeling back the symbolic, mystical, or Kabbalistic layers of deep ideas and bringing them into the light in a more practical and clear language.
Shadow work is the process of exploring and integrating the hidden or repressed aspects of your personality, often those you deem negative or undesirable. It involves acknowledging these "shadow" traits, understanding their origins, and learning to accept them as part of yourself. By bringing these unconscious patterns to light, you can gain self-awareness, heal emotional wounds, and unlock untapped potential. Ultimately, shadow work aims to create a more whole and authentic sense of self.
Tales from the Mountain harshly criticizes the Woke culture and the extreme forms of neoliberalism and neo-Marxism in modern society. It points out how they often focus on shallow ideology rather than a deep understanding of social issues, leading to a loss of fundamental principles and rights like freedom of thought, freedom of expression, honesty, and personal responsibility. The Woke culture is described in the book as a social mechanism based on quick moral judgment and the pursuit of "justice" driven by subjective emotions, while ignoring human complexity and the real need for inner transformation. The book emphasizes how these phenomena reflect the shallowness of modern culture, which blurs the connection between freedom and responsibility, creating an illusion of progress instead of truly rooted values and integrity. Through sharp criticism, it calls for a genuine awakening - not through slogans, protests, or empty ideologies, but through internal exploration and a deep understanding of universal principles that lead to moral growth.
The book offers a methodology for the lifestyle and training of the warrior, based on physical, mental, and spiritual principles aimed at shaping a Warrior who is not only strong in body but also enlightened in consciousness and possesses high moral and Karmic responsibility. The Warrior is required to pass through seven gates, each representing a stage or aspect of consciousness: from the earthly gates beneath the sun and moon, through the gate of the abyss that teaches the dark corners of the soul, to the gate of the heavens that symbolizes the highest understanding of eternal wisdom. The Warrior is committed to strict discipline, perseverance in physical and mental training, and the implementation of uncompromising moral laws. He must minimize his needs, act with justice and integrity while seeking knowledge and understanding, and maintain personal strength that does not fall into tyranny or weakness. The morality that guides the Warrior is inflexible: he is committed to striving for justice and preventing Wrongs. This path creates a holistic system that teaches the Warrior not only how to act in the world but also how to become Noble-Spirited with a deep and responsible influence on his surroundings.
The concept of ownership is discussed through different lenses, with an emphasis on the difference between external ownership and internal connection. In the subsection dealing with the moral implications of property, it is argued that true ownership requires three criteria: fair acquisition that does not infringe on the rights of others, moral control over the use of property, and personal responsibility for its maintenance. In a satire on the human drive for ownership, it explains how greed and materialism are merely products of insecurity and compulsive self-focus, akin to the instinctive behavior of a dog marking its territory. It raises questions about the relationship between ownership and its true value, suggesting that true ownership is not of objects but of the self, the consciousness, and actions and their consequences. In the spirit of natural law, it urges the reader to examine how their actions and perception of ownership impact the community and the world, striving for liberation from the illusion that compulsive materialism brings happiness.
"Personal interpretation" is presented in the book as a critical obstacle to pure understanding of reality, where the illusions created by a subjective point of view and its accompanying weaknesses prevent a person from seeing things as they truly are. In the subchapter "Portals", the conflict is presented between intimate personal experiences and collective perception, where each individual has a "private portal" through which they interpret reality according to their inner world. In the subchapter "Personal Interpretation", the book emphasizes how a person creates illusions about reality when they see it through filters of personal experiences and fears. This idea ties into the broader depiction of illusions discussed in "The Apple Parable" and "Portals", and reinforces the message that the Warrior and Noble-Spirited must be freed from personal interpretations in order to experience truth in its pure form.
The Early Heavens and the Later Heavens are central concepts in Chinese philosophy and medicine, particularly Daoism. The Early Heavens (先天, Xiān Tiān) represent the primordial, original, and eternal order of the universe – the pure and unchanging state of creation before human intervention or action. It is a state of perfect harmony, in which everything exists in its proper place and flows from the Dao ("The Way") naturally. It is the fundamental energetic source from which the ten thousand things arise. The Later Heavens (后天, Hòu Tiān) refer to the order that emerges after the world has developed and become filled with the influence of human activity, social dynamics, and cultural perceptions. This is a dynamic, changing state, in which human beings and the world operate within a system of opposites, causes, and effects. While the Early Heavens symbolize pure potential, the Later Heavens reflect manifested reality and the struggle with the forces of existence. These ideas can be integrated into the hero’s journey: the transition from original innocence (Early Heavens) to the complexity of life and consciousness (Later Heavens), with a constant attempt to return to harmony and reconnect with the natural source. It is an ongoing struggle between returning to a natural, harmonious state and living in a world full of influences and changes.
The Law of Three emphasizes the ternary structure of the universe - the idea that every creative process or natural phenomenon relies on three forces: an active force, a passive force, and a reconciling or resulting force that balances between them. An example is the Yin and Yang, which represent opposing poles in nature - the masculine and the feminine, darkness and light - whose union creates harmony through cycles of creation and destruction. The book expands on this law through mythological imagery, such as the Chimera (Tri-Head), where each head symbolizes a different aspect of the human development journey: the lion - a symbol of power, bravery, and authority. The serpent - bearer of esoteric wisdom and insights into the universe. The goat – embodying the relentless force of action, will, and determination. The law emphasizes that no creation occurs without the dynamic tension between these forces, and that only the integration of these forces can produce new meaning. This idea is present not only in the book’s existential philosophy but also in the practical aspects of life, such as the balance between emotion, thought, and action.
The Three Treasures (Sanbao) represent the foundational principles that shape the human being and his inner journey – Jing (essence of life), Qi (vital energy), and Shen (spirit). While this idea is rooted in Daoist philosophy, in the context of the book it assumes a broader meaning, describing the connection between the physical, psychological, and spiritual layers of human existence. Jing symbolizes the material basis and the earthly aspect from which life emerges. Qi describes the flow of energy that bridges matter and spirit, enabling transformation and growth. Shen represents understanding, inspiration, and the link to the higher dimension of existence. Much like the “Three Jewels” of Buddhism – the Buddha, the Dharma, and the Sangha – the Three Treasures in the book express the pursuit of inner harmony through three distinct envelopes.
In the chapter “The All-Seeing Eye”, the Three Universal Lies are presented as mechanisms of social manipulation that prevent true understanding and enslave the collective mind. The first lie, “The Lie of Conformity and Norm”, promotes the idea that one must conform to social norms even when they contradict inner values and universal morality, thereby reinforcing blind obedience and the suppression of independent thought. The second lie, “The Lie of Hierarchy and Authority”, portrays social structures and power systems as natural and necessary, discouraging any attempt to question the legitimacy of dominance and class divisions. The third lie, “The Lie of Abundance and Consumerism”, entrenches the belief that material possession is the key to happiness and meaning, while deepening inner emptiness and subjecting the individual to economic dictates.
The envelopes represent different layers of existence, both in the universe and in mankind, with each one reflecting a unique aspect of life and the path. The Earthly Envelope deals with temperament – the interplay of fire and water that shapes one’s character and tendencies on the physical and emotional levels. The Heavenly/Celestial Envelope focuses on texture and shape – the fusion of matter and energy that weaves the subtle web of life and fertilizes the union of heaven and earth. The Cosmic Envelope dictates gender and Karmic laws – the balance and polarity between masculine and feminine principles as driving forces of creation. Lastly, The Absolute Envelope reflects the unity beyond opposites, in which all aspects merge into one eternal and complete whole.
The motif of the number seven recurs throughout the book as a central idea, embodying cosmic order, processes of development, and life cycles. The book uses the number seven to emphasize the harmonious structure of the universe, in which every process or phenomenon relies on seven stages, lines, or elements. Examples include the Law of Octaves, illustrating the development of forces and energy frequencies in nature; the seven chakras, representing centers of energy and consciousness in the human existence; and the sequence of the seven elements according to the Septagram Model. These seven elements refer to fundamental qualities that drive both the universe and the individual: Earth, Fire, Water, Air, Light, Void, and Spirit/Aether. These examples illustrate the worldview the book seeks to convey - the number seven is not arbitrary, but a reflection of the laws of nature and humanity across multiple dimensions.
The chakras symbolize critical stations in the development of the inner Warrior and reflect existential dilemmas and the need to confront conflicts that resonate within their frequency. They are not viewed merely as mystical centers, but as representations of the human struggle between matter and spirit along the ascending octave. Each chakra sheds light on a realm of inner oppositions - strength and weakness, fear and desire, and the interplay between man and himself, between man and others, and between man and a higher forces. The movement of energy between the chakras is not linear - it describes a chaotic struggle, where victory depends on awareness and the willingness to release old patterns. Together, they create a spiritual map, where every step forward is an act of inner liberation and a striving for truth.
The Warrior's seven sin, unlike the seven deadly sins of Christianity, represent the seven mental and emotional shackles that a Warrior must learn to overcome. They reflect basic and universal weaknesses that affect the hero's spiritual journey. Each sin is presented as a character or demon that symbolizes an aspect of internal failure - from "walking the line", which represents the surrender of independent thought in favor of social conformity, to "resentment", which embodies wallowing in the past instead of striving for release and healing. Each of these sins invites the readers to confront their fears, take responsibility for their mistakes, and examine how they might leverage their weaknesses for self-correction and growth.
The Seven Hermetic Principles, derived from the Hermetic philosophy and tradition (Hermeticism), express a schema of both physical and metaphysical reality and define the inseparable connection between them. These principles influence fields such as alchemy, magic, astrology, and other esoteric teachings, and they offer the individual a roadmap for understanding the universe and their role within it. For the Warrior and the Noble-Spirited, the principles teach how to grow in harmony with nature rather than against it, by understanding the laws that govern reality. While the Warrior must fight many aspects of their nature that do not serve them - such as laziness, weakness, and destructive emotions - they must also respect the natural limitations of their body and soul, such as the need for recovery and gradual progress, the impact of aging, and the earthly and celestial laws to which they are subject.
The sequence of the seven elements - from a developmental perspective (aka: ascending octave), rather than a creative one (aka: descending octave) - describes a process of refinement that begins with static force and ends in pure unity. Earth represents the raw, inert potential from which everything begins, like an idea that has yet to be realized. Fire is the first spark - the active energy that initiates the process and brings the potential into action. Water serves as a natural regulator, moderating the fire and channeling it toward a stable and efficient direction. The combination of Earth (fuel), Fire (energy), and Water (restraint) creates vapors (Air), symbolizing the transition of energy into a more refined, volatile state, and marking the shift from earthly energy to celestial energy. Light and Void, which belong to The Cosmic Envelope, represent the conditions and laws overseeing the lower layers: Light signifies clarity and high guidance, and it precedes Void (since it is closer to Air), as Void contains the Light, not the other way around. Finally, Spirit/Aether, belonging to The Absolute Envelope, represents pure unity - beyond duality and above the Karmic cycle. This sequence or configuration can be likened to a chariot in which each part - Earth (the frame), Fire (the horse), Water (the driver), Air (the passenger), and Light and Void (the conditions of the journey) - works in harmony to advance the passenger toward the destined goal.
According to Gurdjieff, every process in the universe - whether physical, emotional, or spiritual - operates according to the pattern of an octave. Progress is not linear but interrupted at certain points (the “missing tones” in music, between Mi-Fa and Si-Do), where additional energy or “external support” is needed to continue in the original direction - otherwise, the course changes. Every octave consists of seven main stages, corresponding to the frequencies of the musical scale and the seven foundational elements that drive the world. The collapse points, or “intervals”, within the octave symbolize critical transitions where energy weakens and an extra effort or external reinforcement is needed to continue the process.
The idea of the octave accompanies the reader throughout the book as a foundation for understanding the stages of the hero’s development - from climbing the mountain, through the seven elements and seven chakras, to confronting the energy retardation stages that represent crises and key turning points. Development is described as a systematic sequence in which each stage builds upon the previous one and demands conscious confrontation with internal and external challenges. The book guides the reader to identify the collapse points - those moments of danger where one may stray from the path - and to find the strength needed to continue the process.
The Ray of Creation is a cosmological principle expressing the hierarchical structure of creation as Gurdjieff saw it. According to his view, creation begins from a single point - “The Absolute” - and descends step by step, like a beam of light spreading outward. Each level describes different realms of existence or “worlds”, where the laws of creation multiply. For example, in our world (Earth), more laws operate (48) than in the higher levels, making us more limited and bound. The Ray of Creation is also used to explain the relationship between man, creation, and the effort required to ascend back toward the source through inner work.
This wisdom represents all knowledge acquired through the senses and based on tangible experiences and external observation. It derives from the process by which a person perceives the world through sight, hearing, touch, and other sensory mechanisms, relying on light to reveal the hidden information in darkness. The Realm of Light serves as a space where the senses dictate the boundaries of knowledge, and often shape the person’s perspective on truth and reality. It is a wisdom that brings order and structure, but is also limited by the natural constraints of the senses themselves.
This wisdom is revealed only through the "closing of the eyes" and inner contemplation, requiring detachment from sensory awareness and externally sourced information. The Realm of Void symbolizes the space where one turns inward, toward the hidden shadows within, and faces truths that are concealed from everyday consciousness. It is precisely in complete darkness - where light does not dazzle or distract - that one can explore the depths of their essence and uncover the truths buried within. This is a wisdom that invites self-discovery but also demands the courage to let go of what is familiar and visible.
The Minor Arcana symbolizes the revealed knowledge of the microcosm - the earthly aspects of reality and the laws that govern them. This is manifest wisdom, focused on human consciousness, relationships, and the dynamics of earthly existence. It offers practical understanding of the laws that shape a person’s awareness, emotions, and choices, and enables them to navigate the visible world. The Minor Arcana is the tool a person uses to function in the immediate and perceivable reality
The Major Arcana symbolizes the hidden knowledge of the macrocosm - the celestial aspects of reality and the universal laws that govern the nature of the cosmos. This is deep, intuitive wisdom that eludes sensory perception and demands exploration beyond the limits of human understanding. The Major Arcana exposes the individual to the cosmic order and the true essence of existence, serving as a roadmap for uncovering the universal truth that lies beyond what the eyes can see.
In Gurdjieff and Ouspensky's teachings, Being refers to one’s inner essence - the real, undeveloped self beneath personality and mechanical habits - while Consciousness refers to one’s capacity for self-awareness and perception of reality. Being is tied to the depth and authenticity of a person, including qualities like sincerity, integrity, and inner unity. Consciousness, on the other hand, is the degree to which one is awake - ranging from complete mechanical sleep to full objective awareness. A person may have developed understanding (consciousness) but lack Being, or possess deep emotional sincerity (Being) without clarity of awareness. True development requires both: without being, consciousness becomes shallow; without consciousness, being remains blind. The work, therefore, aims to grow both together through conscious effort.
The biblical fruit of Knowledge of Good and Evil symbolizes self-awareness, intellect, and free will - the traits that separate humanity from heavenly beings or “angels”. In contrast, the fruit of Life represents immortality, eternal youth, and freedom from the effects of time - but also a lack of free will or deviation from a preordained mission.
The journey of the Warrior and Noble-Spirited reflects the tension between these two fruits: on one hand, the eternal human desire to transcend mortality; on the other, the heavy burden of consciousness and free choice, which brings suffering, but also freedom.
Humans live in a constant pursuit of the fruit of Life - the desire to delay aging or escape death - while the fruit of Knowledge of Good and Evil shapes their lives through the creation of social structures, behavioral patterns, and emotions rooted in the limitations of mortality.
Through various theological traditions, the book emphasizes that this human weakness, called “mortality”, is the source of suffering, but also the primary driver of creativity, morality, and longing.
The pillars Jachin and Boaz, originating in Solomon’s Temple, symbolize the foundational forces of creation - judgment and grace. Jachin, the pillar of judgment, represents order, law, and discipline. It symbolizes the need for boundaries, balance, and just law to preserve harmony and stability in the universe. Boaz, the pillar of mercy, represents softness, love, and the capacity to give beyond strict judgment. It symbolizes the force that softens, permits, and expands human consciousness.
The angel Metatron, known in Jewish mysticism as the “Heavenly Scribe” and divine messenger, represents the bridge between the upper and lower worlds. His sword, in this context, is not merely a physical weapon but a symbol of absolute truth and the ability to discern between good and evil, truth and illusion. It is associated with the power to shatter falsehoods, reveal hidden insights, and punish those who deviate from divine order. The sword represents the Warrior’s moral responsibility to confront the darker aspects of his own being and to unlock closed gates within his consciousness in order to uncover hidden knowledge. To raise the sword requires one to face internal fears and desires, and to accept the price that comes with the discovery of difficult truths.
Non-acceptance of the world is a central principle for the Warrior and Noble-Spirited. It enables resistance to moral corruption, injustice, and limiting conventions. This is not merely a rebellious or negative stance, but a call to rise above the illusions and forces that bind a person, and to act for change grounded in moral values and universal truth. Tales from the Mountain emphasizes that “The first torch was not invented by one who welcomed darkness with open arms.” but by one who refused to accept the shadows - thus becoming an example of the importance of rejecting reality as it is, in order to build a better and more just one.
Tales from the Mountain presents life as a series of cycles - birth, growth, death, and rebirth - each meant to break old boundaries and open new doors of insight. Rebirth is presented as a conscious act of self-liberation from binding habits, thoughts, and beliefs, aiming for a purified, elevated state of consciousness. Using rich metaphors like the Tree of Life and Ajna’s Labyrinth, the book portrays rebirth as an inner, symbolic death involving the disintegration of old identity, confrontation with fear, and the forging of meaning from inner chaos. This principle emphasizes the soul’s endless renewal, where every end is a new beginning, and every fall is the root of future growth. Rebirth becomes the purpose of the struggle, the reconciliation with loss, and the belief that the journey is never in vain.
The fruits of the Tree of Life symbolize key aspects of the hero’s life journey, reflecting a deep personal connection to time, aspiration, and regret.
The golden, ripe fruits represent fulfilled dreams and realized potential, achievements rich in vitality and meaning.
The green, unripe fruits symbolize future possibilities and unexplored paths, full of hope and potential.
The fallen fruits on the ground are reminders of past experiences and irretrievable time, marked by memory and finality.
The rotten, stubborn fruits still clinging to the branches embody unresolved pain, guilt, and regrets - like parasitic remnants of unhealed wounds.
The hero’s attempts to rid the tree of these rotten fruits reflect the desperate inner struggle to purge his mind of sorrow, yet their regrowth reveals a flaw rooted deep within, showing the inescapability of the past. The entire tree encapsulates the duality of human existence: beauty and pain interwoven, and the wisdom of learning to live with one’s errors rather than erase them.
Natural Law is described as a set of universal moral principles embedded in the fabric of the cosmos and nature, independent of culture, religion, or man-made legislation. It operates on the principle of cause and effect: every action carries inevitable consequences, guided by an intuitive sense of justice and harmony. Actions that foster harmony are considered "good" (Rights), while those that sow harm and chaos are "evil" (Wrongs). This absolute moral framework demands personal responsibility and rejects external salvation from the natural consequences of one's behavior. The concept aligns with Mark Passio’s interpretation, which frames Natural Law as spiritual laws discerned through reason rather than institutions. He emphasizes unity between thought, emotion, and action, claiming that living in accordance with Natural Law leads to inner and outer freedom, while ignorance of it ensures continued enslavement.
The universal definition of evil is based on five (or six, depending on item 4) conditions or criteria that must be met for an act to be considered evil, by all means:
Victim: A direct or indirect victim is harmed by the act against their will.
Harm: The act caused real harm to the victim or deprived them of fundamental rights.
Intent and Awareness: The act was committed knowingly, with intent, or with clear indifference to the expected harm.
Lack of Justification: The act lacks circumstantial or moral justification.
Alternative: There existed an alternative course of action that could have prevented or reduced the harm.
Disproportionality: If circumstantial or moral justification exists, the harm caused significantly exceeds the justification.
The "Order of the Ascended" in the story symbolizes the highest layer of existence and consciousness, representing the distilled essence of enlightenment, wisdom, and absolute truth. In philosophical and spiritual terms, this "order" describes those who have transcended the limitations of the physical world, duality, and the illusions of the ego, reaching a state of unity with creation. For the Warrior, this state is a spiritual ideal a point of aspiration where he is able to reconcile the opposing forces within himself, become the master of his own being, and live in harmony with the universal principles.
Karma ("Action") is described through the water cycle, illustrating the nature of life as a constant flow of causes and effects. A person who touches the river alters it, but is also affected by it, as each molecule continues its journey - evaporating, returning as rain, and nourishing different aspects of the world. This cycle, which encompasses birth, relationships, death, and renewal, reflects our Karmic responsibility: every action, interaction, or choice affects the world and is destined to return and affect us in turn. Like water, existence and life are cyclical - every beginning is a result, and every ending an opportunity for rebirth.
“Enlightenment”, contrary to popular belief, is not perceived as a magical moment of sudden awakening, but as a long, ongoing process filled with inner struggle. It is described as the ability to see reality as it truly is - beyond illusions, false perceptions, and fears that shape consciousness. Enlightenment requires a person to confront the darkest parts of themselves, to sacrifice their former identity, and to realize that truth is not revealed through external search, but through an internal process of parting with the familiar and the comfortable.
The common definition of "Magick" is: the intentional influence on reality through willpower, symbols, actions, or rituals, with the aim of creating change in the material or spiritual world. In the context of the Warrior's path, Magick is not merely a collection of prayers, curses, and rituals, but a cognitive skill that enables the Warrior to harmonize with Natural Law and exert his will consciously and responsibly in order to bring about desired changes around him. Some masters, like John Chang, describe Magick as the harnessing and manipulation of external forces, rather than the expenditure of one’s own energy, to which he referred to as "Neigong".
The traditional Warrior, as portrayed in the book, does not merely battle external enemies, but also the inner forces that shape his life - fears, desires, and regrets. Magick is the tool by which he learns to channel these energies toward genuine inner transformation, which eventually manifests in the external world as well.
The idea of magic in martial arts, where it exists, focuses primarily on concepts of energy and consciousness, in which the Warrior seeks to connect with forces beyond the physical strength used in daily life. The use of Qi in arts such as Qigong, Neigong, or Taiji Quan is a clear example, where life energy is harnessed to enhance power, focus, and harmony between body and mind. Another example is found in traditional Japanese martial arts like Aikido, where specific movements are combined with the belief that the Warrior aligns himself with "universal energy" to create harmony with his opponent. Additionally, sacred rituals in the dojo - such as bowing to deities or symbols, lighting incense, and reciting prayers - may be perceived as "magical", as they aim to connect the Warrior to a spiritual or transcendental dimension during training.
The principle of Renma (錬磨), meaning “continuous polishing”, symbolizes an ongoing process of refinement and improvement - particularly within traditional martial arts - through the practice of kata - a form of meditation in motion. It centers on three pillars: relative rhythm of technique (transitions between different speeds), balance between muscular tension and relaxation, and breath control (from soft, natural breathing to a kiai battle cry). Renma strengthens the Warrior by teaching him to strive for perfection through self-discipline, focus, and control, while continuously adapting to challenges and the dynamic flow of life.
"Muga – Mushin" is a state of consciousness in which a person acts with perfect unity of intent, motion, and flow - free from the distractions of rational thought or external motives. It is a condition of “no self” (muga) and “no mind” (mushin), where action arises intuitively and naturally from a deep union between body and mind. The book describes how this principle enables the Warrior to maintain balance, focus, and full control over every action, while detaching from emotional or mental factors that destabilize his inner equilibrium and instinct.
The Alchemy of Water serves as a powerful metaphor for inner transformation, mental flexibility, and the ability to shatter outdated belief systems in order to create a new reality. This doctrine emphasizes the shift from belief to knowledge - a type of understanding that is not based on axioms but on direct and objective perception of reality, to the point of shaping it. It also raises philosophical questions about the nature of human will: does man act from belief, or from knowing?
The protagonist of this story must internalize this wisdom in order to change his perception of reality, allowing the currents of his consciousness to reshape his inner and outer world. Throughout his journey, this process is shown to help the Warrior overcome mental barriers and transcend physical limits - for example, the ability to “walk on water” arises from the realization that belief and intent define one's boundaries.
The “Golem” represents a primitive or undeveloped state of existence, in which a person is bound by their limitations, lacking self-awareness, and living according to external dictates, habits, and norms. The golem symbolizes the potential within every person to change form - but only if they are willing to break their shell and grow beyond it.
“Golems” are those in a state of cognitive slumber, acting from routine, obedience, or fear, and never questioning the reality around them. They live within the “shells of the golem” - boundaries imposed by society, culture, or themselves - and fail to realize their true essence.
However, the book emphasizes that every golem contains the potential to become a butterfly - to attain enlightenment and break through its limitations. But this transformation requires inner struggle, courage, and the willingness to recognize that liberation comes from confrontation and awakening - not from escape.
Kyokushinkai (極真会), translated from Japanese as “The Association of the Ultimate Truth,” is the name of a Karate style developed by Sosai Masutatsu Oyama. It is characterized by an uncompromising approach to training, competition, and a deep commitment to the values of discipline, determination, courage, and fighting spirit. The name itself reflects the relentless pursuit of inner truth through intense physical and spiritual practice. Kyokushinkai is also the style that most influenced the author in writing this book.
Traditional Karate consists of three core disciplines:
Kihon ("Foundation") – classical and combative foundational techniques.
Kata ("Shape") – dynamic sequences of classical movements.
Kumite ("Sparring Hands") – full-contact sparring.
Philosophically, kihon and kata represent the “absolute truth” - there is only one correct way to perform each movement, and any deviation reflects physical or mental weaknesses in the practitioner.
In contrast, kumite represents “subjective truth,” because there is no single correct way to fight - combat allows far more room for adaptability and personal style.
The almond tree is depicted as a multilayered symbol of survival, renewal, and personal resilience in the face of unexpected obstacles. The protagonist, buried beneath a dying almond tree, experiences it as both a physical and mental barrier that challenges him to grow through hardship, rise above crisis, and strike roots of his own in order not to perish. Known for its early blooming, the almond tree represents the ability to draw resources from what exists - even when they are scarce - and to realize the potential of life despite a hostile environment. The parable of the almond tree illustrates how difficult life circumstances - like cold and suffocation - are not the end, but rather a springboard for growth.
The subchapter “Almond Tree” deals with the nature of giving and sacrifice within the framework of universal natural laws. Through the parable of the almond tree, the insight is presented that giving is never detached from receiving - these are two sides of the same coin, governed by the laws of polarity and conservation of energy. The story emphasizes the inevitable price of survival, where the lives of others are sacrificed to ensure the continued existence of the individual. The weakening yet nourishing roots, and the tree collapsing to allow the rebirth of the hero, serve as a symbol of the delicate and ruthless balance between creation and destruction, between giving and renunciation.
The subchapter “Pink Pink” is a dark and biting satire on the detachment and moral justification humans provide for industries built on animal suffering, focusing on the fine line between what is defined as abuse and what is accepted as a “legitimate” industry. This chapter explores the dissonance wherein people can act with compassion and empathy toward themselves and others, yet in the same breath ignore the consequences of their actions on helpless creatures - holding up a painful mirror to the hypocrisy, exploitation, and cruelty embedded in human culture and modern industries.
The story portrays disturbing scenes meant to evoke discomfort and force the reader to confront the repressed reality of the animal-based product industry, by illustrating existing industrial practices on humans instead of animals. This part of the book uses irony and cynicism to highlight the psychological mechanisms through which people rationalize their participation in such a system. It exposes the double standard whereby we boast of our enlightenment, while continuing to partake in cycles of exploitation and willful blindness. It underlines the brutal nature of industries such as dairy, meat, leather, and fur - masked behind a sterile, “natural,” and even “necessary” facade.
The two subchapters - “The Lesser Downfall” and “The Greater Downfall” - illustrate the critical interval between the notes Mi and Fa in the octave - the transition from the earthy elements (through the Goat's Path) to the volatile, airy elements (through the Serpent's Path). This is a liminal stage in the development process, where a significant disruption occurs, demanding a considerable investment of energy.
The Lesser Downfall: Symbolizes a delay in the process or a secondary weakening of energy. It is a stage where energy dwindles, and the hero must exert additional effort to progress and cross into the next tone, through a powerful shock between the two notes.
The Greater Downfall: Symbolizes the complete collapse and resetting of energy in the octave. It also represents, on another level, the author’s motorcycle accident, which left him handicapped for two and a half years. The great fall is the point where the old is completely shattered, and the hero is faced with the need to rebuild himself from the fragments.
The fifth gate represents a turning point in the protagonist’s development process, occurring after the intense disruption of the transition between the notes Mi and Fa. It is a stage that calls for a break from the energetic struggle and the chaos caused by the small and great falls, and marks the beginning of a recharging process. Under the wings of Padma - who symbolizes compassion, light, wisdom, and healing - the hero finds a place for renewal and strength. This cycle mirrors the structure of our working week: five days (Do to Sol) followed by a restorative break (the weekend) before the next octave – the subsequent week – begins. The note Sol, which also means "sun" in Latin, symbolizes the light that guides the hero from a state of utter exhaustion and depletion of energy to a state of rest and regained strength, just before he meets Ajna - the King of Sunset and Owner of Darkness and Void.
This extreme event symbolizes the hero’s full acceptance of responsibility for his failure to protect the golden egg, and highlights his commitment to rectify the wrong in a unique and controversial way. Consumed by guilt and fully aware of the consequences of his negligence, the hero decides not to leave the dead hatchling as a hollow testimony to his failure, but to eat it - an act that appears violent and brutal from the outside (and contradicts his vegan stance), yet deep within embodies a complete assumption of responsibility for his sin, and its internal consumption, so that it merges with him and becomes part of him.
This act is not only symbolic, but also practical: the hatchling’s flesh, though its death was inevitable, becomes a source of strength for the hero, who understands that he must complete his journey and not let Padma’s sacrifice and the hatchling’s death be in vain - but rather serve a higher purpose. This is a moment that brings together two opposing principles: the physical act, illustrating brutal survival, and the spiritual meaning, emphasizing the confrontation with failure and guilt with the intention of transforming them into a source of strength and inner growth.
The seed, as described in the end of the book, is a sacred fusion of the two mythical trees - the Tree of Life and the Tree of Knowledge of Good and Evil. Within it lies both the ancient knowledge of the world’s nature and the potential for immortality. It symbolizes the union of two complementary forces: knowledge - the ability to discern between good and evil, right and wrong, and life - which represents eternal life and renewal. At the story’s end, the hero holds the seed that contains the essence of all creation. Upon seeing it, he breaks down and enters an awkward monologue, his stammer erupting in a storm of incoherent words, as the power of the moment threatens to overwhelm him. But gradually he finds the right words, rises above the embarrassment, and concludes with a speech that anchors the insights of his journey.
The protagonist of the book is a complex figure - a Warrior on the path to spiritual nobility, striving to explore the depths of truth and bring it into the world. He is a young man: sarcastic, sharp, and burdened with deep doubts regarding the existence of God and the moral and social structures surrounding him. His life unfolds on the edge of absurdity, as he perceives himself to be persecuted by an inexplicable cosmic or random force. The hero represents the quest for meaning in a chaotic and deterministic world, attempting to merge spiritual wisdom with physical power and to extract the material essence of spiritual and abstract ideas - concepts often misunderstood or misused by those around him.
The antagonists in the book are divided into two types:
Inner enemies – The hero’s fears, crises of faith, and personal conflicts. These take the form of metaphorical demons such as doubts, regrets, disappointments, and the pain of failure. These figures represent the forces that hinder the hero from transcending his limitations and discovering deeper meaning in his inner world.
Outer enemies – Deterministic forces in the world, including oppressive systems, suffocating social norms, and even allegorical representations of greater forces, such as God or “The Great Machine”. These antagonists act as walls the hero must break through or bypass on his journey toward truth.
The White Wolf embodies the fragile balance between order and chaos and the natural law that demands correction when the system of life is thrown out of balance. Its appearance signals a warning and underscores the wild forces of nature that lie beyond human control. Its escape from the valley symbolizes the unleashing of untamed forces following a breach of the cosmic order - committed through the characters’ imbalance-inducing actions. The biting of one of the disciples is not an act of hostility but an expression of "wild karma", in which every wrongful act brings about an unavoidable consequence.
The wolf serves as a reminder of humanity’s inability to rule over nature’s forces and the truth that any transgression - intentional or not - leads to destructive repercussions. Its flight emphasizes mankind’s responsibility to respect the boundaries of the natural hierarchy and to act with an understanding of the unwritten laws that govern the world.
Sabrina’s baby represents human creation in its purest and most primal form - a product of life, love, and innocence - yet its tragic fate illustrates the fragility of life and the heavy price of moral blindness and apathy. The baby enters the world as a spark of hope and the possibility of change, but in the subchapter “Pink Pink”, its fate takes a harsh turn that undermines the belief in the sanctity of life and shows how human actions, even if seemingly necessary or inevitable, carry heavy moral consequences. Its shocking end underscores the disharmony between the human desire to create and the cruelty and responsibility involved in sustaining creation. The harsh events of “Pink Pink” serve as an allegory for the gap between humanity’s potential to build and create and the forces that lead to destruction and injustice. Sabrina’s baby emphasizes this gap and raises deep questions about the value of life, the morality of our choices, and the psychological difficulty of acknowledging actions that contradict the lofty ideals of the sanctity of creation and compassion.
Yama, the first gatekeeper, is described as a giant porcupine with black quills, reflecting his protective and threatening nature. His name, meaning “mountain” in Japanese, emphasizes his rocky and earthy essence, symbolizing stability, quiet power, and rootedness. Psychologically, Yama embodies the primal survival fear within humans. The porcupine, like all spiny creatures, responds to any threat by fully closing off and defending itself. His presence is quiet but powerful, and he represents the first chakra, associated with tribal connection, belonging, stability, and emotional and physical support. In the narrative, Yama serves as the first layer of the hero’s defense - a physical and mental guardian symbolizing the immune system of body and soul. His martial arts style is a defensive one, focused on static aggression, “iron body” techniques, and sharp movements such as blocks and strikes using knees and elbows. This style draws on fear, survival instincts, and reflexes, injuring the opponent in the act of defending.
Gekido, the second gatekeeper, is portrayed as a hot-tempered, impulsive wolverine, reflecting unrestrained emotion and raw desire. His name, meaning “rage” in Japanese, mirrors his wild and powerful nature. Within the human psyche, Gekido represents pure, blind energy - intense emotions that erupt and dictate behavior - yet he also highlights the importance of initiative and movement. He embodies principles of passion, action, and execution, teaching that change always begins with an outburst or a spark that generates initial momentum. Gekido is associated with the second chakra, tied to duality, interpersonal relationships, and release. His elemental connection is fire - intense and vibrant. In martial arts, the wolverine’s style attributed to him is an aggressive and dominant one, where wild assault and fierce attacks are the way to handle the opponent. The style focuses on proactive, dynamic defense, in which the buildup and momentum of attacks overwhelm the opponent and prevent counteraction. Gekido teaches the hero the value of using passion and rage as a fuel for creation and action but also the need to balance eruptive forces with self-control.
Arachne, the Black Widow, embodies the transition from social chains and dependence on others to absolute personal freedom and autonomy. She symbolizes the passive quality of water in its Earthly Envelope ("Earthly Yin"), focusing on repression, restraint, and self-control. Arachne is a cold, apathetic, calculated, and intelligent being, representing the extreme point of cool-headedness, self-discipline, and control. Her name, derived from Greek mythology and referencing the first spider, reflects her arachnid and “architectural” nature - capable of “freezing” or restraining the movement of energy and manipulating events through strategic planning. She is also associated with the third chakra, which symbolizes personal power and independence, and with the passive aspect of the water element, which restrains and regulates fire. The battle with Arachne forces the hero to develop independent thought and emotional strength, to confront fears and doubts about his own capability, and thus break dependence on others. Psychologically, she represents both restraint and control, as well as obsession with the hero, as she tries to devour him to make him part of herself, just as female spiders tend to consume their mates after mating. Her partner, Lazariel, balances her out and represents the wisdom and strength of tempered waters. He guides the hero after his victory over Arachne and teaches him the wisdom of the third gate. Arachne’s combat style is based on self-control, calculated strategy, and exploiting the opponent’s weaknesses until they are caught in a “web of threads” that neutralizes them.
Orshina, the proud Phoenix, represents the ego - the gate that mediates between the earthly and the heavenly (or between the Id and the Superego in Freudian psychology) - and the heart's power as the central axis between matter and spirit. He is situated at the midpoint of the octave, where all the layers touch one another, a position that reinforces his ego complex and causes him to believe he is the king of the summit and the most important being on the mountain. He is depicted as a majestic bird in deep red, surrounded by a fierce celestial fire that feeds on winds - a fire that, unlike the earthly fire of Gekido, is beyond the control or restraint of water, showcasing Orshina’s heavenly nature. The name "Orshina" originates from Tractate Sanhedrin 108b (Rashi). Orshina exemplifies a heart blinded and blocked by pride, representing egoic fixations on power and control. He emphasizes the limiting aspect of ego, which prevents the heart from functioning properly and forging a healthy bond with nature, others, and itself.
Orshina's role in the narrative is to challenge the hero to confront his pride, tame and subdue the ego, and harness this immense force in the service of justice, truth, and nobility. Orshina, associated with the heart chakra, demonstrates how a blocked heart can hinder development, and how balance in this chakra allows for empathy and the formation of healthy connections (as seen in Padma’s nest). He possesses a regal and elegant nature, granting him dignity and splendor. He views himself as an immortal force of continuation and fertility, and distinguishes himself from the other gatekeepers by being a winged creature capable of soaring high above them, while his gate is suspended in the air and inaccessible to earthly beings. He defines his status as a celestial entity and scornfully: declares “Neither the active, nor the passive, nor the abstaining – none can subdue the Eternal.”
The element of air, which characterizes him, symbolizes his pure and ethereal nature, and the transmutation of earthly energy into celestial energy approaching the Light. In martial arts, the style attributed to the Phoenix focuses on precision and concentration, meditativeness, sharpness, perfection of movement, and splendor, particularly through the practice of kata.
Padma, the fifth gatekeeper, is associated with the fifth chakra - the throat chakra - which is associated with communication, self-expression, expansion, and projection. She embodies motives of love, compassion, grace, and bequeathal, and teaches the hero the importance of devotion and perseverance on the journey, as well as the necessity of pause. Padma is connected to the element of Light, representing wisdom that is acquired with open eyes and questions that clarify from the fog. She is so self-aware and world-aware that she remembers her creator - the mysterious Roze - and refers to her when the hero visits her in her nest.
One of Padma’s significant gestures is when she gifts the hero one of her golden eggs - an act of relinquishing and sacrificing her own offspring so that the egg may illuminate the hero’s path into the darkness he is destined to face. This egg symbolizes the high cost of genuine giving and love that is unconditional. Padma's dwelling is located at a high and shadowy place on the mountain, where one can watch the sun set at twilight. These twilight moments are pauses shared by the hero and Padma, until total darkness envelops the mountain and only her light remains.
This moment teaches that light is not opposed to darkness, but exists within it. Light is always contained in darkness - never the other way around. Padma teaches the hero that the journey demands facing darkness, but also recognizing that inner light, compassion, and wisdom can accompany him all the way, regardless of external conditions.
Ajna, also known as "The King of Sunset" and "The Owner of Darkness", is an enormous black serpent with three purple eyes. His third eye represents the third eye chakra - also called Ajna. The giant serpent’s body coils around the mountain’s peak, guarding the summit and the Tree of Life at its center. His appearance is dark and fearsome, but he poses no direct threat to the hero. His role is to leave the choice to the hero - whether to dare and venture into the unknown and risk eternal obliteration, or retreat via the snowy slope.
Ajna is a master of illusion and deception, concealing his powers in darkness and presenting the hero with the greatest challenge - confronting the unknown. His two primary functions are to guard the summit and the Tree of Life, and to ensure that every traveler who proceeds beyond the line of his tail fully understands that this is a point of no return. Anyone who crosses the tip of his tail will find themselves trapped in a labyrinth, as Ajna seals the entrance behind them forever.
His location - the boundary between the mountain’s exterior and interior - symbolizes the passage into the depths of consciousness and the hidden secrets of the mountain. This is the inner wisdom he seeks to reveal to the hero. From a psychological perspective, Ajna represents the Higher Self, intuition, and the primordial connection to a supreme force. He reflects the dreaming realm and higher consciousness, enabling penetrating vision within darkness. He symbolizes the element of Void - "The Cosmic Yin" - and the capacity to contract, separate, and create clarity out of chaos. His wisdom is reflected in his gesture of submission to the Lord of the Summit - Santou (Tri-head) - when he lies prone in obedience, recognizing hierarchy and cosmic order.
In his declaration, Ajna invites the hero to shatter his ego and surrender to the darkness of the unknown, which he praises as the foundation of all cosmic forms. He teaches the hero about the need for courage and faith to walk toward absolute truth. The fighting style associated with him is based on penetrating perception, foresight, intentional perfection, and lethality - akin to a serpent that strikes with surgical precision and devastating force.
Santou, the Tri-head, is the Lord of the Summit - ruler of the mountain and its processes - but he is not a gatekeeper in the traditional sense like the six gatekeepers before him. He does not bestow his wisdom through words or direct instruction, but rather weaves the path through the lure of exploring the mysteries of existence and striving toward the Absolute. Santou's power lies in his ability to entice the traveler to draw closer to the higher force, to dare embark on a journey of discovery, and to gain the deepest insights through lived experience.
The hero comes to understand, only later, that Santou was the one who shaped his entire journey, and the wisdom he imparts is found in the path itself and in the meaning of the journey. Santou’s three heads symbolize exalted principles that unite the virtues of the Noble-Spirited Warrior:
The Lion, representing strength, courage, and authority.
The Serpent, bearing the wisdom of the occult and insights into the universe, symbolizing the connection to hidden dimensions of reality.
The Goat, embodying the tireless force of action, will, and determination - the drive to manifest and act in the material world.
These three heads reflect the harmonious balance between spirit, wisdom, and action - representing the wholeness the traveler must strive toward.
From a philosophical standpoint, Santou represents the super-consciousness, the nobility of the spirit, and the awakening of Kundalini energy. He represents the element of Spirit or Aether - the only element that contains itself and unites all the others within. Spirit, in this sense, is not merely a driving force but also a containing one, guiding the hero to rise above dualistic terms.
The journey to the summit is Santou’s lesson, delivered through the encounters, trials, and inner challenges the hero faces along the way. Only when standing atop the summit does the hero realize that Santou has granted him the highest wisdom of all - the ability to perceive the path itself and to grasp the vast potential of the human being, revealed in the many mountains seen on the horizon.
Corvidaeus is one of the two central guides in the narrative - a mysterious demon with whom the protagonist formed a pact in the distant past, prior to the great accident. He is described as a humanoid figure cloaked in dark robes and a hood, beneath which lies a void of eerie depth. From this emptiness shine two hypnotic eyes, glowing with a honey-colored radiance. At times, he appears in a more anthropomorphic form, roughly two and a half meters tall, with skin made of black bark that continuously peels and regenerates, revealing underneath a rigid tissue of pure gold.
Corvidaeus's original name is unpronounceable and unspellable in human language. It sounds like a chilling blend of angry raven screeches, a goat's bleat, and the self-eulogies of the dead. Only once he was given the name Corvidaeus - a fusion of the Latin words corvus (raven) and deus (god) - did his name become accessible to human understanding.
Throughout the story, Corvidaeus becomes the hero's mentor, teaching him the two types of truth: the one attained with open eyes (through interaction with the external world), and the one attained with closed eyes (through internal introspection). In contrast to the guide Roze - who leads the hero through subconscious realms - Corvidaeus primarily operates in the supraconscious domains, aiding the hero in ascending to the rank of spiritual nobility. Later, he also appears as a raven perched upon the gallows tree and as a black goat named "The Leaper", guiding the hero at the mountain’s base.
Roze is one of the two main guides in the story, an exalted figure who serves as a loving and guiding force in the hero’s life. She is described as having eyes of “flame and crystal” and as “the golden-haired, silver-eyed maiden”, exuding profound wisdom alongside tenderness and humanity. Roze leads the hero into the realms of the subconscious (The Old School), teaching him how to confront his fears and cultivate his inner strengths.
She disappears from the hero’s life under mysterious circumstances but leaves behind clues and messages hinting at her whereabouts. Among these are the poem at the beginning of the book - speaking of eternal love - and the subchapter “A Gift from a Loved One”, in which she is portrayed as having granted the hero the power to inherit her legacy and teachings.
In the Ajna Labyrinth, Roze appears at a different point in her own timeline - as a young girl still engaged in shaping the mountain, tending to the Tree of Life and its roots, constructing the gates, and engineering the inner mechanisms of consciousness that enable spiritual ascent. She creates this world out of deep love for the hero, in order to allow him to follow her and rise to the next octave, where she awaits him in a different form or state of being. Her youthful appearance in the labyrinth emphasizes the transtemporal connection and deep devotion that defines her character throughout the narrative.
The Piper, whose real name is Harry (a detail not mentioned directly in the story), is a charismatic and enigmatic figure, appearing as one of the story’s seductive and threatening forces. He is portrayed as a charismatic leader with an alluring appearance, tattoos covering his upper torso, wearing green jeans and a T-shirt, and projecting a theatrical presence that captivates the crowd.
The Piper controls his audience through psychological manipulation, mesmerizing music, and an awe-inspiring visual presence. His entrance exudes confidence and egocentrism, challenging the crowd with a mocking but magnetic tone: “Are you ready for the flute?”. His role goes far beyond leading the “Flute Cult” or the "Pilgrimage to Berlin". He symbolizes the seductive power of unrestrained impulses and the temptation to surrender to intoxication and dominance.
The crowd around him falls under his spell, entering a trance of blind adoration and sacrificing their personal identity to the collective mass. In some ways, he embodies the dark side of inspiration - a force that draws people in through manipulation, but does not aim at enlightenment or true spiritual growth. The encounter with the Piper presents the hero with a test: will he succumb to allure and impulse, or resist temptation and choose the path that leads to truth and spiritual nobility?
The Wingless Bastards appear as a group of damaged, roguish creatures, referred to by the author as “God’s wing-clipped bastards”. They represent all that is broken or failed in the hero’s life. In the story, they appear as a bizarre group of imps trying to lure the hero into joining their eternal sleepless night - a twisted celebration of failure and acceptance of life's imperfections.
They symbolize the consequences of past failures and the difficulty of letting them go. Through this encounter, the hero is forced to confront the question: can what was created broken ever be changed or repaired, or must one learn to release these flaws and move on toward transcendence? Their presence echoes throughout the story as a reminder of the fractures and memories the hero carries, and a faint hope that they might still stir into meaning. Beyond the characters themselves, the term Wingless Bastards is also a reference to a song written, composed, and performed by the author in 2012 - "Krutei Knafaim" (כרותי כנפיים).
Though she is mentioned only twice in the story, the Queen of Mirrors is a key figure symbolizing the manipulative forces of the ego and the destructive impact of distorted self-perception. She appears in a dark hall of mirrors, a place where every reflection distorts the truth and shows a person’s weaknesses and fears in grotesque form.
The Queen of Mirrors represents the addiction to compulsive self-examination, where one becomes enslaved by a warped self-image and cannot see the truth beyond the reflections. Her character is described as feminine, almost regal, but also cunning and sadistic. She delights in the hero’s confusion, using his doubt and uncertainty to maintain her control over him.
Ultimately, she is not only an adversary but also an unofficial teacher, offering an important lesson: liberation from the influence of the mirrors and the ability to detach from ego-driven illusions and fears. The hero’s confrontation with the Queen of Mirrors symbolizes the need to shatter the “inner mirror” - to part ways with the lies and delusions one tells oneself, and realize that truth cannot be found through filters and reflections - but rather in their absence.
The angel Metatron is depicted as a powerful entity with a unique role in maintaining cosmic balance. His flaming sword, forged by the Seraphim, is a symbol of the battle between impurity and holiness, and serves to purify the corruption that spread through the world with the arrival of the first humans. The sword embodies the principle of absolute justice, cutting and aligning the world according to divine will.
Metatron is mentioned as a mysterious figure, not directly present in the story, but his influence is felt through the sword and the consequences of his actions in the worlds of creation. Through his character, the story raises questions about the nature of justice, moral responsibility, and the power to confront evil and disorder in the world.
The Crawler, Orshina, and Ajna represent distinct stages in the hierarchy of cosmic forces, with their connection symbolizing the clash between personal cravings and the absolute, universal law of the mountain. The Crawler, who was meant to serve as the hero’s guide on the Serpent’s Path, is revealed to be greedy and corrupt. His lust for Orshina's eggs - a creature far stronger than himself - drives him to abandon his role in pursuit of his personal obsession: stealing Orshina’s eggs at his most vulnerable moment. His failed attempt leads to his destruction, as Orshina, vastly mightier, kills him in vengeance - an act that symbolizes the heavenly forces’ response to earthly violations and transgressions.
But Orshina himself is not innocent: he too seeks to circumvent the limitations imposed upon him by the Lord of the Summit. In response, Ajna - an enormous serpent embodying cosmic and Karmic law - devours him in a single strike, in an act of absolute justice and eye-for-an-eye retribution. Ajna, known as the “Owner of Darkness” and the “King of the Dusk”, is a colossal being who serves as the guardian of the summit. He is neither greedy nor vengeful, but acts with strict fidelity and precision, fulfilling his duty without bias. He represents the supreme cosmic order that restores balance and corrects any deviation or boundary breach upon the mountain.
The Sitra Achra (Aramaic for “the Other Side”) represents the forces of impurity and the antithesis of holiness and spirit in Kabbalistic writings. It is a cosmic force of fragmentation, imbalance, and negative energy - meant not as absolute evil, but as a divinely permitted adversary, designed to test the human soul’s moral and spiritual resilience. The Sitra Achra is part of creation, serving a purpose: to challenge and thereby strengthen the individual through confrontation with his weaknesses and inner shadows. It symbolizes the eternal struggle between holiness and impurity, both in the human psyche and in the world.
The Old School serves as a critical metaphor for a rigid and repressive educational system. It is not a place that nurtures creativity or deep understanding, but rather a mechanism for enforcing order, hierarchy, and obedience - thinly veiled as “education”. This institution instills a uniform ideology, suppresses questioning and wonder, and extinguishes independent thought. The peeling walls and empty corridors symbolize the internal decay inflicted upon the pupils’ souls, and the deadness of spirit that the system perpetuates. It is described as a crematorium for creativity and initiative, where every original idea is burned to preserve social uniformity. Imagery of barbed wire and historical allusions amplify the sense of mental imprisonment endured by the students. Ultimately, The Old School is not merely a physical structure - it represents a worldview bent on reducing the human potential to a manageable, docile form.
The Valley of the Forsaken is an existential plane, located in the Third Compartment, that metaphorically reflects a reality where every decision, deed, or thought is permanently engraved - marking the ongoing consequences of one's life choices. The valley’s gravestones represent the moral footprint left behind by the traveler:
White Gravestones – Symbolize choices made with a clear conscience, sober judgment, and moral clarity. They reflect virtuous successes and unwavering truths.
Black Gravestones – Represent decisions born from fear, ignorance, or self-deception. They signal moral failures or actions clouded in lasting doubt.
Gray Gravestones – Denote unresolved dilemmas or choices yet to be made. They embody the tension between certainty and uncertainty - the heavy shadow of hesitation over a person’s life.
The valley mirrors the hero’s soul and Karmic balance. It is a place of witnessing - the entire chain of actions and consequences made visible - offering the hero a chance to face regrets, recognize triumphs, and reflect upon the ripple effect of every decision from a higher perspective.
The Kingdom of Golems symbolizes a human condition where absolute freedom is willingly exchanged for conscious enslavement. The golems represent the outcome of surrendering one’s individuality, truth, and ethics in favor of comfort and the refusal to bear responsibility. This is a realm where truth lies in plain sight, yet humanity collectively refuses to acknowledge it - paralyzed by fear of the complexities of existence. For the hero, this kingdom becomes a trial of awareness and choice: to confront truth, or to ignore it like the golems who surround him. The kingdom expresses the cost of forsaking personal liberty, and the deep necessity of returning to values that drive genuine spiritual growth.
The Mausoleum is a dark and mysterious structure at the heart of the Valley of the Forsaken, serving as a central threshold between different planes of consciousness and existence. It holds five arch-shaped gates, and in the space between them stands the “Gate of the Heavens” - a portal to supra-conscious dimensions, symbolizing the potential to transcend the limitations of earthly existence. In contrast, a shadowy staircase known as the “Gate of the Abyss” leads downward into the depths of the earth - a descent into the hero’s subconscious. This descent marks the transition from the Third Compartment and Karmic plane into the deeper strata of the unconscious, where the hero begins to confront and resolve his innermost conflicts. It is a critical phase of shadow work, paving the way for ascension through the Gate of the Heaven - also referred to as the Gate of the Tree of Life. The mausoleum’s seven gates parallel the seven gates upon the mountain, together illustrating the holistic process of deconstruction and reconstruction of the soul.
The Bridge of No Return represents the latent power in every decision and the irreversible nature of human actions. This concept emphasizes how each choice affects the three planes of existence - Body (Guf), Mind (Sechel), and Spirit (Ruach) - the acronym forming GSR (גש"ר), or "Bridge" in Hebrew. Every decision leaves a deep imprint, not only on the physical dimension but also on consciousness and the spiritual essence of a person. The inability to alter the past is highlighted here as an unshakable feature of time and life.
Each decision, whether grand or minute, initiates a chain of consequences that shape one’s journey. The Bridge reflects the inseparable bond between the dimensions of existence - decisions taken in the physical realm influence the mind, and vice versa. The Bridge of No Return underscores the necessity of awareness, responsibility, and intention in every action, for the weight of each step is inevitable and affects the wholeness of being.
The Snow Slope is a unique escape route on the mountain, offering the hero a way to retreat from the arduous climb toward the summit. It symbolizes the temptation to return to a normative, simple life - free of spiritual struggle, but also devoid of true progress and deep meaning. The slope is depicted as a place where one can slide back down into the familiar and safe, avoiding the harsh and painful trials of the ongoing journey and the Warrior's path.
These three paths represent distinct and complex stages of development along the hero’s spiritual ascent, each characterized by a unique elemental composition, level of challenge, and profound internal processes:
The Goat’s Path: Also called “The Earthly Trinity”, it comprises the elements of Earth, Fire, and Water. This path focuses on earthly aspects of development, connected to the Earthly Envelope and its initial linkage with the Heavenly envelope. It is considered the “easier” path of learning, as it traverses the lower slopes of the mountain where the incline is gentler and the dangers less severe. This journey is more forgiving - failure here leads not to collapse, but to a minor setback from which one can try again. It teaches perseverance, determination, and working with the physical world as preparation for higher levels.
The Serpent’s Path: Also called “The Heavenly Trinity”, it consists of the elements Air, Light, and Void. This path engages the celestial aspects of development, associated with the Heavenly and Cosmic Envelopes. It is far more challenging, with steep inclines and heightened risks. Unlike the Goat’s Path, it is unforgiving - failures here may cause a dramatic collapse of the energies driving the journey. It demands wisdom, caution, and the ability to navigate the sharp difficulties of the spiritual path.
The Lion’s Path: Known as “The Absolute Unity”, this is not a physical route but a profound spiritual stance. It contains only the element of Spirit/Aether, symbolizing transcendence over doubt and fear through a spontaneous leap of faith. This path invites the traveler to surrender completely to higher forces. It is a critical juncture where many face crises of faith, and some fail even after a long and arduous journey. The Lion’s Path requires one to trust their heart and intuition, undergoing the ultimate test of faith on the road to realizing complete spiritual unity.
Ajna’s Labyrinth lies within the mountain’s core, unlike the rest of the journey which unfolds across its outer and peripheral zones. The labyrinth is a dark, hidden version of the roots of the Tree of Life, stretching deep into the mountain’s belly. It is a metaphysical space forcing the hero to confront primal fears, such as utter loneliness, the terror of final failure, or eternal loss.
The labyrinth's mechanism is gradually revealed as the hero passes through the Gate of Eden and reencounters the exact same maze - this time illuminated, unveiling the roots and secrets that were once shrouded in darkness. Later, when he reaches Metatron’s sword, he finds himself back at the same place - but now in utter darkness, as if the sword “extinguished the light” and returned him to a previous state.
Symbolically, it’s suggested that he never physically moved, but underwent a shift in consciousness that once again obscured the light. The labyrinth, on a symbolic level, represents a necessary stage where the hero must lose his way and “go blind” in order to rediscover his essence. It is a journey of loss and rediscovery, where darkness serves not only as an obstacle but also as an opportunity for deeper understanding of one’s inner nature and connection to the Tree of Life.
The Tree of Life in the book symbolizes a complex energetic mechanism whose sole purpose is the generation of perfect life - eternal life and eternal youth. It stands in stark contrast to humanity’s limited ability to create life, which is always accompanied by afflictions, aging, and change. Metaphorically, the Tree of Life reflects humanity’s cognitive potential to comprehend this internal mechanism, within which the foundations of creation are embedded. Only a person who embarks on a journey of deep introspection, discovery, and alignment with this mechanism may access the kind of awareness that leads to longevity or immortality.
However, most people remain unaware of this mechanism, living in societies that obscure and distort its function. Tales from the Mountain highlights the distinction between the visible fruits - which are life itself - and the hidden roots, which serve as the foundation of the entire mechanism. The roots represent the inner essence of life and how the energetic mechanism operates, while the fruits are merely the external expression of deeper harmony or disharmony. The dark labyrinth of Ajna, in which the hero becomes lost, is none other than these roots themselves - the grim, hidden, and terrifying side of truth.
While in Eden’s Realm the labyrinth appears as luminous roots, revealing their beauty and importance, in total darkness they are frightening and nightmarish. The profound realization that the labyrinth and the roots are, in fact, the same place, depends on the hero’s understanding that the outer world does not change - only his consciousness shapes the reality around him.
No more spoilers.