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The Art of G. I. Gurdjieff

An Introduction and English-Language Bibliography

With Notes on his Music and Movements

J. Walter Driscoll

Gurdjieff’s Major Writings

ll and Everything is the series title Gurdjieff assigned to his three books;

Beelzebub’s Tales to His Grandson.

Meetings with Remarkable Men.

Life is Real Only Then, When “I Am.”

George Ivanovitch Gurdjieff—named after his father Giorgios Giorgiades—wrote

in Russian and Armenian. He referred to his three books as the ‘First’, ‘Second’, and

‘Third’ Series. In Gurdjieff: Anatomy of a Myth (1991), biographer James Moore explains

Gurdjieff’s Anglicised name,

The standard nomenclature George Ivanovitch Gurdjieff, emerged by transliteration and

inconsistent national adaptation from the original Giorgios Giorgiades (or Georgiades):

the Greek patronym became first Gurd jian in Armenian, then Gurd jieff in Russian; the

Christian name, Giorgios, took the western form George; Ivanovitch was interpolated

following Russian usage. (p. 340)

www.gurdjieff-bibliography.com

Gurdjieff’s command of English was very limited, especially when he began

writing in 1924 and had been settled in Europe for only three years. Between 1925 and

1930, he drew on his circle of Russian and Armenian followers to undertake rough

English translations of Beelzebub’s Tales and Meetings with Remarkable Men. Gurdjieff

sent these to his friend and representative in New York City, the renowned editor

A. R. Orage, who developed semi-final drafts of both books. After Orage’s death in

1934, Gurdjieff engaged several other editors to finalise the English edition of

Beelzebub’s Tales . Beginning in the late 1920s he also supervised translations from

Orage’s English version, into French with Jeanne de Salzmann and into German with

Louise March (neé Goepfert). Gurdjieff prepared and supervised the English and

German first editions of Beelzebub’s Tales which were published in 1950. The French

edition was published by Jeanne de Salzmann in 1956.

On the opening page of Beelzebub’s Tales , Gurdjieff’s states that the three books in

the All and Everything Series were

“All written according to entirely new principles of logical reasoning and strictly

directed towards the solution of the following three cardinal problems:”

He then identifies the specific problems he proposes to address in each volume. His

statements regarding each book are quoted below the title of each book, in italics.

1—BEELZEBUB’S TALES TO HIS GRANDSON

FIRST SERIES: To destroy, mercilessly, without any compromises whatsoever, in

the mentation and feelings of the reader, the beliefs and views, by centuries rooted in

him, about everything existing in the world.

Much of this gargantuan and rigorous 1238 page novel—with its torrents of alien

neologisms and run-on sentences—is disorienting and intimidating, even to readers

accustomed to digesting complex text. It is ‘difficult’ reading—persistence, patience

and a growing sense of what Gurdjieff is about, are all required. This book does not

yield its treasures to premature or superficial analysis, and one should not be defeated

by its initially impenetrable obscurity.

www.gurdjieff-bibliography.com

But the book’s barriers and intricacies are never mere literary posturing.

Beelzebub’s Tales is labyrinthine because:

—of its scope, depth and the complexity of what Gurdjieff undertakes

—of its mythic underpinning and the epic narrative that flesh out its structure

—its key ideas elude facile or merely theoretical formulation

—it is a translation from Russian and/or Armenian.

A ground breaking science-fiction story conceived and written in the 1920s,

Beelzebub’s Tales contains alien visits and intergalactic travel long before they became

clichés. This novel and its story-line are primarily a vehicle for Gurdjieff’s

philosophical, cosmological, religious and psychological ideas. He attempts precisely

what his immodestly titled series announces, all and everything . Serious readers heed his

seemingly pompous but truly “friendly advice”, that it is only with the third and

subsequent readings that one should begin to “try and fathom the gist” of this book.

The full current title Beelzebub’s Tales to His Grandson: An Objectively Impartial

Criticism of the Life of Man provides the key to a vast, intricately embroidered tapestry of

instructive stories. The setting is mostly on the ‘transspace ship Karnak’ during an

intergalactic voyage. The ship’s most important passenger,—his “Right Reverence,

Beelzebub”—is on the way to a celestial conference, accompanied by his grandson

Hassein. With time ‘on his hands’, Beelzebub has taken responsibility for his

grandson’s education and uses their many conversations during the lengthy voyage, to

instruct Hassein.

In his booklet, The Herald of Coming Good: First Appeal to Contemporary Humanity

(1933), Gurdjieff points out that during the first few months of recovery from his

automobile accident in 1924, he began to dictate his ideas in various fragments without

a definite system;

But later on, when my physical strength was more or less re-established I began

to write myself; and then, during the reading aloud of one of these scenarios of mine, the

subject of which was a legend I had heard in childhood about the appearance, of the first

human beings on Earth and of which I had made Beelzebub, as a likely witness of this

appearance, the principal hero, I perceived in that scenario a very rich source from

which might be extracted numberless corresponding points of departure for an easy

comprehension of explanations of various facets of my ideas, and decided, therefore, to

cease writing small scenarios and to write a master-work, taking this scenario as the

foundation for all my further writings.

www.gurdjieff-bibliography.com

From that time on, exploiting to the full this source for a logical development of

one or another of the questions, which, in their totality, might provide a clear

understanding of the essence of my ideas, I began to expound and elaborate all the

material beforehand selected for publication, following the lines of a definite system.

Herald of Coming Good, (1933) pp. 44-45

Olga de Hartmann tells us that on December 16, 1924, she recorded Gurdjieff’s

first dictations of Beelzebub’s Tales . Gurdjieff was soon writing non-stop and she found

herself taking all his dictation, then typing and retyping his drafts as often as ten times.

The translation process went on for several years. Thomas de Hartmann undertook an

interlinear English translation from the Russian, using a dictionary. Bernard Metz—

Gurdjieff’s English secretary—would correct the basic grammar. Orage would then

render the text into articulate English. This was followed by many rounds of

comparison with the Russian original and re-translation under Gurdjieff’s supervision.

Olga de Hartmann concludes;

I myself was certain that Orage's translation was very exact. Finally, after many attempts, Mr.

Gurdjieff was satisfied. . . .When finally Mr. Gurdjieff approved the English translation, someone

read it aloud in the evening to several people and he watched the expressions on their faces.

These readings continued late into the night.

Our Life with Mr. Gurdjieff (1992) pp. 240-241

Louise March describes how the same precision and intensity of purpose went

into her German translation of Beelzebub’s Tales and how Gurdjieff

. . . considered a single word or the flow of a sentence so very important. . . we translators knew

Gurdjieff as ‘the teacher of exactness.’ With Gurdjieff we came to use words exactly. He stated

clearly that philology was a better route to Truth than philosophy. We looked at roots of words.

There were many philological rows.

The Gurdjieff Years 1929-1949: Recollections of Louise March by B. McCorkle (1990) pp. 25-26

~ * ~

www.gurdjieff-bibliography.com

Thousands of years old by earth’s scale of time, Gurdjieff’s Beelzebub was

banished to Mars for aeons:

. . . owing to the as yet unformed Reason due to his youth, and owing to his callow and

therefore still impetuous mentation with unequally flowing association—that is, owing

to a mentation based, as is natural to beings who have not yet become definitely

responsible, on a limited understanding—Beelzebub once saw in the government of the

World something which seemed to him “illogical”, and having found support among

his comrades, beings like himself not yet formed, interfered in what was none of his

business.

Thanks to the impetuosity and force of Beelzebub’s nature, his intervention

together with his comrades then soon captured all minds, and the effect was to bring the

central kingdom of the Megalocosmos almost to the edge of revolution.

Having learned of this, HIS ENDLESSNESS , notwithstanding his All-lovingness and

All-forgiveness, was constrained to banish Beelzebub with his comrades to one of the

remote corners of the Universe, namely, to the solar system “Ors” whose inhabitants call

it simply the “Solar System”, and to assign as the place of their existence one of the

planets of that solar system, namely, Mars, with the privilege of existing on other planets

also, though only of the same solar system. (p. 52.)

Hassein cannot understand why the inhabitants of planet Earth take “the

ephemeral for the Real” and questions his grandfather about the ‘strange psyche’ of

these ‘three-brained beings’ who inhabit this small planet of ‘the remote solar system

Ors.’ Through extraordinary stories—about cosmic order and his extensive

observations of human life on Earth during six lengthy visits or “descents” to our

planet—we learn how Beelzebub intervenes on earth, earns a full pardon, and returns

in glory to the central kingdom of the Megalocosmos to be reinstated as a member of

the angelic hierarchy.

Gurdjieff sets out to penetrate the reader’s fixed associations and have a direct

impact on our being. To this purpose, he repeatedly shocks and challenges

conventional thinking. Notions of evil devils as ‘fallen angels’ are one of his targets.

Gurdjieff’s Beelzebub is no demonic Satan or prince of evil. Instead “the Great

Beelzebub Himself” emerges as the narrator-protagonist and chief hero; a kind,

compassionate, ‘Grandfather Beelzebub’ a sage and slightly stuffy intermediary

between emergent humanity – the “three-brained beings” of earth, and our

INCOMPARABLE CREATOR ENDLESSNESS.

www.gurdjieff-bibliography.com

Driscoll - The Art Of G I Gurdjieff.pdf

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