The Ringbearer´s Diary
(The Ultimate Edition)
The work consists of four volumes:
Book One: Wolfgang
Book Two: The Ring and the Pyramid
Book Three: The Sphinx Part 1 The Machine
Book Three: The Sphinx Part 2 The Tree
“Wolfgang” is released April 2014 in Danish and English, as an e-book in the digital formats pdf, epub and mobi (for Kindle). Finances permitting, the book will later appear in print. More Buy the book
Price (e-book in English): DKK 199.00/US$ 27.35/£ 16.50/€ 19.96
“The Ring and the Pyramid” is scheduled for publishing later in 2014 or early in 2015, in Danish and English.
Price yet to be determined More
The first two books were first published in Danish (1. and 2. edition, 1985/90) by Bogan´s Publishing House, Lynge, Denmark and in English in 2002 by Altre Menti Edizioni, Naples, Italy. The present edition consists of extended versions of the first two books while Book Three, Part 1 and 2 are new additions to the work.
“The Sphinx”, Part 1 and 2 are expected for publishing after the release of Book Two, while the English editions of these last two volumes will follow as soon as translations are ready. More
Price yet to be determined
Qvistgaard Publishing is a new Danish publishing house which has been launched initially with the intention of publishing the ultimate version of The Ringbearer´s Diary. The project is based on (hitherto) unpaid labour and enthusiasm. Initially, we consider it important to simply make the work available. What will happen next and at which pace, depends on demand.
We are proud to be able to finally present the first steps of the complete release of a work we consider very important.
Ulla S. Qvistgaard, publisher and translator – www.qpubl.com – info[at]qpubl.com
Steffen Kjærulff – layout and illustrations
Morten Barfoed, consultant, webmaster at www.ringbearersdiary.com
Peter Kjærulff, author – www.ringbearersdiary.com
It is hardly possible to present oneself in just a few lines – or by means of a photo such as the above. Of course some biographical data are always at hand to deal out, and they will appear a little further down the page. However, if I must say something about myself that enters my mind spontaneously, I am a storyteller. Probably some of you know the feeling that stories exist that literally beg to be told. It is this kind of story you will find in The Ringbearer´s Diary.
Another thing enters my mind: are stories real or are they just stories? Some stories demand to be perceived as being real when you write them down and this is the case of the present story.
So, inevitably I needed quite a lot of courage, when the story wanted me to write it down in first person in the shape of recollections from earlier lifetimes. In fact, some of these lifetimes dealt with very, very famous persons – e.g. Shakespeare, Mozart and Wagner. But when a story demands your presence – and this is what it does if it is a serious story – then you cannot argue with it. So, if you are a responsible writer, you write it down.
Even unproblematic stories may assume the character of rambling fantasies. In this case we find ourselves before the “problem” that my story turns the world upside down (or, it turns it right again – according to how you see it). This may look like arrogance – unless you take the time to read the story – which is what I have been forced to do, gradually as I wrote it down. As it turned out, the account made so much sense that I found it irresponsible not to publish it – in spite of the risk that someone might think that I was out of my mind.
So what I have written, I have written out of respect for the story itself. By the way I am very fond of expeditions into unknown or well-known territories. I have travelled in Lapland and in Himalaya, and I have sailed on peaceful Danish rivers as can be seen in the photo.
With The Ringbearer´s Diary I have ventured into the consciousness´s magical and colourful world of thoughts, feelings, experiences and indescribably fantastic logic.
The human consciousness as well as world history and musical history have drawn their own maps for me, gradually as I wandered through the almost 35 years it has taken me to write the book. As for the rest, I am a nice family man who loves his home, good food and wonderful friends – and not least my wife, my children and my dogs.
Officially I was born in 1947 and I earned my upper secondary school leaving certificate from the music and languages line in 1966. Music has always played a huge part in my life, and there was music in the home of my childhood. Both my parents played the piano on an amateur level, and my father conducted an amateur chorus. I played the recorder myself and later the clarinet and the piano, and in 1972 I earned a diploma from The Royal Danish Music Conservatory with the clarinet as my main instrument and the piano as my second.
By the way I have played the bass drum and the cymbals in a military orchestra; I have served behind the counter in a classical music shop, written a lot of articles and concert programmes, as well as having been employed in the musical division of Danmarks Radio (The Danish Broad-casting Corporation) I have performed on the radio and around the country at various arrangements singing lyric poetry, and during the last almost 30 years I have lived from giving lectures on music, dreams and on the nooks and crannies of the human consciousness and its wonderful structure.
I am happy that I have written The Ringbearer´s Diary. It has been a privilege to be the one allowed to tell this story.
Let me end this presentation with a quote from the culminating chapter which appears towards the end of the work:
“The next section is really so important that I think I need to make a kind of statement before we make our way into it. I do not proceed to write this statement because I am being melodramatic, nor is my wish dictated by a possible lack of faith in my reader´s trust. Rather, it has something to do with defining a responsibility – as you do when you have to testify in a court of law. Indeed, what is about to be exposed is so bloodcurdling that it is necessary to stress that the results I have reached do not arise from an urge to frighten anyone – to the contrary the upcoming revelations are owed to accurate research into the human consciousness. On the other hand, behind these revelations we find a fundamental optimism which perfectly matches the almost thriller-like perspectives of my discovery. Also in this case the redeeming element comes from the consciousness itself and not from a possible personal urge to conjure forth some kind of Utopia.
So to begin with, here you have a
I, Peter Kjærulff, hereby declare that I seek the truth, the whole truth and nothing but the truth. My aim is reality and nothing but reality. If reincarnation takes place, I want to know, and if reincarnation does not take place, I want to know that, too. If the existence of God is a fact, I want to know, and if God does not exist, I want to know that, too.
As regards comments to The Ringbearer´s Diary, I will be grateful for all such comments that may contribute to clarifying the truth and reality. If someone disagrees with me, they will disagree with reality if I am right – and if I am wrong, I am in disagreement with myself, as I only seek reality. Thus, I have no use for comments like “I am of a different opinion”, “Research/philosophies/ religion has long since determined that you are wrong”, “You really are a tad too far out, aren´t you?”– which are void of a careful and open-minded wish to communicate. Please seriously compare any research results with my discoveries – for the human consciousness and the life and the world vision that appear when one researches this very consciousness – are simply too important to be the possible object of academic or philosophical altercations. It is not possible to go about answering the question concerning the existence of God and of an immortal consciousness – by means of a quarrel one may possibly win.
I will probably meet people who say that the truth can never be found and my counter-question will then be: “How do you know that?” Probably there will also be people who think that only by over-estimating oneself can one believe that one may find the truth – and in this place I need to underscore a certain perspective of the present statement:
I have not written what I have written in order to make a show of myself, and I have no interest in creating illusions of fictive world visions to “distract attention from the unpleasant truth” What I have been researching here – and the results I have reached – have appeared as a result of my method: firstly, I have managed to dare take all those experiences seriously that lead to the writing of Book One and Two and, secondly, I have done something which the object of research itself renders possible and even demands: I have lived my research in such a way that the third part of the work has been a test in practice of the world vision described in the first two books. Living your own research may lead either to your results affirming themselves in a self-feeding way, or to gradually putting to the test everything, so that the next step can be taken only because the preceding step has proved to rest on a solid foundation. Living your research requires courage and trust, and courage and trust are in fact what you need, when – after all the years it has taken to walk the path demanded by the world vision – you reach the description of the fundamental mechanisms of evil and the awe-inspiring redemption found in the good and the divine.” [To top]
First, the story takes us through some dramatic experiences from the legendary Atlantis. Why are we so fascinated by this island and what happened since the island went under, according to the accounts? Later on, in Central America, something happens which turns out to have consequences for all of humanity: the creation of “The Cursed Ring” – a inverted way of thinking and feeling which turns bad into good and good into bad. The world has not been the same ever since.
A logical trail leads on to contexts between the Bible´s dream interpreter Joseph and the later Egyptian pharaoh Ramses II, and the author of the story tells us what he thinks really happened in connection with the crossing of The Red Sea.
The many pieces now in play form a pattern: once someone sabotaged the way of human beings of perceiving themselves, and two major works of art tell the story: Tolkien´s The Lord of the Rings and Wagner´s The Ring of the Nibelung. If we link these two “accounts” together – if we “place them on top of each other as if they were two transparent treasure maps which, when illuminated from behind, both together give us the key” – we can see that the first stories told are found between the folds of especially The Ring of the Nibelung, which suddenly becomes totally understandable, as if this opera cycle were a “documentary” disclosing an ancient crime against humanity.
The remedy against this crime is a clear understanding of how the human consciousness actually works, and Book One culminates with the account of an ascent through the corridor system of the Cheops pyramid (8000 years ago). The story reveals that the simple structure of this wise construction may be interpreted by means of dream language and the result is the first – schematic but clear – mapping of the actual structure of the human consciousness. [To top]
The Ring and the Pyramid
The symbolic language of the Cheops pyramid gave us the key to a subsequent detailed description of the human consciousness. Now, The Cursed Ring tells us – also in detail – how to cover up the consciousness. In order to understand the course of world history (we will arrive at this later – in Book Three, part 1 and 2) it is necessary to first understand the battle between good and evil which has been planted in the very centre of our personal and intimate way of thinking and, especially, feeling. For instance, why is it always the bad things that leap out when we watch the world? Why is it so difficult to be married? Why do we continue being evil and greedy and inconsiderate? Why is it so hard to be just loving, optimistic and caring?
There is a way to link our experiences of everyday life with perspectives of a superior kind. The method sounds “technical”, but in reality it is an enhancement of feelings and reactions. I am talking about the so-called “chakra system”, which on one hand is just a kind of language, and on the other hand a description of actually functioning energy processes of the consciousness, i.e.: what really happens if I do this or that?
As we offset the dream language logic of the Cheops pyramid against the dark logic of an inverted world vision, the pyramid as well as the consciousness is mapped in clear detail. The disclosure of the distorted world of “The Cursed Ring” then offers us – as a bonus added to the rest – the code for the understanding of myth language and dream language.
So The Ringbearer´s Diary is the account of a journey – and the journey is headed inward. [To top]
The Sphinx I – The Machine
Book Three of this story covers three times as much space as Book One and Book Two together, thus the division in two separate volumes. Book Three was started 20 years after the appearance of the first two books, and during the intervening years it has become yet clearer that the course of world history may be clearly described and understood only when we sit with the map of the consciousness in our hand – the map we drew in Book Two. We do what we contain, and cultural historical evolution quite evidently follows a route directed towards the experience of God and towards the existence of an immortal dimension, while the history of war, chaos and suffering just as evidently follows the design of The Cursed Ring – and understanding the nature of the enemy is our strongest protection against it. Many people feel fear because “evil” appears to be diffuse and unpredictable, but the journey inward has now taken us so far behind the visible surface of events that the final process of disclosure may begin. We are still circling around the two initial stories from Atlantis and Central America – this is where the key lies. All at once, the story becomes more personal and the opposite, too: more universally human. The story of the protagonist turns out to be everyone´s story.
During the journey it feels natural to compare a world vision without God and without immortality with a world vision where both these concepts are a matter of course. This offers a changed view on what science can and cannot do.
The culmination is the discovery of a kind of ”noise transmitter” that I have chosen to call The Machine – an “instinctive source of energy” which has emitted a signal for 13,000 years that makes the world order of the Ring the most trustworthy. You probably know the sensation that it is much easier to feel wrong or pessimistic rather than trusting oneself and life. Correspondingly it is easier to conduct a conversation where we complain rather than strengthen each other´s experience of the values of life. The press gain more readers by telling about all the tragic or outrageous things that happen in the world, rather than – as a parallel – creating an interest for all those events that evoke confidence. Apparently it takes energy to hold on to hope, while it is easy to lose courage. This disproportion is owed – according to my findings – to an external influence – even though I can very well hear that it sounds too much like science fiction to say something like this. However, as human beings we have simply gotten used to the noise and to the fact that “this is how it sounds around this place”. The familiar experience that a lot of irrelevant and disturbing thoughts and feelings constantly whirl through the consciousness, points in the direction of the actual existence of such an external influence, but I have no knowledge of anybody having previously tried to travel all the way into the place where these disturbances arise. Indeed, there are lots of barriers on the journey, but if you stick it out, it is revealed that it is not we, who are wrong – or human beings on the whole who per definition contain chaotic thoughts.
So in the first part of Book Three we are seriously headed toward stopping the Machine (this is possible if we figure out its structure), so we can find out how the world might appear beneath the noise. Try to imagine how it would be to be able to hear yourself and your own thoughts – undisturbed – to say nothing of the possibility of having an uninterrupted contact with your neighbour, your colleagues and not least, your partner. [To top]
The Sphinx II – The Tree
The reading of the second part of Book Three becomes an intensive inward search process which ends up in a comprehensive disclosure of energy forms which are capable of poisoning our way of managing society and life as such on an everyday level. To the contrary, the world vision becomes clearer which is drawn by the structure of the consciousness itself: as it turns out, we have an in-built “world tree” – a possibility of growth which in reality can never be felled. We may be put out of the game temporarily, but we always rise again. So, Volume Four is concerned with the battle between good and evil on a big scale, so that we are forced to use concepts such as God and Satan in order to be able to describe the perspectives at all. However, the conclusion of the story is worth the wait for the person who feels motivated to read all four volumes: God exists, we are actually immortal, we have been created in couples, so love is a fact – and the power of the Darkness is temporary. Can it become any better than this? Now it becomes absolutely, clearly understandable why this story wanted to be written.
In this conclusive part of the account, apparently Wagner is the protagonist. Through my many years of study of classical music it has become increasingly evident that Wagner´s use of myth language is owed to his urge to mediate contexts impossible to express in common everyday speech. Aided by the language of myths and dreams – sustained by those feelings present in the music – very sharp, precise and terrible things can be said, as we are not disturbed by the ordinary everyday meaning of the words. Others have done this both before and after Wagner – with Hans Christian Andersen, for instance, the Machine becomes an evil mirror that distorts reality (in The Snow Queen). Wagner spends all his life delving into the core of the disturbing impulses, and this is why it is he, I bring out in The Ringbearer´s Diary. Thus, the main structure of Volume Four resembles an exposition of Wagner´s 13 operas, but these works merely form a portal which opens on a far more precise definition lying behind the works of the consciousness, of life and of a non-inverted world order. It is not necessary to be a Wagner connoisseur of an incarnate Wagner fan or to know his operas backwards and forwards in order to follow suit. The works are simply interesting in their own right.
Now the moment has come when the reader will feel that it is not possible to neutrally turn an inverted world order right again – without having to examine one´s own life. In a way, here in Volume Four, the comprehensive reading of The Ringbearer´s Diary becomes a kind of process of self-examination, where it may be tempting to “get off while it is possible”. On the other hand a self-enhancing energy is found in clearing out the thought and action patterns of the backward-twisted world order. The consciousness rewards those who trust it.