Differences
This shows you the differences between two versions of the page.
Both sides previous revisionPrevious revision | |||
the_book_of_lies [2011-03-19 08:54] – ytHNWvHw 193.43.104.10 | the_book_of_lies [2011-03-20 10:13] (current) – old revision restored nik | ||
---|---|---|---|
Line 1: | Line 1: | ||
- | 5UHPng | + | < |
+ | <p /> | ||
+ | <p /> | ||
+ | <p /> | ||
+ | < | ||
+ | <p /> | ||
+ | THE BOOK OF LIES < | ||
+ | WHICH IS ALSO FALSELY < | ||
+ | CALLED < | ||
+ | <p /> | ||
+ | BREAKS < | ||
+ | <p /> | ||
+ | THE WANDERINGS OR FALSIFICATIONS < | ||
+ | OF THE ONE THOUGHT OF < | ||
+ | <p /> | ||
+ | FRATER PERDURABO < | ||
+ | (Aleister Crowley) < | ||
+ | <p /> | ||
+ | WHICH THOUGHT IS ITSELF < | ||
+ | UNTRUE < | ||
+ | <p /> | ||
+ | A REPRINT< | ||
+ | with an additional commentary to each chapter. < | ||
+ | <p /> | ||
+ | " | ||
+ | At the foot of thy stones, O Sea! < | ||
+ | And I would that I could utter < | ||
+ | The thoughts that arise in me!" < | ||
+ | <p /> | ||
+ | <p /> | ||
+ | <p /> | ||
+ | </ | ||
+ | </ | ||
+ | </ | ||
+ | |||
+ | < | ||
+ | |||
+ | (OPPOSITE: Photo of FRATER PERDURABO on his ass.) | ||
+ | | ||
+ | |||
+ | The number of the book is 333, as implying dis- | ||
+ | | ||
+ | and " | ||
+ | | ||
+ | | ||
+ | This book therefore consists of statements as nearly | ||
+ | true as is possible to human language. | ||
+ | The verse from Tennyson is inserted partly because | ||
+ | of the pun on the word " | ||
+ | | ||
+ | | ||
+ | | ||
+ | There is no joke or subtle meaning in the publisher' | ||
+ | | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | FOREWORD | ||
+ | |||
+ | THE BOOK OF LIES, first published in London | ||
+ | in 1913, Aleister Crowley' | ||
+ | long been out of print. | ||
+ | own Commentary gives occasion for a few notes. | ||
+ | have so much material by Crowley himself about this | ||
+ | book that we can do no better that quote some | ||
+ | passages which we find scattered about in the un- | ||
+ | published volumes of his " | ||
+ | writes: | ||
+ | " | ||
+ | achievement on the large scale, although it is com- | ||
+ | posed of more or less disconnected elements. | ||
+ | to THE BOOK OF LIES. In this there are 93 chapters: | ||
+ | we count as a chapter the two pages filled re- | ||
+ | respectively with a note of interrogation and a mark of | ||
+ | exclamation. | ||
+ | single word, more frequently from a half-dozen to | ||
+ | twenty paragraphs. | ||
+ | determined more or less definitely by the Qabalistic | ||
+ | import of its number. | ||
+ | ritual of the Pentagram; 72 is a rondel with the refrain | ||
+ | ~Shemhamphorash', | ||
+ | 77 Laylah, whose name adds to that number; and | ||
+ | 80, the number of the letter Pe, referred to Mars, a | ||
+ | panegyric upon War. Sometimes the text is serious | ||
+ | and straightforward, | ||
+ | demand deep knowledge of the Qabalah for inter- | ||
+ | pr& | ||
+ | upon words, secrets expressed in cryptogram, double | ||
+ | or triple meanings which must be combined in order | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | </ | ||
+ | < | ||
+ | |||
+ | [5] | ||
+ | to appreciate the full flavour; others again are | ||
+ | subtly ironical or cynical. | ||
+ | jumble of nonsense intended to insult the reader. | ||
+ | requires infinite study, sympathy, intuition and | ||
+ | initiation. | ||
+ | in none other of my writings have I given so pro- | ||
+ | found and comprehensive an exposition of my | ||
+ | & | ||
+ | "...My association with Free Masonry was there- | ||
+ | fore destined to be more fertile that almost any other | ||
+ | study, and that in a way despite itself. | ||
+ | be pertinent with regard to the question of secrecy. | ||
+ | It has become difficult for me to take this matter | ||
+ | very seriously. | ||
+ | I cannot attach much importance to artificial | ||
+ | mysteries. | ||
+ | tremendous import, and though it is so simple that | ||
+ | I could disclose it...in a short paragraph, I might | ||
+ | do so without doing much harm. For it cannot be used | ||
+ | indiscriminately...I have found in practice that the | ||
+ | secret of the O.T.O. cannot be used unworthily...." | ||
+ | "It is interesting in this connection to recall how it | ||
+ | came into my possession. | ||
+ | write a book HE BOOK OF LIES, WHICH IS | ||
+ | ALSO FALSELY CALLED BREAKS, THE | ||
+ | WANDERINGS OR FALSIFICATION OF THE | ||
+ | THOUGHT OF FRATER PERDURABO WHICH | ||
+ | THOUGHT IS ITSELF UNTRUE. . . .' | ||
+ | these chapters bothered me. I could not write it. I | ||
+ | invoked Dionysus with particular fervour, but still | ||
+ | without success. | ||
+ | my luck', by doing something entirely contrary to | ||
+ | my inclinations. | ||
+ | spirit came over me, and I scribbled the chapter | ||
+ | down by the light of a farthing dip.. When I read it | ||
+ | over, I was as discontented as before, but I stuck it | ||
+ | into the book in a sort of anger at myself as a | ||
+ | deliberate act of spite towards my readers. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | </ | ||
+ | < | ||
+ | |||
+ | [6] | ||
+ | " | ||
+ | Head of the O.T.O.) came to me. (At that time I did | ||
+ | not realise that there was anything in the O.T.O. | ||
+ | beyond a convenient compendium of the more | ||
+ | important truths of Free Masonry.) | ||
+ | I was acquainted with the supreme secret of the | ||
+ | Order, I must be allowed the IX {degree} and obligated in | ||
+ | regard to it. I protested that I knew no such secret. | ||
+ | He said ut you have printed it in the plainest | ||
+ | language' | ||
+ | because I did not know it. He went to the book- | ||
+ | shelves; taking out a copy of THE BOOK OF LIES, he | ||
+ | pointed to a passage in the despised chapter. | ||
+ | instantly flashed upon me. The entire symbolism not | ||
+ | only of Free Masonry but of many other traditions | ||
+ | blazed upon my spiritual vision. | ||
+ | the O.T.O. assumed its proper importance in my | ||
+ | mind. I understood that I held in my hands the key | ||
+ | to the future progress of humanity...." | ||
+ | The Commentary was written by Crowley prob- | ||
+ | ably around 1921. The student will find it very | ||
+ | helpful for the light it throws on many of its passages. | ||
+ | |||
+ | The Editors | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | </ | ||
+ | < | ||
+ | |||
+ | [7] | ||
+ | ************************************************************ | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * ? | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | ************************************************************ | ||
+ | ************************************************************ | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | * * | ||
+ | ************************************************************ | ||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | & | ||
+ | |||
+ | The Ante Primal Triad which is | ||
+ | | ||
+ | | ||
+ | | ||
+ | | ||
+ | |||
+ | The First Triad which is GOD | ||
+ | I AM. | ||
+ | I utter The Word. | ||
+ | I hear The Word. | ||
+ | |||
+ | The Abyss | ||
+ | The Word is broken up. | ||
+ | There is Knowledge. | ||
+ | | ||
+ | These fragments are Creation. | ||
+ | The broken manifests Light. (2) | ||
+ | |||
+ | The Second Triad which is GOD | ||
+ | GOD the Father and Mother is concealed in Genera- | ||
+ | tion. | ||
+ | GOD is concealed in the whirling energy of Nature. | ||
+ | GOD is manifest in gathering: harmony: considera- | ||
+ | tion: the Mirror of the Sun and of the Heart. | ||
+ | |||
+ | The Third Triad | ||
+ | Bearing: preparing. | ||
+ | Wavering: flowing: flashing. | ||
+ | Stability: begetting. | ||
+ | |||
+ | The Tenth Emanation | ||
+ | The world. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | This chapter, numbered 0, corresponds to the Negative, | ||
+ | which is before Kether in the Qabalistic system. | ||
+ | The notes of interrogation and exclamation on the previous | ||
+ | pages are the other two veils. | ||
+ | The meaning of these symbols is fully explained in "The | ||
+ | Soldier and the Hunchback" | ||
+ | This chapter begins by the letter O, followed by a mark of | ||
+ | exclamation; | ||
+ | explained in the note, but it also refers to KTEIS PHALLOS | ||
+ | and SPERMA, and is the exclamation of wonder or ecstasy, | ||
+ | which is the ultimate nature of things. | ||
+ | |||
+ | | ||
+ | (1) Silence. Nuit, O; Hadit; Ra-Hoor-Khuit, | ||
+ | |||
+ | | ||
+ | This is the negative Trinity; its three statements are, in an | ||
+ | ultimate sense, identical. They harmonise Being, Becoming, | ||
+ | Not-Being, the three possible modes of conceiving the universe. | ||
+ | The statement, Nothing is Not , technically equivalent to | ||
+ | Something Is, is fully explained in the essay called Berashith. | ||
+ | The rest of the chapter follows the Sephirotic system of the | ||
+ | Qabalah, and constitutes a sort of quintessential comment upon | ||
+ | that system. | ||
+ | Those familiar with that system will recognise Kether, | ||
+ | Chokmah, Binah, in the First Triad; Daath, in the Abyss; Chesed, | ||
+ | Geburah, Tiphareth, in the Second Triad; Netzach, Hod and | ||
+ | Yesod in the Third Triad, and Malkuth in the Tenth Emanation. | ||
+ | It will be noticed that this cosmogony is very complete; the | ||
+ | manifestation even of God does not appear until Tiphareth; and | ||
+ | the universe itself not until Malkuth. | ||
+ | The chapter many therefore be considered as the most complete | ||
+ | treatise on existence ever written. | ||
+ | |||
+ | | ||
+ | (2) The Unbroken, absorbing all, is called Darkness. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | |||
+ | |||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE SABBATH OF THE GOAT | ||
+ | |||
+ | O! the heart of N.O.X. the Night of Pan. | ||
+ | < | ||
+ | Death. | ||
+ | | ||
+ | To beget is to die; to die is to beget. | ||
+ | Cast the Seed into the Field of Night. | ||
+ | Life and Death are two names of A. | ||
+ | Kill thyself. | ||
+ | | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | |||
+ | |||
+ | | ||
+ | |||
+ | The shape of the figure I suggests the Phallus; this | ||
+ | chapter is therefore called the Sabbath of the Goat, the | ||
+ | Witches' | ||
+ | The chapter begins with a repetition of O! referred | ||
+ | to in the previous chapter. | ||
+ | lives in Night, the Night of Pan, which is mystically | ||
+ | called N.O.X., and this O is identified with the O in | ||
+ | this word. N is the Tarot symbol, Death; and the X | ||
+ | or Cross is the sign of the Phallus. | ||
+ | mentary on Nox, see Liber VII, Chapter I. | ||
+ | Nox adds to 210, which symbolises the reduction of | ||
+ | duality to unity, and thence to negativity, and is thus | ||
+ | a hieroglyph of the Great Work. | ||
+ | The word Pan is then explained, <font size=+1>< | ||
+ | letter of | ||
+ | Mars, is a hieroglyph of two pillars, and therefore | ||
+ | suggest duality; A, by its shape, is the pentagram, | ||
+ | energy, and N, by its Tarot attribution, | ||
+ | Nox is then further explained, and it is shown that | ||
+ | the ultimate Trinity, O!, is supported, or fed, by the | ||
+ | process of death and begetting, which are the laws of | ||
+ | the universe. | ||
+ | The identity of these two is then explained. | ||
+ | The Student is then charged to understand the | ||
+ | spiritual importance of this physical procession in | ||
+ | line 5. | ||
+ | It is then asserted that the ultimate letter A has two | ||
+ | names, or phases, Life and Death. | ||
+ | Line 7 balances line 5. It will be notice that the | ||
+ | phraseology of these two lines is so conceived that the | ||
+ | one contains the other more than itself. | ||
+ | Line 8 emphasises the importance of performing | ||
+ | both. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE CRY OF THE HAWK | ||
+ | |||
+ | Hoor hath a secret fourfold name: it is Do What | ||
+ | Thou Wilt.(3) | ||
+ | Four Words: Naught-One-Many-All. | ||
+ | | ||
+ | Thy Name is holy. | ||
+ | Thy Kingdom is come. | ||
+ | Thy Will is done. | ||
+ | Here is the Bread. | ||
+ | Here is the Blood. | ||
+ | Bring us through Temptation! | ||
+ | | ||
+ | That Mine as Thine be the Crown of the Kingdom, | ||
+ | even now. | ||
+ | | ||
+ | These ten words are four, the Name of the One. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | |||
+ | The "Hawk" referred to is Horus. | ||
+ | The chapter begins with a comment on Liber Legis | ||
+ | III, 49. | ||
+ | Those four words, Do What Thou Wilt, are also | ||
+ | identified with the four possible modes of conceiving the | ||
+ | universe; Horus unites these. | ||
+ | Follows a version of the " | ||
+ | to Horus. | ||
+ | There are ten sections in this prayer, and, as the prayer | ||
+ | is attributed to Horus, they are called four, as above | ||
+ | explained; but it is only the name of Horus which is | ||
+ | fourfold; He himself is One. | ||
+ | This may be compared with the Qabalistic doctrine | ||
+ | of the Ten Se& | ||
+ | grammaton (1 plus 2 plus 3 plus 4 = 10). | ||
+ | It is now seen that this Hawk is not Solar, but | ||
+ | Mercurial; hence the words, the Cry of the Hawk, the | ||
+ | essential part of Mercury being his Voice; and the | ||
+ | number of the chapter, B, which is Beth the letter of | ||
+ | Mercury, the Magus of the Tarot, who has four | ||
+ | weapons, and it must be remembered that this card is | ||
+ | numbered 1, again connecting all these symbols with | ||
+ | the Phallus. | ||
+ | The essential weapon of Mercury is the Caduceus. | ||
+ | |||
+ | | ||
+ | (3) Fourteen letters. Quid Voles Illud Fac. Q.V.I.F. 196=14^2. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE OYSTER | ||
+ | |||
+ | The Brothers of A& | ||
+ | the Child.(4) | ||
+ | The Many is as adorable to the One as the One is to | ||
+ | the Many. This is the Love of These; creation- | ||
+ | parturition is the Bliss of the One; coition- | ||
+ | dissolution is the Bliss of the Many. | ||
+ | The All, thus interwoven of These, is Bliss. | ||
+ | Naught is beyond Bliss. | ||
+ | The Man delights in uniting with the Woman; the | ||
+ | Woman in parting from the Child. | ||
+ | The Brothers of A& | ||
+ | to A& | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | Gimel is the High Priestess of the Tarot. | ||
+ | chapter gives the initiated feminine point of view; it is | ||
+ | therefore called the Oyster, | ||
+ | Equinox X, The Temple of Solomon the King, it is | ||
+ | explained how Masters of the Temple, or Brothers of | ||
+ | A& | ||
+ | These two formulae, Solve et Coagula, are now ex- | ||
+ | plained, and the universe is exhibited as the interplay | ||
+ | between these two. This also explains the statement in | ||
+ | Liber Legis I, 28-30. | ||
+ | |||
+ | | ||
+ | (4) They cause all men to worship it. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Soft and hollow, how thou dost overcome the hard | ||
+ | and full! | ||
+ | It dies, it gives itself; to Thee is the fruit! | ||
+ | Be thou the Bride; thou shalt be the Mother here- | ||
+ | after. | ||
+ | To all impressions thus. Let them not overcome thee; | ||
+ | yet let them breed within thee. The least of the | ||
+ | impressions, | ||
+ | Receive a thousand lovers; thou shalt bear but One | ||
+ | Child. | ||
+ | This child shall be the heir of Fate the Father. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [18] | ||
+ | | ||
+ | |||
+ | Daleth is the Empress of the Tarot, the letter of | ||
+ | Venus, and the title, Peaches, again refers to the Yoni. | ||
+ | The chapter is a counsel to accept all impressions; | ||
+ | it is the formula of the Scarlet woman; but no impression | ||
+ | must be allowed to dominate you, only to fructify you; | ||
+ | just as the artist, seeing an object, does not worship it, | ||
+ | but breeds a masterpiece from it. This process is | ||
+ | exhibited as one aspect of the Great Work. The last | ||
+ | two paragraphs may have some reference to the 13th | ||
+ | Aethyr (see The Vision and The Voice). | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE BATTLE OF THE ANTS | ||
+ | |||
+ | That is not which is. | ||
+ | The only Word is Silence. | ||
+ | The only Meaning of that Word is not. | ||
+ | Thoughts are false. | ||
+ | Fatherhood is unity disguised as duality. | ||
+ | Peace implies war. | ||
+ | Power implies war. | ||
+ | Harmony implies war. | ||
+ | Victory implies war. | ||
+ | Glory implies war. | ||
+ | Foundation implies war. | ||
+ | Alas! for the Kingdom wherein all these are at war. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | He is the letter of Aries, a Martial sign; while the | ||
+ | title suggests war. The ants are chosen as small busy | ||
+ | objects. | ||
+ | Yet He, being a holy letter, raises the beginning of the | ||
+ | chapter to a contemplation of the Pentagram, con- | ||
+ | sidered as a glyph of the ultimate. | ||
+ | In line 1, Being is identified with Not-Being. | ||
+ | In line 2, Speech with Silence. | ||
+ | In line 3, the Logos is declared as the Negative. | ||
+ | Line 4 is another phrasing of the familiar Hindu | ||
+ | statement, that that which can be thought is not true. | ||
+ | In line 5, we come to an important statement, an | ||
+ | adumbration of the most daring thesis in this book- | ||
+ | Father and Son are not really two, but one; their unity | ||
+ | being the Holy Ghost, the semen; the human form is a | ||
+ | non-essential accretion of this quintessence. | ||
+ | So far the chapter has followed the Se& | ||
+ | Kether to Chesed, and Chesed is united to the Supernal | ||
+ | Triad by virtue of its Phallic nature; for not only is | ||
+ | Amoun a Phallic God, and Jupiter the Father of All, | ||
+ | but 4 is Daleth, Venus, and Chesed refers to water, | ||
+ | from which Venus sprang, and which is the symbol of | ||
+ | the Mother in the Tetragrammaton. | ||
+ | "God the Father and Mother is concealed in genera- | ||
+ | tion" | ||
+ | But Chesed, in the lower sense, is conjoined to | ||
+ | Microprosopus. | ||
+ | and lesser countenances, | ||
+ | Compare the doctrine of the higher and lower Manas in | ||
+ | Theosophy. | ||
+ | The rest of the chapter therefor points out the duality, | ||
+ | and therefore the imperfection, | ||
+ | in their essence. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | CAVIAR | ||
+ | |||
+ | The Word was uttered: the One exploded into one | ||
+ | thousand million worlds. | ||
+ | Each world contained a thousand million spheres. | ||
+ | Each sphere contained a thousand million planes. | ||
+ | Each plane contained a thousand million stars. | ||
+ | Each star contained a many thousand million things. | ||
+ | Of these the reasoner took six, and, preening, said: | ||
+ | This is the One and the All. | ||
+ | These six the Adept harmonised, and said: This is the | ||
+ | Heart of the One and the All. | ||
+ | These six were destroyed by the Master of the | ||
+ | Temple; and he spake not. | ||
+ | The Ash thereof was burnt up by the Magus into | ||
+ | The Word. | ||
+ | Of all this did the Ipsissimus know Nothing. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is presumably called Caviar because | ||
+ | that substance is composed of many spheres. | ||
+ | The account given of Creation is the same as that | ||
+ | familiar to students of the Christian tradition, the | ||
+ | Logos transforming the unity into the many. | ||
+ | We then see what different classes of people do with | ||
+ | the many. | ||
+ | The Rationalist takes the six Se& | ||
+ | prosopus in a crude state, and declares them to be the | ||
+ | universe. | ||
+ | The Adept concentrates the Microcosm in Tiphareth, | ||
+ | recognising an Unity, even in the microcosm, but, qua | ||
+ | Adept, he can go no further. | ||
+ | The Master of the Temple destroys all these illusions, | ||
+ | but remains silent. | ||
+ | in the Equinox, Liber 418 and elsewhere. | ||
+ | In the next grade, the Word is re-formulated, | ||
+ | Magus in Chokmah, the Dyad, the Logos. | ||
+ | The Ipsissimus, in the highest grade of the A& | ||
+ | is totally unconscious of this process, or, it might be | ||
+ | better to say, he recognises it as Nothing, in that positive | ||
+ | sense of the word, which is only intelligible in | ||
+ | Samasamadhi. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE DINOSAURS | ||
+ | |||
+ | None are They whose number is Six:(5) else were they | ||
+ | six indeed. | ||
+ | Seven(6) are these Six that live not in the City of the | ||
+ | Pyramids, under the Night of Pan. | ||
+ | There was Lao-tzu. | ||
+ | There was Siddartha. | ||
+ | There was Krishna. | ||
+ | There was Tahuti. | ||
+ | There was Mosheh. | ||
+ | There was Dionysus.(7) | ||
+ | There was Mahmud. | ||
+ | But the Seventh men called PERDURABO; for | ||
+ | enduring unto The End, at The End was Naught | ||
+ | to endure. (8) | ||
+ | Amen. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | |||
+ | This chapter gives a list of those special messengers | ||
+ | of the Infinite who initiate periods. | ||
+ | Dinosaurs because of their seeming to be terrible | ||
+ | devouring creatures. | ||
+ | for their number is 6 (1 plus 2 plus 3), the mystic | ||
+ | number of Binah; but they are called " | ||
+ | they have attained. | ||
+ | called " | ||
+ | They are called Seven, although they are Eight, | ||
+ | because Lao-tzu counts as nought, owing to the nature | ||
+ | of his doctrine. | ||
+ | to be found in Liber 418. | ||
+ | The word " | ||
+ | the end" | ||
+ | Siddartha, or Gotama, was the name of the last | ||
+ | Budda. | ||
+ | Krishna was the principal incarnation of the Indian | ||
+ | Vishnu, the preserver, the principal expounder of | ||
+ | Vedantism. | ||
+ | Tahuti, or Thoth, the Egyptian God of Wisdom. | ||
+ | Mosheh, Moses, the founder of the Hebrew system. | ||
+ | Dionysus, probably an ecstatic from the East. | ||
+ | Mahmud, Mohammed. | ||
+ | All these were men; their Godhead is the result of | ||
+ | mythopoeia. | ||
+ | |||
+ | NOTES | ||
+ | (5) Masters of the Temple, whose grade has the | ||
+ | mystic number 6 (= 1 + 2 + 3). | ||
+ | (6) These are not eight, as apparent; for Lao-tzu | ||
+ | counts as 0. | ||
+ | (7) The legend of " | ||
+ | perversion of other legends. | ||
+ | compare the account of Christ before Herod/ | ||
+ | the gospels, and of Dionysus before Pentheus in | ||
+ | "The Baccae" | ||
+ | (8) O, the last letter of Perdurabo, is Naught. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | STEEPED HORSEHAIR | ||
+ | |||
+ | Mind is a disease of semen. | ||
+ | All that a man is or may be is hidden therein. | ||
+ | Bodily functions are parts of the machine; silent, | ||
+ | unless in dis-ease. | ||
+ | But mind, never at ease, creaketh " | ||
+ | This I persisteth not, posteth not through genera- | ||
+ | tions, changeth momently, finally is dead. | ||
+ | Therefore is man only himself when lost to himself | ||
+ | in The Charioting. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | Cheth is the Chariot in the Tarot. | ||
+ | the bearer of the Holy Grail. | ||
+ | in Liber 418, the 12th Aethyr. | ||
+ | The chapter is called " | ||
+ | of the mediaeval tradition that by steeping horsehair | ||
+ | a snake is produced, and the snake is the hieroply& | ||
+ | representation of semen, particularly in Gnostic and | ||
+ | Egyptian emblems. | ||
+ | The meaning of the chapter is quite clear; the whole | ||
+ | race-consciousness, | ||
+ | cient, omnipresent, | ||
+ | Therefore, except in the case of an Adept, man only | ||
+ | rises to a glimmer of the universal consciousness, | ||
+ | in the orgasm, the mind is blotted out. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE BRANKS | ||
+ | |||
+ | Being is the Noun; Form is the adjective. | ||
+ | Matter is the Noun; Motion is the Verb. | ||
+ | Wherefore hath Being clothed itself with Form? | ||
+ | Wherefore hath Matter manifested itself in Motion? | ||
+ | Answer not, O silent one! For THERE is no " | ||
+ | fore", no " | ||
+ | The name of THAT is not known; the Pronoun | ||
+ | interprets, that is , misinterprets, | ||
+ | Time and Space are Adverbs. | ||
+ | Duality begat the Conjunction. | ||
+ | The Conditioned is Father of the Preposition. | ||
+ | The Article also marketh Division; but the Inter- | ||
+ | jeciton is the sound that endeth in the Silence. | ||
+ | Destroy therefore the Eight Parts of Speech; the | ||
+ | Ninth is nigh unto Truth. | ||
+ | This also must be destroyed before thou enterest | ||
+ | into The Silence. | ||
+ | Aum. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | Teth is the Tarot trump, Strength, in which a woman | ||
+ | is represented closing the mouth of a lion. | ||
+ | This chapter is called "The Branks", | ||
+ | powerful symbol, for it is the Scottish, and only known, | ||
+ | apparatus for closing the mouth of a woman. | ||
+ | The chapter is formally an attack upon the parts of | ||
+ | speech, the interjection, | ||
+ | ecstasy, being the only thing worth saying; yet even this | ||
+ | is to be regarded as a lapse. | ||
+ | " | ||
+ | will observed upon pronouncing it. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | The Abyss of Hallucinations has Law and Reason; | ||
+ | but in Truth there is no bond between the Toys of | ||
+ | the Gods. | ||
+ | This Reason and Law is the Bond of the Great Lie. | ||
+ | Truth! Truth! Truth! crieth the Lord of the Abyss | ||
+ | of Hallucinations. | ||
+ | There is no silence in that Abyss: for all that men | ||
+ | call Silence is Its Speech. | ||
+ | This Abyss is also called " | ||
+ | Its name is " | ||
+ | among men. | ||
+ | But THAT which neither is silent, nor speaks, re- | ||
+ | joices therein. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | |||
+ | There is no apparent connection between the number | ||
+ | of this chapter and its subject. | ||
+ | It does, however, refer to the key of the Tarot called | ||
+ | The Hermit, which represents him as cloaked. | ||
+ | Jod is the concealed Phallus as opposed to Τ, the | ||
+ | extended Phallus. | ||
+ | the light of what is said in " | ||
+ | of Solomon the King about the reason. | ||
+ | The universe is insane, the law of cause and effect | ||
+ | is an illusion, or so it appears in the Abyss, which is | ||
+ | thus identified with consciousness, | ||
+ | but within this is a secret unity which rejoices; this | ||
+ | unit being far beyond any conception. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE GLOW-WORM | ||
+ | |||
+ | Concerning the Holy Three-in-Naught. | ||
+ | Nuit, Hadit, Ra-Hoor-Khuit, | ||
+ | stood by the Master of the Temple. | ||
+ | They are above The Abyss, and contain all con- | ||
+ | tradiction in themselves. | ||
+ | Below them is a seeming duality of Chaos and | ||
+ | Babalon; these are called Father and Mother, but | ||
+ | it is not so. They are called Brother and Sister, | ||
+ | but it is not so. They are called Husband and | ||
+ | Wife, but it is not so. | ||
+ | The reflection of All is Pan: the Night of Pan is the | ||
+ | Annihilation of the All. | ||
+ | Cast down through The Abyss is the Light, the Rosy | ||
+ | Cross, the rapture of Union that destroys, that is | ||
+ | The Way. The Rosy Cross is the Ambassador of Pan. | ||
+ | How infinite is the distance form This to That! Yet | ||
+ | All is Here and Now. Nor is there any there or Then; | ||
+ | for all that is, what is it but a manifestation, | ||
+ | a part, that is, a falsehood, of THAT which is not? | ||
+ | Yet THAT which is not neither is nor is not That | ||
+ | which is! | ||
+ | Identity is perfect; therefore the w of Identity is | ||
+ | but a lie. For there is no subject, and there is no | ||
+ | predicate; nor is there the contradictory of either | ||
+ | of these things. | ||
+ | Holy, Holy, Holy are these Truths that I utter, | ||
+ | knowing them to be but falsehoods, broken mirrors, | ||
+ | troubled waters; hide me, O our Lady, in Thy | ||
+ | Womb! for I may not endure the rapture. | ||
+ | In this utterance of falsehood upon falsehood, whose | ||
+ | contradictories are also false, it seems as if That | ||
+ | which I uttered not were true. | ||
+ | Blessed, unutterably blessed, is this last of the | ||
+ | illusions; let me play the man, and thrust it from | ||
+ | me! Amen. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | & | ||
+ | |||
+ | "The Glow-Worm" | ||
+ | "a little light in the darkness", | ||
+ | subtle reference to the nature of that light. | ||
+ | Eleven is the great number of Magick, and this | ||
+ | chapter indicates a supreme magical method; but it is | ||
+ | really called eleven, because of Liber Legis, I, 60. | ||
+ | The first part of the chapter describes the universe | ||
+ | in its highest sense, down to Tiphareth; it is the new | ||
+ | and perfect cosmogony of Liber Legis. | ||
+ | Chaos and Babalon are Chokmah and Binah, but | ||
+ | they are really one; the essential unity of the supernal | ||
+ | Triad is here insisted upon. | ||
+ | Pan is a generic name, including this whole system | ||
+ | of its manifested side. Those which are above the Abyss | ||
+ | are therefore said to live in the Night of Pan; they are | ||
+ | only reached by the annihilation of the All. | ||
+ | Thus, the Master of the Temple lives in the Night of | ||
+ | Pan. | ||
+ | Now, below the Abyss, the manifested part of the | ||
+ | Master of the temple, also reaches Samadhi, as the | ||
+ | way of Annihilation. | ||
+ | Paragraph 7 begins by a reflection produced by the | ||
+ | preceding exposition. | ||
+ | contradicted, | ||
+ | He thereupon enters into his Samadhi, and he piles | ||
+ | contradiction upon contradiction, | ||
+ | degree of rapture, with ever sentence, until his armoury | ||
+ | is exhausted, and, with the word Amen, he enters the | ||
+ | supreme state. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | Ι & | ||
+ | |||
+ | THE DRAGON-FLIES | ||
+ | |||
+ | IO is the cry of the lower as OI of the higher. | ||
+ | In figures they are 1001;(9) in letters they are Joy.(10) | ||
+ | For when all is equilibrated, | ||
+ | without all, there is joy, joy, joy that is but one | ||
+ | facet of a diamond, every other facet whereof is | ||
+ | more joyful than joy itself. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | & | ||
+ | |||
+ | The Dragon-Flies were chosen as symbols of joy, | ||
+ | because of the author' | ||
+ | Paragraph 1 mere repeats Chapter 4 in quintessence; | ||
+ | 1001, being 11 <font size=+1>< | ||
+ | of the complete | ||
+ | unity manifested as the many, for <font size=+1>< | ||
+ | (1-13) gives the | ||
+ | whole course of numbers from the simple unity of 1 | ||
+ | to the complex unity of 13, impregnated by the magical 11. | ||
+ | I may add a further comment on the number 91. | ||
+ | 13 (1 plus 3) is a higher form of 4. 4 is Amoun, the | ||
+ | God of generation, and 13 is 1, the Phallic unity. | ||
+ | Daleth is the Yoni. And 91 is AMN (Amen), a form | ||
+ | of the Phallus made complete through the intervention | ||
+ | of the Yoni. This again connects with the IO and OI | ||
+ | of paragraph 1, and of course IO is the rapture-cry of | ||
+ | the Greeks. | ||
+ | The whole chapter is, again, a comment on Liber | ||
+ | legis, 1, 28-30. | ||
+ | |||
+ | NOTES | ||
+ | (9) 1001 = 11 <font size=+1>< | ||
+ | Sahas- | ||
+ | raracakkra. | ||
+ | (10) JOY = 101, the Egg of Spirit in equilibrium | ||
+ | between the & | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | O thou that settest out upon The Path, false is the | ||
+ | Phantom that thou seekest. | ||
+ | thou shalt know all bitterness, thy teeth fixed in | ||
+ | the Sodom-Apple. | ||
+ | Thus hast thou been lured along That Path, whose | ||
+ | terror else had driven thee far away. | ||
+ | O thou that stridest upon the middle of The Path, no | ||
+ | phantoms mock thee. For the stride' | ||
+ | stridest. | ||
+ | Thus art thou lured along That Path, whose fascina- | ||
+ | tion else had driven thee far away. | ||
+ | O thou that drawest toward the End of The Path, | ||
+ | effort is no more. Faster and faster dos thou fall; | ||
+ | thy weariness is changed into Ineffable Rest. | ||
+ | For there is not Thou upon That Path: thou hast | ||
+ | become The Way. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | & | ||
+ | |||
+ | This chapter is perfectly clear to anyone who has | ||
+ | studied the career of an Adept. | ||
+ | The Sodom-Apple is an uneatable fruit found in the | ||
+ | desert. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | ONION-PEELINGS | ||
+ | |||
+ | The Universe is the Practical Joke of the General | ||
+ | at the Expense of the Particular, quoth FRATER | ||
+ | PERDURABO, and laughed. | ||
+ | But those disciples nearest to him wept, seeing the | ||
+ | Universal Sorrow. | ||
+ | Those next to them laughed, seeing the Universal | ||
+ | Joke. | ||
+ | Below these certain disciples wept. | ||
+ | Then certain laughed. | ||
+ | Others next wept. | ||
+ | Others next laughed. | ||
+ | Next others wept. | ||
+ | Next others laughed. | ||
+ | Last came those that wept because they could not | ||
+ | see the Joke, and those that laughed lest they | ||
+ | should be thought not to see the Joke, and thought | ||
+ | it safe to act like FRATER PERDURABO. | ||
+ | But though FRATER PERDURABO laughed | ||
+ | openly, He also at the same time wept secretly; | ||
+ | and in Himself He neither laughed nor wept. | ||
+ | Nor did He mean what He said. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | The title, " | ||
+ | incident in "Peer Gynt" | ||
+ | The chapter resembles strongly Dupin' | ||
+ | how he was able to win at the game of guessing odd or | ||
+ | even. (See Poe's tale of "The Purloined Letter" | ||
+ | But this is a more serious piece of psychology. | ||
+ | advance towards a comprehension of the universe, one | ||
+ | changes radically one's point of view; nearly always it | ||
+ | amounts to a reversal. | ||
+ | this is the cause of most religious controversies. | ||
+ | Paragraph 1, however, is Frater Perdurabo' | ||
+ | tion of his perception of the Universal Joke, also | ||
+ | described in Chapter 34. All individual existence is | ||
+ | tragic. | ||
+ | " | ||
+ | "The Bacchae" | ||
+ | At the end of the chapter it is, however, seen that to | ||
+ | the Master of the Temple the opposite perception occurs | ||
+ | simultaneously, | ||
+ | these. | ||
+ | And in the last paragraph it is shown that he realises | ||
+ | the truth as beyond any statement of it. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE GUN-BARREL | ||
+ | |||
+ | Mighty and erect is this Will of mine, this Pyramid | ||
+ | of fire whose summit is lost in Heaven. | ||
+ | have I burned the corpse of my desires. | ||
+ | Mighty and erect is this <font | ||
+ | size=+1>< | ||
+ | Will. The | ||
+ | seed thereof is That which I have borne within me | ||
+ | from Eternity; and it is lost within the Body of | ||
+ | Our Lady of the Stars. | ||
+ | I am not I; I am but an hollow tube to bring down | ||
+ | Fire from Heaven. | ||
+ | Mighty and marvellous is this Weakness, this | ||
+ | Heaven which draweth me into Her Womb, this | ||
+ | Dome which hideth, which absorbeth, Me. | ||
+ | This is The Night wherein I am lost, the Love | ||
+ | through which I am no longer I. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | The card 15 in the Tarot is "The Devil", | ||
+ | mediaeval blind for Pan. | ||
+ | The title of the chapter refers to the Phallus, which | ||
+ | is here identified with the will. The Greek word< | ||
+ | size=+1>< | ||
+ | has the same number as <font | ||
+ | size=+1>< | ||
+ | This chapter is quite clear, but one my remark in | ||
+ | the last paragraph a reference to the nature of Samadhi. | ||
+ | As man loses his personality in physical love, so | ||
+ | does the magician annihilate his divine personality in | ||
+ | that which is beyond. | ||
+ | The formula of Samadhi is the same, from the | ||
+ | lowest to the highest. | ||
+ | Key. But, as one proceeds, the Cross becomes greater, | ||
+ | until it is the Ace, the Rose, until it is the Word. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE STAG-BEETLE | ||
+ | |||
+ | Death implies change and individuality if thou be | ||
+ | THAT which hath no person, which is beyond the | ||
+ | changing, even beyond changelessness, | ||
+ | thou to do with death? | ||
+ | The bird of individuality is ecstasy; so also is its | ||
+ | death. | ||
+ | In love the individuality is slain; who loves not love? | ||
+ | Love death therefore, and long eagerly for it. | ||
+ | Die Daily. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This seems a comment on the previous chapter; the | ||
+ | Stag-Beetle is a reference the Kheph-ra, the Egyptian | ||
+ | God of Midnight, who bears the Sun through the | ||
+ | Underworld; but it is called the Stag-Beetle to emphasise | ||
+ | his horns. | ||
+ | particularly of Phallic energy. | ||
+ | The 16th key of the Tarot is "The Blasted Tower" | ||
+ | In this chapter death is regarded as a form of marriage. | ||
+ | Modern Greek peasants, in many cases, cling to Pagan | ||
+ | belief, and suppose that in death they are united to the | ||
+ | Deity which they have cultivated during life. This is "a | ||
+ | consummation devoutly to be wished" | ||
+ | In the last paragraph the Master urges his pupils to | ||
+ | practise Samadhi every day. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE SWAN(11) | ||
+ | |||
+ | There is a Swan whose name is Ecstasy: it wingeth | ||
+ | from the Deserts of the North;it wingeth through | ||
+ | the blue; it wingeth over the fields of rice; at its | ||
+ | coming they push forth the green. | ||
+ | In all the Universe this Swan alone is motionless; it | ||
+ | seems to move, as the Sun seems to move; such | ||
+ | is the weakness of our sight. | ||
+ | O fool! criest thou? | ||
+ | Amen. Motion is relative: there is Nothing that is | ||
+ | still. | ||
+ | Against this Swan I shot an arrow; the white breast | ||
+ | poured forth blood. | ||
+ | ceiving that I was but a Pure Fool, they let me | ||
+ | pass. | ||
+ | Thus and not otherwise I came to the Temple of the | ||
+ | Graal. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | |||
+ | This Swan is Aum. The chapter is inspired by | ||
+ | Frater P.'s memory of the wild swans he shot in the | ||
+ | Tali-Fu. | ||
+ | In paragraphs 3 and 4 it is, however, recognised that | ||
+ | even Aum is impermanent. | ||
+ | word, stillness, so long as motion exists. | ||
+ | In a boundless universe, one can always take any | ||
+ | one point, however mobile, and postulate it a a point | ||
+ | at rest, calculating the motions of all other points | ||
+ | relatively to it. | ||
+ | The penultimate paragraph shows the relations of | ||
+ | the Adept to mankind. | ||
+ | necessary steps to his acquisition of sovereignty over | ||
+ | them. | ||
+ | The story of the Gospel, and that of Parsifal, will | ||
+ | occur to the mind. | ||
+ | |||
+ | | ||
+ | (11) This chapter must be read in connection with | ||
+ | Wagner' | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Verily, love is death, and death is life to come. | ||
+ | Man returneth not again; the stream floweth not | ||
+ | u& | ||
+ | that is not his. | ||
+ | Yet that life is of his very essence; it is more He | ||
+ | than all that he calls He. | ||
+ | In the silence of a dewdrop is every tendency of his | ||
+ | soul, and of his mind, and of his body; it is the | ||
+ | Quintessence and the Elixir of his being. | ||
+ | are the forces that made him and his father and his | ||
+ | father' | ||
+ | This is the Dew of Immortality. | ||
+ | Let this go free, even as It will; thou art not its | ||
+ | master, but the vehicle of It. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | The 18th key of the Tarot refers to the Moon, which | ||
+ | was supposed to shed dew. The appropriateness of the | ||
+ | chapter title is obvious. | ||
+ | The chapter must be read in connection with | ||
+ | Chapters 1 and 16. | ||
+ | I the penultimate paragraph, Vindu is identified | ||
+ | with Amrita, and in the last paragraph the disciple is | ||
+ | charged to let it have its own way. It has a will of its | ||
+ | own, which is more in accordance with the Cosmic Will, | ||
+ | than that of the man who is its guardian and servant. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE LEOPARD AND THE DEER | ||
+ | |||
+ | The spots of the leopard are the sunlight in the | ||
+ | glade; pursue thou the deer stealthily at thy | ||
+ | pleasure. | ||
+ | The dappling of the deer is the sunlight in the glade; | ||
+ | concealed from the leopard do thou feed at thy | ||
+ | pleasure. | ||
+ | Resemble all that surroundeth thee; yet be Thyself | ||
+ | -and take thy pleasure among the living. | ||
+ | This is that which is written-Lurk!-in The Book | ||
+ | of The Law. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | |||
+ | 19 is the last Trump, "The Sun', which is the | ||
+ | representative of god in the Macrocosm, as the Phallus | ||
+ | is in the Microcosm. | ||
+ | There is a certain universality and adaptability | ||
+ | among its secret power. | ||
+ | Rudyard Kiplin' | ||
+ | The Master urges his disciples to a certain holy | ||
+ | stealth, a concealment of the real purpose of their lives; | ||
+ | in this way making the best of both worlds. | ||
+ | a course of action hardly distinguishable from hypocrisy; | ||
+ | but the distinction is obvious to any clear thinker, | ||
+ | though not altogether so the Frater P. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | SAMSON | ||
+ | |||
+ | The Universe is in equilibrium; | ||
+ | without it, though his force be but a feather, can | ||
+ | overturn the Universe. | ||
+ | Be not caught within that web, O child of Freedom! | ||
+ | Be not entangled in the universal lie, O child of | ||
+ | Truth! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | Samson, the Hebrew Hercules, is said in the legend | ||
+ | to have pulled down the walls of a music-hall where he | ||
+ | was engaged, "to make sport for the & | ||
+ | destroying them and himself. | ||
+ | this fable. | ||
+ | The first paragraph is a corollary of Newton' | ||
+ | Law of Motion. | ||
+ | the Bornless Beyond. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE BLIND WEBSTER | ||
+ | |||
+ | It is not necessary to understand; it is enough to | ||
+ | adore. | ||
+ | The god may be of clay: adore him; he becomes | ||
+ | GOD. | ||
+ | We ignore what created us; we adore what we create. | ||
+ | Let us create nothing but GOD! | ||
+ | That which causes us to create is our true father and | ||
+ | mother; we create in our own image, which is theirs. | ||
+ | Let us create therefore without fear; for we can | ||
+ | create nothing that is not GOD. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | The 21st key of the Tarot is called "The Universe", | ||
+ | and refers to the letter Τ, the Phallus in manifesta- | ||
+ | tion; hence the title, "The Blind Webster" | ||
+ | The universe is conceived as Buddhists, on the one | ||
+ | hand, and Rationalists, | ||
+ | fatal, and without intelligence. | ||
+ | delightful to the creator. | ||
+ | The moral of this chapter is, therefore, and exposition | ||
+ | of the last paragraph of Chapter 18. | ||
+ | It is the critical spirit which is the Devil, and gives | ||
+ | rise to the appearance of evil. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE DESPOT | ||
+ | |||
+ | The waiters of the best eating-houses mock the whole | ||
+ | world; they estimate every client at his proper | ||
+ | value. | ||
+ | This I know certainly, because they always treat me | ||
+ | with profound respect. | ||
+ | me into praising them thus publicly. | ||
+ | Yet it is true; and they have this insight because | ||
+ | they serve, and because they can have no personal | ||
+ | interest in the affairs of those whom they serve. | ||
+ | An absolute monarch would be absolutely wise and | ||
+ | good. | ||
+ | But no man is strong enough to have no interest. | ||
+ | Therefore the best king would be Pure Chance. | ||
+ | It is Pure Chance that rules the Universe; therefore, | ||
+ | and only therefore, life is good. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | |||
+ | Comment would only mar the supreme simplicity | ||
+ | of this chapter. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | SKIDOO | ||
+ | |||
+ | What man is at ease in his Inn? | ||
+ | Get out. | ||
+ | Wide is the world and cold. | ||
+ | Get out. | ||
+ | Thou hast become an in-itiate. | ||
+ | Get out. | ||
+ | But thou canst not get out by the way thou camest | ||
+ | in. The Way out is THE WAY. | ||
+ | Get out. | ||
+ | For OUT is Love and Wisdom and Power.(12) | ||
+ | Get OUT. | ||
+ | If thou hast T already, first get UT.(13) | ||
+ | Then get O. | ||
+ | And so at last get OUT. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | |||
+ | |||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | Both " | ||
+ | meaning "Get out" | ||
+ | Work under the figure of a man ridding himself of all | ||
+ | his accidents. | ||
+ | He first leaves the life of comfort; then the world at | ||
+ | large; and, lastly, even the initiates. | ||
+ | In the fourth section is shown that there is no return | ||
+ | for one that has started on this path. | ||
+ | The word OUT is then analysed, and treated as a | ||
+ | noun. | ||
+ | Besides the explanation in the note, O is the Yoni; | ||
+ | T, the Lingam; and U, the Hierophant; the 5th card | ||
+ | of the Tarot, the Pentagram. | ||
+ | identical with IAO. | ||
+ | The rest of the chapter is clear, for the note. | ||
+ | |||
+ | NOTES | ||
+ | (12) O = {character? | ||
+ | the Hierophant or Redeemer. | ||
+ | (13) T, manhood, the sign of the cross or phallus. | ||
+ | UT, the Holy Guardian Angel; UT, the first syllable | ||
+ | of Udgita, see the Upanishads. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE HAWK AND THE BLINDWORM | ||
+ | |||
+ | This book would translate Beyond-Reason into the | ||
+ | words of Reason. | ||
+ | Explain thou snow to them of Andaman. | ||
+ | The slaves of reason call this book Abuse-of- | ||
+ | Language: they are right. | ||
+ | Language was made for men to eat and drink, make | ||
+ | love, do barter, die. The wealth of a language con- | ||
+ | sists in its Abstracts; the poorest tongues have | ||
+ | wealth of Concretes. | ||
+ | Therefore have Adepts praised silence; at least it | ||
+ | does not mislead as speech does. | ||
+ | Also, Speech is a symptom of Thought. | ||
+ | Yet, silence is but the negative side of Truth; the | ||
+ | positive side is beyond even silence. | ||
+ | Nevertheless, | ||
+ | And the laughter of the Death-rattle is akin. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | The Hawk is the symbol of sight; the Blindworm, of | ||
+ | blindness. | ||
+ | are called blind. | ||
+ | In the last paragraph is reasserted the doctrine of | ||
+ | Chapters 1, 8, 16 and 18. | ||
+ | For the meaning of the word hriliu consult Liber 418. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE STAR RUBY | ||
+ | |||
+ | Facing East, in the centre, draw deep deep deep thy | ||
+ | breath, closing thy mouth with thy right fore- | ||
+ | finger prest against thy lower lip. Then dashing | ||
+ | down the hand with a great sweep back and out, | ||
+ | expelling forcibly thy breath, cry: <font | ||
+ | size=+1>< | ||
+ | & | ||
+ | & | ||
+ | With the same forefinger touch thy forehead, and | ||
+ | say <font size=+1>< | ||
+ | say {& | ||
+ | & | ||
+ | right shoulder, and say <font | ||
+ | size=+1>< | ||
+ | thy left | ||
+ | shoulder, and say <font | ||
+ | size=+1>< | ||
+ | & | ||
+ | thine hands, locking the fingers, and cry <font | ||
+ | size=+1>< | ||
+ | Advance to the East. Imagine strongly a Pentagram. | ||
+ | aright, in thy forehead. | ||
+ | eyes, fling it forth, making the sign of Horus, and | ||
+ | roar {& | ||
+ | Hoor | ||
+ | pa kraat. | ||
+ | Go round to the North and repeat; but scream | ||
+ | < | ||
+ | size=+1>< | ||
+ | Go round to the West and repeat; but say <font | ||
+ | size=+1>< | ||
+ | Go round to the South and repeat; but bellow | ||
+ | <font size=+1>< | ||
+ | Completing the circle widdershins, | ||
+ | centre, and raise thy voice in the Paian, with these | ||
+ | words <font size=+1>< | ||
+ | the signs of N.O.X. | ||
+ | Extend the arms in the form of a Τ, and say low | ||
+ | but clear: <font size=+1>< | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | Ι & | ||
+ | C? | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | C? & | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | & | ||
+ | C? | ||
+ | Ι & | ||
+ | & | ||
+ | & | ||
+ | Repeat the Cross Qabalistic, as above, and end as | ||
+ | thou didst begin. | ||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | 25 is the square of 5, and the Pentagram has the | ||
+ | red colour of Geburah. | ||
+ | The chapter is a new and more elaborate version of | ||
+ | the Banishing Ritual of the Pentagram. | ||
+ | It would be improper to comment further upon an | ||
+ | official ritual of the A& | ||
+ | |||
+ | | ||
+ | (14) The secret sense of these words is to be sought in | ||
+ | the numberation thereof. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE ELEPHANT AND THE TORTOISE | ||
+ | |||
+ | The Absolute and the Conditioned together make | ||
+ | The One Absolute. | ||
+ | The Second, who is the Fourth, the Demiurge, whom | ||
+ | all nations of Men call The First, is a lie grafted | ||
+ | upon a lie, a lie multiplied by a lie. | ||
+ | Fourfold is He, the Elephant upon whom the | ||
+ | Universe is poised: but the carapace of the | ||
+ | Tortoise supports and covers all. | ||
+ | This Tortoise is sixfold, the Holy Hexagram.(15) | ||
+ | These six and four are ten, 10, the One manifested | ||
+ | that returns into the Naught unmanifest. | ||
+ | The All-Mighty, the All-Ruler, the All-Knower, the | ||
+ | All-Father, adored by all men and by me | ||
+ | abhorred, be thou accursed, be thou abolished, be | ||
+ | thou annihilated, | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | The title of the chapter refers to the Hindu legend. | ||
+ | The first paragraph should be read in connection | ||
+ | with our previous remarks upon the number 91. | ||
+ | The number of the chapter, 26, is that of Tetra- | ||
+ | grammaton, the manifest creator, Jehovah. | ||
+ | He is called the Second in relation to that which is | ||
+ | above the Abyss, comprehended under the title of the | ||
+ | First. | ||
+ | But the vulgarians conceive of nothing beyond the | ||
+ | creator, and therefore call him The First. | ||
+ | He is really the Fourth, being in Chesed, and of | ||
+ | course his nature is fourfold. | ||
+ | of as the Dyad multiplied by the Dyad; falsehood con- | ||
+ | firming falsehood. | ||
+ | Paragraph 3 introduces a new conception; that of | ||
+ | the square within the hexagram, the universe enclosed | ||
+ | in the law of Lingam-Yoni. | ||
+ | The penultimate paragraph shows the redemption of | ||
+ | the universe by this law. | ||
+ | The figure 10, like the work IO, again suggest | ||
+ | Lingam-Yoni, | ||
+ | text. | ||
+ | The last paragraph curses the universe thus un- | ||
+ | redeemed. | ||
+ | The eleven initial A's in the last sentence are Magick | ||
+ | Pentagrams, emphasising this curse. | ||
+ | |||
+ | | ||
+ | (15) In nature the Tortoise has 6 members at angels | ||
+ | of 60 Degrees. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE SORCERER | ||
+ | |||
+ | A Sorcerer by the power of his magick had subdued | ||
+ | all things to himself. | ||
+ | Would he travel? | ||
+ | swiftly than the stars. | ||
+ | Would he eat, drink, and take his pleasure? | ||
+ | was none that did not instantly obey his bidding. | ||
+ | In the whole system of ten million times ten million | ||
+ | spheres upon the two and twenty million planes he | ||
+ | had his desire. | ||
+ | And with all this he was but himself. | ||
+ | Alas! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter gives the reverse of the medal; it is the | ||
+ | contrast to Chapter 15. | ||
+ | The Sorcerer is to be identified with The Brother of | ||
+ | the Left Hand Path. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE POLE-STAR | ||
+ | |||
+ | Love is all virtue, since the pleasure of love is but | ||
+ | love, and the pain of love is but love. | ||
+ | Love taketh no heed of that which is not and of that | ||
+ | which is. | ||
+ | Absence exalteth love, and presence exalteth love. | ||
+ | Love moveth ever from height to height of ecstasy | ||
+ | and faileth never. | ||
+ | The wings of love droop not with time, nor slacken | ||
+ | for life or for death. | ||
+ | Love destroyeth self, uniting self with that which is | ||
+ | not-self, so that Love breedeth All and None in | ||
+ | One. | ||
+ | Is it not so? | ||
+ | Then thou art not lost in love; speak not of love. | ||
+ | Love Alway Yieldeth: Love Alway Hardeneth. | ||
+ | ..........May be: I write it but to write Her name. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | This now introduces the principal character of this | ||
+ | book, Laylah, who is the ultimate feminine symbol, to | ||
+ | be interpreted on all planes. | ||
+ | But in this chapter, little hint is given of anything | ||
+ | beyond physical love. It is called the Pole-Star, because | ||
+ | Laylah is the one object of devotion to which the author | ||
+ | ever turns. | ||
+ | Note the introduction of the name of the Beloved in | ||
+ | acrostic in line 15. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE SOUTHERN CROSS | ||
+ | |||
+ | Love, I love you! Night, night, cover us! Thou art | ||
+ | night, O my love; and there are no stars but thine | ||
+ | eyes. | ||
+ | Dark night, sweet night, so warm and yet so fresh, | ||
+ | so scented yet so holy, cover me, cover me! | ||
+ | Let me be no more! Let me be Thine; let me be | ||
+ | Thou; let me be neither Thou nor I; let there be | ||
+ | love in night and night in love. | ||
+ | N.O.X. the night of Pan; and Laylah, the night | ||
+ | before His threshold! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | Chapter 29 continues Chapter 28. | ||
+ | Note that the word Laylah is the Arabic for " | ||
+ | The author begins to identify the Beloved with the | ||
+ | N.O.X. previously spoken of. | ||
+ | the chapter is called "The Southern Cross", | ||
+ | on the physical plane, Laylah is an Australian. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | JOHN-A-DREAMS | ||
+ | |||
+ | Dreams are imperfections of sleep; even so is con- | ||
+ | sciousness the imperfection of waking. | ||
+ | Dreams are impurities in the circulation of the blood; | ||
+ | even so is consciousness a disorder of life. | ||
+ | Dreams are without proportion, without good | ||
+ | sense, without truth; so also is consciousness. | ||
+ | Awake from dream, the truth is known:(16) awake | ||
+ | from waking, the Truth is-The Unknown. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is to read in connection with Chapter 8, | ||
+ | and also with those previous chapters in which the | ||
+ | reason is attacked. | ||
+ | The allusion in the title is obvious. | ||
+ | This sum in proportion, dream: waking: : waking: | ||
+ | Samadhi is a favourite analogy with Frater P., | ||
+ | who frequently employs it in his holy discourse. | ||
+ | |||
+ | | ||
+ | (16) I.e. the truth that he hath slept. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE GAROTTE | ||
+ | |||
+ | IT moves from motion into rest, and rests from rest | ||
+ | into motion. | ||
+ | So that IT does neither of these things. | ||
+ | THAT one thing which we must express by two | ||
+ | things neither of which possesses any rational | ||
+ | meaning. | ||
+ | Yet ITS doing, which is no-doing, is simple and yet | ||
+ | complex, is neither free nor necessary. | ||
+ | For all these ideas express Relation; and IT, com- | ||
+ | prehending all Relation in ITS simplicity, is out of | ||
+ | all Relation even with ITSELF. | ||
+ | All this is true and false; and it is true and false to | ||
+ | say that it is true and false. | ||
+ | Strain forth thine Intelligence, | ||
+ | one, O chosen of IT, to apprehend the discourse | ||
+ | of THE MASTER; for thus thy reason shall at | ||
+ | last break down, as the fetter is struck from a | ||
+ | slave' | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | [72] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | The number 31 refers to the Hebrew word LA, which | ||
+ | means " | ||
+ | A new character is now introduce under the title of | ||
+ | IT, I being the secret, and T being the manifested, | ||
+ | phallus. | ||
+ | This is, however, only one aspect of IT, which may | ||
+ | perhaps be defined as the Ultimate Reality. | ||
+ | IT is apparently a more exalted thing than THAT. | ||
+ | This chapter should be compared with Chapter 11; | ||
+ | that method of destroying the reason by formulating | ||
+ | contradictions is definitely inculcated. | ||
+ | The reason is situated in Daath, which corresponds | ||
+ | the the throat in human anatomy. | ||
+ | chapter, "The Garotte" | ||
+ | The idea is that, by forcing the mind to follow, and | ||
+ | as far as possible to realise, the language of Beyond | ||
+ | the Abyss, the student will succeed in bringing his | ||
+ | reason under control. | ||
+ | As soon as the reason is vanquished, the garotte is | ||
+ | removed; then the influence of the supernals (Kether, | ||
+ | Chokmah, Binah), no longer inhibited by Daath, can | ||
+ | descend upon Tiphareth, where the human will is | ||
+ | situated, and flood it with the ineffable light. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [73] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE MOUNTAINEER | ||
+ | |||
+ | Consciousness is a symptom of disease. | ||
+ | All that moves well moves without will. | ||
+ | All skillfulness, | ||
+ | ease. | ||
+ | Practise a thousand times, and it becomes difficult; | ||
+ | a thousand thousand, and it becomes easy; a | ||
+ | thousand thousand times a thousand thousand, | ||
+ | and it is no longer Thou that doeth it, but It that | ||
+ | doeth itself through thee. Not until then is that | ||
+ | which is done well done. | ||
+ | Thus spoke FRATER PERDURABO as he leapt | ||
+ | from rock to rock of the moraine without ever | ||
+ | casting his eyes upon the ground. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [74] | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | This title is a mere reference to the m& | ||
+ | last paragraph of the chapter. | ||
+ | Frater P., as is well known, is a mountaineer. | ||
+ | This chapter should be read in conjunction with | ||
+ | Chapters 8 and 30. | ||
+ | It is a practical instruction, | ||
+ | easily to be apprehended by comparatively short practice | ||
+ | of Mantra-Yoga. | ||
+ | A mantra is not being properly said as long as the | ||
+ | man knows he is saying it. The same applies to all other | ||
+ | forms of Magick. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [75] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | A black two-headed Eagle is GOD; even a Black | ||
+ | Triangle is He. In His claws He beareth a sword; | ||
+ | yea, a sharp sword is held therein. | ||
+ | This Eagle is burnt up in the Great Fire; yet not a | ||
+ | feather is scorched. | ||
+ | in the Great Sea; yet not a feather is wetted. | ||
+ | flieth He in the air, and lighteth upon the earth at | ||
+ | His pleasure. | ||
+ | So spake IACOBUS BURGUNDUS MOLENSIS(17) | ||
+ | the Grand Master of the Temple; and of the GOD | ||
+ | that is Ass-headed did he dare not speak. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | 33 is the number of the Last Degree of Masonry, | ||
+ | which was conferred upon Frater P. in the year 1900 | ||
+ | of the vulgar era by Don Jesus de Medina-Sidonia in | ||
+ | the City of Mexico. | ||
+ | Baphomet is the mysterious name of the God of the | ||
+ | Templars. | ||
+ | The Eagle described in paragraph 1 is that of the | ||
+ | Templars. | ||
+ | This Masonic symbol is, however, identified by | ||
+ | Frater P. with a bird, which is master of the four | ||
+ | elements, and therefore of the name Tetragrammaton. | ||
+ | Jacobus Burgundus Molensis suffered martyrdom | ||
+ | in the City of Paris in the year 1314 of the vulgar era. | ||
+ | The secrets of his order were, however, not lost, and | ||
+ | are still being communicated to the worthy by his | ||
+ | successors, as is intimated by the last paragraph, which | ||
+ | implies knowledge of a secret worship, of which the | ||
+ | Grand Master did not speak. | ||
+ | The Eagle may be identified, though not too closely, | ||
+ | with the Hawk previously spoken of. | ||
+ | It is perhaps the Sun, the exoteric object of worship | ||
+ | of all sensible cults; it is not to be confused with other | ||
+ | objects of the mystic aviary, such as the swan, phoenix, | ||
+ | pelican, dove and so on. | ||
+ | |||
+ | | ||
+ | (17) His initials I.B.M. are the initials of the Three | ||
+ | & | ||
+ | Son. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE SMOKING DOG(18) | ||
+ | |||
+ | |||
+ | Each act of man is the twist and double of an hare. | ||
+ | Love and death are the greyhounds that course him. | ||
+ | God bred the hounds and taketh His pleasure in the | ||
+ | sport. | ||
+ | This is the Comedy of Pan, that man should think | ||
+ | he hunteth, while those hounds hunt him. | ||
+ | This is the Tragedy of Man when facing Love and | ||
+ | Death he turns to bay. He is no more hare, but | ||
+ | boar. | ||
+ | There are no other comedies or tragedies. | ||
+ | Cease then to be the mockery of God; in savagery of | ||
+ | love and death live thou and die! | ||
+ | Thus shall His laughter be thrilled through with | ||
+ | Ecstasy. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | The title is explained in the note. | ||
+ | The chapter needs no explanation; | ||
+ | point of view of life, and recommends a course of action | ||
+ | calculated to rob the creator of his cruel sport. | ||
+ | |||
+ | | ||
+ | (18) This chapter was written to clarify {& | ||
+ | & | ||
+ | which it was the origin. | ||
+ | perceived this truth, or rather the first half of it, comedy, | ||
+ | at breakfast at "Au Chien qui Fume" | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | VENUS OF MILO | ||
+ | |||
+ | Life is as ugly and necessary as the female body. | ||
+ | Death is as beautiful and necessary as the male | ||
+ | body. | ||
+ | The soul is beyond male and female as it is beyond | ||
+ | Life and Death. | ||
+ | Even as the Lingam and the Yoni are but diverse | ||
+ | developments of One Organ, so also are Life and | ||
+ | Death but two phases of One State. | ||
+ | Absolute and the Conditioned are but forms of | ||
+ | THAT. | ||
+ | What do I love? There is no from, no being, to which | ||
+ | I do not give myself wholly up. | ||
+ | Take me, who will! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | This chapter must be read in connection with | ||
+ | Chapters 1, 3, 4, 8, 15, 16, 18, 24, 28, 29. | ||
+ | The last sentence of paragraph 4 also connects with | ||
+ | the first paragraph of Chapter 26. | ||
+ | The title "Venus of Milo" is an argument in support | ||
+ | of paragraphs 1 and 2, it being evident from this | ||
+ | statement that the female body becomes beautiful in so | ||
+ | far as it approximates to the male. | ||
+ | The female is to be regarded as having been separated | ||
+ | from the male, in order to reproduce the male in a | ||
+ | superior form, the absolute, and the conditions forming | ||
+ | the one absolute. | ||
+ | In the last two paragraphs there is a justification of | ||
+ | a practice which might be called sacred prostitution. | ||
+ | In the common practice of meditation the idea is to | ||
+ | reject all impressions, | ||
+ | very much more difficult, in which all are accepted. | ||
+ | This cannot be done at all unless one is capable of | ||
+ | making Dhyana at least on any conceivable thing, at | ||
+ | a second' | ||
+ | be ordinary mind-wandering. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE STAR SAPPHIRE | ||
+ | |||
+ | Let the Adept be armed with his Magick Rood [and | ||
+ | provided with his Mystic Rose]. | ||
+ | In the centre, let him give the L.V.X. signs; or if | ||
+ | he know them, if he will and dare do them, and | ||
+ | can keep silent about them, the signs of N.O.X. | ||
+ | being the signs of Puer, Vir, Puella, & | ||
+ | the sign I.R. | ||
+ | Then let him advance to the East, and make the | ||
+ | Holy Hexagram, saying: PATER ET MATER | ||
+ | UNIS DEUS ARARITA. | ||
+ | Let him go round to the South, make the Holy | ||
+ | Hexagram, and say: MATER ET FILIUS UNUS | ||
+ | DEUS ARARITA. | ||
+ | Let him go round to the West, make the Holy | ||
+ | Hexagram, and say: FILIUS ET FILIA UNUS | ||
+ | DEUS ARARITA. | ||
+ | Let him go round to the North, make the Holy | ||
+ | Hexagram, and then say: FILIA ET PATER | ||
+ | UNUS DEUS ARARITA. | ||
+ | Let him then return to the Centre, and so to The | ||
+ | Centre of All [making the ROSY CROSS as he | ||
+ | may know how] saying: ARARITA ARARITA | ||
+ | ARARITA. | ||
+ | In this the Signs shall be those of Set Triumphant | ||
+ | and of Baphomet. | ||
+ | Circle. | ||
+ | communicate the same.] | ||
+ | Then let him say: OMNIA IN DUOS: DUO IN | ||
+ | UNUM: UNUS IN NIHIL: HAE NEC | ||
+ | QUATUOR NEC OMNIA NEC DUO NEC | ||
+ | UNUS NEC NIHIL SUNT. | ||
+ | GLORIA PATRI ET MATRI ET FILIO ET | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | FILIAE ET SPIRITUI SANCTO EXTERNO | ||
+ | ET SPIRITUI SANCTO INTERNO UT ERAT | ||
+ | EST ERIT IN SAECULA SAECULORUM SEX | ||
+ | IN UNO PER NOMEN SEPTEM IN UNO | ||
+ | ARARITA. | ||
+ | Let him then repeat the signs of L.V.X. but not the | ||
+ | signs of N.O.X.; for it is not he that shall arise in | ||
+ | the Sign of Isis Rejoicing. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | The Star Sapphire corresponds with the Star-Ruby | ||
+ | of Chapter 25; 36 being the square of 6, as 25 is of %. | ||
+ | This chapter gives the real and perfect Ritual of the | ||
+ | Hexagram. | ||
+ | It would be improper to comment further upon an | ||
+ | official ritual of the A& | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Thought is the shadow of the eclipse of Luna. | ||
+ | Samadhi is the shadow of the eclipse of Sol. | ||
+ | The moon and the earth are the non-ego and the | ||
+ | ego: the Sun is THAT. | ||
+ | Both eclipses are darkness; both are exceeding rare; | ||
+ | the Universe itself is Light. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | Dragons are in the East supposed to cause eclipses | ||
+ | by devouring the luminaries. | ||
+ | There may be some significance in the chapter | ||
+ | number, which is that of Jechidah the highest unity of | ||
+ | the soul. | ||
+ | In this chapter, the idea is given that all limitation | ||
+ | and evil is an exceedingly rare accident; there can be | ||
+ | no night in the whole of the Solar System, except in rare | ||
+ | spots, where the shadow of a planet is cast by itself. | ||
+ | It is a serious misfortune that we happen to live in a | ||
+ | tiny corner of the system, where the darkness reaches such | ||
+ | a high figure as 50 per cent. | ||
+ | The same is true of moral and spiritual conditions. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Cowan, skidoo! | ||
+ | Tyle! | ||
+ | Swear to hele all. | ||
+ | This is the mystery. | ||
+ | Life! | ||
+ | Mind is the traitor. | ||
+ | Slay mind. | ||
+ | Let the corpse of mind lie unburied on the edge of | ||
+ | the Great Sea! | ||
+ | Death! | ||
+ | This is the mystery. | ||
+ | Tyle! | ||
+ | Cowan, skidoo! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter will be readily intelligible to E.A. | ||
+ | Freemasons, and it cannot be explained to others. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE LOOBY | ||
+ | |||
+ | Only loobies find excellence in these words. | ||
+ | It is thinkable that A is not-A; to reverse this is but | ||
+ | to revert to the normal. | ||
+ | Yet by forcing the brain to accept propositions of | ||
+ | which one set is absurdity, the other truism, a | ||
+ | new function of brain is established. | ||
+ | Vague and mysterious and all indefinite are the | ||
+ | contents of this new consciousness; | ||
+ | somehow vital. | ||
+ | Unreason becomes Experience. | ||
+ | This lifts the leaden-footed soul to the Experience | ||
+ | of THAT of which Reason is the blasphemy. | ||
+ | But without the Experience these words are the | ||
+ | Lies of a Looby. | ||
+ | Yet a Looby to thee, and a Booby to me, a Balassius | ||
+ | Ruby to GOD, may be! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | The word Looby occurs in folklore, and was supposed | ||
+ | to be the author, at the time of writing this book, which | ||
+ | he did when he was far from any standard works of | ||
+ | reference, to connote partly " | ||
+ | It would thus be a similar word to " | ||
+ | Paragraphs 2-6 explain the method that was given | ||
+ | in Chapters 11 and 31. This method, however, occurs | ||
+ | throughout the book on numerous occasions, and even | ||
+ | in the chapter itself it is employed in the last paragraphs. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE HIMOG(19) | ||
+ | |||
+ | A red rose absorbs all colours but red; red is therefore | ||
+ | the one colour that it is not. | ||
+ | This Law, Reason, Time, Space, all Limitation blinds | ||
+ | us to the Truth. | ||
+ | All that we know of Man, Nature, God, is just that | ||
+ | which they are not; it is that which they throw off | ||
+ | as repungnant. | ||
+ | The HIMOG is only visible in so far as He is imperfect. | ||
+ | Then are they all glorious who seem not to be glorious, | ||
+ | as the HIMOG is All-glorious Within? | ||
+ | It may be so. | ||
+ | How then distinguish the inglorious and perfect | ||
+ | HIMOG from the inglorious man of earth? | ||
+ | Distinguish not! | ||
+ | But thyself Ex-tinguish: | ||
+ | HIMOG shalt thou be. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | Paragraph 1 is, of course, a well-known scientific | ||
+ | fact. | ||
+ | In paragraph 2 it is suggested analogically that all | ||
+ | thinkable things are similarly blinds for the Unthinkable | ||
+ | Reality. | ||
+ | Classing in this manner all things as illusions, the | ||
+ | question arises as to the distinguishing between illusions; | ||
+ | how are we to tell whether a Holy Illuminated Man of | ||
+ | God is really so, since we can see nothing of him but | ||
+ | his imperfections. :It may be yonder beggar is a King." | ||
+ | But these considerations are not to trouble such mind | ||
+ | as the Chela may possess; let him occupy himself, | ||
+ | rather, with the task of getting rid of his personality; | ||
+ | this, and not criticism of his holy Guru, should be the | ||
+ | occupation of his days and nights. | ||
+ | |||
+ | | ||
+ | (19) HIMOG is a Notariqon of the words Holy | ||
+ | Illuminated Man of God. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | CORN BEEF HASH(20) | ||
+ | |||
+ | In V.V.V.V.V. is the Great Work perfect. | ||
+ | Therefore none is that pertaineth not to V.V.V.V.V. | ||
+ | In any may he manifest; yet in one hath he chosen | ||
+ | to manifest; and this one hath given His ring as a | ||
+ | Seal of Authority to the Work of the A& | ||
+ | through the colleagues of FRATER PER- | ||
+ | DURABO. | ||
+ | But this concerns themselves and their administra- | ||
+ | tion; it concerneth none below the grade of | ||
+ | Exempt Adept, and such an one only by com- | ||
+ | mand. | ||
+ | Also, since below the Abyss Reason is Lord, let men | ||
+ | seek by experiment, and not by Questionings. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | [92] | ||
+ | | ||
+ | |||
+ | the title is only partially explained i the note; it | ||
+ | means that the statements in this chapter are to be | ||
+ | understood in the most ordinary and commonplace | ||
+ | way, without any mystical sense. | ||
+ | V.V.V.V.V. is the motto of a Master of the Temple | ||
+ | (or so much He disclosed to the Exempt Adepts), | ||
+ | referred to in Liber LXI. It is he who is responsible | ||
+ | for the whole of the development of the A,' | ||
+ | ment which has been associated with the publication of | ||
+ | THE EQUINOX; and His utterance is enshrined in | ||
+ | the sacred writings. | ||
+ | It is useless to enquire into His nature; to do so leads | ||
+ | to certain disaster. | ||
+ | when necessary, to the proper persons, though in no | ||
+ | case to anyone below the grade of Exempt Adept. | ||
+ | person enquiring into such matters is politely requested | ||
+ | to work, and not to ask questions about matters which | ||
+ | in no way concern him. | ||
+ | The number 41 is that of the Barren Mother. | ||
+ | |||
+ | | ||
+ | (20) I.e. food suitable for Americans. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [93] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | In the wind of the mind arises the turbulence | ||
+ | called I. | ||
+ | It breaks; down shower the barren thoughts. | ||
+ | All life is choked. | ||
+ | This desert is the Abyss wherein the Universe. | ||
+ | The Stars are but thistles in that waste. | ||
+ | Yet this desert is but one spot accursed in a world of | ||
+ | bliss. | ||
+ | Now and again Travellers cross the desert; they come | ||
+ | from the Great Sea, and to the Great Sea they go. | ||
+ | As they go they spill water; one day they will irrigate | ||
+ | the desert, till it flower. | ||
+ | See! five footprints of a Camel! V.V.V.V.V. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [94] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This number 42 is the Great & | ||
+ | 418, Liber 500, and the essay on the Qabalah in the Temple of | ||
+ | Solomon the King. This number is said to be all hotch-potch and | ||
+ | accursed. | ||
+ | The chapter should be read most carefully in connection with | ||
+ | the 10th Aethyr. | ||
+ | The mind is called " | ||
+ | frequently explained, the ideas and words are identical. | ||
+ | In this free-flowing, | ||
+ | spiral close-coiled upon itself. | ||
+ | The theory of the formation of the Ego is that of the Hindus, | ||
+ | whose Ahamkara is itself a function of the mind, whose ego it | ||
+ | creates. | ||
+ | Zoroaster describes God as having the head of the Hawk, and | ||
+ | a spiral force. | ||
+ | out some experience in the transvaluation of values, which occurs | ||
+ | throughout the whole of this book, in nearly every other sentence. | ||
+ | Transvaluation of values is only the moral aspect of the method | ||
+ | of contradiction. | ||
+ | The word " | ||
+ | French " | ||
+ | True life, the life, which has no consciousness of " | ||
+ | be choked by this false ego, or rather by the thoughts which its | ||
+ | explosions produce. | ||
+ | macrocosmic plane. | ||
+ | The Masters of the Temple are now introduced; they are | ||
+ | inhabitants, | ||
+ | They come from the Great Sea, Binah, the City of the Pyramids. | ||
+ | V.V.V.V.V. is indicated as one of these travellers; He is | ||
+ | described as a camel, not because of the connotation of the French | ||
+ | form of this word, but because " | ||
+ | Gimel is the path leading from Tiphareth to Kether, uniting | ||
+ | Microprosopus and Macroprosopus, | ||
+ | Work. | ||
+ | The card Gimel in the Tarot is the High Priestess, the Lady of | ||
+ | Initiation; one might even say, the Holy Guardian Angel. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | & | ||
+ | |||
+ | Black blood upon the altar! and the rustle of angel | ||
+ | wings above! | ||
+ | Black blood of the sweet fruit, the bruised, the | ||
+ | violated bloom-that setteth The Wheel a-spinning | ||
+ | in the spire. | ||
+ | Death is the veil of Life, and Life of Death; for both | ||
+ | are Gods. | ||
+ | This is that which is written: "A feast for Life, and | ||
+ | a greater feast for Death!" | ||
+ | THE LAW. | ||
+ | The blood is the life of the individual: offer then | ||
+ | blood! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | | ||
+ | | ||
+ | |||
+ | The title of this chapter refers to a Hebrew legend, | ||
+ | that of the prophet who heard "a going in the mulberry | ||
+ | tops"; and to Browning' | ||
+ | blooded mulberry" | ||
+ | In the World' | ||
+ | Scorpion, and also The God-Eater, the reader may | ||
+ | study the efficacy of rape, and the sacrifice of blood, as | ||
+ | magical formulae. | ||
+ | been the most acceptable offerings to all the gods, but | ||
+ | especially the Christian God. | ||
+ | In the last paragraph, the reason of this is explained; | ||
+ | it is because such sacrifices come under the Great Law | ||
+ | of the Rosy Cross, the giving-up of the individuality, | ||
+ | as has been explained as nauseam in previous chapters. | ||
+ | We shall frequently recur to this subject. | ||
+ | By "the wheel spinning in the spire" is meant the | ||
+ | manifestation of magical force, the spermatozoon in the | ||
+ | conical phallus. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE MASS OF THE PHOENIX | ||
+ | |||
+ | The Magician, his breast bare, stands before an altar | ||
+ | on which are his Burin, Bell, Thurible, and two | ||
+ | of the Cakes of Light. | ||
+ | reaches West across the Altar, and cries: | ||
+ | Hail Ra, that goest in Thy bark | ||
+ | Into the Caverns of the DarK! | ||
+ | |||
+ | He gives the sign of Silence, and takes the Bell, and | ||
+ | Fire, in his hands. | ||
+ | East of the Altar see me stand | ||
+ | With Light and & | ||
+ | |||
+ | He strikes Eleven times upon the Bell 3 3 3-5 5 5 5 5- | ||
+ | 3 3 3 and places the Fire in the Thurible. | ||
+ | I strike the Bell: I light the flame: | ||
+ | I utter the mysterious Name. | ||
+ | | ||
+ | He strikes Eleven times upon the Bell. | ||
+ | |||
+ | Now I begin to pray: Thou Child, | ||
+ | holy Thy name and undefiled! | ||
+ | Thy reign is come: Thy will is done. | ||
+ | Here is the Bread; here is the Blood. | ||
+ | Bring me through midnight to the Sun! | ||
+ | Save me from Evil and from Good! | ||
+ | That Thy one crown of all the Ten. | ||
+ | Even now and here be mine. AMEN. | ||
+ | |||
+ | He puts the first Cake on the Fire of the Thurible. | ||
+ | I burn the Incense-cake, | ||
+ | These adorations of Thy name. | ||
+ | |||
+ | He makes them as in Liber Legis, and strikes again | ||
+ | Eleven times upon the Bell. With the Burin he then | ||
+ | makes upon his breast the proper sign. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | Behold this bleeding breast of mine | ||
+ | Gashed with the sacramental sign! | ||
+ | |||
+ | He puts the second Cake to the wound. | ||
+ | I stanch the blood; the wager soaks | ||
+ | It up, and the high priest invokes! | ||
+ | |||
+ | He eats the second Cake. | ||
+ | This Bread I eat. This Oath I swear | ||
+ | As I enflame myself with prayer: | ||
+ | "There is no grace: there is no guilt: | ||
+ | This is the Law: DO WHAT THOU WILT!" | ||
+ | |||
+ | He strikes Eleven times upon the Bell, and cries | ||
+ | ABRAHADABRA. | ||
+ | I entered in with woe; with mirth | ||
+ | I now go forth, and with thanksgiving, | ||
+ | To do my pleasure on the earth | ||
+ | Among the legions of the living. | ||
+ | |||
+ | He goeth forth. | ||
+ | |||
+ | |||
+ | |||
+ | | ||
+ | |||
+ | This is the special number of Horus; it is the Hebrew | ||
+ | blood, and the multiplication of the 4 by the 11, the | ||
+ | number of Magick, explains 4 in its finest sense. | ||
+ | see in particular the accounts in Equinox I, vii of the | ||
+ | circumstances of the Equinox of the Gods. | ||
+ | The word " | ||
+ | idea of " | ||
+ | young from the blood of its own breast. | ||
+ | ideas, though cognate, are not identical, and " | ||
+ | is the more accurate symbol. | ||
+ | This chapter is explained in Chapter 62. | ||
+ | It would be improper to comment further upon a | ||
+ | ritual which has been accepted as official by the | ||
+ | A& | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | CHINESE MUSIC | ||
+ | |||
+ | " | ||
+ | "It must have a atural' | ||
+ | "It must have a upernatural' | ||
+ | grind corn. | ||
+ | May, might, must, should, probably, may be, we | ||
+ | may safely assume, ought, it is hardly question- | ||
+ | able, almost certainly-poor hacks! let them be | ||
+ | turned out to grass! | ||
+ | Proof is only possible in mathematics, | ||
+ | matics is only a matter of arbitrary conventions. | ||
+ | And yet doubt is a good servant but a bad master; a | ||
+ | perfect mistress, but a nagging wife. | ||
+ | "White is white" is the lash of the overseer: " | ||
+ | is black" is the watchword of the slave. | ||
+ | takes no heed. | ||
+ | The Chinese cannot help thinking that the octave has | ||
+ | 5 notes. | ||
+ | The more necessary anything appears to my mind, | ||
+ | the more certain it is that I only assert a limitation. | ||
+ | I slept with Faith, and found a corpse in my arms on | ||
+ | awaking; I drank and danced all night with Doubt, | ||
+ | and found her a virgin in the morning. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [100] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The title of this chapter is drawn from paragraph 7. | ||
+ | We now, for the first time, attack the question of | ||
+ | doubt. | ||
+ | "Th Soldier and the Hunchback" | ||
+ | fully studied in this connection. | ||
+ | mended is scepticism, but a scepticism under control. | ||
+ | Doubt inhibits action, as much as faith binds it. All | ||
+ | the best Popes have been Atheists, but perhaps the | ||
+ | greatest of them once remarked, " | ||
+ | prodest haec fabula Christi" | ||
+ | The ruler asserts facts as they are; the slave has there- | ||
+ | fore no option but to deny them passionately, | ||
+ | to express his discontent. | ||
+ | " | ||
+ | the like. Similarly we find people asserting today that | ||
+ | woman is superior to man, and that all men are born | ||
+ | equal. | ||
+ | The Master (in technical language, the Magus) does | ||
+ | not concern himself with facts; he does not care whether | ||
+ | a thing is true or not: he uses truth and falsehood in- | ||
+ | discriminately, | ||
+ | immoral, an preach against him in Hyde Park. | ||
+ | In paragraphs 7 and 8 we find a most important | ||
+ | statement, a practical aspect of the fact that all truth | ||
+ | is relative, and in the last paragraph we see how | ||
+ | scepticism keeps the mind fresh, whereas faith dies in | ||
+ | the very sleep that it induces. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [101] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | The cause of sorrow is the desire of the One to the | ||
+ | Many, or of the Many to the One. This also is the | ||
+ | cause of joy. | ||
+ | But the desire of one to another is all of sorrow; its | ||
+ | birth is hunger, and its death satiety. | ||
+ | The desire of the moth for the star at least saves him | ||
+ | satiety. | ||
+ | Hunger thou, O man, for the infinite: be insatiable | ||
+ | even for the finite; thus at The End shalt thou | ||
+ | devour the finite, and become the infinite. | ||
+ | Be thou more greedy that the shark, more full of | ||
+ | yearning than the wind among the pines. | ||
+ | The weary pilgrim struggles on; the satiated pilgrim | ||
+ | stops. | ||
+ | The road winds u& | ||
+ | overcome. | ||
+ | Do this by virtue of THAT in thyself before which | ||
+ | law and nature are but shadows. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [102] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The title of this chapter is best explained by a refer- | ||
+ | ence to Mistinguette and Mayol. | ||
+ | It would be hard to decide, and it is fortunately un- | ||
+ | necessary even to discuss, whether the distinction of | ||
+ | their art is the cause, result, or concomitant of their | ||
+ | private peculiarities. | ||
+ | The fact remains that in vice, as in everything else, | ||
+ | some things satiate, others refresh. | ||
+ | perfection is easily attained soon ceases to amuse, | ||
+ | although in the beginning its fascination is so violent. | ||
+ | Witness the tremendous, but transitory, vogue of | ||
+ | ping-pong and diabolo. | ||
+ | fection is impossible never cease to attract. | ||
+ | The lesson of the chapter is thus always to rise | ||
+ | hungry from a meal, always to violate on's own nature. | ||
+ | Keep on acquiring a taste for what is naturally | ||
+ | repugnant; this is an unfailing source of pleasure, and | ||
+ | it has a real further advantage, in destroying the | ||
+ | Sankharas, which, however " | ||
+ | relatively to other Sankharas, are yet barriers upon the | ||
+ | Path; they are modifications of the Ego, and therefore | ||
+ | those things which bar it from the absolute. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [103] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | WINDMILL-WORDS | ||
+ | |||
+ | Asana gets rid of Anatomy-con- | ||
+ | sciousness. | ||
+ | Pranayama gets rid of Physiology- | " | ||
+ | consciousness. | ||
+ | Yama and Niyama get rid of \ | ||
+ | Ethical consciousness. | ||
+ | Pratyhara gets rid of the Objective. | ||
+ | Dharana gets rid of the Subjective. | ||
+ | Dhyana gets rid of the Ego. | ||
+ | Samadhi gets rid of the Soul Impersonal. | ||
+ | |||
+ | Asana destroys the static body (Nama). | ||
+ | Pranayama destroys the dynamic body (Rupa). | ||
+ | Yama destroys the emotions. | ||
+ | Niyama destroys the passions. / | ||
+ | Dharana destroys the perceptions (Sanna). | ||
+ | Dhyana destroys the tendencies (Sankhara). | ||
+ | Samadhi destroys the consciousness (Vinnanam). | ||
+ | Homard a la Thermidor destroys the digestion. | ||
+ | The last of these facts is the one of which I am most | ||
+ | certain. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [104] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The allusion in the title is not quite clear, though it | ||
+ | may be connected with the penultimate paragraph. | ||
+ | The chapter consists of two points of view from which | ||
+ | to regard Yoga, two odes upon a distant prospect of the | ||
+ | Temple of Madura, two Elegies on a mat of Kusha- | ||
+ | grass. | ||
+ | The penultimate paragraph is introduced by way of | ||
+ | repose. Cynicism is a great cure for over-study. | ||
+ | There is a great deal of cynicism in this book, in one | ||
+ | place and another. | ||
+ | Bitters, to brighten the flavour of a discourse which | ||
+ | were else too sweet. | ||
+ | into sentimentality. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [105] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | MOME RATHS(22) | ||
+ | |||
+ | The early bird catches the worm and the twelve- | ||
+ | year-old prostitute attracts the ambassador. | ||
+ | Neglect not the dawn-meditation! | ||
+ | |||
+ | The first plovers' | ||
+ | flower of virginity is esteemed by the pandar. | ||
+ | Neglect not the dawn-meditation! | ||
+ | |||
+ | early to bed and early to rise | ||
+ | Makes a man healthy and wealthy and wise: | ||
+ | But late to watch and early to pray | ||
+ | Brings him across The Abyss, they say. | ||
+ | Neglect not the dawn-meditation! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [106] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is perfectly simple, and needs no | ||
+ | comment whatsoever. | ||
+ | |||
+ | | ||
+ | |||
+ | (22) "The mome raths outgrabe" | ||
+ | But " | ||
+ | and " | ||
+ | Milton. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [107] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Seven are the veils of the dancing-girl in the harem | ||
+ | of IT. | ||
+ | Seven are the names, and seven are the lamps beside | ||
+ | Her bed. | ||
+ | Seven eunuchs guard Her with drawn swords; No | ||
+ | Man may come nigh unto Her. | ||
+ | In Her wine-cup are seven streams of the blood of | ||
+ | the Seven Spirits of God. | ||
+ | Seven are the heads of THE BEAST whereon She | ||
+ | rideth. | ||
+ | The head of an Angel: the head of a Saint: the head | ||
+ | of a Poet: the head of An Adulterous Woman: the | ||
+ | head of a Man of Valour: the head of a Satyr: | ||
+ | and the head of a Lion-Serpent. | ||
+ | Seven letters hath Her holiest name; and it is | ||
+ | |||
+ | | ||
+ | 77 | ||
+ | | ||
+ | | ||
+ | N L | ||
+ | 7 | ||
+ | O | ||
+ | |||
+ | This is the Seal upon the Ring that is on the Fore- | ||
+ | finger of IT: and it is the Seal upon the Tombs of | ||
+ | them whom She hath slain. | ||
+ | Here is Wisdom. | ||
+ | count the & | ||
+ | & | ||
+ | An Hundred and Fifty and Six. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [108] | ||
+ | | ||
+ | |||
+ | 49 is the square of 7. | ||
+ | 7 is the passive and feminine number. | ||
+ | The chapter should be read in connection with Chapter 31 | ||
+ | for IT now reappears. | ||
+ | The chapter heading, the Waratah, is a voluptuous scarlet | ||
+ | flower, common in Australia, and this connects the chapter | ||
+ | with Chapters 28 and 29; but this is only an allusion, for | ||
+ | the subject of the chapter is OUR LADY BABALON, | ||
+ | who is conceived as the feminine counterpart of IT. | ||
+ | This does not agree very well with the common or orthodox | ||
+ | theogony of Chapter 11; but it is to be explained by the | ||
+ | dithyrambic nature of the chapter. | ||
+ | In paragraph 3 NO MAN is of course NEMO, the | ||
+ | Master of the Temple, Liber 418 will explain most of the | ||
+ | allusions in this chapter. | ||
+ | In paragraphs 5 and 6 the author frankly identifies him- | ||
+ | self with the BEAST referred to in the book, and in the | ||
+ | Apocalypse, and in LIBER LEGIS. | ||
+ | word " | ||
+ | " | ||
+ | Snake=spermatozoon and Leo in the Zodiac, which like | ||
+ | Teth itself has the snake-form. | ||
+ | Yoni and Sol.) | ||
+ | Paragraph 7 explains the theological difficulty referred | ||
+ | to above. | ||
+ | many names: of those names BABALON is the holiest. | ||
+ | It is the name referred to in Liber Legis, 1, 22. | ||
+ | It will be noticed that the figure, or sigil, of BABALON | ||
+ | is a seal upon a ring, and this ring is upon the forefinger | ||
+ | of IT. This identifies further the symbol with itself. | ||
+ | It will be noticed that this seal, except for the absence of | ||
+ | a border, is the official seal of the A& | ||
+ | 3. | ||
+ | It is also said to be the seal upon the tombs of them that | ||
+ | she hath slain, that is, of the Masters of the Temple. | ||
+ | In connection with the number 49, see Liber 418, the | ||
+ | 22nd Aethyr, as well as the usual authorities. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [109] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE VIGIL OF ST. HUBERT | ||
+ | |||
+ | In the forest God met the Stag-beetle. | ||
+ | ship me!" quoth God. "For I am All-Great, All- | ||
+ | Good, All Wise....The stars are but sparks from | ||
+ | the forges of My smiths...." | ||
+ | "Yea, verily and Amen," said the Stag-beetle, | ||
+ | this do I believe, and that devoutly." | ||
+ | "Then why do you not worship Me?" | ||
+ | " | ||
+ | But the leaves of the forest rustled with the laughter | ||
+ | of the wind. | ||
+ | Said Wind and Wood: "They neither of them know | ||
+ | anything!" | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [110] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | St. Hubert appears to have been a saint who saw a | ||
+ | stag of a mystical or sacred nature. | ||
+ | The Stag-beetle must not be identified with the one | ||
+ | in Chapter 16. It is a merely literary touch. | ||
+ | the chapter is a resolution of the universe into | ||
+ | Tetragrammaton; | ||
+ | cosm beetle. | ||
+ | " | ||
+ | The things which really exist, the things which have | ||
+ | no Ego, and speak only in the third person, regard | ||
+ | these as ignorant, on account of their assumption of | ||
+ | Knowledge. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [111] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Doubt. | ||
+ | Doubt thyself. | ||
+ | Doubt even if thou doubtest thyself. | ||
+ | Doubt all. | ||
+ | Doubt even if thou doubtest all. | ||
+ | It seems sometimes as if beneath all conscious doubt | ||
+ | there lay some deepest certainty. | ||
+ | snake! | ||
+ | The horn of the Doubt-Goat be exalted | ||
+ | Dive deeper, ever deeper, into the Abyss of Mind, | ||
+ | until thou unearth the fox THAT. On, hounds! | ||
+ | Yoicks! | ||
+ | Then, wind the Mort! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [112] | ||
+ | | ||
+ | |||
+ | The number 51 means failure and pain, and its | ||
+ | subject is appropriately doubt. | ||
+ | The title of the chapter is borrowed from the health- | ||
+ | giving and fascinating sport of fox-hunting, | ||
+ | Frater Perdurabo followed in his youth. | ||
+ | This chapter should be read in connection with "The | ||
+ | Soldier and the Hunchback" | ||
+ | an epitome. | ||
+ | Its meaning is sufficiently clear, but in paragraphs | ||
+ | 6 and 7 it will be noticed that the identification of the | ||
+ | Soldier with the Hunchback has reached such a pitch | ||
+ | that the symbols are interchanged, | ||
+ | represented as the sinuous snake, scepticism as the | ||
+ | Goat of the Sabbath. | ||
+ | in which destruction is as much joy as creation. | ||
+ | (Compare Chapter 46.) | ||
+ | Beyond that is a still deeper state of mind, which is | ||
+ | THAT. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [113] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE BULL-BAITING | ||
+ | |||
+ | Fourscore and eleven books wrote I; in each did I | ||
+ | expound THE GREAT WORK fully, from The | ||
+ | beginning even unto The End thereof. | ||
+ | Then at last came certain men unto me, saying: | ||
+ | O Master! | ||
+ | unto us, O Master! | ||
+ | And I held my peace. | ||
+ | O generation of gossipers! | ||
+ | from the Wrath that is fallen upon you? | ||
+ | O Babblers, Prattlers, Talkers, Loquacious Ones, | ||
+ | Tatlers, Chewers of the Red Rag that inflameth | ||
+ | Apis the Redeemer to fury, learn first what is | ||
+ | Work! and THE GREAT WORK is not so far | ||
+ | beyond! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [114] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | 52 is BN, the number of the Son, Osiris-Apis, | ||
+ | Redeemer, with whom the Master (Fra. P.) identifies | ||
+ | himself. | ||
+ | of feeling his wounds; and, turning upon his generation, | ||
+ | gores it with his horns. | ||
+ | The fourscore-and-eleven books do not, we think, | ||
+ | refer to the ninety-one chapters of this little master- | ||
+ | piece, or even to the numerous volumes he has penned, | ||
+ | but rather to the fact that 91 is the number of Amen, | ||
+ | implying the completeness of his work. | ||
+ | In the last paragraph is a paranomasia. | ||
+ | the red rag" is a phrase for to talk aimlessly and per- | ||
+ | sistently, while it is notorious that a red cloth will excite | ||
+ | the rage of a bull. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [115] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE DOWSER | ||
+ | |||
+ | Once round the meadow. | ||
+ | twig dip? | ||
+ | Twice round the orchard. | ||
+ | twig dip? | ||
+ | Thrice round the paddock, Highly, lowly, wily, holy, | ||
+ | dip, dip, dip! | ||
+ | Then neighed the horse in the paddock-and lo! | ||
+ | its wings. | ||
+ | For whoso findeth the SPRING beneath the earth | ||
+ | maketh the treaders-of-earth to course the heavens. | ||
+ | This SPRING is threefold; of water, but also of steel, | ||
+ | and of the seasons. | ||
+ | Also this PADDOCK is the Toad that hath the | ||
+ | jewel between his eyes-Aum Mani Padmen | ||
+ | Hum! (Keep us from Evil!) | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [116] | ||
+ | | ||
+ | |||
+ | A dowser is one who practises divination, usually with | ||
+ | the object of finding water or minerals, by means of the | ||
+ | vibrations of a hazel twig. | ||
+ | The meadow represents the flower of life; the orchard its | ||
+ | fruit. | ||
+ | The paddock, being reserved for animals, represents life | ||
+ | itself. | ||
+ | place of life, with the result that the horse, who represents | ||
+ | ordinary animal life, becomes the divine horse Pegasus. | ||
+ | In paragraph 6 we see this spring identified with the | ||
+ | phallus, for it is not only a source of water, but highly | ||
+ | elastic, while the reference to the seasons alludes to the well- | ||
+ | known lines of the late Lord Tennyson: | ||
+ | |||
+ | "In the spring a livelier iris changes on the burnished dove, | ||
+ | In the Spring a young man's fancy lightly turns to thoughts | ||
+ | of love." | ||
+ | -Locksley Hall. | ||
+ | |||
+ | In paragraph 7 the place of life, the universe of animal | ||
+ | souls, is identified with the toad, which | ||
+ | |||
+ | " | ||
+ | Wears yet a precious jewel in his head" | ||
+ | | ||
+ | |||
+ | this jewel being the divine spark in man, and indeed in all | ||
+ | that "lives and moves and has its being" | ||
+ | which is highly significant; | ||
+ | mineral kingdom, the word " | ||
+ | and the phrase "has its being" the lower animals, including | ||
+ | woman. | ||
+ | This " | ||
+ | Lotus and jewel of the well-known Buddhist phrase and | ||
+ | this seems to suggest that this " | ||
+ | suggestion is further strengthened by the concluding phrase | ||
+ | in brackets, "Keep us from evil", since, although it is the | ||
+ | place of life, the means of grace, it may be ruinous. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [117] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | |||
+ | Five and forty apprentice masons out of work! | ||
+ | Fifteen fellow-craftsmen out of work! | ||
+ | Three Master Masons out of work! | ||
+ | All these sat on their haunches waiting The Report | ||
+ | of the Sojourner; for THE WORD was lost. | ||
+ | This is the Report of the Sojourners: THE WORD | ||
+ | was LOVE;(23) and its number is An Hundred and | ||
+ | Eleven. | ||
+ | Then said each AMO;(24) for its number is An Hundred | ||
+ | and Eleven. | ||
+ | Each took the Trowel from his LAP,(25) whose number | ||
+ | is AN Hundred and Eleven. | ||
+ | Each called moreover on the Goddess NINA,(26) for | ||
+ | Her number is An Hundred and Eleven. | ||
+ | Yet with all this went The Work awry; for THE | ||
+ | WORD OF THE LAW IS <font | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [118] | ||
+ | | ||
+ | |||
+ | The title of this chapter refers to the duty of the Tyler | ||
+ | in a blue lodge of Freemasons. | ||
+ | The numbers in paragraphs 1 to 3 are significant; | ||
+ | each Master-Mason is attended by 5 Fellow-Crafts, | ||
+ | and each Fellow-Craft by 3 Apprentices, | ||
+ | Masters were sitting in pentagrams, and the Fellow- | ||
+ | Craftsmen in triangles. | ||
+ | manual signs in each of these degrees. | ||
+ | The moral of the chapter is apparently that the | ||
+ | mother-letter {Aleph} is an inadequate solution of the Great | ||
+ | Problem. | ||
+ | symbols connected with it in this place are feminine, | ||
+ | but {Aleph} is also a number of Samadhi and mysticism, and | ||
+ | the doctrine is therefore that Magick, in that highest | ||
+ | sense explained in the Book of the Law, is the truer | ||
+ | key. | ||
+ | |||
+ | NOTES | ||
+ | (23) L=30, O=70, V=6, E=5=111. | ||
+ | (24) A=1, M=40, O=70=111. | ||
+ | (25) The trowel is shaped like a diamond or Yoni. | ||
+ | L=30, A=1, P=80=111 | ||
+ | (26) N=50, I=10, N=50, A=1=111. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [119] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE DROOPING SUNFLOWER | ||
+ | |||
+ | The One Thought vanished; all my mind was torn to | ||
+ | rags: --- nay! nay! my head was mashed into | ||
+ | wood pulp, and thereon the Daily Newspaper was | ||
+ | printed. | ||
+ | Thus wrote I, since my One Love was torn from me. | ||
+ | I cannot work: I cannot think: I seek distraction | ||
+ | here: I seek distraction there: but this is all my | ||
+ | truth, that I who love have lost; and how may I | ||
+ | regain? | ||
+ | I must have money to get to America. | ||
+ | O Mage! Sage! Gauge thy Wage, or in the Page of | ||
+ | Thine Age is written Rage! | ||
+ | O my darling! | ||
+ | Pounds in that Three Weeks in Paris!...Slash the | ||
+ | Breaks on thine arm with a pole-axe! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [120] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The number 55 refers to Malkuth, the ride; it | ||
+ | should then be read in connection with Chapters 28, 29, 49. | ||
+ | The " | ||
+ | the divine light. | ||
+ | Since Jivatma was separated from Paramatma, as | ||
+ | in paragraph 2, not only is the Divine Unity destroyed | ||
+ | but Daath, instead of being the Child of Chokmah and | ||
+ | Binah, becomes the Abyss, and the Qliphoth arise. | ||
+ | The only sense which abides is that of loss, and the | ||
+ | craving to retrieve it. In paragraph 3 it is seen that this | ||
+ | is impossible, owing (paragraph 4) to his not having | ||
+ | made proper arrangements to recover the original | ||
+ | position previous to making the divisions. | ||
+ | In paragraph 5 it is shown that this is because of | ||
+ | allowing enjoyment to cause forgetfulness of the really | ||
+ | important thing. | ||
+ | in Samadhi are sorry for it afterwards. | ||
+ | The last paragraph indicaed the precautions to be | ||
+ | taken to avoid this. | ||
+ | The number 90 is the last paragraph is not merely | ||
+ | fact, but symbolism; 90 being the number of Tzaddi, | ||
+ | the Star, looked at in its exoteric sense, as a naked | ||
+ | woman, playing by a stream, surrounded by birds and | ||
+ | butterflies. | ||
+ | the usual razor, as a more vigorous weapon. | ||
+ | cannot be too severe in checking any faltering in the | ||
+ | work, any digression from the Path. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [121] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | TROUBLE WITH TWINS | ||
+ | |||
+ | Holy, holy, holy, unto Five Hundred and Fifty Five | ||
+ | times holy be OUR LADY of the STARS! | ||
+ | Holy, holy, holy, unto One Hundred and Fifty Six | ||
+ | times holy be OUR LADY that rideth upon THE | ||
+ | BEAST! | ||
+ | Holy, holy, holy, unto the & | ||
+ | Necessary and Appropriate be OUR LADY | ||
+ | Isis in Her Millions-of-Names, | ||
+ | Genetrix-Meretrix! | ||
+ | Yet holier than all These to me is LAYLAH, night | ||
+ | and death; for Her do I blaspheme alike the finite | ||
+ | and the The Infinite. | ||
+ | So wrote not FRATER PERDURABO, but the | ||
+ | Imp Crowley in his Name. | ||
+ | For forgery let him suffer Penal Servitude for Seven | ||
+ | Years; or at least let him do Pranayama all the | ||
+ | way home-home? nay! but to the house of the | ||
+ | harlot whom he loveth not. For it is LAYLAH that | ||
+ | he loveth................................... | ||
+ | |||
+ | And yet who knoweth which is Crowley, and which is | ||
+ | FRATER PERDURABO? | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [122] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The number of the chapter refers to Liber Legis I, 24, | ||
+ | for paragraph 1 refers to Nuit. The " | ||
+ | title are those mentioned in paragraph 5. | ||
+ | 555 is HADIT, HAD spelt in full. 156 is | ||
+ | BABALON. | ||
+ | In paragraph 4 is the gist of the chapter, Laylah | ||
+ | being again introduced, as in Chapters 28, 29, 49 and 55. | ||
+ | The exoteric blasphemy, it is hinted i the last | ||
+ | paragraph, may be an esoteric arcanum, for the Master | ||
+ | of the Temple is interested in Malkuth, as Malkuth is | ||
+ | in Binah; also " | ||
+ | Malkuth"; | ||
+ | body of Nuit and a visit to a brothel may be identical. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [123] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE DUCK-BILLED PLATYPUS | ||
+ | |||
+ | Dirt is matter in the wrong place. | ||
+ | Thought is mind in the wrong place. | ||
+ | Matter is mind; so thought is dirt. | ||
+ | Thus argued he, the Wise One, not mindful that all | ||
+ | place is wrong. | ||
+ | For not until the PLACE is perfected by a T saith | ||
+ | he PLACET. | ||
+ | The Rose uncrucified droppeth its p& | ||
+ | the Rose the Cross is a dry stick. | ||
+ | Worship then the Rosy Cross, and the Mystery of | ||
+ | Two-in-One. | ||
+ | And worship Him that swore by His holy T that One | ||
+ | should not be One except in so far as it is Two. | ||
+ | I am glad that LAYLAH is afar; no doubt clouds | ||
+ | love. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [124] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The title of the chapter suggest the two in one, since | ||
+ | the ornithorhynchus is both bird and beast; it is also | ||
+ | an Australian animal, like Laylah herself, and was | ||
+ | doubtless chosen for this reason. | ||
+ | This chapter is an apology for the universe. | ||
+ | Paragraphs 1-3 repeat the familiar arguments | ||
+ | against reason in an epigrammatic form. | ||
+ | Paragraph 4 alludes to Liber Legis I, 52; " | ||
+ | implies space; denies homogeneity to space; but when | ||
+ | " | ||
+ | -we get the word " | ||
+ | Paragraphs 6 and 7 explain this further; it is | ||
+ | necessary to separate things, in order that they might | ||
+ | rejoice in uniting. | ||
+ | paraphrased in the penultimate paragraph. | ||
+ | In the last paragraph this doctrine is interpreted | ||
+ | in common life by a paraphrase of the familiar and | ||
+ | beautiful proverb, | ||
+ | fonder" | ||
+ | bitterness.) | ||
+ | (It is to be observed that the & | ||
+ | committed the syllogistic error quaternis terminorum, | ||
+ | in attempting to reduce the terms to three, staggers into | ||
+ | non distributia medii. | ||
+ | with Sir Wm. Hamilton' | ||
+ | tion (?)) of the predicate may be taken as intervening, | ||
+ | but to do so would render the humour of the chapter too | ||
+ | subtle for the average reader in Oshkosh for whom | ||
+ | this book is evidently written.) | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [125] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | Haggard am I, an hyaena; I hunger and howl. Men | ||
+ | think it laughter-ha! ha! ha! | ||
+ | There is nothing movable or immovable under the | ||
+ | firmament of heaven on which I may write the | ||
+ | symbols of the secret of my soul. | ||
+ | Yea, though I were lowered by ropes into the | ||
+ | utmost Caverns and Vaults of Eternity, there is | ||
+ | no word to express even the first whisper of the | ||
+ | Initiator in mine ear: yea, I abhor birth, ululating | ||
+ | lamentations of Night! | ||
+ | Agony! | ||
+ | song within be dumbness. | ||
+ | God! in what prism may any man analyse my Light? | ||
+ | Immortal are the adepts; and ye hey die-They | ||
+ | die of SHAME unspeakable; | ||
+ | Gods die, for SORROW. | ||
+ | Wilt thou endure unto THe End, O FRATER | ||
+ | PERDURABO, O Lamp in The Abyss? | ||
+ | the Keystone of the Royal Arch; yet the | ||
+ | Apprentices, | ||
+ | straws in their hair, and think they are Jesus | ||
+ | Christ! | ||
+ | O sublime tragedy and comedy of THE GREAT | ||
+ | WORK! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [126] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | Haggai, a notorious Hebrew prophet, is a Second | ||
+ | Officer in a Chapter of the Royal Arch Masons. | ||
+ | In this chapter the author, in a sort of raging | ||
+ | eloquence, bewails his impotence to express himself, | ||
+ | or to induce others to follow into the light. | ||
+ | graph 1 he explains the sardonic laughter, for which he | ||
+ | is justly celebrated, as being in reality the expression of | ||
+ | this feeling. | ||
+ | Paragraph 2 is a reference to the Obligation of an | ||
+ | Entered Apprentice Mason. | ||
+ | Paragraph 3 refers to the Ceremony of Exaltation | ||
+ | in Royal Arch Masonry. | ||
+ | discover the most formidable secret of that degree con- | ||
+ | cealed in the paragraph. | ||
+ | Paragraphs 4-6 express an anguish to which that of | ||
+ | Gethsemane and Golgotha must appear like whitlows. | ||
+ | In paragraph 7 the agony is broken up by the | ||
+ | sardonic or cynical laughter to which we have previously | ||
+ | alluded. | ||
+ | And the final paragraph, in the words of the noblest | ||
+ | simplicity, praises the Great Work; rejoices in its | ||
+ | sublimity, in the supreme Art, in the intensity of the | ||
+ | passion and ecstasy which it brings forth. | ||
+ | the words " | ||
+ | symbolical of Yoni and Lingam.) | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [127] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | There is no help-but hotch pot!-in the skies | ||
+ | When Astacus sees Crab and Lobster rise. | ||
+ | Man that has spine, and hopes of heaven-to-be, | ||
+ | Lacks the Amoeba' | ||
+ | What protoplasm gains in mobile mirth | ||
+ | Is loss of the stability of earth. | ||
+ | Matter and sense and mind have had their day: | ||
+ | Nature presents the bill, and all must pay. | ||
+ | If, as I am not, I were free to choose, | ||
+ | How Buddhahood would battle with The Booze! | ||
+ | My certainty that destiny is " | ||
+ | Rests on its picking me for Buddhahood. | ||
+ | Were I a drunkard, I should think I had | ||
+ | Good evidence that fate was " | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [128] | ||
+ | | ||
+ | |||
+ | The title is a euphemism for homo sapiens. | ||
+ | The crab and the lobster are higher types of crustacae | ||
+ | than the crayfish. | ||
+ | The chapter is a short essay in poetic form on | ||
+ | Determinism. | ||
+ | and Compensation, | ||
+ | sophers, hinting that their view of the universe depends | ||
+ | on their own circumstances. | ||
+ | does not agree with Doctor Pangloss, that "all is for | ||
+ | the best in the best of all possible worlds" | ||
+ | wealthiest of our Dukes complain to his cronies that | ||
+ | "Times is cruel ' | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [129] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE WOUND OF AMFORTAS(27) | ||
+ | |||
+ | The Self-mastery of Percivale became the Self- | ||
+ | masturbatery of the Bourgeois. | ||
+ | Vir-tus has become " | ||
+ | The qualities which have made a man, a race, a city, | ||
+ | a caste, must be thrown off; death is the penalty | ||
+ | of failure. | ||
+ | sacrifice that which is dearest to thee unto the | ||
+ | Infernal Gods! | ||
+ | The Englishman lives upon the excrement of his | ||
+ | forefathers. | ||
+ | All moral codes are worthless in themselves; yet in | ||
+ | every new code there is hope. Provided always that | ||
+ | the code is not changed because it is too hard, but | ||
+ | because if is fulfilled. | ||
+ | The dead dog floats with the stream; in puritan | ||
+ | France the best women are harlots; in vicious | ||
+ | England the best women are virgins. | ||
+ | If only the Archbishop of Canterbury were to go | ||
+ | make in the streets and beg his bread! | ||
+ | The new Christ, like the old, it the friend of publicans | ||
+ | and sinners; because his nature is ascetic. | ||
+ | O if everyman did No Matter What, provided that it | ||
+ | is the one thing that he will not and cannot do! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [130] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The title is explained in the note. | ||
+ | The number of the chapter may refer to the letter | ||
+ | Samech ({Samech}), Temperence, in the Tarot. | ||
+ | I paragraph 1 the real chastity of Percivale or | ||
+ | Parsifal, a chastity which did not prevent his dipping | ||
+ | the point of the sacred lance into the Holy Grail, is | ||
+ | distinguished from its misinterpr& | ||
+ | crapulence. | ||
+ | chosen, and carefully trained to fulfill the sacrament of | ||
+ | fatherhood; the shame of sex consists in the usurpation | ||
+ | of its function by the unworthy. | ||
+ | The word virtus means "the quality of manhood" | ||
+ | Modern " | ||
+ | In paragraph 3, however, we see the penalty of | ||
+ | conservatism; | ||
+ | In the penultimate paragraph the words "the new | ||
+ | Christ" | ||
+ | In the last paragraph we reach the sublime mystic | ||
+ | doctrine that whatever you have must be abandoned. | ||
+ | Obviously, that which differentiates your consciousness | ||
+ | from the absolute is part of the content of that con- | ||
+ | sciousness. | ||
+ | |||
+ | | ||
+ | (27) Chapter so called because Amfortas was | ||
+ | wounded by his own spear, the spear that had made him | ||
+ | king. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [131] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE FOOL'S KNOT | ||
+ | |||
+ | O Fool! begetter of both I and Naught, resolve this | ||
+ | Naught-y Knot! | ||
+ | O! Ay! this I and O-IO!-IAO! For I owe " | ||
+ | aye to Nibbana' | ||
+ | I Pay-Pe, the dissolution of the House of God- | ||
+ | for Pe comes after O-after Ayin that triumphs | ||
+ | over Aleph in Ain, that is O.(29) | ||
+ | OP-us, the Work! the OP-ening of THE EYE!(30) | ||
+ | Thou Naughty Boy, thou openest THE EYE OF | ||
+ | HORUS to the Blind Eye that weeps!(31) | ||
+ | right One in thine Uprightness rejoiceth-Death | ||
+ | to all Fishes!(32) | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [132] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | |||
+ | The number of this chapter refers to the Hebrew word Ain, the negative and | ||
+ | Ani, 61. | ||
+ | The " | ||
+ | letter | ||
+ | Aleph, 1. | ||
+ | A fool's knot is a kind of knot which, although it has the appearance of a | ||
+ | knot, is | ||
+ | not really a knot, but pulls out immediately. | ||
+ | The chapter consists of a series of complicated puns on 1 and I, with | ||
+ | regard to | ||
+ | their shape, sound, and that of the figures which resemble them in shape. | ||
+ | Paragraph 1 calls upon the Fool of the Tarot, who is to be referred to | ||
+ | Ipsissimus, | ||
+ | to the pure fool, Parsifal, to resolve this problem. | ||
+ | The word Naught-y suggests not only that the problem is sexual, but does | ||
+ | not really | ||
+ | exist. | ||
+ | Paragraph 2 shows the Lingam and Yoni as, in conjunction, | ||
+ | of | ||
+ | ecstasy (I)!), and of the complete symbol I A O. | ||
+ | The latter sentence of the paragraph unites the two meanings of giving up | ||
+ | the | ||
+ | Lingam to the Yoni, and the Ego to the Absolute. | ||
+ | This idea, "I must give up", I owe, is naturally completed by I pay, and | ||
+ | the | ||
+ | sound of the word " | ||
+ | represents the final dissolution in Shivadarshana. | ||
+ | I Hebrew, the letter which follows O is P; i therefore follows Ayin, the | ||
+ | Devil | ||
+ | of the Tarot. | ||
+ | AYIN is spelt O I N, thus replacing the A in A I N by an O, the letter of | ||
+ | the | ||
+ | Devil, or Pan, the phallic God. | ||
+ | Now AIN means nothing, and thus the replacing of AIN by OIN means the | ||
+ | completion of the Yoni by the Lingam, which is followed by the complete | ||
+ | dissolution | ||
+ | symbolised in the letter P. | ||
+ | These letters, O P, are then seen to be the root of opus, the Latin word | ||
+ | for " | ||
+ | in this case, the Great Work. And they also begin the word " | ||
+ | hindu | ||
+ | & | ||
+ | he opens | ||
+ | his eye the universe is destroyed-another synonym, therefore, for the | ||
+ | accomplish- | ||
+ | ment of the Great Work. But the " | ||
+ | is | ||
+ | himself the Mahalingam, which unites these symbolisms. | ||
+ | eye, | ||
+ | the ejaculation of the lingam, the destruction of the universe, the | ||
+ | accomplishment | ||
+ | of the Great Work-all these are different ways of saying the same thing. | ||
+ | The last paragraph is even obscurer to those unfamiliar to the masterpiece | ||
+ | referred to in the note; for the eye of Horus (see 777, Col. | ||
+ | XXI, line 10, "the blind | ||
+ | eye that weeps" is a poetic Arab name for the lingam). | ||
+ | The doctrine is that the Great Work should be accomplished without | ||
+ | creating new | ||
+ | Karma, for the letter N, the fish, the vesica, the womb, breeds, whereas the | ||
+ | Eye of | ||
+ | Horus does not; or, if it does so, breeds, according to Turkish tradition, a | ||
+ | Messiah. | ||
+ | Death implies resurrection; | ||
+ | in the | ||
+ | Tarot has a crosspiece. | ||
+ | expressed | ||
+ | in their injunction, "Fry your seeds" | ||
+ | Karma, | ||
+ | and create no new, so that, as it were, the books are balanced. | ||
+ | have | ||
+ | either a credit or a debit, you are still in account with the universe. | ||
+ | (N.B. Frater P. wrote this chapter-61-while dining with friends, in about | ||
+ | a | ||
+ | minute and a half. That is how you must know the Qabalah.) | ||
+ | |||
+ | | ||
+ | (28) Oe = Island, a common symbol of Nibbana. | ||
+ | (29) {Vau-Yod-Aleph} Ain. {Vau-Yod-Ayin} Ayin. | ||
+ | (30) Scil. of Shiva. | ||
+ | (31) Cf. Bagh-i-& | ||
+ | (32) Death = Νn, the letter before O, means a fish, a symbol of Christ, | ||
+ | and | ||
+ | also by its shape the Female principle | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [133] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | TWIG?(33) | ||
+ | |||
+ | The Phoenix hat a Bell for Sound; Fire for Sight; a | ||
+ | Knife for Touch; two cakes, one for taste, the other | ||
+ | for smell. | ||
+ | He standeth before the Altar of the Universe at | ||
+ | Sunset, when Earth-life fades. | ||
+ | He summons the Universe, and crowns it with | ||
+ | MAGICK Light to replace the sun of natura light. | ||
+ | He prays unto, and give homage to, Ro-Hoor_khuit; | ||
+ | to Him he then sacrifices. | ||
+ | The first cake, burnt, illustrates the profit drawn | ||
+ | from the scheme of incarnation. | ||
+ | The second, mixt with his life's blood and eaten, | ||
+ | illustrates the use of the lower life to feed the | ||
+ | higher life. | ||
+ | He then takes the Oath and becomes free-un | ||
+ | conditioned-the Absolute. | ||
+ | Burning up i the Flame of his Prayer, and born | ||
+ | again-the Phoenix! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [134] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is itself a comment on Chapter 44. | ||
+ | |||
+ | | ||
+ | (33) Twig? = dost thou understand? | ||
+ | takes twigs to kindle the fire in which it burns itself. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [135] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | I love LAYLAH. | ||
+ | I lack LAYLAH. | ||
+ | "Where is the Mystic Grace?" | ||
+ | Who told thee, man, that LAYLAH is not Nuit, nd | ||
+ | I hadit? | ||
+ | I destroyed all things; they are reborn in other | ||
+ | shapes. | ||
+ | I gave up all for One; this One hath given up its | ||
+ | Unity for all? | ||
+ | I wrenched DOG backwards to find GOD; now GOD | ||
+ | barks. | ||
+ | Think me not fallen because I love LAYLAH, and | ||
+ | lack LAYLAH. | ||
+ | I am the Master of the Universe; then give me a | ||
+ | heap of straw in a hut, and LAYLAH naked! | ||
+ | Amen. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [136] | ||
+ | | ||
+ | |||
+ | This chapter returns to the subject of Laylah, and | ||
+ | to the subject already discussed in Chapters 3 and | ||
+ | others, particularly Chapter 56. | ||
+ | The title of the chapter refers to the old rime: | ||
+ | " | ||
+ | Sold her bed to lie upon straw. | ||
+ | Was not she a silly slut | ||
+ | To sell her bed to lie upon dirt?" | ||
+ | The word " | ||
+ | upon this chapter. | ||
+ | opposite rules apply. | ||
+ | the many is again transmuted to the one. Solve et | ||
+ | Coagula. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [137] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | CONSTANCY | ||
+ | |||
+ | |||
+ | I was discussing oysters with a crony: | ||
+ | GOD sent to me the angels DIN and DONI. | ||
+ | "An man of spunk," | ||
+ | choose | ||
+ | To breakfast every day chez Laperouse." | ||
+ | " | ||
+ | Think of his woe if Laperouse were shut! | ||
+ | "I eat these oysters and I drink this wine | ||
+ | Solely to drown this misery of mine. | ||
+ | "Yet the last height of consolation' | ||
+ | Its pinnacle is-not to be consoled! | ||
+ | "And though I sleep with Janefore and Eleanor | ||
+ | "And Julian only fixes in my mind | ||
+ | Even before feels better than behind. | ||
+ | "You are Mercurial spirits-be so kind | ||
+ | As to enable me to raise the wind. | ||
+ | "Put me in LAYLAH' | ||
+ | Leaving me that. elsehow may do his worst." | ||
+ | DONI and DIN, perceiving me inspired, | ||
+ | Conceived their task was finished: they retired. | ||
+ | I turned upon my friend, and, breaking bounds, | ||
+ | Borrowed a trifle of two hundred pounds. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [138] | ||
+ | | ||
+ | |||
+ | |||
+ | 64 is the number of Mercury, and of the intelligence | ||
+ | of that planet, Din and Doni. | ||
+ | Th moral of the chapter is that one wants liberty, | ||
+ | although one may not wish to exercise it: the author | ||
+ | would readily die in defence of the right of Englishmen | ||
+ | to play football, or of his own right not to play it. | ||
+ | (As a great poet has expressed it: "We don't want to | ||
+ | fight, but, by Jingo, if we do-" | ||
+ | towards his attitude to complete freedom of speech and | ||
+ | action. | ||
+ | the spirits, and explains his own position. | ||
+ | mission was to rouse him to confidence and action. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [139] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | SIC TRANSEAT--- | ||
+ | |||
+ | "At last I lifted up mine eyes, and beheld; and lo! | ||
+ | the flames of violet were become as tendrils of | ||
+ | smoke, as mist at sunset upon the marsh-lands. | ||
+ | "And in the midst of the moon-pool of silver was the | ||
+ | Lily of white and gold. In this Lily is all honey, | ||
+ | in this Lily that flowereth at the midnight. | ||
+ | this Lily is all perfume; in this Lily is all music. | ||
+ | And it enfolded me." | ||
+ | Thus the disciples that watched found a dead body | ||
+ | kneeling at the altar. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [140] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | 65 is the number of Adonai, the Holy Guardian | ||
+ | Angel; see Liber 65, Liber Konx Om Pax, and other | ||
+ | works of reference. | ||
+ | The chapter title means, "So may he pass away", | ||
+ | the blank obviously referring to N E M O. | ||
+ | The " | ||
+ | leading from Tiphareth to Kether; the " | ||
+ | are the Ajna-Chakkra; | ||
+ | lotus of the Sahasrara. | ||
+ | connect with Laylah. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [141] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | THE PRAYING MANTIS | ||
+ | |||
+ | "Say: God is One." | ||
+ | and one times a night for one thousand nights and | ||
+ | one did I affirm th Unity. | ||
+ | But " | ||
+ | GOD are not worth even her blemishes. | ||
+ | Al-lah is only sixty-six; but LAYLAH counteth | ||
+ | up to Seven and Seventy.(35) | ||
+ | "Yea! the night shall cover all; the night shall cover | ||
+ | all." | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [142] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | |||
+ | 66 is the number of Allah; the praying mantis is a | ||
+ | blasphemous grasshopper which caricatures the pious. | ||
+ | The chapter recurs to the subject of Laylah, whom | ||
+ | the author exalts above God, in continuation of the | ||
+ | reasonings given in Chapter 56 and 63. She is | ||
+ | identified with N.O.X. by the quotation from Liber 65. | ||
+ | |||
+ | NOTES | ||
+ | (34) Laylah is the Arabic for night. | ||
+ | (35) A L L H = 1 + 30 + 30 + 5 = 66. L + A + I | ||
+ | + L + A + H = 77, which also gives MSL, the In- | ||
+ | fluence of the Highest, OZ, a goat, and so on. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [143] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | I have bought pleasant trifles, and thus soothed my | ||
+ | lack of LAYLAH. | ||
+ | Light is my wallet, and my heart is also light; and | ||
+ | yet I know that the clouds will gather closer for | ||
+ | the false clearing. | ||
+ | The mirage will fade; then will the desert be thirstier | ||
+ | than before. | ||
+ | O ye who dwell in the Dark Night of the Soul, beware | ||
+ | most of all of every herald of the Dawn! | ||
+ | O ye who dwell in the City of the Pyramids beneath | ||
+ | the Night of PAN, remember that ye shall see no | ||
+ | more light but That of the great fire that shall | ||
+ | consume your dust to ashes! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [144] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter means that it is useless to try to abandon | ||
+ | the Great Work. You may occupy yourself for a time | ||
+ | with other things, but you will only increase your | ||
+ | bitterness, rivet the chains still on your feet. | ||
+ | Paragraph 4 is a practical counsel to mystics not | ||
+ | to break up their dryness by relaxing their austerities. | ||
+ | The last paragraph will only be understood by | ||
+ | Masters of the Temple. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [145] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | MANNA | ||
+ | |||
+ | At four o' | ||
+ | mayer' | ||
+ | I have my choice of place and service; the babble of | ||
+ | the apes will begin soon enough. | ||
+ | "& | ||
+ | Sat no Elijah under the Juniper-tree, | ||
+ | Was not Mohammed forsaken in Mecca, and Jesus | ||
+ | in Gethsemane? | ||
+ | These prophets were sad at heart; but the chocolate | ||
+ | at Rumpelmayer' | ||
+ | is like Nepthys for perfection. | ||
+ | Also there are little meringues with cream and | ||
+ | chestnut-pulp, | ||
+ | Sail I not toward LAYLAH within seven days? | ||
+ | Be not sad at heart, O prophet; the babble of the | ||
+ | apes will presently begin. | ||
+ | Nay, rejoice exceedingly; | ||
+ | the apes the Silence of the Night. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [146] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | |||
+ | Manna was a heavenly cake which, in the legend, fed | ||
+ | the Children of Israel in the Wilderness. | ||
+ | The author laments the failure of his mission to | ||
+ | mankind, but comforts himself with the following | ||
+ | reflections: | ||
+ | (1) He enjoys the advantages of solitude. | ||
+ | prophets encountered similar difficulties in con- | ||
+ | vincing their hearers. | ||
+ | that obtainable at Rumpelmayer' | ||
+ | I am going to rejoin Laylah. | ||
+ | succeed soon enough. | ||
+ | nuisance of success. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [147] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE WAY TO SUCCEED-AND THE WAY TO | ||
+ | SUCK EGGS! | ||
+ | |||
+ | This is the Holy Hexagram. | ||
+ | Plunge from the height, O God, and interlock with | ||
+ | Man! | ||
+ | Plunge from the height, O Man, and interlock with | ||
+ | Beast! | ||
+ | The Red Triangle is the descending tongue of grace; | ||
+ | the Blue Triangle is the ascending tongue of | ||
+ | prayer | ||
+ | This Interchange, | ||
+ | Word of Double Power-ABRAHADABRA!-is | ||
+ | the sign of the GREAT WORK, for the GREAT | ||
+ | WORK is accomplished in Silence. | ||
+ | not that Word equal to Cheth, that is Cancer. | ||
+ | whose Sigil is {Cancer}? | ||
+ | This Work also eats up itself, accomplishes its own | ||
+ | end, nourishes the worker, leaves no seed, is per- | ||
+ | fect in itself. | ||
+ | Little children, love one another! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [148] | ||
+ | | ||
+ | |||
+ | |||
+ | The key to the understanding of this chapter is given | ||
+ | in the number and the title, the former being intelligible | ||
+ | to all nations who employ Arabic figures, the latter | ||
+ | only to experts in deciphering English puns. | ||
+ | The chapter alludes to Levi's drawing of the Hexa- | ||
+ | gram, and is a criticism of, or improvement upon, it. | ||
+ | In the ordinary Hexagram, the Hexagram of nature, | ||
+ | the red triangle is upwards, like fire, and the blue | ||
+ | triangle downwards, like water. | ||
+ | gram this is revered; the descending red triangle is | ||
+ | that of Horus, a sign specially revealed by him per- | ||
+ | sonally, at the Equinox of the Gods. (It is the flame | ||
+ | desending upon the altar, and licking up the burnt | ||
+ | offering.) | ||
+ | since blue is the colour of devotion, and the triangle, | ||
+ | kinetically considered, is the symbol of directed force. | ||
+ | In the first three paragraphs this formation of the | ||
+ | hexagram is explained; it is a symbol of the mutual | ||
+ | separation of the Holy Guardian Angel and his client. | ||
+ | In the interlocking is indicated the completion of the | ||
+ | work. | ||
+ | Paragraph 4 explains in slightly different language | ||
+ | what we have said above, and the scriptural image of | ||
+ | tongues is introduced. | ||
+ | In paragraph 5 the symbolism of tongues is further | ||
+ | developed. | ||
+ | interlocked word. We assume that the reader has | ||
+ | thoroughly studied that word in Liber D., etc. The | ||
+ | sigil of Cancer links up this symbolism with the number | ||
+ | of the chapter. | ||
+ | The remaining paragraphs continue the Gallic | ||
+ | symbolism. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [149] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | FRATER PERDURABO is of the Sanhedrim of the | ||
+ | Sabbath, say men; He is the Old Goat himself, | ||
+ | say women. | ||
+ | Therefore do all adore him; the more they detest | ||
+ | him the more do they adore him. | ||
+ | Ay! let us offer the Obscene Kiss! | ||
+ | Let us seek the Mystery of the Gnarled Oak, and of | ||
+ | the Glacier Torrent! | ||
+ | To Him let us offer our babes! | ||
+ | us dance in the mad moonlight! | ||
+ | But FRATER PERDURABO is nothing but AN | ||
+ | EYE; what eye none knoweth. | ||
+ | Skip, witches! | ||
+ | for the play of the Universe is the pleasure of | ||
+ | FRATER PERDURABO. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [150] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | 70 is the number of the letter Ain, the Devil in the | ||
+ | Tarot. | ||
+ | The chapter refers to the Witches' | ||
+ | description of which in Payne Knight should be | ||
+ | carefully read before studying this chapter. | ||
+ | allusions will then be obvious, save those which we | ||
+ | proceed to not. | ||
+ | Sanhedrim, a body of 70 men. An Eye. Eye in | ||
+ | Hebrew is Oin, 70. | ||
+ | The " | ||
+ | to the confessions made by many witches. | ||
+ | I paragraph 7 is seen the meaning of the chapter; | ||
+ | the obscene and distorted character of much of the | ||
+ | universe is a whim of the Creator. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [151] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | KING'S COLLEGE CHAPEL | ||
+ | |||
+ | For mind and body alike there is no purgative like | ||
+ | Pranayama, no purgative like Pranayama. | ||
+ | For mind, for body, for mind and body alike- | ||
+ | alike!-there is, there is, there is no purgative, no | ||
+ | purgative like Pranayama-Pranayama!-Prana- | ||
+ | yama! yea, for mind and body alike there is no | ||
+ | purgative, no purgative, no purgative (for mind | ||
+ | and body alike!) no purgative, purgative, purgative | ||
+ | like Pranayama, no purgative for mind and body | ||
+ | alike, like Pranayama, like Pranayama, like | ||
+ | Prana-Prana-Prana-Prana-pranayama! | ||
+ | -Pranayama! | ||
+ | AMEN. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [152] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | This chapter is a plain statement of fact, put in | ||
+ | anthem form for emphasis. | ||
+ | The title is due to the circumstances of the early | ||
+ | piety of Frater Perdurabo, who was frequently | ||
+ | refreshed by hearing the anthems in this chief of the | ||
+ | architectural glories of his Alma Mater. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [153] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Shemhamphorash! all hail, divided Name! | ||
+ | Utter it once, O mortal over-rash!- | ||
+ | The Universe were swallowed up in flame | ||
+ | -Shemhamphorash! | ||
+ | |||
+ | Nor deem that thou amid the cosmic crash | ||
+ | May find one thing of all those things the same! | ||
+ | The world has gone to everlasting smash. | ||
+ | |||
+ | No! if creation did possess an aim | ||
+ | (It does not.) it were only to make hash | ||
+ | Of that most " | ||
+ | Shemhamphorash! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [154] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | There are three consecutive verses in the Pentateuch, | ||
+ | each containing 72 letters. | ||
+ | each other, the middle verse bring reversed, i.e. as in | ||
+ | English, and divisions are then made vertically, 72 | ||
+ | tri-lateral names are formed, the sum of which is | ||
+ | Tetragrammaton; | ||
+ | Divided Name; by adding the terminations Yod He, | ||
+ | or Aleph Lamed, the names of 72 Angels are formed. | ||
+ | The Hebrews say that by uttering this Name the | ||
+ | universe is destroyed. | ||
+ | as that of the Hindus, that the effective utterance of | ||
+ | the name of Shiva would cause him to awake, and so | ||
+ | destroy the universe. | ||
+ | In Egyptian and Gnostic magick we meet with pylons | ||
+ | and Aeons, which only open on the utterance of the | ||
+ | proper word. | ||
+ | In Mohammedan magick we find a similar doctrine | ||
+ | and practice; and the whole of Mantra-Yoga has been | ||
+ | built on this foundation. | ||
+ | Thoth, the god of Magick, is the inventor of speech; | ||
+ | Christ is the Logos. | ||
+ | Lines 1-4 are now clear. | ||
+ | In lines 507 we see the results of Shivadarshana. | ||
+ | not imagine that any single ides, however high, however | ||
+ | holy (or even however insignificant!!), | ||
+ | destruction. | ||
+ | The logician my say, "But white exists, and if | ||
+ | white is destroyed, it leaves black; yet black exists. | ||
+ | that in that case at least one known phenomenon of this | ||
+ | universe is identical with one of that." | ||
+ | The logician and his logic are alike involved in the | ||
+ | universal ruin. | ||
+ | Lines 8-11 indicate that this fact is the essential one | ||
+ | about Shivadarshana. | ||
+ | The title is explained by the intentionally blasphemous | ||
+ | puns and colloquialisms of lines 9 and 10. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [155] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | |||
+ | THE DEVIL, THE OSTRICH, AND THE | ||
+ | | ||
+ | |||
+ | Death rides the Camel of Initiation.(36) | ||
+ | Thou humped and stiff-necked one that groanest in | ||
+ | Thine Asana, death will relieve thee! | ||
+ | Bite not, Zelator dear, but bide! Ten days didst | ||
+ | thou go with water in thy belly? | ||
+ | twenty more with a firebrand at thy rump! | ||
+ | Ay! all thine aspiration is to death: death is the | ||
+ | crown of all thine aspiration. | ||
+ | silver moonlight; it shall hang thee, O Holy One, | ||
+ | O Hanged Man, O Camel-Termination-of-the- | ||
+ | third-person-plural for thy multiplicity, | ||
+ | Ghost of a Non-Ego! | ||
+ | Could but Thy mother behold thee, O thou UNT!(37) | ||
+ | The Infinite Snake Ananta that surroundeth the | ||
+ | Universe is but the Coffin-Worm! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [156] | ||
+ | | ||
+ | |||
+ | |||
+ | The Hebrew letter Gimel adds up to 73; it means a camel. | ||
+ | The title of the chapter is borrowed from the well-known lines of Rudyard | ||
+ | Kipling: | ||
+ | " | ||
+ | ' | ||
+ | Paragraph 1 may imply a dogma of death as the highest form of initiation. | ||
+ | Initiation is not a simple phenomenon. | ||
+ | on several planes, and is not always conferred on all of these | ||
+ | simultaneously. | ||
+ | Intellectual and moral perception of truth often, one might almost say | ||
+ | usually, | ||
+ | precedes spiritual and physical perceptions. | ||
+ | initiation unless it were complete on every plane. | ||
+ | Paragraph 2 will easily be understood by those who have practised | ||
+ | Asana. | ||
+ | one conceives the half-humorous attitude of the expert towards the beginner. | ||
+ | Paragraph 3 is a comment in the same tone of rough good nature. | ||
+ | Zelator is used because the Zelator of the A& | ||
+ | examination | ||
+ | in Asana before he becomes eligible for the grade of Practicus. | ||
+ | days | ||
+ | allude merely to the tradition about the camel, that he can go ten days | ||
+ | without | ||
+ | water. | ||
+ | Paragraph 4 identifies the reward of initiation with death; it is a | ||
+ | cessation | ||
+ | of all that we call life, in a way in which what we call death is not. 3, | ||
+ | silver, | ||
+ | and the moon, are all correspondences of Gimel, the letter of the | ||
+ | Aspiration, | ||
+ | since gimel is the Path that leads from the Microcosm in tiphareth to the | ||
+ | Macrocosm in Kether. | ||
+ | The epithets are far too complex to explain in d& | ||
+ | Hanged | ||
+ | man, has a close affinity for Gimel, as will be seen by a study of Liber | ||
+ | 418. | ||
+ | Unt is not only the Hindustani for Camel, but the usual termination of the | ||
+ | third person plural of the present tense of Latin words of the Third and | ||
+ | Fourth Conjugations. | ||
+ | The reason for thus addresing the reader is that he has now transcended | ||
+ | the | ||
+ | first and second persons. | ||
+ | FitzGerald' | ||
+ | "Some talk there was of Thee and Me | ||
+ | There seemed; and then no more of Thee and Me." | ||
+ | The third person plural must be used, because he has now perceived himself | ||
+ | to be a bundle of impressions. | ||
+ | when | ||
+ | he is actually crossing the Abyss; the student must consult the account of | ||
+ | this | ||
+ | given in "The Temple of Solomon the King" | ||
+ | The Ego is but "the ghost of a non-Ego", | ||
+ | non-Ego becomes sensible. | ||
+ | Paragraph 5 expresses the wish of the Guru that his Chela may attain | ||
+ | safely | ||
+ | to binah, the Mother. | ||
+ | Paragraph 6 whispers the ultimate and dread secret of initiation into his | ||
+ | ear, identifying the vastness of the Most Holy with the obscene worm that | ||
+ | gnaws the bowels of the damned. | ||
+ | |||
+ | NOTES | ||
+ | (36) Death is said by the Arabs to ride a Camel. | ||
+ | means a Camel) leads from Tiphareth to Kether, and its Tarot trump | ||
+ | is the "High Priestess" | ||
+ | (37) UNT, Hindustani for Camel. | ||
+ | on thee with favour. | ||
+ | |||
+ | [157] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | CAREY STREET | ||
+ | |||
+ | When NOTHING became conscious, it made a bad | ||
+ | bargain. | ||
+ | This consciousness acquired individuality: | ||
+ | bargain. | ||
+ | The Hermit asked for love; worst bargain of all. | ||
+ | And now he has let his girl go to America, to have | ||
+ | " | ||
+ | Is there no end to this immortal ache | ||
+ | That haunts me, haunts me sleeping or awake? | ||
+ | If I had Laylah, how could I forget | ||
+ | Time, Age, and Death? | ||
+ | Were I an hermit, how could I support | ||
+ | The pain of consciousness, | ||
+ | Even were I THAT, there still were one sore | ||
+ | spot- | ||
+ | The Abyss that stretches between THAT and | ||
+ | NOT. | ||
+ | Still, the first step is not so far away:- | ||
+ | The Maur& | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [158] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | Carey Street is well known to prosperous Hebrews | ||
+ | and poor Englishmen as the seat of the Bankruptcy | ||
+ | buildings. | ||
+ | Paragraphs 1-4 are in prose, the downward course, | ||
+ | and the rest of the chapter in poetry, the upward. | ||
+ | The first part shows the fall from Nought in four | ||
+ | steps; the second part, the return. | ||
+ | The d& | ||
+ | indicated in various chapters. | ||
+ | mysticism. | ||
+ | Step 1, the illumination of Ain as Ain Soph Aour; | ||
+ | step 2, the concentration of Ain Soph Aour in Kether; | ||
+ | step 3, duality and the rest of it down to Malkuth; | ||
+ | step 4, the stooping of Malkuth to the Qliphoth, and | ||
+ | the consequent ruin of the Tree of Life. | ||
+ | Part 2 show the impossibility of stopping on the | ||
+ | Path of Adeptship. | ||
+ | The final couplet represents the first step upon the | ||
+ | Path, which must be taken even although the aspirant | ||
+ | is intellectually aware of the severity of the whole | ||
+ | course. | ||
+ | material for the moral idea, before that, in its turn, is | ||
+ | surrendered to the spiritual. | ||
+ | Laylah-chapter, | ||
+ | woman. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [159] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | PLOVERS' | ||
+ | |||
+ | Spring beans and strawberries are in: goodbye to the | ||
+ | oyster! | ||
+ | If I really knew what I wanted, I could give up | ||
+ | Laylah, or give up everything for Laylah. | ||
+ | But "what I want" varies from hour to hour. | ||
+ | This wavering is the root of all compromise, and so | ||
+ | of all good sense. | ||
+ | With this gift a man can spend his seventy years in | ||
+ | peace. | ||
+ | Now is this well or ill? | ||
+ | Emphasise gift, then man, then spend, then seventy | ||
+ | years, and lastly peace, and change the intonations | ||
+ | --each time reverse the meaning! | ||
+ | I would show you how; but-for the moment! | ||
+ | --I prefer to think of Laylah. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [160] | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | The title is explained in the note, but also alludes to | ||
+ | paragraph 1, the plover' | ||
+ | with the early strawberry. | ||
+ | Paragraph 1 means that change of diet is pleasant; | ||
+ | vanity pleases the mind; the idee fixe is a sign of | ||
+ | insanity. | ||
+ | Paragraph 6 puts the question, "Then is sanity or | ||
+ | insanity desirable?" | ||
+ | which clings around it, but perhaps the ivy keeps it | ||
+ | from going mad. | ||
+ | The next paragraph expresses the difficulty of | ||
+ | expressing thought in writing; it seems, on the face of | ||
+ | it, absurd that the the text of this book, composed as it is | ||
+ | of English, simple, austere, and terse, should need a | ||
+ | commentary. | ||
+ | and myself would hardly have been at the pains to | ||
+ | write one. It was in response to the impassioned appeals | ||
+ | of many most worthy brethren that we have yielded up | ||
+ | that time and thought which gold could not have bought, | ||
+ | or torture wrested. | ||
+ | Laylah is again the mere woman. | ||
+ | |||
+ | | ||
+ | (38) These eggs being speckled, resemble the wander- | ||
+ | ing mind referred to. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [161] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | No. | ||
+ | Yes. | ||
+ | Perhaps. | ||
+ | O! | ||
+ | Eye. | ||
+ | I. | ||
+ | Hi! | ||
+ | Y? | ||
+ | No. | ||
+ | Hail! all ye spavined, gelded, hamstrung horses! | ||
+ | Ye shall surpass the planets in their courses. | ||
+ | How? Not by speed, nor strength, nor power to stay, | ||
+ | But by the Silence that succeeds the Neigh! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [162] | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | Phaeton was the charioteer of the Sun in Greek mythology. | ||
+ | At first sight the prose of this chapter, though there is only one | ||
+ | dissyllable in | ||
+ | it, appears difficult; but this is a glamour cast by Maya. It is a | ||
+ | compendium of | ||
+ | various systems of & | ||
+ | No = Nihilism; Yes = Monism, and all dogmatic systems; Perhaps = | ||
+ | Pyrrhonism and Agnosticism; | ||
+ | 0.) | ||
+ | Eye = Phallicism (cf. Chapters 61 and 70); I = Fichteanism; | ||
+ | Transcendentalism; | ||
+ | all these and closes the argument. | ||
+ | But all this is a glamour cast by Maya; the real meaning of the prose of | ||
+ | this | ||
+ | chapter is as follows: | ||
+ | No, some negative conception beyond the IT spoken of in Chapters 31, 49 | ||
+ | and elsewhere. | ||
+ | Yes, IT. | ||
+ | Perhaps, the flux of these. | ||
+ | O!, Nuit, Hadit, Ra-Hoor-Khuit. | ||
+ | Eye, the phallus in Kether. | ||
+ | I, the Ego in Chokmah. | ||
+ | Hi!, Binah, the feminine principle fertilised. | ||
+ | Y?, the Abyss. | ||
+ | No, the refusal to be content with any of this. | ||
+ | But all this is again only a glamour of Maya, as previously observed in | ||
+ | the | ||
+ | text (Chapter 31). All this is true and false, and it is true and false to | ||
+ | say that | ||
+ | it is true and false. | ||
+ | The prose of this chapter combines, and of course denies, all these | ||
+ | meanings, | ||
+ | both singly and in combination. | ||
+ | point where it explodes with violence and for ever. | ||
+ | A study of this chapter is probably the best short cut to Nibbana. | ||
+ | The thought of the Master in this chapter is exceptionally lofty. | ||
+ | That this is the true meaning, or rather use, of this chapter, is evident | ||
+ | from | ||
+ | the poetry. | ||
+ | The master salutes the previous paragraphs as horses which, although in | ||
+ | themselves worthless animals (without the epithets), carry the Charioteer in | ||
+ | the | ||
+ | path of the Sun. The question, How? Not by their own virtues, but by the | ||
+ | silence which results when they are all done with. | ||
+ | The word " | ||
+ | conception | ||
+ | already postulated as beyond IT. The suggestion is, that there may be | ||
+ | something | ||
+ | falsely described as silence, to represent absence-of-conception beyond that | ||
+ | negative. | ||
+ | It would be possible to interpret this chapter in its entirety as an | ||
+ | adverse | ||
+ | criticism of m& | ||
+ | sub- | ||
+ | meanings. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | [163] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE SUBLIME AND SUPREME SEPTENARY | ||
+ | IN ITS MATURE MAGICAL MANIFESTATION | ||
+ | THROUGH MATTER: | ||
+ | HE-GOAT ALSO | ||
+ | |||
+ | Laylah. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [164] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | 77 is the number of Laylah (LAILAH), to whom this | ||
+ | chapter is wholly devoted. | ||
+ | The first section of the title is an analysis of 77 considered | ||
+ | as a mystic number. | ||
+ | 7, the septenary; 11, the magical number; 77, the mani- | ||
+ | festation, therefore, of the septenary. | ||
+ | Through matter, because 77 is written in Hebrew Ayin | ||
+ | Zayin (OZ), and He-Goat, the symbol of matter, Capri- | ||
+ | cornus, the Devil of the Tarot; which is the picture of the | ||
+ | Goat of the Sabbath upon an altar, worshipped by two other | ||
+ | devils, male and female. | ||
+ | As will be seen from the photogravure inserted opposite | ||
+ | this chapter, Laylah is herself not devoid of " | ||
+ | as she habitually remarks, on being addressed in terms | ||
+ | implying this fact, " | ||
+ | like me." | ||
+ | The text need no comment, but it will be noticed that it is | ||
+ | much shorter that the title. | ||
+ | Now, the Devil of the Tarot is the Phallus, the Redeemer, | ||
+ | and Laylah symbolises redemption to Frater P. The | ||
+ | number 77, also, interpreted as in the title, is the redeeming | ||
+ | force. | ||
+ | The ratio of the length of title and text is the key to the | ||
+ | true meaning of the chapter, which is, that Redemption is | ||
+ | really as simple as it appears complex, that the names (or | ||
+ | veils) of truth are obscure and many, the Truth itself plain | ||
+ | and one; but that the latter must be reached through the | ||
+ | former. | ||
+ | needed, for the Book of Lies itself. | ||
+ | words, it explains the necessity of the book, and offers it- | ||
+ | humbly, yet with confidence-as a means of redemption to | ||
+ | the world of sorrowing men. | ||
+ | The name with full-stops: L.A.Y.L.A.H. represents an | ||
+ | analysis of the name, which may be left to the ingenium of | ||
+ | the advanced practicus (see photograph). | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [165] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | WHEEL AND--WOA! | ||
+ | |||
+ | The Great Wheel of Samsara. | ||
+ | The Wheel of the Law [Dhamma]. | ||
+ | The Wheel of the Taro. | ||
+ | The Wheel of the Heavens. | ||
+ | The Wheel of Life. | ||
+ | All these Wheels be one; yet of all these the Wheel of | ||
+ | the TARO alone avails thee consciously. | ||
+ | Meditate long and broad and deep, O man, upon this | ||
+ | Wheel, revolving it in thy mind | ||
+ | Be this thy task, to see how each card springs | ||
+ | necessarily from each other card, even in due order | ||
+ | from The Fool unto The Ten of Coins. | ||
+ | Then, when thou know' | ||
+ | complete, mayst thou perceive THAT Will which | ||
+ | moved it first. | ||
+ | And lo! thou art past through the Abyss. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [166] | ||
+ | COMMENTARY (<font | ||
+ | size=+1>< | ||
+ | |||
+ | The number of this chapter is that of the cards of the | ||
+ | Tarot. | ||
+ | The title of this chapter is a pun of the phrase " | ||
+ | and woe" | ||
+ | conventional mystic one; stop thought at its source! | ||
+ | Five wheels are mentioned in this chapter; all but | ||
+ | the third refer to the universe as it is; but the wheel of | ||
+ | the Tarot is not only this, but represents equally the | ||
+ | Magickal Path. | ||
+ | This practice is therefore given by Frater P. to | ||
+ | his pupils; to treat the sequence of the cards as cause | ||
+ | and effect. | ||
+ | causes. Success in this practice qualifies for the grade | ||
+ | of Master of the Temple. | ||
+ | In the penultimate paragraph the bracketed passage | ||
+ | reminds the student that the universe is not to be | ||
+ | contemplated as a phenomenon in time. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [167] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE BAL BULLIER | ||
+ | |||
+ | Some men look into their minds into their memories, | ||
+ | and find naught but pain and shame. | ||
+ | These then proclaim "The Good Law" unto mankind. | ||
+ | These preach renunciation, | ||
+ | every form. | ||
+ | These whine eternally. | ||
+ | Smug, toothless, hairless Coote, debauch-emascu- | ||
+ | lated Buddha, come ye to me? I have a trick to | ||
+ | make you silent, O ye foamers-at-the mouth! | ||
+ | Nature is wasteful; but how well She can afford it! | ||
+ | Nature is false; but I'm a bit of a liar myself. | ||
+ | Nature is useless; but then how beautiful she is! | ||
+ | Nature is cruel; but I too am a Sadist. | ||
+ | The game goes on; it y have been too rough for | ||
+ | Buddha, but it's (if anything) too dull for me. | ||
+ | Viens, beau negre! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [168] | ||
+ | | ||
+ | size=+1>< | ||
+ | |||
+ | the title of this chapter is a place frequented by | ||
+ | Frater P. until it became respectable. | ||
+ | The chapter is a rebuke to those who can see nothing | ||
+ | but sorrow and evil in the universe. | ||
+ | The Buddhist analysis may be true, but not for | ||
+ | men of courage. | ||
+ | its ecstasies are only transitory, is contemptible. | ||
+ | Paragraph 5. Coote is a blackmailer exposed by The | ||
+ | Equinox. | ||
+ | his famous epigram about the youth who turned his | ||
+ | uncle into Harpocrates. | ||
+ | to insist upon his virility, since otherwise he could not | ||
+ | employ the remedy. | ||
+ | The last paragraph is a quotation. | ||
+ | Negroes are much sought after by sportive ladies. | ||
+ | is therefore presumably intended to assert that even | ||
+ | women may enjoy life sometimes. | ||
+ | The word " | ||
+ | de Sade, who gave supreme literary form to the joys of | ||
+ | torture. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [169] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | BLACKTHORN | ||
+ | |||
+ | The price of existence is eternal warfare.(39) | ||
+ | Speaking as an Irishman, I prefer to say: The price | ||
+ | of eternal warfare is existence. | ||
+ | And melancholy as existence is, the price is well | ||
+ | worth paying. | ||
+ | Is there is a Government? | ||
+ | with the bloody English! | ||
+ | "O FRATER PERDURABO, how unworthy are | ||
+ | these sentiments!" | ||
+ | " | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [170] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | Frater P. continues the subject of Chapter 79. | ||
+ | He pictures himself as a vigorous, reckless, almost | ||
+ | rowdy Irishman. | ||
+ | salvation in unmanly self-abnegation; | ||
+ | Jesus, to slink through existence to the tune of the Dead | ||
+ | March in Saul; no Cremerian Callus to warehouse his | ||
+ | semen in his cerebellum. | ||
+ | "New Thoughtist" | ||
+ | Paragraph 2 gives the very struggle for life, which | ||
+ | disheartens modern thinkers, as a good enough reason for | ||
+ | existence. | ||
+ | Paragraph 5 expresses the sorrow of the modern | ||
+ | thinker, and paragraph 6 Frater P.'s suggestion for | ||
+ | replying to such critics. | ||
+ | |||
+ | NOTES | ||
+ | (39) ISVD, the foundation scil. of the universe = 80 | ||
+ | = P, the letter of Mars. | ||
+ | (40) P also means "a mouth" | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [171] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | LOUIS LINGG | ||
+ | |||
+ | I am not an Anarchist in your sense of the word: | ||
+ | your brain is too dense for any known explosive | ||
+ | to affect it. | ||
+ | I am not an Anarchist in your sense of the word: | ||
+ | fancy a Policeman let loose on Society! | ||
+ | While there exists the burgess, the hunting man, or | ||
+ | any man with ideals less than Shelley' | ||
+ | discipline less than Loyola' | ||
+ | who falls far short of MYSELF-I am against | ||
+ | Anarchy, and for Feudalism. | ||
+ | Every " | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [172] | ||
+ | | ||
+ | |||
+ | |||
+ | The title is the name of one of the authors of the affair | ||
+ | of the Haymarket, in Chicago. | ||
+ | "The Bomb" | ||
+ | Paragraph 1 explains that Frater P. sees no use | ||
+ | in the employment of such feeble implements as bombs. | ||
+ | Nor does he agree even with the aim of the Anarchists, | ||
+ | since, although Anarchists themselves need no restraint, | ||
+ | not daring to drink cocoa, lest their animal passions | ||
+ | should be aroused (as Olivia Haddon assures my | ||
+ | favourite Chela), yet policemen, unless most severely | ||
+ | repressed, would be dangerous wild beasts. | ||
+ | The last bitter sentence is terribly true; the personal | ||
+ | liberty of the Russian is immensely greater than that of | ||
+ | the Englishman. | ||
+ | securing freedom have turned nine out of ten English- | ||
+ | men into Slaves, obliged to report their movements to | ||
+ | the government like so many ticket-of-leave men. | ||
+ | The only solution of the Social Problem is the | ||
+ | creation of a class with the true patriarchal feeling, | ||
+ | and the manners and obligations of chivalry. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [173] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | | ||
+ | |||
+ | Witch-moon that turnest all the streams to blood, | ||
+ | I take this hazel rod, and stand, and swear | ||
+ | An Oath-beneath this blasted Oak and bare | ||
+ | That rears its agony above the flood | ||
+ | Whose swollen mask mutters an atheist' | ||
+ | What oath may stand the shock of this offence: | ||
+ | "There is no I, no joy, no permanence"? | ||
+ | |||
+ | Witch-moon of blood, eternal ebb and flow | ||
+ | Of baffled birth, in death still lurks a change; | ||
+ | And all the leopards in thy woods that range, | ||
+ | And all the vampires in their boughs that glow, | ||
+ | Brooding on blood-thirst-these are not so strange | ||
+ | And fierce as life's unfailing shower. | ||
+ | Yet time rebears them through eternity. | ||
+ | |||
+ | Hear then the Oath, with-moon of blood, dread | ||
+ | moon! | ||
+ | Let all thy stryges and thy ghouls attend! | ||
+ | He that endureth even to the end | ||
+ | Hath sworn that Love's own corpse shall lie at noon | ||
+ | Even in the coffin of its hopes, and spend | ||
+ | All the force won by its old woe and stress | ||
+ | In now annihilating Nothingness. | ||
+ | |||
+ | This chapter is called Imperial Purple | ||
+ | and A Punic War. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [174] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The title of this chapter, and its two sub-titles, will | ||
+ | need no explanation to readers of the classics. | ||
+ | This poem, inspired by Jane Cheron, is as simple | ||
+ | as it is elegant. | ||
+ | The poet asks, in verse 1, How can we baffle the | ||
+ | Three Characteristics? | ||
+ | In verse 2, he shows that death is impotent against | ||
+ | life. | ||
+ | In verse 3, he offers the solution of the problem. | ||
+ | This is, to accept things as they are, and to turn | ||
+ | your whole energies to progress on the Path. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [175] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE BLIND PIG(41) | ||
+ | |||
+ | Many becomes two: two one: one Naught. | ||
+ | comes to Naught? | ||
+ | What! shall the Adept give up his hermit life, and | ||
+ | go eating and drinking and making merry? | ||
+ | Ay! shall he not do so? he knows that the Many is | ||
+ | Naught; and having Naught, enjoys that Naught | ||
+ | even in the enjoyment of the Many. | ||
+ | For when Naught becomes Absolute Naught, it | ||
+ | becomes again the Many. | ||
+ | Any this Many and this Naught are identical; they | ||
+ | are not correlatives or phases of some one deeper | ||
+ | Absence-of-Idea; | ||
+ | further Light: they are They! | ||
+ | Beware, O my brother, lest this chapter deceive | ||
+ | thee! | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [176] | ||
+ | | ||
+ | |||
+ | The title of this chapter refers to the Greek number, | ||
+ | PG being " | ||
+ | The subject of the chapter is consequently corollary | ||
+ | to Chapters 79 and 80, the ethics of Adept life. | ||
+ | The Adept has performed the Great Work; He has | ||
+ | reduced the Many to Naught; as a consequence, | ||
+ | is no longer afraid of the Many. | ||
+ | Paragraph 4. See berashith. | ||
+ | Paragraph 5, takes things for what they are; give up | ||
+ | interpreting, | ||
+ | lucid and radiant as Frater P. | ||
+ | Paragraph 6. With this commentary there is no | ||
+ | further danger, and the warning becomes superfluous. | ||
+ | |||
+ | | ||
+ | (41) <font size=+1>< | ||
+ | = Blind Pig. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [177] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE AVALANCHE | ||
+ | |||
+ | Only through devotion to FRATER PERDURABO | ||
+ | may this book be understood. | ||
+ | How much more then should He devote Himself to | ||
+ | AIWASS for the understanding of the Holy Books | ||
+ | of <font | ||
+ | size=+1>< | ||
+ | Yet must he labour underground eternally. | ||
+ | sun is not for him, nor the flowers, nor the voices | ||
+ | of the birds; for he is past beyond all these. | ||
+ | verily, oft-times he is weary; it is well that the | ||
+ | weight of the Karma of the Infinite is with him. | ||
+ | Therefore is he glad indeed; for he hath finished THE | ||
+ | WORK; and the reward concerneth him no whit. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [178] | ||
+ | | ||
+ | |||
+ | |||
+ | This continues the subject of Chapter 83. | ||
+ | The title refers to the mental attitude of the Master; | ||
+ | the avalanche does not fall because it is tired of staying | ||
+ | on the mountain, or in order to crush the Alps below it, | ||
+ | or because that it feels that it needs exercise. | ||
+ | unconscious, | ||
+ | Cohesion and of Gravitation. | ||
+ | It is the sun and its own weight that loosen it. | ||
+ | So, also, is the act of the Adept. | ||
+ | lust of result, he is every way perfect." | ||
+ | Paragraphs 1 and 2. By " | ||
+ | durabo" | ||
+ | reference and imaginative sympathy. | ||
+ | in tune with his; identify yourself with him as he | ||
+ | seeks to identify himself with the Intelligence that | ||
+ | communicates to him the Holy Books. | ||
+ | Paragraphs 3 and 4 are explained by the 13th | ||
+ | Aethyr and the title. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [179] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | BORBORYGMI | ||
+ | |||
+ | I distrust any thoughts uttered by any man whose | ||
+ | health is not robust. | ||
+ | All other thoughts are surely symptoms of disease. | ||
+ | Yet these are often beautiful, and may be true within | ||
+ | the circle of the conditions of the speaker. | ||
+ | Any yet again! | ||
+ | of men express no thoughts at all? They eat, drink, | ||
+ | sleep, and copulate in silence. | ||
+ | What better proof of the fact that all thought is | ||
+ | dis-ease? | ||
+ | We are Strassburg geese; the tastiness of our talk | ||
+ | comes from the disorder of our bodies. | ||
+ | We like it; this only proves that our tastes also are | ||
+ | depraved and debauched by our disease. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [180] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | We now return to that series of chapters which started | ||
+ | with Chapter 8 (<font size=+1>< | ||
+ | The chapter is perfectly simple and needs no com- | ||
+ | ment. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </file> | ||
+ | < | ||
+ | |||
+ | [181] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | Ex nihilo N. I. H. I. L. fit. | ||
+ | N. the Fire that twisteth itself and burneth like a | ||
+ | scorpion. | ||
+ | I, the unsullied ever-flowing water. | ||
+ | H. the interpenetrating Spirit, without and within. | ||
+ | Is not its name ABRAHADABRA? | ||
+ | I. the unsullied ever-flowing air. | ||
+ | L. the green fertile earth. | ||
+ | Fierce are the Fires of the Universe, and on their | ||
+ | daggers they hold aloft the bleeding heart of earth. | ||
+ | Upon the earth lies water, sensuous and sleepy. | ||
+ | Above the water hangs air; and above air, but also | ||
+ | below fire-and in all-the fabric of all being | ||
+ | woven on Its invisible design, is <font | ||
+ | size=+1>< | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [182] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The number 86 refers to Elohim, the name of the elemental | ||
+ | forces. | ||
+ | The title is the Sanskrit for That, in its sense of "The Existing" | ||
+ | This chapter is an attempt to replace Elohim by a more | ||
+ | satisfactory hieroglyph of the elements. | ||
+ | The best attribution of Elohim is Aleph, Air; Lamed, Earth; | ||
+ | He, Spirit; Yod, Fire; Mem, Water. | ||
+ | Lamed is not satisfactory for Earth, and Yod too spiritualised a | ||
+ | form of Fire. (But see Book 4, part III.) | ||
+ | Paragraphs 1-6. Out of Nothing, Nothing is made. The word | ||
+ | Nihil is taken to affirm that the universe is Nothing, and that is | ||
+ | now to be analysed. | ||
+ | The elements are taken rather as in Nature; N is easily Fire, | ||
+ | since Mars is the ruler of Scorpio: the virginity of I suits Air | ||
+ | and Water, elements which in Magick are closely interwoven: | ||
+ | H, the letter of of breath, is suitable for Spirit; Abrahadabra is | ||
+ | called the name of Spirit, because it is cheth: L is Earth, green | ||
+ | and fertile, because Venus, the greenness, fertility, and earthiness | ||
+ | of things is the Lady of Libra, Lamed. | ||
+ | In paragraph 7 we turn to the so-called Jetziratic attribution | ||
+ | of Pentagrammaton, | ||
+ | Ti& | ||
+ | central core, of things; above this forms a crust, tormented | ||
+ | from below, and upon this condenses the original steam. Around this | ||
+ | flows the air, created by Earth and Water through the action of | ||
+ | veg& | ||
+ | Such is the globe; but all this is a mere strain in the aethyr, | ||
+ | <font size=+1>< | ||
+ | Pentagrammaton, | ||
+ | for another analysis of the elements; but after a different manner. | ||
+ | Α (<font size=+1>< | ||
+ | size=+1>< | ||
+ | Son of Christian theology. | ||
+ | as Father-and-Mother. | ||
+ | size=+1>< | ||
+ | to express "the Mother" | ||
+ | size=+1>< | ||
+ | has been impregnated by the Spirit; it is the rough breathing and | ||
+ | not the soft. The centre of all is Θ (<font | ||
+ | size=+1>< | ||
+ | written as a point in a circle ({Sun}), the sublime | ||
+ | Sun in the Macrocosm, and in the Microcosm of the Lingam | ||
+ | in conjunction with the Yoni. | ||
+ | This word <font size=+1>< | ||
+ | (Aethyr) is therefore a perfect hieroglyph | ||
+ | of the Cosmos in terms of Gnostic Theology. | ||
+ | The reader should consult La Messe et ses Mysteres, par Jean | ||
+ | 'Marie de V .... (Paris et Nancy, 1844), for a complete | ||
+ | demonstration of the incorporation of the Solar and Phallic | ||
+ | Mysteries in Christianity. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | [183] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | MANDARIN-MEALS | ||
+ | |||
+ | There is a dish of sharks' | ||
+ | in birds' nests...oh! | ||
+ | Also there is a souffle most exquisite of Chow-Chow. | ||
+ | These did I devise. | ||
+ | But I have never tasted anything to match the | ||
+ | |||
+ | (?) | ||
+ | |||
+ | which she gave me before She went away. | ||
+ | March 22, 1912. E. V. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [184] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is technically one of the Laylah chapters. | ||
+ | It means that, however great may be one's own | ||
+ | achievements the gifts from on high are still better. | ||
+ | The Sigil is taken from a Gnostic talisman, and | ||
+ | refers to the Sacrament. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [185] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | GOLD BRICKS | ||
+ | |||
+ | Teach us Your secret, Master! yap my Yahoos. | ||
+ | Then for the hardness of their hearts, and for the | ||
+ | softness of their heads, I & | ||
+ | But...alas! | ||
+ | Teach us Your real secret, Master! how to become | ||
+ | invisible, how to acquire love, and oh! beyond all, | ||
+ | how to make gold. | ||
+ | But how much gold will you give me for the Secret | ||
+ | of Infinite Riches? | ||
+ | Then said the foremost and most foolish; Master, it | ||
+ | is nothing; but here is an hundred thousand | ||
+ | pounds. | ||
+ | This did I deign to accept, and whispered in his ear | ||
+ | this secret: | ||
+ | A SUCKER IS BORN EVERY MINUTE. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [186] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | The term "gold bricks" | ||
+ | finance. | ||
+ | The chapter is a setting of an old story. | ||
+ | A man advertises that he could tell anyone how to | ||
+ | make four hundred a year certain, and would do so | ||
+ | on receipt of a shilling. | ||
+ | a post-card with these words: "Do as I do." | ||
+ | The word " | ||
+ | finance. | ||
+ | The moral of the chapter is, that it is no good trying | ||
+ | to teach people who need to be & | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [187] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | UNPROFESSIONAL CONDUCT | ||
+ | |||
+ | I am annoyed about the number 89. | ||
+ | I shall avenge myself by writing nothing in this | ||
+ | chapter. | ||
+ | That, too, is wise; for since I am annoyed, I could | ||
+ | not write even a reasonably decent lie. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [188] | ||
+ | | ||
+ | |||
+ | Frater P. had been annoyed by a scurvy doctor, the | ||
+ | number of whose house was 89. | ||
+ | He shows that his mind was completely poisoned in | ||
+ | respect of that number by his allowing himself to be | ||
+ | annoyed. | ||
+ | (But note that a good Qabalist cannot err. "In Him | ||
+ | all is right." | ||
+ | the Angel of the Lord of Despair and Cruelty. | ||
+ | Also " | ||
+ | The four meanings completely describe the chapter.) | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [189] | ||
+ | <font size=+2>< | ||
+ | |||
+ | < | ||
+ | & | ||
+ | |||
+ | STARLIGHT | ||
+ | |||
+ | Behold! | ||
+ | in every land that is under the dominion of the | ||
+ | Sun, and I have sailed the seas from pole to pole. | ||
+ | Now do I lift up my voice and testify that all is | ||
+ | vanity on earth, except the love of a good woman, | ||
+ | and that good woman LAYLAH. | ||
+ | that in heaven all is vanity (for I have journeyed | ||
+ | oft, and sojourned oft, in every heaven), except the | ||
+ | love of OUR LADY BABALON. | ||
+ | that beyond heaven and earth is the love of OUR | ||
+ | LADY NUIT. | ||
+ | And seeing that I am old and well stricken in years, | ||
+ | and that my natural forces fail, therefore do I rise | ||
+ | up i my throne and call upon THE END. | ||
+ | For I am youth eternal and force infinite. | ||
+ | ANd at THE END is SHE that was LAYLAH, and | ||
+ | BABALON, and NUIT, being... | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [190] | ||
+ | COMMENTARY (<font size=+1>< | ||
+ | |||
+ | This chapter is a sort of final Confession of Faith. | ||
+ | It is the unification of all symbols and all planes. | ||
+ | The End is expressible. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [191] | ||
+ | <font size=+2>< | ||
+ | |||
+ | <font size=+1>< | ||
+ | & | ||
+ | |||
+ | THE HEIKLE | ||
+ | |||
+ | A. M. E. N. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | | ||
+ | |||
+ | The " | ||
+ | " | ||
+ | Gilbert' | ||
+ | A clear definition of the Heikle might have been | ||
+ | obtained from Mr Oscar Eckenstein, 34 Greencroft | ||
+ | Gardens, South Hampstead, London, N.W. (when | ||
+ | this comment was written). | ||
+ | But its general nature is that of a certain minute | ||
+ | whiteness, appearing at the extreme end of great | ||
+ | blackness. | ||
+ | It is a good title for the last chapter of this book, and | ||
+ | it also symbolises the eventual coming out into the light | ||
+ | of his that has wandered long in the darkness. | ||
+ | 91 is the numberation of Amen. | ||
+ | The chapter consists of an analysis of this word, but | ||
+ | gives no indication as to the result of this analysis, as | ||
+ | if to imply this: The final Mystery is always insoluble. | ||
+ | FINIS. | ||
+ | CORONAT OPUS. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [192] | ||
+ | BOOKS BY ALEISTER CROWLEY | ||
+ | |||
+ | |||
+ | | ||
+ | |||
+ | The Soldier and the Hunchback ! and ? The Eqx. | ||
+ | I, i. | ||
+ | Berashith. | ||
+ | The Vision and The Voice (Liber 418). The Eqx., | ||
+ | I, v. Reprint, Barstow, Cal., 1952, with Com- | ||
+ | | ||
+ | Liber VII (Liber Liberi vel Lapidis Lazuli). | ||
+ | | ||
+ | Liber Legis. | ||
+ | The Book of Thoth (The Tarot). | ||
+ | AHA! The Eqx., I, iii. | ||
+ | The Temple of Solomon the King. The Eqx. | ||
+ | Household Gods. Pallanza, 1912. | ||
+ | Liber LXI vel Causae. | ||
+ | Liber 500. Unpublished. | ||
+ | The World' | ||
+ | The Scorpion. | ||
+ | The God-Eater. | ||
+ | Liber XVI. The Eqx., I, vi. | ||
+ | 777, London 1909. Reprint with Commentary, | ||
+ | London, 1955. | ||
+ | Liber LXV. The Eqx., III, i. | ||
+ | Liber O (Liber VI). The Eqx., I, ii. | ||
+ | Konx Om Pax. London, 1907. | ||
+ | Book 4, part III, same as Magick in Theory and | ||
+ | | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [193] | ||
+ | PRO AND CON TENTS | ||
+ | |||
+ | |||
+ | (dots?) | ||
+ | 1. The Sabbath of the Goat. | ||
+ | 2. The Cry of the Hawk. | ||
+ | 3. The Oyster. | ||
+ | 4. Peaches. | ||
+ | 5. The battle of the Ants. | ||
+ | 6. Caviar. | ||
+ | 7. The Dinosaurs. | ||
+ | 8. Steeped Horsehair. | ||
+ | 9. The Branks. | ||
+ | 10. Windlestraws. | ||
+ | 11. The Glow-Worm. | ||
+ | 12. The Dragon-Flies. | ||
+ | 13. Pilgrim-Talk. | ||
+ | 14. Onion-Peelings. | ||
+ | 15. The Gun-Barrel. | ||
+ | 16. The Stag-Beetle. | ||
+ | 17. The Swan. | ||
+ | 18. Dewdrops. | ||
+ | 19. The Leopard and the Deer. | ||
+ | 20. Samson. | ||
+ | 21. The Blind Webster. | ||
+ | 22. The Despot. | ||
+ | 23. Skidoo! | ||
+ | 24. The Hawk and the blindworm. | ||
+ | 25. THE STAR RUBY. | ||
+ | 26. The Elephant and the Tortoise. | ||
+ | 27. The Sorcerer. | ||
+ | 28. The Pole-Star. | ||
+ | 29. The Southern Cross. | ||
+ | 30. John-a-Dreams. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [194] | ||
+ | 31. The Garotte. | ||
+ | 32. The Mountaineer. | ||
+ | 33. BAPHOMET. | ||
+ | 34. THe Smoking Dog. | ||
+ | 35. Venus of Milo. | ||
+ | 36. THE STAR SAPPHIRE. | ||
+ | 37. Dragons. | ||
+ | 38. Lambskin. | ||
+ | 39. The Looby. | ||
+ | 40. The HIMOG. | ||
+ | 41. Corn Beef Hash. | ||
+ | 42. Dust-Devils. | ||
+ | 43. Mulberry Tops. | ||
+ | 44. THE MASS OF THE PHOENIX. | ||
+ | 45. Chinese Music. | ||
+ | 46. Buttons and Rosettes. | ||
+ | 47. Windmill-Words. | ||
+ | 48. Mome Raths. | ||
+ | 49. WARATAH-BLOSSOMS. | ||
+ | 50. The Vigil of St. Hubert. | ||
+ | 51. Terrier Work. | ||
+ | 52. The Bull-Baiting. | ||
+ | 53. The Dowser. | ||
+ | 54. Eaves-Droppings. | ||
+ | 55. The Drooping Sunflower. | ||
+ | 56. Trouble with Twins. | ||
+ | 57. The Duck-Billed Platypus. | ||
+ | 58. Haggai-Howlings. | ||
+ | 59. The Tailess Monkey. | ||
+ | 60. The Wound of Amfortas. | ||
+ | 61. The Fool's Knot. | ||
+ | 62. Twig? | ||
+ | 63. Margery Daw. | ||
+ | 64. Constancy. | ||
+ | 65. Sic Transeat --- | ||
+ | 66. The Praying Mantis. | ||
+ | 67. Sodom-Apples. | ||
+ | 68. Manna. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | < | ||
+ | |||
+ | [195] | ||
+ | 69. The Way to Succeed-and the Way to Suck | ||
+ | | ||
+ | 70. Broomstick-Babblings. | ||
+ | 71. King's College Chapel. | ||
+ | 72. Hashed Pheasant. | ||
+ | 73. The Devil, the Ostrich, and the Orphan Child. | ||
+ | 74. Carey Street. | ||
+ | 75. Plover' | ||
+ | 76. Phaeton. | ||
+ | 77. THE SUBLIME AND SUPREME SEPTEN- | ||
+ | ARY IN ITS MATURE MAGICAL MANI- | ||
+ | | ||
+ | IS WRITTEN: AN HE-GOAT ALSO. | ||
+ | 78. Wheel and-Woa! | ||
+ | 79. The Bal bullier. | ||
+ | 80. Blackthorn. | ||
+ | 81. Louis Lingg. | ||
+ | 82. Bortsch: also Imperial Purple (and A PUNIC WAR). | ||
+ | 83. The Blind Pig. | ||
+ | 84. The Avalanche. | ||
+ | 85. Borborygmi. | ||
+ | 86. TAT. | ||
+ | 87. Mandarin-Meals. | ||
+ | 88. Gold Bricks. | ||
+ | 89. Unprofessional Conduct. | ||
+ | 90. Starlight. | ||
+ | 91. The Heikle. | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | </ | ||
+ | </ |