All posts by Leo

The Thirty Aires or Aethyrs

The Thirty Aires or Aethyrs

The very brief descriptive passages against each of the Aethyrs are mostly abstracted from
‘The Vision and the Voice’ by Aleister Crowley.

30.  TEX tah-eh-atz
A vast crystal cube surrounded by a sphere; about are four archangels robed in black, with wings and armour outined in white.
29.  RII rah-ee-ee
Sky with stars of gold, background green; a vast eagle-angel whose wings seem to hide all the heaven.
28.  BAG beh-ah-geh
An angel with opalescent garments like wheels of fire holding a flail of scarlet lightning, face black, eyes white without pupil or iris.
27.  ZAA zod-ah-ah
An angel in female form with rainbow wings; dress green with silver, flames of many-coloured fire surrounding; crest is a moon, sandals of curved silver.
26.  DES deh-eh-ess
A very bright pentagram, the heavens filled with the blackness of a mighty angel; spears, vials of poison, sharp swords and whirling thunderbolts about the corners of the earth.
25.  VTI voh-tah-ee
The pale gold of the Rosy Cross; the aire is the dark olive of alexandrite; an angel on a white horse and another upon a black bull are devoured by a lion.
24.  NIA en-ee-ah
An angel like a warrior in chain armour, upon his head plumes of grey; about his feet are scorpions, dogs, lions, elephants and other wild beasts; crackling of lightning, rolling thunder and sounds of battle.
23.  TOR tah-oh-rah
Three revolving lights; a spiders web with a star of twelve rays; a black bull pawing the ground, flames from his mouth, transforming into an Assyrian bull-man.
22.  LIN el-ee-en
A tablet of 49 squares surrounded by a company of angels, some brilliant and flashing as gods, some elemental creatures; the squares of the tablet filled with changing letters in magical script. An angel proud and beautiful with pan-pipes.
21.  ASP ah-ess-peh
A mighty wind and a sense of emptiness; shadows of great angels sweeping by with no sound; a glimpse of an avenue of pillars and a black marble throne supported by sphinxes.
20.  CHR kah-hoh-rah
A pool of clear golden water and the stars of the night sky; a peacock dissolving into clouds of white angels and archangels with trumpets; all gathering into a multi-coloured whirling wheel.
19.  POP peh-oh-peh
A black web pierced with a ray of light, then a black cross spanned with an arch bearing letters in an alphabet made of symbols like daggers; an old man like the Hermit of the Tarot.
18.  ZEN zod-eh-en
A crucifixion scene, the central figure an enormous bat; an angel offers entry to the mountain of caverns and tears down the vision with the sign of ‘Rending the Veil’; a mountain of pure crystal is revealed.
17.  TAN tah-ah-en
The head of a dragon, and a pair of balances with a luminous azure plume behind; a filament of quartz suspended above an abyss; the angel like black diamonds transforming into a sphere of liquid gold then green then blue.
16.  LEA el-eh-ah
Flickering images in a misty landscape; the moonrise at midnight and a crowned virgin riding on a bull; the angel a mighty king with crown, orb and sceptre. He tears off the crown and casts the orb and sceptre to the ground.
15.  OXO oh-atz-oh
A column of whirling scarlet fire with columns about it of green, blue, gold and silver inscribed with letters of the dagger alphabet; a fire playing about the columns transforms into the skirts of a dancer who weaves a crimson rose of 49 petals.
14.  VTA voh-tah-ah
A white goat, a green dragon and a tawny bull are clouded by a veil of darkness; a voice announces ‘The Great One of the Night of Time’; the veils of darkness are torn and fly away in a whirling wind to reveal the angel standing in the sign of ‘Apophis and Typhon’.
13.  ZIM zod-ee-em
An image of shining waters glistening in the sun; an angel walking on the water a rainbow about his head; a golden veil parts to reveal two terrible black giants wrestling in mortal combat.
12.  LOE el-oh-eh
Two pillars of flame and a chariot of white fire like the Tarot trump; the charioteer in golden armour speak with a voice like a bell.
11.  ICH ee-kah-hoh
A sigil of the moon rolls up to reveal a host of angels in battle attire. The whole defended by a fortress of nine towers of iron, the bastion of the outermost abyss.
10.  ZAX zod-ah-atz
This Aethyr is said to be accursed. The Call of the 10th Aethyr may be employed to invoke Choronzon, the Demon of the Abyss. This is potentially hazardous and appropriate precautions should be observed. One such exercise was recorded and is included on the ‘Liber Bootleg’ tape released by the London Temple of ‘Illuminates of Thanateros’ in 1990.
9.  ZIP zod-ee-peh
The veil is rent with a clap of thunder and the vision is of traversing the abyss on a razor-edge of light with armies ranged above and in front; in the palace beyond is a proud and delicate woman lying naked: the Virgin of Eternity.
8.  ZID zod-ee-deh
A pyramid of light fills the Aethyr, and in the pyramid is the child of the union of light and darkness. Instructions are given by which may be attained the knowledge and conversation of the Holy Guardian Angel.
7.  DEO deh-eh-oh
The stone of vision is divided with the left half dark, the right half light; a door like a keyhole in the shape of a Venus symbol opens and flames of blue, green and violet issue forth. A question concerns the key to open the lock.
6.  MAZ em-ah-zod
A great angel comprising magical symbols striving for mastery; illusions conjured by the Ape of Thoth; the more one struggles to devise methods of piercing the veil the further one seems from success. A vision of the God of Lies.
5.  LIT el-ee-tah
A shining pylon set with the sigil of the eye; then an avenue of pylons, in each seated a god, leads to the top of a mountain; weapons are offered, and a mysterious password.
4.  PAZ peh-ah-zod
In the midst of the Aethyr a terrible god with a thousand arms, and clinging to him a young girl in throes of passion; the elixir of life distilled.
3.  ZOM zod-oh-em
An angry light and a great snake feeding upon the plumes of truth as upon itself; the veil of the Aethyr sundered to reveal the Magus of the Tarot.
2.  ARN ah-rah-en
The woman riding on the bull; a vision of the legend of Eve and the Serpent, and Adam and Cain bearing the Hammer of Thor; above all a vision of the Great Sigil of the Arrow.
1.  LIL el-ee-el
The veil of the aethyr dark azure full of countless stars; a vibration of the great word IAIDA; a little child covered with lilies and roses; the formula of the Aeon revealed.

 

SOURCE: https://freepages.rootsweb.com/~cgb143/misc/aethyrs.html

B.O.T.A. Tarot and Paul Foster Case Review by BeneBell

The B.O.T.A. Tarot and Paul Foster Case

Let’s conclude Golden Dawn Tarot week with an offshoot-GD deck, the B.O.T.A. Tarot by Paul Foster Case, illustrated by Jessie Burns Parke. In this blog post, the fully colored Majors are from the 2009 Ishtar Publishing reprint of Paul Foster Case’s Learning Tarot Essentials: Tarot Cards for Beginners (1932), via the Internet Archive.

You can buy the black and white deck for coloring direct from the Builders of the Adytum here for just $8.50. It’s an incredible deal! I’ll share more photos of the physical deck later in this review, but it’s matte, unrounded corners though, and lovely quality.

The digital images of the Major Arcana for download can be purchased for $5.00, linked here and digital the Minor Arcana digital files for $5.00, linked here. B.O.T.A. also has a couple of other deck purchasing options at their online store, so be sure to check it out, and nothing over $20– great prices. (fyi this is not an advertisement or promo; no one paid me to say any of this.)

 

In Learning Tarot Essentials, Case traces the connection of the tarot to the occult to a revival that happened in 1854, credited to Eliphas Levi’s Doctrine and Ritual of Transcendental Magic. Levi took his inspiration from the French occultist Dr. Gerare Encausse, or Papus. I have a free two-part video lecture that was part of Sightsee the Tarot on Tarot of the Bohemians.

This deck review will also cover Case’s discourse on tarot card meanings as found in his Introduction to Tarot published in 1922.

Coloring instructions for the deck can be found in Tarot Fundamentals (1936). The background for the Fool card, for instance, should be yellow, the garment green, violet mountains, the eagle pictured on his knapsack is brown, a white sun, the Fool is flesh-toned, with blond hair, etc.

Major Arcana, The First Septenary

Key 2: The High Priestess is memory and record-keeping of the past. Key 2 endows us with the power of recollection. The tarot High Priestess is a personification of Prakriti, a feminine primordial aspect of all life forms. The binary dark and light stone cubes forming the base of the pillars is also symbolically important– any time you see stone cubes, pay attention. “STONE is an esoteric word representing Union, Life, and Wisdom,” writes Case.

The Empress, significantly, features a string of seven pearls and a crown of twelve stars for her connection to Urania, Muse of Astronomy.

Key 5: The Hierophant, for another example of Case’s texts on the cards, is assigned the function of Hearing, or more particularly, Interior Hearing–clairaudience.

From Highlights of the Tarot (1931)

As we do this look-through of the card images, I’ll also be referencing “Highlights of the Tarot” (1931) a pamphlet published by Paul Foster Case and a B.O.T.A. study guide. That text also includes all coloring instructions for the deck, and esoteric card meanings for the Majors.

Little snippets here and there do date Case’s texts, such as the explanation for why The Emperor follows The Empress: “A man cannot be master of his household until his mate has had children.” (On Key 4: The Emperor, Lesson Three, An Introduction to Tarot) Or making reference to Asians as Orientals, which hey, I’m no mad at all. Context is everything.

His tarot school of thought runs contrary to much of what you see of contemporary tarot as it’s gone mainstream (or what I call “fast food tarot”). For instance, he notes:

“The tarot is a textbook of occult teachings. It is intended for the use of serious aspirants who are in search of spiritual enlightenment . . .

“Those who seek to find in the Tarot an easy method of spiritual development will be disappointed. . . . The Tarot is not a plaything, nor is it only a pack of cards designed for the purposes of fortune telling.”

From “The Great Adventure” booklet published by B.O.T.A.

Case makes reference to the Inner School, where and how occult wisdom is kept alive and passed on through the tarot cards. Don’t quote me here, but I think this is the same reference Robert Wang makes in An Introduction to the Golden Dawn Tarot when he describes his Mathers-based deck as being based on the Inner Tradition. These references are in contrast to an exoteric approach to religion or here, divination. The Inner School or Inner Tradition thus refers to an esoteric approach to the cards.

Of Key 6, Case writes: “The principal lesson of this Key [The Lovers] is of importance to all who wish to make best use of their powers. In very simple terms it is this: Superconsciousness (the angel) sheds its influence impartially upon both self-consciousness (the man) and subconsciousness (the woman). The most important meaning to understand about Key 6 (per Case’s writings): this is the key of discernment, and how to harness the alchemical powers of harmonizing opposites.

I’ve often heard modern-day tarot readers express confusion over the astrological correspondence of Cancer, a Water sign, with Key 7: The Chariot, especially in light of the classical card meaning attributed to The Chariot– that of kinetic energy, progressive movement, achievement, the vehicle of the mind in full motion, etc. It doesn’t quite seem to align with the watery Cancer sign of introversion.

“The ignorant, when they hear us name water, think it is water of the clouds; but if they understood our [occultists’] books, they would know it to be a permanent or fixed water . . . our water is a heavenly water, which wets not the hand . . . water is the root of all minerals. . . . In short, the occult ‘water’ is the Astral Fluid, the electromagnetic energy which is the substance of all things.”

Major Arcana, The Second Septenary

Case’s order of the Majors follows Waite’s switch between Keys 8 and 11. Of Strength, there are two principal symbols in the force behind this Key: the snake and the lion, The Adversary and The Redeemer. Exoteric theology would have you believe the two are irreconcilable antagonists, but it is in esotericism and occult wisdom that you understand that they are not only necessarily reconciled, but one never appears without the other.

From Learning Tarot Essentials (1932, Ishtar Publishing edition, 2009)

Key 10 features at its outer corners “the four mystic animals mentioned by the prophet Ezekiel, and appearing again in the Apocalypse.” The four mystic animals designate the four fixed stars, four elements, which “occult tradition associates” with the Divine Name IHVH. Therefore IHVH is inscribed within the Wheel, alternating with ROTA, meaning wheel, and also the Latin sentence: Rota Tarot Orat Tora Ator– “The Wheel of Tarot speaks the Law of Ator (Hathor).”

Case describes Key 12: The Hanged Man as the “most important emblem in Tarot.” The Hanged Man represents the Law of Reversal, and the Law of Reversal “is one of the great secrets of occultism.”

Here is the secret of the Law of Reversal, quoting Case:

“To reverse the conditions of misery, disease, and failure, and substitute for them their opposites of health, happiness, and success, it is necessary to think, speak, and act in ways which are the reverse of those in which most persons think, speak and act.” (An Introduction to Tarot, Lesson Seven, Key 12: The Hanged Man)

And “right use of Key 12 is such a method” for fully understanding and actualizing the Law of Reversal.

The red pants of the Hanged Man and his legs forming the figure 4 connects Key 12 to Key 4: The Emperor, both by the red color and the figure 4. Both teach the seeker Use of Power. Meanwhile, the Hanged Man’s jacket is blue, connecting this Key to the High Priestess and the element of Water, with silver trimmings invoking a lunar presence.

“Verification is the basic meaning of Key 14,” Temperance. This is having arrived at the Truth after undergoing a Trial. The Great Work necessarily “combines and harmonizes all the various elements which enter into the constitution of human personality, blending them together in one whole.”

Temperance is the alchemical process of combining and harmonizing that leads to achievement of your Great Work. Case identifies the angel in Key 14 as Archangel Michael, Angel of the Sun. IHVH is written on his robe, meaning One Reality and all aspects coming together as One Life.

Major Arcana, The Third Septenary

The last seven Keys of Tarot, beginning with Key 15, illustrate seven steps in the spiritual unfoldment of man, writes Case. And that first stage begins with The Devil card: confronting fear, ignorance, and misery. There is no path to spiritual ascent open to you without first confronting The Devil.

As for Key 16: The Tower, “use this Key as a means to overcome your superstitions. Use it to free your mind. . . . Use it also whenever you are confronted by what seems to be a problem. You have a problem because you are ignorant. You are ignorant because hitherto you have accepted some appearance at face value. You are in trouble because your words express faulty reasoning.” Thus, Key 16 is the occultist’s tool for overcoming problems, ignorance, and faulty reasoning.

Describing The Moon card, there should be eighteen falling Hebrew Yods, colored red and yellow to represent the life force. Red is the exoteric vision of raining blood, while yellow is the esoteric vision of Light. Key 18 is a gateway, as formed by the two battlemented towers. There should be a suggestion here that beyond the edges of the card, the towers connect to a fortified wall, and so the only opening for access forward is this gateway revealed in The Moon card. The two facets of canines represent the two facets of man: the wolf is natural evolution and the dog is human adaptation.

The Sun card is used to harness conscious energy as power to move terrestrial activities. The sunflowers “represent the manifestation of the solar force in the organic world below man.” Depictions of human youth in the tarot Sun card is about representing “the unfolding of regenerated human consciousness.”

In the Judgement card, writes Case, the angel is Gabriel. Here, though, he makes a distinction between the Biblical doctrine of the Last Judgment and Key 20 in the tarot. Key 20 Judgement is about completion of the Great Work. Key 20 also gives access to the Fourth Dimension. This card is the magus’s tool for “personal realization of immortality” and “realizing that, even now, you are living in the Fourth Dimension.”

In this card image, note a man, woman, and child rising from the three coffins in the waters. The man and woman are again two aspects of the consciousness paired, and the child “stands giving the traditional sign of Typhon, or Apophis the Destroyer. This is because he represents the rebirth which comes as the result of mastering the destructive principle.” The three figures together “represent an ancient mystery formula– Isis, Apophis, and Osiris… I A O, or Yaho, one of the most potent words of power.” (Lesson Eleven in An Introduction to Tarot).

By the way if you’re interested in a discussion on Invoking HRU and commentary on the references to I A O, check out an old Sightsee the Tarot video, “Invoking HRU and the Riddle of the Sphinx” in which we talk about M. M. Meleen’s Book M: Liber Mundi (2015).

The Tarot Tableau, arranged as you see above, while most likely older than Case, was popularized by Case, so he tends to get the credit for it. He talks about pathworking and meditation with the Tarot Tableau. (Thomas of Hermit’s Mirror published a great modern take on working with a Tarot Tableau. My book review of it here.)

(halfsheet size booklet that comes with the B.O.T.A. tarot from the Builders of the Adytum)

B.O.T.A. (Builders of the Adytum), like the Golden Dawn, emphasize using the tarot in meditation rather than fortune-telling. Case himself elevated the definition for “divination” as distinct and separate from “fortune-telling.” Case goes so far as to call fortune-telling with the tarot “vulgar.” (in The Tarot: A Key to the Wisdom of the Ages, 1947)

In many of his texts, Case espouses an astral concept called the Cube of Space where 3 axes (up-down, left-right, front-back, and also symbolic of the Tria Prima, Mercury, Sulfur, and Salt), plus its 1 center converging point, connect 6 sides of an astral cube and 12 edges: 3 + 1 + 6 + 12 = 22 letters of the Hebrew alphabet.

The card backs of the B.O.T.A. Tarot published by B.O.T.A. (2007 edition)

I’m speculating that the Cube of Space is inspired, at least in part, by the Platonian concept of all earthly matter being made up of cubes. I went to town on this concept of the Cube of Space, but through my own lens.

In the above hand-drawn diagram, each of those units are supposed to be perfect cubes. It’s not to scale. I did it by hand so by the time I got to the front/bottom half of that diagram, I was running out of space and my “cubes” started looking very un-cube-like…

Anyway, in my approach, I perceived each of the 22 Majors to be an astral cube (one astral realm or gate of light), tiered as an astral ladder up to Knowing by Way of Unknown, hence Key 0, which can also be represented by a Holy Trinity, hence three Key 0s in my SKT deck.

Then each numerological realm (as in all the Fours, all the Fives, etc.) are four elemental cubes (one cube is the Four of Fire, one cube is the four of Water, four of Air, Four of Earth) that combine to form a bigger cube of four cubes, thus forming the elemental worlds. The court cards then represent the concept of a fifth element, Spirit, and they are the Light that traverse across all cube-realm-gate-things in this…thing. 🙂 Also, hence we get this concept of angels as messengers.

From Book of Maps (2018 and 2019 Editions)

Here is where I start thinking about how an equilateral triangle can be inscribed in a square forming three right triangles in addition to that equilateral triangle that unites the three right triangles that, superimposing the multiple dimensions in the Cube, forms the Merkahabah star, relating to the Chariot and Ezekiel’s vision, then somehow connect that to Ezekiel’s Wheel on Key 10: Wheel of Fortune and Postel’s Key, Key to the Wisdom of the Ages they keep saying… and the unit circle within the square, sine, cosine wavelengths forming that unit circle, cycle of life, God, Squaring the Circle, and around this moment is where my brain melts and I need to go eat cake.

Paul Foster Case

In contrast, as I understand Case’s Cube of Space, this diagram on its own is symbolic of Creation, both how the universe was created by the divine and also a blueprint for how the magus creates, transmuting what was in the mind into what is now matter. The numerical sequence of the 22 Keys, because they correspond with the 22 letters of the Hebrew alphabet, are the whole “in the beginning there was the Word” idea. And you extrapolate that into an ordered series of steps to turn Word (mind) into reality (matter).

The sets of Minors from the B.O.T.A. Tarot are grouped by their numerological ranking. One of the “blinds” that Case purportedly removed from Waite’s deck so that more of occult wisdom could be revealed to the lay is in the depiction of the Wands. The Wands in this deck are drawn per the instructions of Eliphas Levi, on the magician’s wand.

Unlike the Rider-Waite-Smith, which was one of several inspirational sources, or at least sources of references to Case and his illustrator, the pips in the B.O.T.A. Tarot are simple, though the formations of the elemental relics are significant. The active Fours (Wands and Swords) form a square, while the passive Fours (Cups and Pentacles) mark the four corners.

The formations in the active elements (Fire and Air) convey materials arranged by human intelligence and willpower while the passive elements (Water and Earth) convey materials arranged by nature, and organic evolution– Mother Nature’s architecture and an expression of the building blocks of life.

Something I’ve noticed about Golden Dawn based texts on tarot fundamentals is the great amount of pages within these books that are devoted to the Major Arcana, but the Minor Arcana cards pretty much get summed up in a couple of pages, mainly rooted in numerological and elemental theories. If you’d like to learn more about Case’s perspective of the four suit correspondences, I wrote about it in a 2013 blog post on Oracle of the Tarot (1333) here.

Case talks about the “Occult Meaning of Numbers” and its through plotting elements and numbers on an astral Cartesian coordinate system that you derive a significance for each element-number coordinate. The 36 coordinates that make up the pip cards Twos through Tens correspond with the 36 decans (also, 9 x 4) in the astrological zodiac wheel, demonstrating an interplay between mathematics and space, where a continuum is thus created, giving rise to the Fourth Dimension that Case likes to talk about. One layman’s approach to conceptualizing that Fourth Dimension is as Time. (See An Introduction to Tarot.)

In fortune-telling, you’ll reduce each of these element-number coordinates to keywords revealing different formulas of universally experienced life events or emotions. Divination is reaching up to grasp at the astral, intangible Divine and, through the works of the magus, bringing it down to the earthly plane and transforming or translating it into a physical, tangible Mundane for the lay to comprehend.

But in occult approaches to the tarot, you want to keep your studies and meditations on the abstract and conceptual. So here in decks like the B.O.T.A. Tarot, or as applied to any deck where the pips are presented in an abstract, diagram-ornamental form rather than humanistic and scenic, the occultist can just focus on the raw blueprints.

By that rationale, these types of pips, like what you see here and in all of the Golden Dawn based decks we reviewed this week, are “better” for meditation. Even if I don’t personally agree with that point of view, I can certainly appreciate it, and see its merits.

This theoretical concept is most pronounced in the Tens. The active cards (Wands and Swords) show intelligent design from human willpower and ingenuity. So you get the whole as above so below motif with the square symbolic of harnessing the cube of space between the two triangles. This is union of opposites in alchemy. Meanwhile the passive cards (Cups and Pentacles) show the relics in a Tree of Life arrangement, which is the natural order of design.

For all the talk about how Case removed the “blinds” from the RWS deck to offer a more accurate deck of occult wisdom, it’s interesting to consider how here, he keeps Waite’s court rankings, i.e., Page, Knight, Queen, and King.

I’m trying to remember exactly which occult author said this was one of the blinds that Waite put into his deck to conceal the true identities of the courts… argh… yeah I’m blanking out, but I swear I read that somewhere. Flowing from that, the perspective forwarded by some occultists (predominantly from the Thoth schools) is that this is a blind, and the “true” ranking of the courts is Princess, Prince, Queen, and then Knight.

Revisiting the Golden Dawn decks we covered this past week on the blog, Robert Wang’s Golden Dawn Tarot, created with the guidance of Israel Regardie, uses the court titles Princess, Prince, Queen, and King, where the imagery on the King cards would, to an RWS reader, look like Knights, and the Prince cards ride chariots, like in Crowley’s Thoth.

In the New Golden Dawn Ritual Tarot by Chic and Tabatha Cicero, also done under the guidance of Israel Regardie, use the same designates as Wang’s deck– Princess, Prince (on chariots), Queen, and King (with horses). Lon Milo DuQuette’s Tarot of Ceremonial Magick follows Crowley’s titles: Princess, Prince, Queen, and Knight.

One of the hallmarks of Golden Dawn decks, writes the Ciceros (in The New Golden Dawn Ritual Tarot), is that the four Kings are shown to be on horseback, representing “swift and ecstatic but not lasting” energy, which RWS readers are going to scratch their chins and think, hmm, that sounds a lot like Knight cards.

Case’s deck departs from that stated Golden Dawn tradition and instead, look like spitting image clones of Waite’s Kings.

“There is nothing you know that is not made of Light. There is no force or power you employ which is not a transformation of that same illimitable radiance.” (from the Key 3: The Empress entry in An Introduction to Tarot)

Paul Foster Case advocated for every serious tarot student to, at some point, color in your own tarot deck, and he produced a set of black and white images for just that purpose. Coloring your own set of tarot Keys is a form of spiritual integration– it is you putting your psychic and magical imprint on an external, preexisting collective value of magian powers, and also, you giving yourself access to that external, preexisting collective of powers and abilities. It is “one of the most practical secrets of all occultism” and “the necessary foundation for all advanced tarot practice.” (Case, from Highlights of the Tarot, 1931)

The practice reenacts the metaphor of you as a triangular prism, embodying the trinity. The esoteric concept of Light represented by the white space on the cards pre-coloring encompasses the full spectrum of colors, but in its divine form in union to appear as white light. You refract that white light into a full scale of different colors and color patterns to reveal, for yourself, your own theology for how the Divine appears in all aspects of the Mundane.

This practice of coloring in your own deck, or at least coloring in a full set of Majors, was most likely inspired by the Golden Dawn initiatory practice of having their members each creating their own tarot deck from scratch, though per particular Order instructions.

You may find it productive to follow the Golden Dawn color scales for coloring instructions, but it most certainly isn’t necessary for an enriching, spiritual experience. In fact, if you find yourself not resonating intuitively with the GD approach, you’ll want to (and I’d strongly recommend that you) go your own path. Let your thoughts and feelings guide you in the coloring process.

Heck, that’s how I did it myself. I started with the intention of following the Golden Dawn scales, and then realized it just wasn’t working for me, so diverged from that path to chart my own route. None of this is about wrong or right. It’s about what works for you.

SOURCE: https://benebellwen.com/2021/07/16/botatarot/

The Seven Stages of Spiritual Unfoldment by Damian Sebouhian

The Seven Stages of Spiritual Unfoldment

The map to Cosmic Consciousness can be found in this Major Arcana spread

A Note on My Sources

The following information comes primarily from the teachings of my first occult teacher J. Owen Swift who was largely informed by Paul Foster Case and Ann Davies. Case founded the Builders of the Adytum (B.O.T.A.) and Davies took over where Case left off as an extraordinary adept in the school of Ageless Wisdom.

This essay is far from comprehensive and is closer to a summary of the Seven Stages. I am currently writing a more detailed series of essays dedicated to each one of the stages. Stay tuned for the first installment to be posted in the near future.

How to Navigate the Tableau

The Fool is placed atop the three-tiered rows because the Fool is the Zero Key and does not represent a single number or step along the path. Rather, the Fool represents the Life-Power, or the “Spiritus” (in Latin), the “Ruach” (in Hebrew), the “Pneuma” (in Greek), the “Prana” (in Sanskrit), the “Qi” (in Mandarin/Chinese).

In other words, the Fool is unformed, raw, energy that is given specific expression within the archetypal avatars of the other twenty-one Major Arcana figures. In this regard, the Fool is like Christ Consciousness or Buddhahood: The alpha and the omega. The first and the last. God awakened to the Truth of the Self.

Moreover, the Fool is what we are striving to realize when we embark upon the Seven Stages of Spiritual Unfoldment — consciousness free from all the limitations of delusion.

The rest of the Tableau represents the map or grid or matrix that our conscious selves must navigate through in order to realize, among other wonderous things, our soul’s purpose.

The first (top) row represents what Paul Foster Case calls the “seven dominant mental states or principles.”

The second (middle) row represents the “intermediary activities, laws, or agencies” that the conscious states act through.

And the third (bottom) row represents the “conditions or phenomena resulting from the expression of the principles of the upper row through the agencies of the second row.”

Don’t get too hung up on the erudite language here, for I shall explain it in more practical terms, I promise.

So, those are what the rows indicate. What about the columns? There are seven columns and these seven columns represent the Seven Stages. We begin with Stage One, which Case titles: Bondage.

Stage One: Bondage

The Keys (cards) involved: The far left column of Key 1 (the Magician); Key 8 (Strength); and Key 15 (the Devil).

The Goal: To mentally free ourselves from the illusion of separateness and dualism which is created and perpetuated when we limit our perspective to the realm of the five senses.

Once mentally/intellectually freed from this fundamental lie of separateness, we begin the journey to awakening with the first truth of stage one: Our mind (the Magician) creates our reality. So, pay attention to your mind and use it wisely!

As the Magician, you must master the use of your tools as symbolized by the staff, cup, sword, and coin and the fundamental principles of creation described in this context by Case as representing the “Four Admonitions: To Will; To Know; To Dare; To Be Silent.

The last “admonition” he explains as being “the most important. Occult means ‘hidden’, and one of the first duties of a practical occultist is the practice of silence.”

The extent that you create a reality of free soul expression and healthy enjoyment of the material world (the Devil card in its upright position) versus bondage to the material world (The Devil card in its inverted, reversed position) is based on the purity of your creative capacities (as symbolized by the Strength card).

If you create solely from selfish, egotistical intentions (Strength reversed), you risk bondage to the material world.

If we create from a place of pure intentions and for the benefit of the highest good (as symbolized by the Lady in White in the Strength card) then we have achieved the appropriate yin/yang relationship between our creative force (the red lion) and our higher self, or soul-self (the Lady).

You’ve most likely heard the phrase: Be in the world, not of it. Or, “I’m not a human having a spiritual experience; I’m a spiritual being having a human experience.” That is the truth we are learning to embody in the First Stage.

Example of Bondage: “I don’t have any artistic talent and I only have a high school diploma, so I guess I’ll just work retail my whole life or marry someone rich so I don’t have to work.”

Example of Freedom from Bondage: “I will discover what it is I love to do that makes my heart sing and I will create (from my imagination) the circumstances that allow optimum expression of that love.”

Key Words/Phrases for the Three Cards:

The Magician (as the principal mode of consciousness): Mental concentration. Single-pointed consciousness. What you plant so shall you harvest. As above, so below; as within so without — and vice-versa.

Strength (as the mediator): Creative force guided and influenced by pure intentions, the soul.

The Devil (as the conditioned phenomena): The material world as it is experienced through the five senses. The result of the creative process as it is conducted by the Magician via Strength. Upright: fertility and mirth, the God Pan; Inverted: fear and bondage, the Devil as described by Christianity.

Affirmations:

“My mind is focused on creating what my soul most needs and desires.”

“I am a center of expression for the Primal Will-To-Good which eternally creates and sustains the universe.”

Quote:

“You must mentally identify yourself with the Magician. Every day you must take time to remember who and what you really are.” Paul Foster Case, Occult Fundamentals and Spiritual Unfoldment

Stage Two: Awakening

The Keys (cards) involved: High Priestess (Key 2); The Hermit (Key 9); The Tower (Key 16).

Goal: Once we have mentally freed ourselves from bondage and accepted our roles as the Magicians of our own lives, we have essentially created fertile spiritual ground conducive to increased “samadhi” experiences, or flashes of insights into the true nature of reality.

Stage one and two, as with all the stages, are not separate from each other; nor must they necessarily be experienced in a strictly linear fashion indicated by the spread. For example, one could have an awakening experience long before one has realized the illusion of separateness. Nevertheless…

The High Priestess is the yin to the yang of the Magician. The Magician is concentrated aware consciousness. The High Priestess is our subconscious, or, as Case liked to call it, the “transliminal consciousness” (transliminal means “across the threshold”).

To revisit the garden analogy, the Magician represents the gardener planting his seeds. The High Priestess represents the soil. As such, she is designed to grow whatever the Magician plants.

But this analogy is limited because the High Priestess isn’t just there to carry out the directives of the Magician. She represents the memory of everything that’s ever been planted within her “soil”.

This is why it’s so challenging at first to manifest and to create like a practiced, adept Magician. Most of us have so much programming to unplug from because we hadn’t realized that our thoughts were creating our reality. And so much of what we think about ourselves and about reality doesn’t come from us. It comes from our culture, other people, social media, etc.

This is where the Hermit enters the picture.

The Hermit takes over where the Magician left off. He tends the garden. He weeds out the unhealthy thoughts, ideas, and emotions, and monitors the light (as symbolized by his lantern), and waters and fertilizes the soil. (Note: The astrological correspondence to The Hermit is Virgo).

Another analogy for the Hermit as it relates to Virgo energy: The Hermit digests the thoughts, ideas, and emotions produced by the Magician and grown by the High Priestess, and he absorbs the healthy, nutritious ones and eliminates the waste (Virgo rules the digestive organs in case you were wondering).

All this “gardening” results ultimately in creating the circumstances for samadhi flashes, symbolized by The Tower card. The Tower looks like it’s depicting a catastrophe, but if you think of the Tower of Babble from the Bible, you’ll know that its destruction is positive and necessary for enlightenment.

The tower in The Tower card represents everything that was created when we believed in the world of illusion. The flash of lightning is coming from the sun in the card and that sun is the same as the lantern light wielded by the Hermit.

To put it another way: When we shed light on our past and evaluate it honestly and with the intention of creating a beautiful and healthy “garden” (or mind), our insights into who we are and the nature of reality deepens and we become more efficient at deciphering lies from truth, illusion from reality, healthy from unhealthy, etc.

Essentially, we become better Magicians, better at manifesting our soul’s deepest desires.

Key Words/Phrases for the Three Cards:

The High Priestess (as the principle): Universal Consciousness, Subconsciousness, Transliminal Consciousness, Memory; the soil that grows the seeds planted by the Magician.

The Hermit (as the mediator): The knowing light within; the watcher; discernment; wisdom that comes from experience.

The Tower (as the conditioned phenomena): Samadhi flashes; insight; destroyer of lies and illusions.

Affirmations:

“I gently release all toxic, unhealthy thoughts, emotions, and ideas.”

“I easily and effortlessly realize the truth of every situation.”

Quote:

“…Suddenly to see that one is immortal, suddenly to perceive that all other human beings and all the conditions of personal existence are working together to bring about the perfect realization of a cosmic plan which, in essence, is the outworking of the inmost reality of one’s own being is a reversal of personal and human consciousness which temporarily knocks one flat.” P.F.C., Occult Fundamentals, and Spiritual Unfoldment

Stage Three: Revelation

The Keys (cards) involved: The Empress (Key 3); The Wheel of Fortune (Key 10); The Star (Key 17)

Goal: After freeing ourselves from bondage (stage one) and after the lightning flash of awareness (stage two), there comes a period of calm and gradual growth.

As described by Case, “In the second stage, there is an uncomfortable overthrow of the false belief of the world, a momentary, but a never-to-be-forgotten glimpse of reality, of the absolute unity of life.

“In the third stage, this new conception of the Oneness of All begins gradually to unfold.”

Essentially the Seven Stages are about the process of enlightenment, which results in an ultimate shift of consciousness from separation/materialism perception to unity and oneness perception. From that fundamental base, we can supercharge our consciousness into higher, wider, deeper capacities.

When this happens we begin forming a brand new body, both at the physical level (all the way down to the trillions of cells in our body) and at the energetic level (which includes our chakras, our aura, and our torus field).

This rebirth and reforming of our body happen naturally, organically, and over time, and requires from us the unconditional love and nurturing symbolized by The Empress.

Through self-love and through showing appreciation and acceptance of others (no matter their stage of development), we open a portal to the karmic realms via the Wheel of Fortune.

The more self-care, nurturing, peace, and calm we cultivate at this stage, the more negative karma we purify, the more opportunity for awakening insights we create.

This brings us to cosmic consciousness awareness as symbolized by the Star card. As such, the most profound activities we can conduct to further our ripening process are all the traditional ones: yoga, meditation, qigong, massage, acupuncture, therapy, right diet, exercise, moderate (or no) use of drugs and alcohol.

The growth we want will happen very naturally at this stage as long as we help foster an atmosphere where growth can happen at all. If we are not moved to change any of our negative toxic behaviors, then we are unlikely to continue to have awakenings or progress along the path.

An example of this from my life: I had a powerful spiritual awakening in 2004 as described in the first two stages. However, soon after this awakening, my wife took our two daughters and left me for another life. This triggered in me a decade’s long depressive slump and I became an alcoholic, turning away from my spiritual path altogether.

But I never forgot that flash of awakening wherein my personality completely dissolved and I became one with Soul Consciousness.

Today, I’m back on the path and although I have yet to have an awakening as powerful as that first one in 2004, I’m much more mature in my process of taking it easy and letting things come to me as they will. In the meantime, I meditate, listen to binaural beats, and practice qigong and yoga every day.

I also eat well, exercise, and I completely removed alcohol from my diet.

Key Words/Phrases for the Three Cards:

The Empress: Nurture & Nature, Gestation, Beauty & Love, Lushness & Fecundity.

Wheel of Fortune: Opportunity, What goes around comes around, karmic laws, rotation, cyclic nature, fate, destiny, chance, probability, the cycle of cosmic expression.

The Star: Cosmic Consciousness, Meditation, Insights from above and beyond, towards a human utopia.

Affirmations:

“I love and nurture myself for the benefit of all.”

“The universe provides me with opportunities for love and mature evolution.”

“I am receptive to cosmic consciousness.”

Quote:

“When you can see that all your mental states are phases in the manifestation of the One Consciousness which directs the growth of trees and grasses, the flight of birds and insects, the flow of streams and the sweep of ocean currents; when you begin to feel that through your mind and body flows the power that holds the stars in their courses, the power that flames in countless suns, you are beginning to exchange mere intellectual assent for that true knowledge which has been called the doctrine of the heart.” — P.F.C.

Stage Four: Organization

The Keys (cards) involved: The Emperor (Key 4); Justice (Key11); The Moon (Key 18)

Goal: Stage four is remarkably similar to stage three in that it involves a further ripening of our receptive faculties, but instead of an overall meditation meant to nurture our energetic and physical bodies, in stage four we are actively focusing on two specific aspects of our consciousness: clear sight and right action.

The Emperor as the guiding principle rules the head (like Aries in the Zodiac), and, more specifically the brain. More specifically still, the Emperor is all about Clear Sight/Vision. In order to “rule”, the Emperor must see clearly.

As such, Case suggests that we direct our meditation practice towards the part of our brain that governs sight, esoterically (and physiologically) speaking. The Hindus call it the “Cave of Brahma” in the center of the brain. Case identifies that area as the section from the medulla up to the pituitary gland.

Moreover, Case says that the meditation practices we employ should act as directives to the cells in our brain — our literal cells — which he insists are “living beings” and “centers of consciousness” that are “always amenable to the control of your objective mind.”

He suggests the type of meditation one should use here is auto-suggestion and is most optimally practiced right before one falls asleep at night (or during a nap) during what is called the hypnogogic state. To increase your receptivity here, I suggest finding a binaural beats track on YouTube or (what I use) an app called Sacred Acoustics.

This type of yogic meditation is practiced widely now and it’s called Yoga Nidra.

Along with focusing on increasing one’s Clear Sight faculties, this stage is about cultivating what the Buddhists call “Right Action”.

Case describes it this way: “The riper we become, the better we understand that the secret of right action is the giving up of all attachment to results. Attachment is the desire to see a particular manifestation of name and form. It is a phase of the delusion of separateness.

“Do whatever comes to hand with no thought but that the doing shall be your very best. That is the secret of right action.”

To sum up Stage Four, we direct our meditations (The Emperor) by carefully and intuitively weighing what processes work best for us (Justice), and in doing so we will create a state of consciousness that taps into ancestral and past-life knowledge that makes our physical and energetic bodies conducive to “obeying” our directives (The Moon).

After we finish this organization meditation, we “let it go” by releasing all attachments to results. (Think of the phrase: “Let go, and let God”)

Key Words/Phrases for the Three Cards:

The Emperor: Clear Sight/Vision, motivated towards a bright future, Directives, Orders, Organizing principle, Inspired, Leading the way.

Justice: Balance, Weighing the options judiciously, mental clarity.

The Moon: Psychic phenomena, past lives, the house of the soul.

Affirmations:

“My vision is pure and true and reaches far and wide.”

“I am able to recall all of my past lives as easily as I can recall the events and lessons of my current life.”

“Thank you beautiful brain cells for all that you do! I send you love and light and ask that you help support optimum sight/vision health and function.”

Quote: “[Through meditation, the Life-Power] shows us, step by step, what lies ahead of us on the journey along the path which leads upwards from the plain of sense-life and third-dimensional consciousness to the height beyond.

“On those heights, as one who looks down from a mountain-peak sees in one glance a hundred separate forms of life below him on the plain, we shall see as a whole what now we see only in part.” — P.F.C

Stage Five: Regeneration

The Keys (cards) involved: Hierophant (Key 5); Hanged Man (Key 12); The Sun (Key 19)

Goal: Like with all the stages, your goal here is to embody the energies of the first Key of the stage, in this case, the Hierophant.

The Hierophant is the ultimate Knower of Truth and Spiritual Teacher. He has expanded his vision as the Emperor-consciousness in stage four. Now, in Stage Five, he has ripened his understanding.

But before he can Know and Speak the Truth, he must go through another test. The essence of this test has been described in many religious and mythological traditions, from the tale of Osiris and Horus, Jesus in the desert, Buddha under the bodhi tree, and Odin hanging from Yggdrasil (the World Tree).

A sacrifice must be made, and it’s the ultimate sacrifice known today as Ego Death. All your needs, fears, ideas, assumptions that come from years of personality formation, must be surrendered and replaced with the pure knowledge of the Life-Force energy.

Jesus went to the desert for forty days and forty nights, fasted and endured temptations; Buddha (as Siddhartha Gautama) sat beneath a bodhi tree for 49 days (seven weeks); Horus and Odin both lost an eye in their respective sacrifices, the symbology being that in order to gain inner wisdom, they had to sacrifice their attachment to outer sight.

This sacrifice is symbolized by the Hanged Man in the fifth stage. Now, am I suggesting that you have to go to the desert or sit under a tree for an extended period of time? Certainly not.

It really comes down to creating your own ritual and being clear with your intentions.

When I had my awakening experience in 2004, the ritual I participated in was a combination five-day liquid fast, followed by a “seven door” sweat lodge, followed by a breathing meditation that triggered an intensely amazing kundalini rising experience. My ego was sucked from the top of my head, replaced by my soul or higher self.

I knew the Truth of reality in a way I never had before. It was more than conceptual knowing. It was experienced knowing.

However, since I hadn’t properly prepared myself with the prior four steps, my awakening didn’t fully “take”. A week after my awakening, some minor conflict occurred that triggered me out of soul awareness and back into my ego perspective.

Today, I have more patience and therefore I interact with the stages, including stage five, in a plodding, day-to-day manner. My ego is strong and does not like to surrender power so easily. So my way is to slowly integrate my ego into my higher self, such that now, my ego rather enjoys it when he gets to sit back and let my higher self “take the wheel”.

Whatever methods you employ, the goal is to surrender the ego for the wisdom of the higher self (whether at an ultimate level or at a measured step-by-step level).

Once this is accomplished, the Sun (as the card of the same name) of enlightenment will shine through you from deep within your soul and you will, as Jesus said, “receive the kingdom of God like a child…”

Key Words/Phrases for the Three Cards:

Hierophant: Channeler of the Life-Force; Teacher; Knower; Higher Self.

Hanged Man: Sacrifice; New Perspective; Ego-Death; Reflection; Contemplation.

The Sun: Illumination; Innocence Reborn; the Soul shining from within.

Affirmations:

“I let go of my personal desires and listen to the Teacher Within.”

“My Inner Child is healed of all its wounds and awakens within me refreshed and renewed.”

“I am an unobstructed channel for my higher self’s expression.”

Quote: “Submit yourself wholly to the guidance which comes, not from above and without, but from within, at the very center of your being. The law you must obey is not that of an alien sovereign, usurping the direction of your life. It is your own law, the perfect method of the Eternal One expressing itself through you. Know it, open yourself to it, live it moment by moment and day by day. This is to begin the life of conscious liberation.” — P.F.C.

Stage Six: Realization

The Keys (cards) involved: The Lovers (Key 6); Death (Key 13); Judgement (Key 20)

Goal: The sacrifice we made of our constructed personality/ego in Stage Five leads to a new re-integration between our subconscious mind and conscious mind (The Lovers); this results in a Realization that death is not an end, but a new beginning (Judgement), a true transformation of our mind such that it may escape the confines of the third dimension (the material world) and fully access the fourth dimension known as the Astral Realm.

In essence, Stage Six is about dying without dying and being reborn with an expanded consciousness that can now perceive and interact with the fourth dimension of time and space!

We’ve all experienced the astral realm, most often in our dreams.

Dreams are a perfect representation of what the fourth dimension is like. The boundaries in a dream of time and space don’t really exist. Phenomena occur that could never take place in “real life”. Yet, often, we don’t realize we are dreaming, so we still perceive ourselves as being limited, and sometimes even as victims in a nightmare.

Unless, of course, we are lucid dreaming.

In Stage Six of Spiritual Unfoldment, a person has gone from being a dreamer in a dream she didn’t know she was in, to a dreamer who realizes that all this firm “reality” is no more than a dream.

From this place of awareness, all your affirmation and manifestation practices are highly accelerated, often at an instantaneous clip.

This is an actual theory that’s been tossed around in certain scientific circles. You might know it as “Simulation Theory”.

One of my favorite comedians Bill Hicks sums up what this stage is like in one of his brilliant “jokes” about what it would look like if a newscaster reported on a positive “drug” story :

“Today a young man on acid realized that all matter is merely energy condensed to a slow vibration, that we are all one consciousness experiencing itself subjectively; there is no such thing as death; life is only a dream, and we are the imagination of ourselves. Here’s Tom with the Weather.”

As a child, I had multiple “astral” experiences (including being able to see the faces of my past lives in the mirror when I’d wake up in the middle of the night), so I was fascinated to read that this is common among children, according to Case.

“The spinal cord is a tube. In young children, it is open at the lower end, so that the serpent-power coiled in the sacral plexus can rise through it. That is why little children [frequently] have astral vision, and why they sometimes have animal and human invisible playmates.

“As they grow older this tube is closed at the lower end, in order that the greatly increased activity of the Mars-force in the sacral plexus at the time of puberty may not cause the serpent force to rise prematurely and destroy the brain.

“When the practical occultist seeks to gain astral vision again, he must apply the Marse-force to the destruction of the cells that close the lower end of the tube. But opening it again, he becomes ‘as a little child.’”

Key Words/Phrases for the Three Cards:

The Lovers: Integration of the masculine & feminine principles (or consciousness and subconsciousness); communication from the higher self, duality transformed into trinity consciousness.

Death: The forces of change; Transformation; the last “enemy” to be overcome by “overcoming evil with good” and “Love your enemies”; physical dissolution.

Judgment: Rebirth; entering the astral realm; the fourth dimension.

Affirmations:

“I transcend the boundaries of time and space with love and understanding.”

Practice chanting using words syllables like “OM, or AUM”. Here are some more suggestions.

Quote:

“All practice of this kind has just one object, and that is to get the inadequate personality out of the way, so that the true Self, which knows just what to do and how to do it, may find no resistance to the free expression of its perfect mastery of mind and body.” — P.F.C.

Stage Seven: Cosmic Consciousness

The Keys (cards) involved: The Chariot (Key 7); Temperance (Key 14); The World (Key 21)

Goal: Through successful integration of all the dualities of our existence — primarily the energetic and the physical, the subconscious and the conscious, the yin and the yang (as indicated in the symbology of the Temperance card) — we “build” our body anew (The Chariot) and enter the “Kingdom of Heaven” (The World).

And what is the “Kingdom of Heaven”? It is the ultimate reality of the physical world of existence stripped of all illusion embodied in our flesh.

A famous quote by the Sufi mystic Rumi sums it up perfectly: “You are not a drop in the ocean. You are the entire ocean in a drop”.

It is one thing to grasp this fractal nature of reality intellectually — the entire ocean in a drop, just as we have the entire human in a single cell — it is another thing altogether to live this truth as a real conscious experience.

Cosmic Consciousness (the title of this stage) is the ultimate goal and as the ultimate goal, it far surpasses anything we can compare it to.

In Stage Six we can move our consciousness like a lucid dreamer in a dream, navigating the fourth dimension of the Astral realm at will. While this is amazing in and of itself, it’s describable; it is something we can visualize and conceptualize and communicate to others.

With Cosmic Consciousness, there are no words to describe it, because it is a place beyond words, beyond thought. As a matter of fact, it is the mind devoid of all thought, all concepts, all ideas. It is the I Am at blissful oneness with all existence.

Many Near-death experiencers have claimed that they entered a realm that sounds a lot like Cosmic Consciousness, and they all expressed how impossible it is to put that experience into words. One such person is Dr. Eben Alexander.

There has been a lot of talk in New Age circles lately about the Cosmic or Galactic Federation of Light beings. Supposedly, these are beings who have realized and exist in Cosmic Consciousness and have been aiding humanity during these times in our collective evolution towards reaching that same destination.

I like to think that this is the case and that we are nearly there, but we still have to “do the work” as individuals. It’s not about waiting to be saved, and it certainly is NOT about transcending the physical world and escaping the third dimension.

This idea of “escape” and transcendence has long been misunderstood. There is nothing to transcend except for our misconceptions, there is nothing to escape except our own prison of delusions.

The emphasis, therefore, should not be on transcendence, but rather on realizing the power of our own mind and integrating our consciousness with the consciousness of the One Power — that which is the creator of all reality and IS all of reality, which ultimately is…drum roll, please…us.

You are the One Power. You are God manifested in a body.

And here’s the real kicker. Your body has the entire body of the universe — all of time and space and everything else — inside of it.

It only seems like you are separate. Once you realize — experientially — that you are not separate from the One, the mind becomes empty of all defilements and you experience the universe as you really are.

Your body becomes like the Chariot, a perfect vehicle of light and consciousness, a Merkaba field of pure awareness capable of traveling anywhere in time and space, to interact with all the vast beings of light and love that fill the universe.

Key Words/Phrases for the Three Cards:

The Chariot: The Merkaba; Vehicle of light embodied in the flesh; Vehicle that “carries us from thought to the consciousness beyond it.” NOTE: here is some more information about the Merkaba

Temperance: Alchemy’s conclusion; IHVH (Yod He Vau He), the syllables of creation; The Builder; The transmutation of the corruptible body into one that is incorruptible.

The World: Consciousness beyond thought; the Plan of Creation Revealed and Experienced; the Kingdom of the Life-Power. Freedom from delusion.

Affirmations:

“The Kingdom of Spirit is embodied in my flesh.”

“In thought and word and deed, I rest my life from day to day upon the sure Foundation of Eternal Being.”

“I am that I Am.”

Quote: “No one who has eaten of the fruit of this tree may describe it as it really is. [She] will understand the meaning of all descriptions of this experience. [She] will know how hopeless are all attempts to define it. [She] will know, too, that the vagueness of the various accounts arises from no vagueness in the experience.

“The consciousness beyond thought is crystal-clear, sharply defined, free from the least suspicion of haziness. Its very clearness is what makes it ineffable. We have no words to convey such a fullness of meaning. our language is built to describe piece-meal no experience. How can it express what one has recorded as ‘being everywhere, and all at once.’?” — P.F.C.

SOURCE: https://medium.com/mystic-minds/the-seven-stages-of-spiritual-unfoldment-61c17927f4b

NOTES:

1. Bondage, free yourself from limitation, restriction and illusion
2. Awakening, awareness of what is important, making choices
3. Revelation, understanding of Oneness and the All
4. Organization, establishing clear sight and right action
5. Regeneration, release and moving to the next level of your personal work and unfoldment
6. Realization, a new re-integration between our subconscious mind and conscious mind
7. Cosmic Consciousness, integration of all dualities to a state of mind, of Oneness

An Essay on Enochian Pronunciation by Christeos Pir

Fr. VITRIOL 335 0 O.T.O.


Do what thou wilt shall be the whole of the Law.

This paper is divided into two sections: a comparison of some systems of pronunciation of the Enochian or Angelic language as used in the nineteen Calls of the tablets, and an attempt to write the Calls in such a manner that they may be pronounced according to Dr. Dee’s notes.

Part One:

The first section compares three versions of the Calls: that of the Aurum Solis as published in the Llewellyn edition of Denning and Phillips’ Mysteria Magica; Geoffrey James’ “corrected” calls as published in the Heptangle edition of The Enochian Evocation of Dr. John Dee; and Dr. Dee’s original notes as published in the Magickal Childe edition of Meric Causabon’s A True and Faithful Relation…. I have compared these systems word-by-word, with the Aurum Solis and James versions on the first two lines, and Dee’s on the third.

Example:

Aurum Solis: OL^ SONuF VORoSiG, GOHO I-AD BALaT,
Geoffrey James: OL SONF VORSG, GOHO IAD BALT,
Dee: Ol sonf vorsg, goho yad balt,

Where Dee has separated a word into its syllables (eg, Im ua mar), I have hyphenated it so as to more easily discern between word divisions and syllable divisions (Im-ua-mar). Where he has shown stress by using an accent, I have used boldface (q-a-an). In a number of places his marginalia give more than one version of a word, usually in order to clarify its pronunciation; other times he has occasionally written an example for the same purpose – these I have placed in footnotes. There are also one or two places where he has offered variant spellings: these, too, I have placed in the footnotes. I have attempted to standardize the punctuation, arbitrarily picking one of several possible systems and applying it to all of them in a manner somewhat reminiscent of Procrustes.

One problem that had to be dealt with in re-typing the Aurum Solis version is their system of transliteration, which uses several symbols outside of the English alphabet. I have made two changes to their system, solely in order to use symbols that my computer could produce, as follows (the revised key, which is adapted from “Mysteria Magica”, and applies only to the AS version, is given in the Appendix):

^ represents the neutral vowel, as the first vowel sound in “parade,” or the second vowel sound in “column.”

# represents the guttural, pronounced as the “ch” in German (Woche, suchen).

It is to be noted that James’ version contains a number of differences from Dee’s originals. These, as I understand it, are the result of his research into, and attempts to rectify, variations among the Calls themselves, and between the Enochian of the Calls and their English translations. I have not done any research in this area, and leave it up to the reader to decide which version to follow. Some of those corrections which are meant to fix transcription errors on Dee’s part directly contradict some of Dee’s own pronunciation notes. How Dee could have been able to record the sounds of his typos, I have not been able to determine.

I have chosen not to include the Golden Dawn’s “Hebraicized” pronunciation, since it is based on a very different system. This is not meant as any reflection on the remarkable achievements of Westcott, Mathers and their descendants, which just go to prove the amazing versatility of the Enochian system.

Part Two:

The second section is my attempt to rewrite the Calls into some sort of standardized, readable phonetic system. One thing became evident in this process: the pronunciation guide given by Donald Laycock in his Complete Enochian Dictionary is the closest thing to Dee’s notes I’ve seen so far. For this reason, some may prefer to follow Laycock’s guide in those cases where no indication in Dee’s notes was forthcoming (eg: VLCININ = Vul-see-nin or Vul-kih-nin?), a not infrequent problem, unfortunately. I am not completely in agreement with Laycock in all instances, as may be seen by comparing my pronunciation key (see Part Two) with that in Laycock’s Enochian Dictionary, which I have printed in the Appendix. One such problem, and a bone of contention among scholars and dabblers alike, is over the use of the morpheme “zod.” I regret to say that I have been unable to resolve this question. Out of the 127 instances of words with the letter “z” in the nineteen Calls, only 7 use “zod” – and even then it is inconsistent: one of those words is “zod-a-car” which appears only once in that form, and 13 times as “zacar” (or “zacare”). It is not even clear whether it is intended as a spoken syllable, or merely a clarification:

The letter z has not always been called “zed” or “zee”; it has had many names, among them being “izzard”, and, at the end of the sixteenth century, “ezod”. “Zod” is nothing but a variant of this last name.

> (Laycock, //The Complete Enochian Dictionary//, p. 45)\\ >

</blockquote></HTML> The angels themselves are no help here:

Dee: I pray you, is Mozod a word of three letters, or of five?

Nalvage: In wrote three, it is larger extended. [Dee- Z extended is Zod.]

Dee: Will you pardon me if I ask you another question of this extension?

Nal.: Say on: Moz in itself signifieth Joy; but Mozod extended, signifieth the Joy of God

> (Causabon, //A True and Faithful Relation//…, p. 75)

</blockquote></HTML> Also:

zod-lida … It is a word and a letter.”

> (Causabon, op. cit., p. 120)\\ >

</blockquote></HTML> In the end, about all that can be said with any certainty about “zod” is that no one knows exactly how Dee intended it to be used. In fact, Geoffrey James doesn’t even believe Enochian was received as a spoken language at all:

Unfortunately, Kelly never, as the spirits’ “mouthpiece”, pronounced the Angelical words. Kelly dictated letter by letter from a table that he saw in the crystal, as shown from Kelly’s description that Dee recorded. Furthermore, if Angelical letter arrangement has random characteristics, as Laycock claims, then the English-like pronunciation cannot be an inherent quality of the language itself. Far more likely is that Dee assigned pronunciations to the Angelical because he wished to speak the keys in a ceremony, and, being English, adapted them as well as he could to his native tongue. Indeed, outside of few minor suggestions, the spirits seem unconcerned with pronunciation.

> (James, //The Enochian Evocation of Dr. John Dee//, Preface, p. xxiv)

</blockquote></HTML> A closer reading of Dee’s original records, however, indicates that not only did Kelly hear the sounds spoken by the Angels while the letters were being shown, but that Dee re-checked the Calls with them several times, as a number of corrections and revisions were later recorded. Furthermore, if the pronunciation had been invented by Dee, surely he would have come up with something more consistent!

Dee’s records show that the Calls were originally received in a different order than that in which they were later arranged by Dee, at the Angels’ orders. For those interested in the original arrangement, I recommend Causabon, pps. 79 – 138, 190 -200.

One last note:

It has been pointed out by several people that one of the most striking things about the whole Enochian system is that How Much You Put Into It seems to matter a great deal more than How You Do It. Perhaps there’s something to James’ reasoning, after all.

I make no claims that this guide will make you any better (though hopefully no worse) of a magician. My intent was solely to attempt to compare the various systems of pronunciation with Dr. Dee’s original notes on the subject. It is to him, and to my many mentors both within and without the Order, that this paper is dedicated with respect and love.

Love is the law, love under will.

Christeos Pir

Fr. VITRIOL 335, 0° O.T.O.

_O_

 

(Black = Aurum Solis, Blue = James, Green = Dee)


OL^ SONuF VORoSiG, GOHO I-AD BALaT, LON^Si# KALaZ VO-NuPiHO: SOBRA
OL SONF VORSG, GOHO IAD BALT, LANSH CALZ VONPHO: SOBRA
Ol sonf vorsg,1 yad balt, lonsh calz vonpho: sobra

ZOL^ RO-R^ I TA NAZePiSAD GRA-A TA MALPiRoG: DeS HOLA# #A-A
ZOL ROR I TA NAZPSAD OD GRAA TA MALPRG: DS HOLQ QAA
zol2 ror I3 ta nazpsad graa ta malpurg: ds holqu-u q-a-a4

NOT^HO-A ZIMuZ, OD KOM^MA# TA NOBLO# ZI-EN: SO-BA T^HIL G^NONuP
NOTHOA ZIMZ, OD COMMAH TA NOBLOH ZIEN: SOBA THIL GNONP
nothoa zimz, od commah ta nobloh zien: soba thil gnonp

PiRoGE AL^DI, DeS URoBeS OBO-LE# GRoSAM^. KASARoM OHO-RE-LA
PRGE ALDI, DS URBS OBOLEH GRSAM. CASARM OHORELA
purge aldi, ds urbs oboleh gursam. Casarm ohorela

KABA PIR^ DeS ZON^RENSiG KAB ERoM I-AD^NA#. PILA# FARoZeM
CABA PIR DS ZONRENSG CAB ERM IADNAH. PILAH FARZM OD
caba pir ds zonrensg cab erm Yadnah. P-il-ah5 farzm

ZUR^SA AD^NA GONO I-AD^PIL DeS HOM^ TO#, SO-BA
ZNRZA ADNA OD GONO IADPIL DS HOM OD TOH, SOBA IAOD
znurza6 adna (ds)7 gono iadpil ds hom toh, soba

IPAM, LU IPAMIS, DeS LO-HO-LO VEP^ ZOMuD
IPAM, OD UL IPAMIS, DS LOHOLO VEP ZOMD
8 ipam, lu9 ipamis10, ds loholo11 vep zomdv12

PO-AMAL OD BOG^PA A-A-I TA PI-AP^ PI-AMOL OD VO-O-AN.
POAMAL OD SONF AAI TA PIAP BALTOH OD VAOAN.
poamal (s)od13 bogpa aai14 ta piap piama15 el16 od17 vaoan.18

ZAKAR^, KA OD ZAM^RAN; ODO KIKLE #A-A; ZOR^GE, LAP^
ZACAR, CA, OD ZAMRAN; ODO CICLE QAA; ZORGE, LAP
Zacar(e)19 c-a20, od21 zamran; odo cicle22 qaa23; zorge24, lap

ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ZIRDO25 NOCO MAD, HOATH IAIDA.
zirdo noco mad, hoath Jaida.

1 Text has GOTTO – this is evidently a typo for goho.
2 “Zol … zod /\, as ol” [The /\ represents the Delta, or triangle, that Dee used as his personal sign in the original.]
3 “a word by itself”
4 “Three syllables”
5 “Three syllables. P is distinctly pronounced by itself.”
6 “ZNRZA Call it Zurza. /\ As … Znurza.”
7 Removed by later correction from the Angel.
8 Text at this point reads “Labiis clausis, [Span] [um um] … He hummed twice, signifying two words more, which were not to be pronounced till they were read in practise.”
Then “OD, as you had before” followed by “BALTOH,” then “PIAP”. After this, some discussion as to errors in words here. Apparently “od baltoh piap” was removed at this point; it is unclear if the preceding “soba” is to stay or not.
9 “LU … Call it UL … with such sound to U as we pronounce yew, whereof bows are made.”
10 “The A pronounced short.”
11 “long, the first syllable accented.”
12 “ZOMDVX `Call it Zome.’ … With great difficulty this Letter was discerned: Nalvage himself said, he knew it not yet; but it seemed to E.K. to be an X. Nalvage denied it to be an X, and said he know not yet the mystery: `Say the Lord’s Prayer, for I cannot open it. Although my power be multiplied, yet I know not this letter.’ At length he said it was V.”
13 “POAMAL SOD Poamal Od, put out the S. Make it two words … It may be all one word with S or T but it would be hard for your understanding.”
14 “The first A may be an A or an O or an E.”
15 “PIAMO This o must be sounded as a.”
16 “Call it Piamo el. It is Piatel Baltale to be sounded.” In fact, the record is unclear, and shows Baltale first, and Piamo el as a correction.
17 “Drawing the O long.”
18 “VOOAN is spoken with them that fall, but VAOAN with them that are, and are glorified. The devils have lost the dignity of their sounds.”
19 “E must come after R: but without number, and so, it is Zacare.”
20 “two syllables”
21 “or OT
22 “That C is called C minor.” (The second c.)
23 “Three syllalbes, with accent on the last A.”
24 “Of one syllable” (thus Zorj)
25 ZIR DONOCO? See James, op. cit., p. 68, footnote 1.88


AD^GaT V^PA-A# ZON^GOM FA-A-IP^ SALD^, VI-IV aL^, SO-BAM
ADGT UPAAH ZONG OM FAAIP SALD, VIV L, SOBAM
Adgt V-pa-ah zong om fa-a-ip sald, vi-iv L, s-o-bam

I-ALPiRoG IZA-ZAZ PI-AD^PI#; KA-SAR-MA AB^RAM^G^ TA TAL^HO
IALPRG IZAZAZ PIADPH; CASARMA ABRAMG TA TALHO
i-al-purg izazaz piadph; casarma abramg ta talho

PA-RA-KLEDA, #aTA LORoSiLa# TURoBeS O-OGE BAL^TO#. GI-VI K^HIS
PARACLEDA, Q TA LORSLQ TURBS OOGE BALTOH. GIUI CHIS
paracleda, quu-ta lors-l-qua turbs ooge baltoh. Giui chis1

LU-SiD OR^RI, OD MIKALaP K^HIS BI-A O-ZON^GON, LAP^ NO-AN TaROF^
LUSD ORRI, OD MICALP CHIS BIA OZONGON, LAP NOAN TROF
lusd orri, od mi-calp chis2 bia ozongon, lap no-an trof

KO-RoS TA-GE O#^ MA-NIN I-A-I-DON. TOR^ZU GOHEL^: ZAKAR^ KA
CORS TA GE OQ MANIN IAIDON. TORZU GOHEL: ZACAR CA
cors tage o-qua manin ia-i-don. Torzu go-hel: zacar ca

K^NO#-OD, ZAM^RAN MIKAL^ZO OD OZAZeM U-RE-LaP, LAP^ ZI-R^ I-O-I-AD.
CNOQOD, ZAMRAN MICALZO OD OZAZM VRELP, LAP ZIR IOIAD.
c-no-quod, zamran micalzo od ozazm vrelp, lap zir ioiad.

1 “as Xis” (Gr. Chi-Iota-Sigma)
2 “the I long”


MIK^MA GOHO PI-AD^, ZI-R^ KOM^-SE-L^# A ZI-EN^ BI-AB OS LON^-DO#;
MICMA GOHO IAD, ZIR COMSELH AZIEN BIAB OS LONDOH;
Mic-ma goho pi-ad, zir com-selh azien biab1 os lon-doh;

NO-RoZ K^HIS O-Ta-HIL GI-GI-PA#; U-N^DeL K^HIS TA PU-IM
NORZ CHIS OTHIL GIGIPAH; UNDL CHIS TA PUIM
norz chis2 othil gi-gi-pah; vnd-l3 chis4 ta-pu-in5

i#^ MO-SiP-LE# TE-LO-Ka#, #U-I-IN TOL-TORoG K^HIS I K^HIS GE EM
Q MOSPLEH TELOCH, QUIIN TOLTORG CHIS ICHISGE M
q-mospleh6 teloch7, qui-in toltorg8 chis9 i chisge10 em11

OZI-EN DeST^ B^RoGDA OD TO-RoZUL I LI E OL^ BAL-ZARoG OD A-A-LA
OZIEN DS BRGDA OD TORZUL I LI F OL BALZARG, OD AALA
ozien dst burgda12 od torzul Ili eol balzarg13 od a-ala

TaHILaN OS NETA-AB, DeLUGA VO-MuSARoG LON-SA KAP^-MI-ALI VO-RoS K^LA
THILN OS NETAAB, DLUGA VOMSARG LONSA CAPIMALI VORS CLA
thilnos netaab, dluga vomsarg14 lonsa capmiali vors cla

HO-MIL KOKASiB; FA-FEN IZ-IZ-OP^ OD MI-INO-AG DE GaNETA-AB VA-UN
HOMIL COCASB; FAFEN IZIZOP OD MIINOAG DE GNETAAB VAUN
homil cocasb; fafen izizop od mi-i-no-ag15 de gnetaab vaun

NA NA-E-EL^, PAN^-PIR^ MAL-PIRoGI KA-OSiG PILaD; NO-AN U-NA-LA# BALaT
NANÆEL, PANPIR MILPIRGI PILD CAOSG; NOAN UNALAH BALT
na-na-e-el, panpir malpirgi caosg pild; noan unalah balt

OD VO-O-AN. DO-O-I-AP MAD, GOHO-LOR^ GOHUS A-MIRAN. MIK^MA I-E-HUSOZ
OD VOOAN. DO-O-IAP MAD, GOHOLOR GOHUS AMIRAN. MICMA IEHUSOZ
od voo-an. Do-oi-ap mad, goholor gohus amiran.16 Micma jehusoz

KAKAKOM OD DO-O-A-IN NO-AR^ MIKA-OLaZ A-A-I-OM. KA-SARM^G^ GOHI-A
CACACOM OD DOOAIN NOAR MICAOLZ AAIOM. CASARMG GOHIA:
ca-ca-com od-do-o-a-in17 noar mi-ca-olz a-ai-om. Casarmg gohia:

ZAKAR U-NI-Ga-LAG OD IMU-AMAR, PUGO PiLA-PiLI A-NA-NA-EL^
ZACAR UNIGLAG OD IMUAMAR, PUGO PLAPLI ANANÆL
zod-a-car18 vniglag od im-ua-mar, pugo plapli ananael

#A-AN.
Q-A-AN.
q-a-an.19

1 or “biah
2 “as kisse” (therefore pronounced like modern “kiss”.)
3 “it may be Vd L or Vnd L
4 “as kis
5 “you may call it Tapui also”
6 “Q Mos Pleh as two words”
7 “as och in hotch-pot
8 “org as in George
9 “kis
10 “kis-ge
11 “EM it is a word”
12 “as burgen, to bud”
13 “arg as in Barge
14 “arg as in barge
15 “it may be called mi-moag or diuph.”
16 “He pronounced the i so remissely, as it is scarce heard, and in the pronunciation of the whole word he seemeth not to move his lips.”
17 “it must be sounded with one breath”
18 “ZACAR … Zod a car
19 “It is q å an


OT^HIL LASDI BA-BA-GE OD DO-RoPiHA, GOHOL^, aG^ K^HIS GE AVAVAGO
OTHIL LASDI BABAGE OD DORPHA, GOHOL, GCHISGE AUAUAGO
O-thil las-di ba-bage od dor-pha, go-hol, g-chis-ge ava-va-go

KO-RoMP^ PiD^ DeSONuF VI UDIV^? KA-SARMI O-ALI MAPiM SOBAM AG
CORMP PD DSONF VIV DIU? CASARMI OALI MAPM SOBAM AG
cormp pe-de dsonf vi-v-di-v? Ca-sarmi o-a-li map-m so-bam ag1

KO-RoMPO K^-RoPiL, KA-SARM^G^ KRO-ODZI K^HIS OD U-GE-G^, DeST^
CORMPO CRIP L, CASARMG CROODZI CHIS OD UGEG, DS T
corm-po crpl, casarmg2 cro-od-zi chis3 od v-geg,4 dst

KAPI-MA-LI K^HIS KAPI-MA-ON, OD LONuSiHIN K^HIS TA LO K^LA. TORoGU
CAPIMALI CHIS CAPIMAON, OD LONSHIN CHIS TA LO CLA. TORZU
ca-pi-ma-li chis5 capi-ma-on, od lonshin chis ta-l-o cla. Torgu

NO-R^ #U-ASAHI OD iF^ KA-OSiGA; BAGLE ZI-RENA-I-AD DeSI OD APILA.
NOR QUASAHI OD F CAOSGA; BAGLE ZIR ENAY IAD DSI OD APILA.
nor-qua-sa-hi od f-gaos-ga; ba-gle zire-nai-ad dsi od api-la.

DO-O-A-IP^ #A-AL, ZAKAR OD ZAM^RAN OBELI-SONuG RESTEL A-AF
DO-O-A-IP QAAL, ZACAR OD ZAMRAN OBELISONG RESTEL AAI
Do-oa-ip qa-al, zacar od zamran obelisong rest-el a-af

NO-RoMO-LAP^.
NOR MOLAP.
normolap.

 

1 “as agg in nag
2 “the g as in seurge
3 “kis
4 “as Wedge
5 “kis


SA-PA# ZIMI-I DU-IB OD NO-AS TA#U-ANIS A-DeROKa#, DO-RoPiHAL
SAPAH ZIMII D DIV OD NOAS TA QUANIS ADROCH, DORPHAL
Sa-pah zi-mii du-iv od noas ta-qu-a-nis ad-roch,1 dorphal

KA-OSiG OD FA-ONTaS PERIPSOL TABLI-OR^. KA-SARoM A-MIP^ZI NA-ZARTa#
CAOSG OD FAONTS PERIPSOL TA BLIOR. CASARM AMIPZI NAZ ARTH
ca-osg od fa-onts pir-ip-sol ta-blior. Casarm a-mip-zi na-zarth

AF OD DeLUGAR ZI-ZO-P^ Z^LIDA KA-OSiGI TOL TO-R^GI, OD
AF OD DLUGAR ZIZOP ZLIDA CAOSGI TOLTORGI, OD
af od dlugar zizop zod-lida2 ca-os-gi toltorgi, od (zizop)

ZeK^HIS ESI-A-SiKa# eL^ TA-VI-U OD I-A-OD TaHILaD DeS
ZCHIS ESIASCH L OD VIV OD IAOD THILD DS PERAL
zod-chis3 e-siach l ta-ui-u od i-a-od thild4 ds

HUBAR^ PE-O-AL SOBA KO-RoMFA K^HIS TA LA ULaS OD i#^-KOKASiB.
HUBAR PEOAL SOBA CORMFA CHIS TA LA ULS OD QCOCASB.
hubar pe-o-al so-ba cormfa chis-ta5 la uls od qcocasb.

KA NI-IS OD DARoBeS #A-AS; FET^HARZI OD BLI-ORA; I-A-I-AL ED^NAS
CA NIIS OD DARBS QAAS; F ETHARZI OD BLIOR; IAIAL EDNAS
Ca6 ni-is od darbs7 q-a-as; feth-ar-zi od bli-o-ra; ia-ial ednas

KIKLES; BAGLE? GE-I-AD I aL^.
CICLES; BAGLE? IAD I L.
ci-cles; ba-gle? 8 Ge-jad il.

1 “as otch
2 “it is a word and a letter”
3 “It is better than the other, I mean that Zod-chis being of one signification, with Zizop that Zod-chis is better to be used.” (Instead, or along with?)
4 “one syllable”
5 “kista
6 “sa
7 “one syllable”
8 “ie in as ientle iad as iade


GA^ SiDI-U K^HIS EM^, MIKAL^ZO PIL^-ZIN; SOBAM EL HARoG MI-R^
GAH S DIU CHIS EM, MICAOLZ PILZIN; SOBAM EL HARG MIR
Gah es-di-u chis em, micalzo pilzen; sobam el harg1 mir

BA-BA-LON OD OBeLOK SAMU-ELaG; DeLUGAR MALPiRoG ARKA-OSiGI
BABALON OD OBLOC SAMVELG; DLUGAR MALPRG AR CAOSGI
(pizin)2 babalon od ob-loc sam-velg; dlugar mal-purg ar-ca-os-gi

OD AKAM KANAL^ SOBOL ZAR eF-BLI-ARoD KA-OSGI OD K^HIS ANETAB
OD ACAM CANAL SOBA ELZAP F BLIARD CAOSG OD CHIS ANETAB
od acam canal3 so-bol-zar F-bli-ard4 ca-os-gi5 od chif6 a-ne-tab

OD MI-AM TA VI-U OD eD^. DARoSAR SOL PETa# BI-EN^; BeRITA OD ZAKAM
OD MAIM TA VIV OD D. DARSAR SOLPETH BIEN; BRITA OD ZACAM
od miam ta-vi-v odd. Darsar sol-peth bi-en; brita od za-cam

aG^ MIKAL^ZO; SOB-HA-ATa# TRI-AN LU-I-AHE OD-EKRIN^ MAD #A-A ON.
GMICALZO; SOBA HAATH TRIAN LUIAHE OD ECRIN MAD QAAON.
g-mi-calzo; sob-ha-ath trian lu-i-a-he o-de-crin mad q-a-a-on.

1 “argenton” (?!)
2 Later: “put out the last pilgin.”
3 “sanal
4 Originally tbliord, then “it is better if the T be made an F, and pronounced F bli ard.”
5 “kaosgi
6 “kis


RA-AS ISAL^MAN PARADIZOD O-EKRIMI A-A-O I-ALPI-RoGA# #U-I-IN
RAAS I SALMAN PARADIZ OECRIMI AAI IALPIRGAH QUIIN
Ra-as i salman pa-ra-di-zod o-e-cri-mi a-ao yal-pir-gah qui-in

E-NA-I BUT^MON; OD INO-AS NI PARADI-AL^ KA-SARM^G^ UGE-AR^
ENAY BUTMON; OD INOAS NI PARADIAL CASARMG UGEAR
enay but-mon; od in-o-as ni pa-ra-di-al casarmg1 v-ge-ar

K^HIRoLAN, OD ZONAK LUKIF-TI-AN KO-RoS TA VA-UL^ ZI-RoN TOLHAMI.
CHIRLAN OD ZONAC LUCIFTIAN CORS TA VAUL ZIRN TOL HAMI.
chir-lan2 od zo-nac lu-cif-ti-an cors-ta vaul-zirn tol-ha-mi.

SOBA LO-N^-DO# OD MI-AM K^HIS TAD O-DES UMA-DE-A OD PI-BLI-AR^,
SOBA LONDOH OD MIAM CHIS TA OD ES UMADEA OD PIBLIAR,
Soba lon-doh od mi-am3 chis-tad4 o-des v-ma-de-a5 od pib-li-ar

OT^HIL^ RIT OD MI-AM. KaNO#U-OL RIT; ZAKAR^, ZAM^RAN; O-EKRIMI
OTHIL RIT OD MIAM CNOQUOL RIT; ZACAR, ZAMRAN; OECRIMI
o-thil-rit od mi-am cno-quol6 rit; za-car, zamran; o-e-crimi

#A-DA# OD OMIKA-OLaZ A-A-I-OM. BAGLE PAPiNOR^ IDeLUGAM LONuS-HI
QAADAH OD OMICAOLZ AAIOM. BAGLE PAPBOR IDLUGAM LONSHI
q-a-dah od o-mi-ca-ol-zod a-a-i-om. Ba-gle pap-nor id-lu-gam lon-shi

OD UM-PiLIF UGE-GI BIGaLI-AD.
OD UMPLIF UGEG BIGLIAD.
od ump-lif v-ge-gi big-li-ad.

1 “The dg as dg
2 “kir”-
3 “or Od Nuåm
4 “kistad
5 Very clearly v and not u.
6 -“kol


BA-ZeMELO ITA PIRIPiSON OLaN NAZA-U-ABe# OKS^; KA-SARM^G^ URAN^
BAZME LO I TA PIRIPSON OLN NAZ AVABH OX; CASARMG URAN
Baz-me-lo i-ta pi-ri-pson oln na-za-vabh ox; casarmg v-ran

K^HIS U-GE-G^ DeS-AB^RAM^G^ BALTO-HA GOHO I-AD; SOBA MI-AN TaRI-AN
CHIS UGEG DS ABRAMG BALTOHA GOHO IAD; SOBA MIAM TRIAN
chis v-geg dsabramg1 bal-to-ha go-ho-i-ad; so-la-mi-an tri-an

TA LOL^KIS ABA-I-U-ONIN OD AZI-AGI-ER^ RI-OR^. IRoGIL^ K^HIS DA
TA LOLCIS ABAI VOVIN OD AZIAGIER RIOR. IRGIL CHIS DA
ta-lol-cis2 a-ba-i-uo-nin od a-zi-a-gi-er rior. Ir-gil-chis-da

DeS PA-A-OKS^ BU-SiD KA-OSiGO, DeS K^HIS, ODI-PU-RAN^ TE-LO-A#,
DS PAAOX BUSD CAOSGO, DS CHIS OD IPURAN TELOCH
dspa-a-ox busd ca-os-go,3 ds chis odi-pu-ran te-lo-ah,

KAKaRoG O ISAL^MAN LONuK-HO OD VO-VI-NA KARoBAF^? NI-ISO,
CACARG O SALMAN LONCHO OD VOVINA CARBAF? NIISO,
ca-curg o-i-sal-man lon-cho4 od vo-ui-na car-baf? Ni-i-so,

BAGLE A-U-A-U-AGO GOHO-N^; NI-ISO, BAGLE MOMA-O SI-A-I-ON OD
BAGLE AVAVAGO GOHON; NIISO, BAGLE MOMAO SIAION OD
bag-le a-ua-ua-go go-hon; ni-i-so ba-gle mo-ma-o si-a-i-on od

MA-B^ZA I-AD O I, AS, MOMA-R^, PO-I-LaP. NI-IS, ZAM^RAN KI-A-OFI
MABZA IADOISMOMAR, POILP. NIIS, ZAMRAN CIAOFI
mab-za iad-o-i-as-mo-mar, poilp.5 Ni-is6 zam-ran ci-a-o-fi

KA-OSiGO OD BLI-ORoS OD KO-RoS-I TA AB^RAMIG.
CAOSGO OD BLIORS OD CORSI TA ABRAMIG.
ca-os-go7 od bli-ors od cor-si ta a-bra-mig.

1 “g not as dg
2 “or SIS”
3 “Ca, or Ka os go
4 “or ko
5 “one syllable”
6 “small sound of i
7 “ka”-


MIKA-OLI BeRANSiG PiRoGE-L^ NAPiTA I-AL^POR^ DeS BeRIN EFA-FA-FE
MICAOLI BRANSG PURGEL NAPTA IALPOR DS BRIN EFAFAFE
Mi-ca-oli bransg pur-gel nap-ta yalpor ds-brin e-fa-fa-fe1

iP^ VO-NuPiHO OLANI OD OB^ZA; SOBeKA UPA-A# K^HIS TA-TA-N^ OD
P VONPHO OLANI OD OBZA; SOBA UPAAH CHIS TATAN OD
p2 von-pho o-la-ni od ob-za; sob-ca3 v-pa-ah chis ta-tan od

TaRA-NAN BA-LI-E, ALAR^ LUSiDA SOBOLaN OD K^HIS HOLa# K^NO#U-ODI
TRANAN BALYE ALAR LUSDA SOBOLN OD CHIS HOLQ CNOQUODI
tra-nan ba-ly-e a-lar lus-da so-boln od chis-hol-q cno-quo-di

KI-AL. U-NAL AL^DON MOM^ KA-OSiGO TA LAS O-LaLO-R^ Ga-NA-I
CIAI. UNAL ALDON MOM CAOSGO TA LAS OLLOR GNAY
ci-al.4 V-nal al-don mom ca-os-go ta las-ol-lor gnay

LIMuL-AL; AM^MA K^HIS SOBeKA MAD^RID eZ^ K^HIS; O-O-ANO-AN K^HIS
LIMLAL; AMMA CHIIS SOBA MADRID ZCHIS; OOANOAN CHIS
lim-lal; am-ma chi-is sob-ca5 ma-drid zod-chis;6 o-o-a-no-an chis

AVINI D^RI-LaPI KA-OSiGIN, OD BU-TaMONI PARoM ZUMU-I KaNI-LA;
AVINY DRILPI CAOSGI OD BUTMONI PARM ZUMVI CNILA;
a-vi-ny dril-pi ca-os-gin od but-mo-ni parm zum-vi cni-la;

DAZIS ET^HAMuZ A K^HILDA-O, OD MI-RoK OZOL^ K^HIS PIDI-A-I
DAZIZ ETHAMZ ACHILDAO, OD MIRC OZOL CHIS PIDIAI
dazis e-tham-zod a-chil-da-o,7 od mirc8 o-zol chis p-i-di-a-i

KOLaLAL. UL-KININ A SOBAM UKIM. BAGLE? I-AD BAL^TO# K^HI-RoLAN
COLLAL ULCININ ASOBAM UCIM. BAGLE? IAD BALTOH CHIRLAN
col-lal ulci-nin a-so-bam u-cim. Ba-gle? I-ad-bal-toh chir-lan9

PAR^! NI-ISO, OD IP OFA-FA-FE, BAGLE A KOKASiB I-KORoS-KA UNIG^
PAR! NIISO, OD IP EFAFAFE, BAGLE COCASB I CORS TA UNIG
par! Ni-i-so od ip o-fa-fa-fe, ba-gle a-co-casb i-cors-ca10 v-nig

BLI-OR^.
BLIOR.
bli-or.

1 “otia thus EFAFAFI
2 “You must after E fa fa fe, put a P.”
3 -“ka
4 “si-i
5 -“ka
6 “kis
7 -“kil”-
8 “mirk
9 “kir”-
10 -“ka


KO-RAKSO K^HIS KO-RoMP OD BLANuS LUKAL^ AZI-A-ZOR^ PA-EB, SOBA
CORAXO CHIS CORMP OD BLANS LUCAL AZIAZIOR PÆB, SOBA
Co-rax-o1 chis cormp od blans lu-cal a-zi-a-zor pa-eb, so-ba

LI-LONON K^HIS VIRo# OP E-OPiHAN OD RAKLIR^ MA-ASI BAGLE
LILONON CHIS VIRQ OP EOPHAN OD RACLIR MAASI BAGLE
li-lo-non chis op2 vir-quu e-o-phan od ra-clir ma-a-si ba-gle

KA-OSiGI, DeS I-AL^PON DOSIG OD BASiGIM; OD OKSEKS^ DAZIS
CAOSGI, DS IALPON DOSIG OD BASGIM; OD OXEX DAZIZ
ca-os-gi, ds jalpon do-sig3 od bas-gim; od ox-ex daz-is

SI-AT^RIS OD SAL-BeROKS KINuKS-IR^ FABO-AN. UNAL^ K^HIS KON^SiT DeS
SIATRIS OD SALBROX CINXIR FABOAN. UNAL CHIS CONST DS
si-a-tris od sal-brox cynx-ir fa-bo-an. U-n-al-chis const4 ds

DA-OKS KOKASiG OL O-ANI-O I-O-R^ VOHIM OL GIZI-AKS OD
DAOX COCASB OL OANIO YOR EORS MICAOLI OL GIXYAX OD MATB
da-ox co-casg5 ol o-a-ni-o yor vo-him ol giz-y-ax od

E-ORoS KOKASiG PiLOSI MOLU-I DeS PA-GE-IP^ LARAG OM D^ROLaN
COCASB PLOSI MOLUI DS PAGEIP LARAG OM DROLN
e-ors co-casg plo-si mol-ni ds pa-ge-ip la-rag om droln

MATORoB KOKASiB EM-NA. eL^ PATRALaKS I-OL^KI MATaB, NO-MIG^
MATORB COCASB EMNA. L PATRALX YOLCI MATB, NOMIG
(ma-torb) co-casb em-na. L-pa-tralx yol-ci (matorb)6 nomig

MO-NONuS OLO-RA GaNA-I AN-GELARoD. OHI-O, OHI-O, OHI-O, OHI-O,
MONONS OLORA GNAY ANGELARD. OHIO, OHIO, OHIO, OHIO,
mo-nons o-lo-ra gnay an-ge-lard. O-hi-o, o-hi-o, o-hi-o, o-hi-o,

OHI-O, OHI-O, NO-IB OHI-O KA-OSiGON! BAGLE MAD^RID I ZI-ROP^
OHIO, OHIO, NOIB OHIO CAOSGON! BAGLE MADRID I ZIROP
o-hi-o, o-hi-o, no-ib o-hi-o ca-os-gon! Ba-gle ma-drid i zi-rop

K^HI-SO D^RI-LaPA. NI-ISO: KaRIP^ IP NIDALI.
CHISO DRILPA. NIISO: CRIP IP NIDALI.
chi-so7 dril-pa. Ni-i-so: crip ip ni-da-li.

1 or “coraaxo
2 “Between Chis and Virq, you must put in Op, a word.”
3 “as fig
4 “k
5 “as dg
6 “This word must come next after Om droln.” (-only, or both places?)
7 “k”(iso)


OKSI-A-I-AL HOL^DO OD ZIROM O KO-RAKSO DeS ZIL^DAR^ RA-ASI; OD
OXIAYAL HOLDO OD ZIROM O CORAXO DS ZILDAR RAASY; OD
Ox-i-ay-al hol-do od zir-om o co-rax-o ds zil-dar ra-a-sy; od

VABeZIR^ KAM^-LI-AKS OD BA-HAL^, NI-ISO: SAL^MAN TE-LO-Ka#
VABZIR CAMLIAX OD BAHAL, NIISO OD ALDON SALMAN TELOCH
vab-zir cam-li-ax od ba-hal, ni-i-so sal-man te-loch1

KA-SARoMAN HOLa# OD TI TA eZ^ K^HIS, SOBA KOR^MuF I GA. NI-ISA
CASARMAN HOLQ OD T I TA ZCHIS, SOBA CORMF I GA. NIISO
ca-sar-man hol-q od ti ta zod-chis, so-ba cormf i-ga ni-i-sa

BAGLE AB^RAM^G^ NON^KaP. ZAKAR^ KA, OD ZAM^RAN, ODO KIKLE #A-A,
BAGLE ABRAMG NONCP. ZACAR CA, OD ZAMRAN, ODO CICLE QAA,
bagle ab-ramg2 noncp.3 Zacar e ca, od zamran, odo cicle Qaa,

ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
Zorge, lap zirdo noco mad, hoath Jaida.4

1 “hotch
2 “g, not as dg
3 “nonsp
4 “They are the 14 last words, in the holy language thus: Zacar e ca, od zamran, odo ic. Qua, Zorge, lap zirdo Noco Mad, Hoath Jaida.


NON^KI DeSONuF BABAGE OD K^HIS OB, HUBA-I-O TIBIBeP, AL^LAR
NONCI DS SONF BABAGE OD CHIS OB, HUBARO TIBIBP, ALLAR
Non-ci1 dsonf ba-ba-ge od chis ob hu-ba-i-o ti-bibp, allar

A-TaRA-A# OD EF^. D^RIKS^ FAFEN MI-AN AR ENA-I O-U-OF^, SOBA
ATRAAH OD EF. DRIX FAFEN MAIN AR ENAY OVOF, SOBA
a-tra-ah od ef. Drix fa-fen mi-an ar e-nay o-vof, so-ba

DO-O-A-IN A-A-I VON^Pi#. ZAKAR^ GOHUS OD ZAM^RAN, ODO KIKLE #A-A,
DOOAIN AAI I VONPH. ZACAR GOHUS, OD ZAMRAN, ODO CICLE QAA,
do-o-a-in a-a-i i-vonph. Zacar e ca, od zamran, odo cicle qaa,

ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
zorge, lap zirdo noco mad, hoath Jaida.

1 “nonsi


NAPE-A-I BABAGEN^ DeS BeRIN UKS O-O-A-ONA LaRINuG VON^Pi#
NAPEAI BABAGEN DS BRIN VX OOAONA LRING VONPH
Na-pe-ai ba-ba-gen1 ds brin ux o-o-a-na lring vonph

DO-ALIM, E-OLIS O-LaLOG O-RoSi-BA DeS K^HIS AF^FA. MIK^MA ISiRO MAD
DOALIM, EOLIS OLLOG ORSBA DS CHIS AFFA. MICMA ISRO MAD
do-a-lim, e-o-lis ol-log ors-ba ds chis af-fa. Mic-ma is-ro mad

OD LONuS-HI-TOKS DeS I-UMuD A-A-I GROSiB. ZAKAR OD ZAM^RAN, ODO OD
LONSHI TOX DS IUMD AAI GROSB. ZACAR OD ZAMRAN, ODO
od lon-shi-tox ds j-umbd. Zacar e ca, od zamran, odo

KIKLE #A-A, ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
CICLE QAA, ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
cicle qua, zorge, lap zirdo noco mad, hoath Jaida.

1 -“jen


NO-RO-MI BAGI-E PASiBeS O-I-AD, DeS TaRINuT MIRoK OL^ T^HIL, DODeS
NOROMI BAGIE PASBS OIAD, DS TRINT MIRC OL THIL DODS
[No record of this call in Causabon.]

TOL^HAM KA-OSGiGO HOMIN, DeS BeRIN ORO-Ka# #U-AR; MIK^MA BI-AL
TOL HAMI CAOSGO HOMIN, DS BRIN OROCH QUAR; MICMA BIAL

O-I-AD, A-IS^RO TOKS DeS-I-UM A-A-I BAL^TIM. ZAKAR OD ZAM^RAN, ODO
OIAD, AISRO TOX DS IUMD AAI BALTIM. ZACAR OD ZAMRAN, ODO

KIKLE #A-A, ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
CICLE QAA, ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.


ILaS TABA-AN LI-ALPiRoT KASARoMAN UPA-AHI K^HIS DARoG DeS-OKIDO
ILS TABAAM L IALPRT CASARMAN UPAAH CHIS DARG DS OADO
[No record of this call in Causabon.]

KA0OSiGI O-RoSiKO-R^; DeS OMAKS MONASiKI BA-E-O-U-IB OD EMET^GIS
CAOSGI ORSCOR; DS OMAX MONASCI BÆOVIB OD EMETGIS

I-A-I-ADIKS. ZAKAR OD ZAM^RAN, ODO KIKLE #A-A, ZOR^GE, LAP^ ZI-R^DO
IAIADIX. ZACAR OD ZAMRAN, ODO CICLE QAA, ZORGE, LAP ZIRDO

NOKO MAD, HO-ATa# I-A-IDA.
NOCO MAD, HOATH IAIDA.


ILaS VI-U-I-ALPiRoT SAL^MAN BALaT, DeS AKRO-ODZI BU-SiD OD
ILS VIV IALPRT SALMAN BALT, DS BRIN ACROODZI BUSD OD
[Beginning of this call not recorded in Causabon.]

BLI-ORAKS BALIT; DeS-IN-SI KA-OSiG LUSiDAN EMOD DeS-OM OD T^LI-OB;
BLIORAX BALIT; DS INSI CAOSG LUSDAN EMOD DS OM OD TLIOB;
….lus-dan e-mod dsom od tli-ob;

D^RI-LaPA GE# ILaS MAD ZILO-DARoP. ZAKAR OD ZAM^RAN, HAMI
DRILPA GEH ILS MADZILODARP. ZACAR OD ZAMRAN,
dril-pa geh1 yls2 Mad-zi-lo-darp. Zacar e ca, od zamran,

ODO KIKLE #A-A, ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ODO CICLE QAA, ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
odo cicle qua, zorge, lap zirdo noco mad, hoath Jaida.

1 “jeh
2 as “Yils


ILaS DI-ALPiRoT SOBA UPA-A# K^HIS NAN^BA ZIKSiLA-I DO-DeSI#
ILS D IALPRT SOBA UPAAH CHIS NANBA ZIXLAY DODSIH
Ils di-al pert soba v-pa-ah chis nanba zixlay dod-sih

OD BeRINT^ FAKSiS HUBARO TASiTAKS IL^SI, SOBA-I-AD I VON^PO-UN^Pi#,
OD BRIN FAXS HUBARO TUSTAX YLSI, SOBA IAD I VONPOVNPH,
od-brint taxs1 Hu-ba-ro tas-tax yl-si, so-bai-ad i-von-po-unph,

AL^DON DAKS IL OD TO-ATAR^. ZAKAR OD ZAM^RAN, ODO KIKLE #A-A,
ALDON DAXIL OD TOATAR. ZACAR OD ZAMRAN, ODO CICLE QAA,
al-don dax-il od to-a-tar. Zacar e ca, od zamran, odo cicle qua,

ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
zorge, lap zirdo noco mad, hoath Jaida.

1 “Faxs … Faxes or Faxis to be sounded. I find in the Call Taxs. I finde also in some words T or F indifferently used.”


ILaS MIKA-OLaZ OL-PIRoT I-ALP^RoG BLI-ORoS DeS ODO BU-SiDI-R^
ILS MICAOLZ OLPIRT OD IALPRG BLIORS DS ODO BUSDIR
Ils mi-ca-ol-zod ol-pirt yal-purg b-liors ds odo bus-dir

O-I-AD O-U-O-ARoS KA-OSiGO, KA-SARM^G^ LA-I-AD ERAN BeRINTaS
OIAD OVOARS CAOSGO, CASARMG LAIAD ERAN BRINTS
o-i-ad o-vo-ars ca-os-go ca-sar-mg la-i-ad e-ran brints

KA-FA-FAM^, DeS I-UMuD A#iLO ADO-HI MOZ OD MA-OFiFAS;
CASASAM, DS IUMD ACLONDOH MOZ OD MAOFFAS
ca-fa-fam, ds i-umd a-quu-lo a-do-hi (qz) moz1 od ma-of-fas

BOLaP KOMO-BLI-ORoT PAM^BeT. ZAKAR OD ZAM^RAN, ODO KIKLE #A-A,
BOLP COMO BLIORT PAMBT. ZACAR OD ZAMRAN, ODO CICLE QAA
bolp co-mo-bli-ort pambt. Zacar e ca, od zamran, odo cicle qua,

ZOR^GE, LAP^ ZI-R^DO NOKO MAD, HO-ATa# I-A-IDA.
ZORGE, LAP ZIRDO NOCO MAD, HOATH IAIDA.
zorge, lap zirdo noco mad, hoath Jaida.

1 “QZMOZ … Moz


MA-DRI-AKS DeS PiRAF [LIL^], K^HIS MIKA-OLaZ SA-ANIR^ KA-OSiGO, OD
MADRIAX DS PRAF [LIL], CHIS MICAOLZ SAANIR CAOSGO, OD
Madriax1 ds-praf [LIL], chis2 micaolz sa-anir ca-os-go, od

FI-SIS BAL-ZI-ZeRAS I-A-IDA! NON^KA GO-HU-LIM, MIK^MA ADO-I-AN
FISIS BALZIZRAS IAIDA! NONCA GOHULIM, MICMA ADOIAN
fisis bal-ziz-ras Ya-i-da! Nonca3 go-hu-lim, micma4 ado-i-an

MAD, I-A-OD BLI-ORoB, SOBA O-O-A-ONA K^HIS LUKIF-TI-AS
MAD, IAOD BLIORB, SOBA OOAONA CHIS LUCIFTIAS
mad, I-a-od bliorb, sa-ba-o-o-a-o-na5 chis6 lu-cif-ti-as

PERIPSOL, DeS ABRA-ASiSA NON^KaF NETA-A-IB KA-OSiGI OD TILaB
PERIPSOL, DS ABRAASSA NONCF NETAAIB CAOSGO OD TILB
peripsol, ds abraassa noncf7 ne-ta-a-ib ca-os-gi od tilb

AD^PiHA-HaT DAM-PiLOZ, TO-O-AT^ NON^KaF aG^-MIKAL^ZOMA L^RASiD
ADPHAHT DAMPLOZ, TOOAT NONCF GMICALZ OM LRASD
ad-phaht dam-ploz, to-o-at noncf8 gmi-cal-zo-ma l-rasd

TOF-G^LO MARoB I-AR^RI IDO-IGO OD TORoZULaP I-A-ODAF, GOHOL^;
TOFGLO MARB YARRY IDOIGO OD TORZULP IAODAF, GOHOL;
tof-glo marb yarry idoigo9 od tor-zulp ya-o-daf, go-hol;

KA-OSiGA TABA-ORoD SA-ANIR^ OD K^-HoRIS-TE-OS I-R^PO-IL TI-OBeL,
CAOSGI TABAORD SAANIR OD CHRISTEOS YRPOIL TIOBL,
ca-os-ga ta-ba-ord sa-a-nir od chris-te-os yr-po-il ti-o-bl,

BU-SiDI-R^ TILaB NO-AL-IR^ PA-ID O-RoSi-BA OD DO-DRoM-NI ZIL^NA.
BUSDIR TILB NOALN PAID ORSBA OD DODRMNI ZYLNA.
bus-dir tilb no-aln pa-id ors-ba od dodrumni zyl-na.

EL^ZAP TILaB PARoM GI PERIPSAKS OD TA #U-R^LaST^ BO-O-APIS. L^-NIBeM
ELZAP TILB PARMGI PERIPSAX OD TA QURLST BOOAPIS. L NIMB
El-zap-tilb parm-gi pe-rip-sax od ta kurlst bo-o-a-pis. L-nibm

O-UK^HO SIMuP, OD K^-HoRIS-TE-OS AG TOL^-TORoN MI-RoK i#^ TI-OBeL LEL;
OUCHO SYMP, OD CHRISTEOS AG TOLTORN MIRC Q TIOBL LEL;
o-v-cho symp, od chris-te-os a-g-tol-torn mirk q ti-o-bl lel;

TON^ PA-OMBeD DILaZ-MO AS PI-AN, OD K^-HoRIS-TE-OS
TOL PAOMBD DILZMO ASPIAN, OD CHRISTEOS
ton pa-ombd dil-zmo as-pi-an, od10 chris-te-os

AG aL^ TOR^-TORoN PARAKA# A SIMuP; KORoD-ZIZ DO-DePAL OD FI-FALaZ
AG L TORTORN PARACH ASYMP; CORDZIZ DODPAL OD FIFALZ
ag-l-ter-torn11 parach a-symp; cordziz dod-pal od fi-falz

L^-SiMuNAD, OD FAR^GaT BAMuS OMA-O-AS; KO-NIS-BeRA OD A-VA-VOKS
L SMNAD, OD FARGT BAMS OMAOAS; CONISBRA OD AVAVOX
ls-mnad, od farg-t bams o-ma-o-as; co-nis-bra od a-ua-vox

TO-NUG^, O-RoSKA-T^BeL NO-ASMI TAB-GES LE-VIT^-H^MONuG. UN-K^-HI
TONUG, ORSCA TLB NOASMI TABGES LEVITHMONG. UNCHI
to-nug,12 ors-cat-bl no-as-mi tab-ges levith-mong. Un-chi13

OMuP TILaB ORoS. BAGLE? MO-O-O-A# OL^ KORoD-ZIZ. aL^ KAPI-MA-O
OM TILB ORS. BAGLE? MOOOAH OL CORDZIZ. L CAPIMAO
omp-tilb ors. Bagle? Mo-o-o-ah ol-cord-ziz. l-ca-pi-ma-o

IKSO-MAKSIP OD KA-KOKASiB GOSA-A; BAGLEN^ PI-I TI-AN^TA A
IXOMAXIP OD CA CAPIMAO GOSAA; BAGLEN PI I TIANTA
ix-o-max-ip od ca-co-casb go-sa-a; baglen pi-i ti-an-ta

ABA-BA-LONuD, OD FA-OR^GaT TELOK^ VO VIM. MA-DRI-I-AKS TORoZU;
ABABALOND, OD FAORGT TELOCVOVIM. MADRIIAX TORZU;
a-ba-ba-lond, od-fa-ordgt te-loc-vo-v-im.14 Ma-dri-yax tor-zu;

O-A-DRI-AKS OROK^HA ABO-A-PiRI. TABA-ORI PRI-AZ AR-TABAS;
OADRIAX OROCHA ABAOAPRI. TABAORI PRIAZ AR TABAORI;
o-adriax orocha15 a-bo-a-pri. Taba-o-ri priaz ar-ta-bas;

ADeRoPAN KO-RoSTA DOBIKS. I-OL^KAM PRI-AZI ARKO-AZI-OR^, OD
ADRPAN CORS TA DOBIX. YOLCAM PRIAZI AR COAZIOR, OD
a-dr-pan16 cor-sta dobix. Yol-cam pri-a-zi ar-co-a-zior, od

#U-ASiB #^TINuG. RIPIR^ PA-A-OKSiT SAGA-KO-R^; UMuL OD PRoDZAR^
QUASB QTING. RIPIR PAAOXT SAGACOR; UML OD PRDZAR
quasb qting.17 Ri-pir pa-a-oxt sa-ga-cor;18 vm-l od prdzar19

KAKaRoG A-O-IVE-A-E KO-RoMPiT. TORoZU, ZAKAR, OD ZAM^RAN ASPiT^
CACRG AOIVEÆ CORMPT. TORZU, ZACAR, OD ZAMRAN ASPT
ca-crg20 a-oi-ve-a-e cormpt. Tor-zu, zacar, od-zamran aspt

SIB^SI BU-T^MONA, DeS SUR^ZAS TI-A BALTAN. ODO KIKLE #A-A; OD
OZAZeMA SIBSI BUTMONA, DS SURZAS TIA BALTAN. ODO CICLE QAA; OD
OZAZMA sib-si but-mo-na, ds sur-zas tia baltan. Odo cicle qaa; od ozazma

PiLA-PiLI I-AD-NA-MAD^.
PLAPLI IADNAMAD.
pla-pli Iad-na-mad.

1 “MADRIIAX … O you Heavens … /\ I think this word wanteth as may appear by Madriax, about 44 words from the end.”
2 “kis”
3 -“sa
4 “mikma”
5 “o or a” (But which one?)
6 “kis”
7 “nonsf
8 “nonsf
9 “Id ui go
10 “long or short”
11 or “ah
12 “g dg
13 -“ki
14 “lotch, or loch.”
15 -“ka
16 -“dir”-
17 -“dg
18 -“kor
19 “pur”-
20 -“cúrg


 

As noted before, there is a lot of room for debate in those areas where Dee’s notes are inconclusive or contradictory. This guide is my own interpretation (and occasionally, I admit, extrapolation) of Dee’s pronunciation. Another, that of Donald Laycock, is in the Appendix to this paper. It is my opinion that often the differences between these variations are more of emphasis rather than any fundamental discord: between “ee” and “ih” for instance.

In the version of the Calls that follows, the first line is that of the Calls as printed in Causabon (except where noted), the second and third are my phonetic version with possible variations.

 

PRONUNCIATION KEY

A – as in “father”, except “ag” rhymes with “nag”

C – as k before aou (some exceptions)

– as s before ie (some exceptions)

E – stressed: as in “obey”

– unstressed: as in “beg” (some exceptions)

G – as (hard) g before aou

– usually as j before ie, and word-final, occasionally in other places, some exceptions

H – usually as h, except in combinations (chphshth); either silent or slightly aspirated in certain locations (eg: Comselh). This last does not apply to the phonetic notation that follows: duh-loo-gah (dluga) does not end with an aspirated sound.

I – stressed: as in “machine”

– unstressed: as in “pill”

I,J – as y or jh (“ge” as in “garage”) in initial position and before a vowel

O – stressed: as in “go”

– unstressed: as in “go” or as in “pot”, especially in –och– (rhymes with “botch”)

Q,QU – as “kuh”, or “kwuh” (as in “quick”)

U – usually as in “rule”, but occasionally as in “mug”

– in initial position may be pronounced as “yew”

X – as in “fox”

Y – usually as under key for I and I,J

Z – as in “zoo”; in a very few words, as zod

CH – as k in most positions, but -“och” rhymes with “botch”

PH – as f

SH – as sh

TH – as th

Double vowels should be pronounced only partly separately, with an elided pause between them: QAA becomes Kuh-ah-ah, with only the barest hesitation.

 

Ol sonf vorsg, goho iad balt, lansh calz vonpho: sobra zol ror I
Ol sonf vors-juh, goho yad balt, lonsh calz vonfo: sobra zol ror ee

ta nazpsad graa ta malprg: ds holq qaa
ta naz-puh-sad grah-ah ta malpurj: des hol-kwuh-uh kuh-ah-ah
(hol-kuh-uh, kwuh-ah-ah)

nothoa zimz, od commah ta nobloh zien: soba thil gnonp
no-tho-ah zeemz, od com-mah ta no-blo zee-en: soba theel guh-non-puh
(zimz, thil, guh-nomp)

prge aldi, ds urbs oboleh grsam. Casarm ohorela caba pir
purj aldee, des yoorbs o-bo-lay gursam. Kasarm oho-ray-la kaba peer

ds zonrensg cab erm iadnah. Pilah farzm znrza adna
des zon-rens-juh kab erm yad-nah. Puh-ee-lah far-zum znur-zah adna
(zon-rens-guh)

gono iadpil ds hom toh, soba ipam, lu ipamis, ds loholo
gono ee-ad-peel des hom toh, soba ee-pam, yool ee-pamis, des loholo
(ee-ad-pil)

vep zomdv poamal od bogpa aai ta piap piamo l od
vep zom po-ah-mal od bogpa ah-ah-ee ta pee-ap pee-ah-ma el od

vooan. Zacar(e) ca, od zamran; odo cicle qaa; zorge,
va-oh-an. Zakar(-ay) kuh-ah, od zamran; odo kee-klay kuh-ah-ah; zorj,

lap zirdo noco mad, hoath Iaida.
lap zeer-do noko mad, ho-ath Yah-ee-dah.
(Jhah-ee-dah.)

 

Adgt vpaah zong om faaip sald, viiv L, sobam
Ad-get vuh-pah-ah zong om fah-ah-eep sald, vi-eev el, sobam
(A-jet, zonj)

ialpurg izazaz piadph; casarma abramg ta talho paracleda,
yal-poorj ee-za-zaz pee-adf; kasarma abram-guh ta talho paraklayda,

qta lorslq tvrbs ooge baltoh. Giui chis lusd
kuh-ta lor-sel-kwah toorbs oh-oh-gay baltoh. Gee-oo-ee kis loosd
(Jee-oo-ee, loos-duh)

orri, od micalp chis bia ozongon, lap noan trof cors tage
orree, od mee-kalp kees bee-ah oh-zong-on, lap noan trof kors tah-jeh
(oh-zonj-on, tah-gay)

oq manin iaidon. Torzu gohel: zacar ca cnoqod,
oh-kwah manin yah-ee-don. Tor-zoo go-hel: zakar kah kuh-no-kwod,
(ca = sah)

zamran micalzo od ozazm vrelp, lap zir ioiad.
zamran mee-kal-zo od oh-zaz-muh vrelp, lap zeer yo-ee-ad.
(mih-kal-zo, vuh-relp)

 

Micma goho piad, zir comselh azien biab os londoh;
Mik-ma goho pee-ad, zeer kom-saylh a-zee-en bee-ab os lon-doh;
(Meek-ma)

norz chis othil gigipah; vndl chis tapvin qmospleh
norz kis oh-theel jih-jih-pah; vindl kis ta-poo-in kwuh-mos-play(h)
(oh-thil, gee-gee-pah)

teloch, qviin toltorg chis i chisge m ozien dst brgda od
telotch, kwee-in toltorj kis ee kisjeh em o-zee-en dest burjda od
(kwee-een, kisgay)

torzul Ili eol balzarg od aala thilnos netaab, dluga
torzool eelee ay-ol balzarj od ah-al-ah thil-nos ne-ta-ab, duh-loo-gah
(ill-lee)

vomsarg lonsa capmiali vors CLA homil cocasb; fafen
vomsarj lonsa kap-mee-ah-lee vors kla homeel ko-kas-buh; fafen
(homil)

izizop od miinoag de gnetaab vaun nanaeel,
ee-zee-zop od mee-ee-no-ag day guh-neh-tah-ab va-oon na-na-ay-el,
(iz-ee-zop)

panpir malpirgi caosg pild; noan unalah balt od vooan.
panpeer malpeergee kah-os-guh peeld; no-an oonalah balt od voh-oh-an.
(malpeerjee ka-os-juh)

Dooiap mad, goholor gohus amiran. Micma iehusoz
Doh-oh-ee-ap mad, goholor gohoos ah-mih-ran. Mik-ma yay-hoo-soz
(Meek-ma jhayhoo-soz)

cacacom od dooain noar micaolz aaiom.
kakakom od-do-oh-ah-een no-ar mee-kah-olz ah-ah-ee-om.
(od-do-oh-ah-in mi-kah-olz)

Casarmg gohia: zacar uniglag od imuamar, pugo
Ka-sarm-juh go-hee-ah: zod-a-kar oo-neeg-lag od eem-wah-mar, poogo
(oo-nig-lag, im-oo-ah-mar)

plapli ananael qaan.
plah-plee ah-nah-nah-el kah-an.
(kwuh-ah-an)

 

Othil lasdi babage od dorpha, gohol, g chisge avavago
O-theel las-dee ba-ba-jeh od dor-fa, gohol, guh-kis-jeh avavago
(O-thil, ba-ba-gay, guh-kis-gay)

cormp PD dsonf vivdiv? Casarmi oali MAPM
kormp payday duh-sonf vee-vuh-dee-vuh? Kasarmee oh-ah-lee map-em
(duh-son-fuh)

sobam ag cormpo crpl, casarmg croodzi chis od vgeg,
sobam ag kormpo kur-pul, ka-sarm-juh kro-od-zee kis od vuh-gej,

dst capimali chis capimaon, od lonshin chis talo CLA.
dest ka-pee-ma-lee kis ka-pee-ma-on, od lon-shin kis talo kla.
(ka-pih-ma-lee, ka-pih-ma-on)

Torgv norquasahi od fgaosga; bagle zirenaiad
Torgoo nor-kwah-sah-hee od f-gah-os-gah; bah-glay zee-ray-nye-ad
(ef-gah-os-gah, zee-reh-nah-ee-ad)

dsi od apila. Dooaip qaal, zacar od zamran
des-ee od ah-pee-la. Do-oh-ah-eep kah-al, zakar od zamran
(ah-pih-la.)

obelisong restil aaf normolap.
oh-bel-ee-song rest-el ah-af normolap.
(oh-bel-ih-song)

 

Sapah zimii duiv od noas taqanis adroch, dorphal
Sa-pah zee-mee-ee doo-eev od no-as tah-kwah-nis ad-rotch, dor-fal
(zih-mee-ee)

caosg od faonts piripsol tablior. Casarm amipzi
ka-os-juh od fa-onts pee-reep-sol ta-blee-or. Kasarm ah-meep-zee
(ka-os-guh, pir-eep-sol, ah-mip-zee)

nazarth af od dlugar zizop zlida caosgi toltorgi,
na-zarth af od duh-loo-gar zee-zop zod-lee-dah ka-os-jee tol-tor-jee
(ka-os-gee, tol-tor-gee)

od zizop zchis esiasch l tauiu od iaod thild ds
od zee-zop zod-kis ay-see-ak el ta-wee-oo od ee-ah-od theeld des
(eh-see-ak, yah-od)

hubar peoal soba cormfa chista la vls od qcocasb.
hoo-bar pay-oh-al soba kormfa kis-ta la yulz od kuh-ko-kas-buh.
(kwuh-ko-kas-buh )

Ca niis od darbs qaas; fetharzi od bliora; iaial
Sa nee-ees od darbz kah-as; feth-ar-zee od blee-oh-rah; ya-ee-al
(nih-ees, kuh-ah-as, ya-yal)

ednas cicles; ba-gle? Ge-jad il.
ednas kee-klayz; ba-glay? Gay-yad eel.
(kih-klayz, Gay-jhad)

 

Gah sdiu chis em, micalzo pilzin; sobam el harg mir
Gah es-dee-oo kis em, mee-kal-zo pilzen; sobam el harj meer

babalon od obloc samvelg; dlugar malpurg arcaosgi od
babalon od ob-lok sam-velj; duh-loo-gar mal-poorj ar-ka-os-jee od
(sam-velg, ar-ka-os-gee)

acam canal sobolzar F bliard caosgi od chif anetab od
akam sanal sobolzar ef-blee-ard ka-os-jee od kif ah-nay-tab od

miam taviv odd. Darsar solpeth bien; brita od
mee-am ta-veev od-duh. Darsar sol-peth bee-en; bree-tah od

zacam gmicalzo; sobhaath trian luiahe odecrin
za-kam guh-mee-kal-zo; sob-ha-ath tree-an loo-ee-ah-hay oh-deh-kreen

mad qaaon.
mad kuh-ah-ah-on.

 

Raas i salman paradiz oecri-mi aao ialpirgah
Rah-as ee salman pa-ra-dee-zod oh-ay-kree-mee ah-ah-oh yal-peer-gah
(yal-pir-gah)

quiin enay butmon; od inoas ni paradial casarmg
kwee-in en-ah-ee boot-mon; od in-oh-as nee pa-ra-dee-al ka-sarm-juh
(kwee-een, en-ai)

vgear chirlan od zonac luciftian corsta vaulzirn
vuh-gay-ar keerlan od zonak loo-kif-tee-an korsta vah-ool-zirn
(kir-lan, loo-sif-tee-an)

tolhami. Soba londoh od miam chistad odes vmadea od
tol-ha-mee. Soba lon-doh od mee-am kis-tad o-des vuh-ma-day-ah od

pibliar othilrit od miam cnoquol rit; zacar, zamran;
pib-lee-ar oh-thil-reet od mee-am kuh-no-kol reet; zakar, zamran;

oecrimi qadah od omicaolz aaiom. Bagle
oh-ay-kree-mee kuh-ah-dah od oh-mi-kah-ol-zod ah-ah-ee-om. Ba-glay

papnor idlugam lonshi od umplif vgegi bigliad.
papnor id-loo-gam lon-shee od oom-pleef vuh-gay-jee big-lee-ad.
(vuh-gah-gee, bee-glee-ad.)

 

Bazmelo ita piripson oln nazavabh ox; casarmg
Baz-may-lo ee-ta pih-reep-son oln na-za-vabh oks; ka-sarm-juh

vran chis vgeg dsabramg baltoha gohoiad;
vuh-ran kis vuh-gej duh-sa-bram-guh bal-to-ha go-ho-ee-ad;

solamian trian talolcis abaiuonin od aziagier
so-la-mee-an tree-an ta-lol-sis a-ba-ee-wo-nin od a-zee-ah-jee-er
(a-zee-ah-gee-er)

rior. Irgilchisda dspaaox busd caosgo, ds chis
ree-or. Eer-gil-kees-da duh-spa-ah-oks boosd ka-os-go, des kis
(Ir-geel-kis-da)

odipuran teloah, cacrg oisalman loncho od vouina
o-dee-poo-ran tay-lo-ah, ka-koorj o-ee-sal-man lon-ko od vo-wee-na
(ka-koorg, vo-vee-na)

carbaf? Niiso, bagle auauago gohon; niiso bagle
kar-baf? Nee-ee-so, ba-glay ah-wah-wah-go go-hon; nee-ee-so ba-glay
(ah-va-va-go)

momao siaion od mabza iadoiasmomar, poilp. Niis
mo-ma-oh see-ah-ee-on od mab-za yad-oh-ee-as-mo-mar, po-eelp. Nih-ees
(po-ilp, Nih-is)

zamran ciaofi caosgo od bliors od corsi ta abramig.
zam-ran kee-ah-oh-fee ka-os-go od blee-ors od kor-see ta a-bra-mig.
(see-ah-oh-fee)

 

Micaoli bransg purgel napta ialpor dsbrin
Mee-ka-oh-lee brans-guh poor-gel nap-ta yal-por des-breen
(Mih-ka-oh-lee, brans-juh, poor-jel, des-brin)

efafafe p vonpho olani od obza; sobca vpaah chis
ay-fah-fah-fay puh von-fo oh-la-nee od ob-za; sob-ka vuh-pah-ah kis
(pay)

tatan od tranan balye alar lusda soboln od chisholq
ta-tan od tra-nan ba-lee-ay a-lar loos-da so-boln od kis-hol-kwah

cnoquodi cial. Vnal aldon mom caosgo ta lasollor
kuh-no-kwo-dee see-al. Vuh-nal al-don mom ka-os-go ta las-ol-lor

gnay limlal; amma chiis sobca madrid zchis; ooanoan
guh-nay lil-lal; am-ma kee-ees sob-ka ma-drid zod-kis; oh-oh-ah-no-an
(guh-nah-ee, kih-ees)

chis aviny drilpi caosgin od butmoni parm zumvi
kis ah-vee-nee dril-pee ka-os-jin od boot-mo-nee parm zoom-vee
(ah-vih-nee, ka-os-gin)

cnila; dazis ethamz achildao, od mirk ozol chis
kuh-nee-la; daz-ees ay-tham-zod ah-kil-da-oh, od mirk oh-zol kis

pidiai collal ulci-nin asobam ucim. Bagle?
pee-dee-ah-ee kol-lal ool-see-nin a-so-bam oo-seem. Ba-glay?
ool-see-neen oo-kim

Iadbaltoh chirlan par! Niiso od ip ofafafe, bagle
Yad-bal-toh kir-lan par! Nee-ee-so od eep oh-fa-fa-fay, ba-glay

acocasb icorsca vnig blior.
ah-ko-kasb ee-kors-ka vuh-nig blee-or.

 

Coraxo chis cormp od blans lucal aziazor paeb, soba
Ko-rak-so kis kormp od blanz loo-kal ah-zee-ah-zor pa-eb, so-ba

lilonon chis op virq eophan od raclir maasi bagle
lee-lo-non kis op veer-kwuh ay-oh-fan od ra-kleer ma-ah-see ba-glay
(vir-kwuh)

caosgi, ds ialpon dosig od basgim; od oxex dazis
ka-os-jee, des yal-pon do-sig od bas-geem; od oks-ayks dah-zees
(ka-os-gee, jhal-pon, bas-gim, okx-eks )

siatris od salbrox cynxir faboan. Unalchis const
see-ah-trees od sal-broks sinks-eer fa-bo-an. Yoon-al-kis konst
(seenks-eer)

ds daox cocasg ol oanio yor vohim ol gizyax od
des da-oks ko-kas-juh ol oh-ah-nee-oh yor vo-heem ol giz-ee-aks od
(vo-him, jiz-ee-aks)

eors cocasg plosi molni ds pageip larag om droln
ay-orz ko-kas-juh plo-see mol-nee des pa-gay-eep la-rag om drol-nuh
(pa-jay-eep)

matorb cocasb emna. L patralx yolci nomig
ma-torb ko-kas-buh em-na. El-pa-tralks yol-see no-mig
(yol-kee)

monons olora gnay angelard. Ohio, ohio, ohio,
mo-nons oh-lo-ra guh-nay an-gay-lard. O-hee-o, o-hee-o, o-hee-o,
(an-jeh-lard)

ohio, ohio, ohio, noib ohio caosgon! Bagle
O-hee-o, o-hee-o, o-hee-o, no-eeb, o-hee-o ka-os-gon! Ba-glay

madrid i zirop chiso drilpa. Niiso: crip ip nidali.
ma-drid ee zee-rop kee-so dril-pa. Nee-ee-so: kreep eep nee-da-lee.
(dreel-pa, krip, nih-da-lee)

 

Oxiayal holdo od zirom o coraxo ds zildar
Oks-ee-ah-al hol-do od zeer-om oh ko-raks-oh des zeel-dar

raasy; od vabzir camliax od bahal, niiso salman
ra-ah-see; od vab-zeer kam-lee-aks od ba-hal, nee-ee-so sal-man

teloch casarman holq od ti ta zchis, soba cormf iga
tay-lotch ka-sar-man hol-kwah od tee tah zod-kis, so-ba kormf ee-gah

niisa bagle abramg noncp. Zacar e ca, od zamran, odo
nee-ee-sa ba-glay ah-bram-guh nonsp. Zakar ay ka, od zamran, odo

cicle qaa, zorge, lap zirdo noco mad, hoath Iaida.
kee-klay kuh-ah-ah, zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah)

 

Nonci dsonf babage od chis ob hubaio tibibp,
Non-see duh-son-fuh ba-ba-jeh od kis ob hoo-ba-ee-oh tee-beeb-puh,
(ba-bajay)

allar atraah od ef. Drix fafen mian ar enay ovof, soba
al-lar a-tra-ah od ef. Driks fa-fen mee-an ar en-ay oh-vof, so-ba
(Dreeks, ay-nah-ee)

dooain aai ivonph. Zacar e ca, od zamran, odo cicle
do-oh-ah-een ah-ah-ee ee-vonf. Zakar ay ka, od zamran, odo kee-klay

qaa, zorge, lap zirdo noco mad, hoath Iaida.
kuh-ah-ah, zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah.)

 

Napeai babagen ds brin ux ooana lring vonph
Na-pay-ah-ee ba-ba-jen des breen yooks oh-oh-ah-na el-ring vonf
(el-rinj)

doalim, eolis ollog orsba ds chis affa. Micma isro
do-ah-leem ay-oh-lees ol-log orz-ba des kis af-fa. Mik-ma ees-ro
(do-ah-lim, ay-oh-lis, Meek-ma)

mad od lonshitox ds jumbd. Zacar e ca, od zamran, odo
mad od lon-shee-toks des juh-oomd. Zakar ay ka, od zamran, odo
(yoom-duh)

cicle qaa, zorge, lap zirdo noco mad, hoath Iaida.
kee-klay kuh-ah-ah, zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah)

 

[No record of this call in Causabon. This version based on the Aurum Solis text.]

Noromi bagie pasbs oiad, ds trint mirc ol
No-ro-mee ba-jee-ay pas-biz oh-ee-ad, des treen-tuh meer-kuh ol
(ba-gee-ay, mirk)

thil, dods tolham caosgo homin, ds brin oroch quar;
theel, dods tol-ham ka-os-go ho-meen, des breen orok koo-ar;
(thil, ho-min, brin, kwar)

micma bial oiad, aisro tox dsium aai
mik-ma bee-al oh-ee-ad, ah-ees-ro toks des-yoom ah-ah-ee
(meek-ma, des-ee-oom)

baltim. Zacar od zamran, odo cicle qaa, jorge, lap
bal-teem. Zakar od zamran, odo kee-klay kuh-ah-ah, zorj, lap
(bal-tim, kah-ah)

zirdo noco mad, hoath Iaida.
zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah)

 

[No record of this call in Causabon. This version based on the Aurum Solis text.]

Ils tabaan lialprt casarman upaahi chis darg ds
Yils ta-ba-an lee-al-purt kasarman oo-pa-ah-hee kis darjuh des
(darguh)

okido caosgi orscor; ds omax monasci baeouib od
oh-kee-do ka-os-jee ors-kor; des oh-maks mo-nas-kee bye-oh-oo-eeb od
(ka-os-gee, mo-nas-see, bah-ay-oh-eeb)

emetgis iaiadix. Zacar od zamran, odo cicle qaa
ay-met-jis yah-ee-ah-diks. Zakar od zamran, odo kee-klay kuh-ah-ah
(eh-met-gis)

zorge, lap zirdo noco mad, hoath Iaida.
zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah)

 

[Beginning of this call not recorded in Causabon. Missing text based on the Aurum Solis text.]

Ils viuialprt salman balt, ds brin acroodzi busd od
Yils veev-yal-purt sal-man balt, des breen a-kroh-od-zee boosd od
(vee-oo-ee-al-purt)

bliorax balit; dsinsi caosg lusdan emod dsom od
blee-oh-raks baleet; des-in-see kaos-juh loos-dan ay-mod duh-som od
(bal-tuh, koas-guh)

tliob; drilpa geh yls Madzilodarp. Zacar e ca, od zamran,
tuh-lee-ob; dreel-pa jeh yils mad-zee-lo-darp. Zakar ay ka, od zamran,
(dril-pa)

odo cicle qaa, zorge, lap zirdo noco mad, hoath Iaida.
odo kee-klay kuh-ah-ah, zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(kah-ah, Jha-ee-dah)

 

Ils dial pert soba vpaah chis nanba zixlay dodsih
Yils dee-al pert so-ba vuh-pa-ah kis nan-ba zeeks-la-ee dod-seeh
(ziks-lay)

od brint taxs Hubaro tastax ylsi, sobaiad
od breent faksiz hoo-ba-ro tas-taks yil-see, so-ba-ee-ad
(brint, so-ba-yad)

ivonpounph, aldon daxil od toatar. Zacar e ca, od zamran,
ee-von-po-oonf, al-don daks-il od to-a-tar. Zakar ay ka, od zamran,

odo cicle qaa, zorge, lap zirdo noco mad, hoath Iaida.
odo kee-klay kuh-ah-ah, zorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(kah-ah, Jha-ee-dah)

 

Ils micaolz olpirt yalpurg bliors ds odo busdir
Yils mee-ka-ol-zod ol-peert yal-poorj blee-ors des odo boos-deer
(mih-ka-ol-zod, buh-lee-rs)

oiad ovoars caosgo casarmg laiad eran brints
oh-ee-ad oh-vo-arz ka-os-go ka-sarm-juh la-ee-ad ay-ran breents
(eh-ran, brints)

cafafam, ds iumd aquulo adohi moz od maoffas bolp
ka-fa-fam, des yoomd ah-kwuh-oo-lo a-do-hee moz od ma-of-as bolp
(ee-oomd)

comobliort pambt. Zacar e ca, od zamran, odo cicle
ko-mo-blee-ort pam-but. Zakar ay ka, od zamran, odo kee-klay
(pamt)

qaa, zorge, lap zirdo noco mad, hoath Iaida.
kuh-ah-ah, jorj, lap zeer-do noko mad, ho-ath Ya-ee-dah.
(Jha-ee-dah)

 

Madriax dspraf [LIL], chis micaolz saanir caosgo,
Mad-ree-aks des praf [Leel], kis mee-ka-olz sa-ah-neer ka-os-go,

od fisis balzizras Iaida! Nonca gohulim, micma
od fi-sees bal-zeez-ras Ya-ee-dah! Nonsa go-hoo-lim, meek-ma
(fee-seez, Jha-ee-dah!, mik-ma)

adoian mad, Iaod bliorb, sabaooaona chis
a-do-ee-an mad, Ee-ah-od blee-orb, sa-ba-oh-oh-ah-oh-na kis
(Yah-od)

luciftias peripsol, ds abraassa noncf netaaib
loo-keef-tee-as pay-reep-sol, des a-bra-as-sa non-suf ne-tah-ah-eeb
(loo-seef-tee-as, peh-reep-sol)

caosgi od tilb adphaht damploz, tooat noncf
ka-os-jee od teelb ad-fa-tuh dam-ploz, to-oh-at non-suf
(ka-os-gee)

gmicalzoma l rasd tofglo marb yarry idoigo od
guh-mee-kal-zo-ma el-ras-duh tof-glo marb yar-ree eed-wee-go od
(ee-doo-ee-go)

torzulp iaodaf, gohol; caosga tabaord saanir
tor-zoolp ya-oh-daf, go-hol; ka-os-ga ta-ba-ord sa-ah-neer

od christeos yrpoil tiobl, busdir tilb noaln
od kris-tay-os eer-po-eel tee-oh-bul, boos-deer teel-buh no-al-nuh
(yur-po-eel, til-buh)

paid orsba od dodrmni zylna. Elzap tilb parmgi
pa-eed ors-ba od dod-rum-nee zilna. El-zap-teelb parm-gee
(zeel-na, El-zap-tilb, parm-jee)

peripsax od ta qurlst booapis. Lnibm ovcho symp,
pay-reep-saks od ta koorlst bo-oh-ah-pees. El-nib-um oh-vuh-ko simp,
(pay-rip-saks)

od christeos agtoltorn mirc q tiobl lel; ton paombd
od kris-tay-os ag-tol-torn meerk kwah tee-oh-bel lel; ton pa-om-duh
(mirk)

dilzmo aspian, od christeos agltertorn parach asymp;
deelz-mo as-pee-an, od kris-tay-os ag-ul-ter-torn pa-rach a-simp;

cordziz dodpal od fifalz lsmnad, od fargt bams
kord-zeez dod-pal od fee-falz ulz-muh-nad, od far-jet bamz
(far-gut)

omaoas; conisbra od auavox tonug, orscatbl noasmi
oh-ma-oh-as; ko-nees-bra od ah-wah-voks to-nuj, orz-cat-bul no-as-mee
(ko-nis-bra)

tabges levithmong. Unchi omptilb ors. Bagle? Moooah
tab-jess lay-veeth-mong. Oonki om-puh-teelb orz. Ba-glay? Mo-oh-oh-ah
(tab-gayz, lay-vithmong, om-puh-tilb)

ol cordziz. L capimao ixomaxip od ca cocasb
ol-cord-zeez. El-ka-pee-ma-oh eeks-oh-maks-eep od ka-ko-kas-buh

gosaa; baglen pii tianta ababalond, od faorgt
go-sa-ah; ba-glen pee-ee tee-an-ta a-ba-ba-lon-duh, od fa-or-jet

telocvovim. Madriiax torzu; oadriax orocha
tay-lotch-vo-veem. Ma-dree-yaks tor-zoo; oh-ah-dree-aks oh-ro-ka

aboapri. Tabaori priaz artabas; adrpan corsta
ah-bo-ah-pree. Ta-ba-oh-ree pree-az ar-ta-bas; ah-dir-pan kor-sta

dobix. Yolcam priazi arcoazior, od quasb qting.
do-biks. Yol-kam pree-ah-zee ar-ko-ah-zee-or, od kwas-buh kwah-tinj.
(kuh-tinj)

Ripir paaoxt sagacor; vml od prdzar cacrg
Ree-peer pa-ah-oks-tuh sa-ga-kor; vum-ul od purd-zar ka-kurj
(Ri-peer, oom-ul, ka-kurg)

aoiveae cormpt. Torzu, zacar, od zamran aspt sibsi
ah-oy-vay-ah-ay korm-put. Tor-zoo, zakar, od zamran as-put seeb-see
(ah-oh-ee-vay-ah-ay, korm-puh-tuh, sib-see)

butmona, ds surzas tia baltan. Odo cicle qaa; od
boot-mo-na, des soor-zas tee-ah bal-tan. Odo kee-klay kah-ah; od
(kuh-ah-ah)

ozazma plapli Iadnamad.
oh-zaz-ma pla-plee Yad-na-mad.
(Jhad-na-mad)

 

THE NAMES OF THE THIRTY AETHYRS

LIL Leel ICH Eek ASP Ahs-puh
ARN Arn LOE Lo-ay LIN Leen, Lin
ZOM Zom ZIM Zeem, Zim TOR Tor
PAZ Paz UTA Oo-tah NIA Nee-ah
LIT Leet, Lit OXO Oh-kso UTI Oo-tee
MAZ Maz LEA Lay-ah DES Dess
DEO Day-oh TAN Tan ZAA Zah-ah
ZID Zeed, Zid ZEN Zen BAG Bah-guh
ZIP Zeep, Zip POP Poh-puh RII Ree-ee
ZAX Zaks CHR Khar TEX Teks

 

 

APPENDIX

 

AURUM SOLIS PRONUNCIATION KEY
(from “Mysteria Magica” pg 416)

A as the first vowel sound in “father”

E as the vowel sound in “say”

I as the vowel sound in “meet”

O as the vowel sound in “hold”

U as the vowel sound in “food”

 

a as the vowel sound in “add”

e as the vowel sound in “yet”

i as the vowel sound in “sit”

o as the vowel sound in “hot”

u as the vowel sound in “foot”

^ represents the neutral vowel, as the first vowel sound in “parade,” or the second vowel sound in “column.” Consonants are given their normal values (G invariably represents the hard sound of that letter, as in “gold.” # represents the guttural, pronounced as the “ch” in German (Woche, suchen). As a general rule, allowing for varied inflexions of the voice in the flow of magical utterance, all the syllables in an Enochian word should be given equal weight. It will be noted that hyphens are frequently inserted in words. These only emphasise the need to give full value to a vowel, or to a syllable, and do not call for a real break in the utterance. >   > >

DONALD LAYCOCK’S PRONUNCIATION KEY
(from “The Complete Enochian Dictionary” pps 46-47.)

A – long (stressed), as in “lah-di-dah”

– short (unstressed), as in French “patte”

B – usually as English b, but silent between m and another consonant, or after m finally

C – as k before aou (with some exceptions)

– as s before ie (with many exceptions), and in clusters of consonants (noncf = nonsf)

CH – as k in most positions, but as ch finally

D – as d in all positions

E – when stressed, as in French “fee”

– when unstressed, as in “bed”

F – as f in all positions

G – as (hard) g before aou

– as j before ie, in final position, after d, and in clusters of consonants

H – as h in most positions (except in combinations chphshth); silent after a vowel, but the vowel is lengthened

I – when stressed, as in (French) “machine”

– when unstressed, as in “bit”
– in combinations: ai as in “fly”; ei as in “eight”; oi as in “boil”
– as y in word-initial position before a vowel (Iad = Yad)

K – as k in all positions

L – as l in all positions

M – as m in all positions

N – as n in all positions

O – when stressed, as in French “mot”

– when unstressed, as in “not”
– in combinations: oi as in “boil”; ou as in “bout”; oo as in “fool”

P – as p except in combination ph

PH – as f

Q,QU – as kw (qu in “quick”) – but the word q is pronounced kwa

R – as r in “right” (but may be rolled)

S – usually as s in “sit”

– sometimes z, in places where this is more natural in English (lrasd = elrazd)

SH – as sh in “ship”

T – as t except in combination th

TH – as th in “thank”

U – as oo in “boot”, or u in “put”

– in initial position as “yew”
– as v or w before another vowel, and in word-final position

X – as x in “fox”

Y – as y in word-initial position before a vowel

– as the letter I before a consonant, and in word-final position

Z – as z in “zoo”; in a very few words, as zod

 

BIBLIOGRAPHY

Causabon, Meric., D.D., A True and Faithful Relation of What Passed for Many Years Between Dr. John Dee and some Spirits, Magickal Childe, 1992, New York, NY.

Denning, Melita, and Phillips, Osborne, Mysteria Magica, Llewellyn Publications, 1992, St. Paul, MN.

James, Geoffrey, The Enochian Evocation of Dr. John Dee, Heptangle Books, 1989, Gillette, NJ.

Laycock, Donald C., The Complete Enochian Dictionary, Askin Publishers, 1978, London, England, UK.

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SOURCE: Hermetic.com

A MITHRAIC RITUAL, BY G.R.S. Mead

THE RITUAL.
I.
[THE FATHER’S PRAYER.]
O Providence, O Fortune, bestow on me Thy Grace – imparting these the Mysteries a Father only may hand on, and that, too, to a Son alone – his Immortality – [a Son] initiate, worthy of this our Craft, with which Sun Mithras, the Great God, commanded me to be endowed by His Archangel; so that I, Eagle [as I am, by mine own self] alone, may soar to Heaven, and contemplate all things.
II.
THE INVOCATORY UTTERANCE (LOGOS).
1. O Primal Origin of my origination; Thou Primal Substance of my substance; First Breath of breath, the breath that is in me; First Fire, God-given for the Blending of the blendings in me, [First Fire] of fire in me; First Water of [my] water. the water in me; Primal Earth-essence of the earthy essence in me; Thou Perfect Body of me – N. N. son of N. N., son of N.N. (fem.) – fashioned by Honored Arm and
Incorruptible Right Hand, in World that’s lightless, yet radiant with Light, [in World] that’s soulless, yet filled full of Soul!
2. If, verity, it may seem good to you, translate me, now held by my lower nature, unto the Generation that is free from Death; in order that, beyond the insistent Need that presses on me, I may have Vision of the Deathless Source, by virtue of the Deathless Spirit, by virtue of the Deathless Water, by virtue of the [Deathless] Solid, and [by virtue of] the [Deathless] Air; in order that 1 may become re-born in Mind; in order that 1 may become initiate, and that the Holy Breath may breathe in me; in order that 1 may admire the Holy Fire; that 1 may see the Deep of the [New] Dawn, the Water that doth cause [the Soul] to thrill; and that the, Life-bestowing Æther which surrounds [all things] may give me, Hearing.
3. For 1 am to behold to-day with Deathless Eyes – I, mortal, born of mortal womb, but [now] made better by the Might of Mighty Power, yea, by the Incorruptible Right Hand – [I am to see to-day] by virtue of the Deathless Spirit the Deathless Æon, the master of the Diadeins of Fire – I with pure purities [now] Purified, the
human soul-power of me subsisting for a little while in purity; which [power] I shall again receive transmitted unto me beyond the insistent Bitterness that presses on me, Necessity whose debts can never go unpaid – I, N. N., son of N. N. (fem.) – according to the Ordinance of God that naught can ever change.

PREAMBLE.
The last little volume gave the reader a brief outline of what is known of the cult of Mithra and the spread of the Mithriac Mysteries in the Western world. We have now to deal with a Mithriac Ritual of the most instructive and intensely interesting
character, which introduces us to the innermost rite of the carefully guarded secrets of the Mithriaca. This Ritual is all the more precious in that our knowledge of the Liturgies of the ancient Pagan cults of the West is of the scantiest nature. A few fragments only remain, mostly in the form of hymns; whereas the Ritual before us is complete, and the only complete one so far discovered. Dieterich calls it a {9} Liturgy; but a Liturgy is a service in which several take part, whereas it is plain that our Ritual was a secret and solemn inner rite for one person only. The credit of unearthing it from the obscurity in which it was buried, and of conclusively demonstrating its parent-age, is due to Dieterich; for though Cumont in his great work quotes several passages from the unrevised text, he does so only to reject it as a genuine Mithriac document.
It is dug out of the chaos of the great Paris Magic Papyrus 574 (Supplement grec de la Bibliotheque nationale), the date of which is fixed with every probability as the earliest years of the fourth century A.D.. The original text of the Ritual has, however, been plainly worked over by a school of Egyptian magicians, who inserted
most of the now unintelligible words and names (ashma ovomata, nomina barbara, nomina arcana), and vowel-combinations and permutations (voces {10} mysticæ), of their theurgic language, which were known in Egypt as “words of power.” The subject is naturally one of the most obscure that is known to scholarship, and so far no one has thrown any real light on it. That, however, there was once in
Egypt and Chaldeæ a science of this “nature language,” or “tongue of the gods,” which subsequently passed into the superstition of a purely mechanical tradition, is highly probable; and one means towards a recovery of the understanding of its nature is a study of the still living tradition of mantra-vidya, or the science of mantrah, or mystic utterances and invocations, in India of to-day. When these evidently later insertions are removed, there still remains a certain number of nomina arcana and mystica voces which cannot be removed without doing violence to the text. It, therefore, follows that these stand as part of the Ritual. Did they, however, form part {11} of the original Ritual? The original Ritual must have contained, one would have imagined, Persian names. But the distinguished scholar Bartholomae, whom Dieterich has called in to his assistance, declares that nothing Persian can be made out of them without violent changes of the letters. But why, it might be asked, should not the original Persian Ritual have contained nomina arcana taken over from Chaldeæ? However this may be, our Greek Ritual evidently contained certain names and words “of power,” before it reached the hands of the Egyptian magical school who inserted the majority of the mantric formulæ in our present text. The latter are, of course, entirely eliminated from the translation, while the former are marked by obeli. On the whole the most likely supposition is that we have before us (when the latter insertions are removed) a Ritual translated or paraphrased into Greek, and adapted for use in Egypt, {12} and that, too, for picked members of the most esoteric circles. For our Ritual is not for the initiation of a neophyte of the lower grades, but for a candidate who is to self-initiate himself in the solitary mystery of apotheosis, whereby he became a true ” Father ” of the inmost rites, one possessing face to face know- ledge and gnosis. Dieterich thinks that this Greek ritual was first made in Egypt about 100-150 A.D., and was used in the Mysteries until 200 A.D. It was then that it got into the hands of the magical school, and was included, together with many other pieces, some of them similarly treated, in a collection which was copied on the papyrus which we now possess, about 300 A.D. It is exceedingly probable, therefore, that we have in this Ritual of initiation certain theurgic practices of Egyptian tradition combined with the traditional Mithraic invocations done into Greek. As to the chanting of the vowels, it is {13} of interest to learn from Demetrius, On Interpretation, c. 71 (p.20 Raderm.), that: “In Egypt the priests hymn the Gods by means of the seven vowels, chanting them in order; instead of the pipe and lute the musical chanting of these letters is heard. So that if you were to take away this accompaniment you would simply remove the whole melody and music of the utterance (logos).” The statement of Nicomachus of Gerasa the “musician ” and mystic (second century A.D.), is still clearer; for he not only tells us about the vowels and consonants, but also of certain other ” unarticulated ” sounds which were used by the theurgists, and which are directed to be used in the rubrics of our Ritual. In speaking of the vowels or “sounding letters ” – each of the seven spheres being said to give forth a different vowel or nature-tone – Nicomachus (c. 6) informs us that these root-sounds in nature are combined with certain material elements, as they are in spoken speech with the {14} consonants; but ” just as the soul with the body, and music with the lyre- strings, the one produces living creatures and the other musical modes and tunes, so do those root-sounds give birth to certain energic and initiatory powers of divine operations. It is because of this that whenever theurgists are awe- struck in any such operation, they make invocation symbolically by means of “hissings” and “poppings” and un-articulated and discordant sounds.

The exact translation of the Greek terms, surigmoj and poppusmoj is somewhat of a difficulty. The first denotes a shrill piping sound or hissing, the Latin stridor. It is used of such different sounds as the rattling of ropes, the trumpeting of elephants and a singing in the ears. The second is used of a clicking or clucking with the lips and tongue, and of the whistling, cheeping, chirruping, warbling or trilling of birds. It is used of the smack of a loud kiss and also of the cry “hush.” Both Aristophanes and Pliny {15} tell us that it was used as a protection against, or rather a reverent greeting of, lightning; and the latter adds that this was a universal custom. The English ” pop” perhaps represents the idea of the Greek most nearly. In the Ritual, however, I have rendered it by “puff” as it is connected with breath. It is evident that we have here to do with certain nature-sounds, which have disappeared from articulate speech, except in some primitive languages such as the “clicking” of the Zulus. It pertains to the art of onomatopiia or onomatopoiesis, or the forming of words expressive of natural sounds. The ‘ root-idea seems to be that in mystic operations designed to bring man in touch with the hidden powers of nature, the language of nature must be employed. As we have said, the Ritual before us is not of the nature of a church or temple service; on the contrary, it contains directions for a solitary sacrament, in which the whole effort of the celebrant {16} is to stir into activity, and bring into conscious operation, his own hidden nature or the root-substance of his being. It is a yoga-rite (unio mystica), or act for union, in which the physical breath, the etheric currents, and the psychic auræ, or life-breaths, or prana’s work together with the inbreathing of the Great Breath, or Holy Spirit, or Atmic Energy. It should therefore prove of very great interest to many who have of late heard much concerning yoga, both in its higher contemplative modes, and also in its modes of deep and psychic breathing (hatha-yoga); for it may be news to many that in the ancient West, especially in Egypt, there was a high art of this selfsame yoga which has been developed so elaborately in India. We will now give a translation of the Ritual and then proceed to comment on it. The prayers and utterances are printed in italics, and the rubrics or instructions in Roman type. {17}

THE RITUAL. I. [THE FATHER’S PRAYER.] O Providence, O Fortune, bestow on me Thy Grace – imparting these the Mysteries a Father only may hand on, and that, too, to a Son alone – his Immortality – [a Son] initiate, worthy of this our Craft, with which Sun Mithras, the Great God, commanded me to be endowed by His Archangel; so that I, Eagle [as I am, by mine own self] alone, may soar to Heaven, and contemplate all things. II. THE INVOCATORY UTTERANCE (LOGOS). 1. O Primal Origin of my origination; Thou Primal Substance of my substance; First Breath of breath, the breath that is in me; First Fire, God-given for the Blending of the blendings in me, [First Fire] of fire in me; First Water of [my] water. the water in me; Primal Earth-essence of the earthy essence in me; Thou Perfect Body of me – N. N. son of N. N., son of N.N. (fem.) – fashioned by Honoured Arm and Incorruptible Right Hand, in World that’s lightless, yet radiant with Light, [in World] that’s soulless, yet filled full of Soul! 2. If, verity, it may seem good to you, translate me, now held by my lower nature, unto the Generation that is free from Death; in order that, beyond the insistent Need that presses on me, I may have Vision of the Deathless Source, by virtue of the Deathless Spirit, by virtue of the Deathless Water, by virtue of the [Deathless] Solid, and [by virtue of] the [Deathless] Air; in order that 1 may become re-born in Mind; in order that 1 may become initiate, and that the Holy Breath may breathe in me; in order that 1 may admire the Holy Fire; that 1 may see the Deep of the [New] Dawn, the Water that doth cause [the Soul] to thrill; and that the, Life-bestowing Æther which surrounds [all things] may give me, Hearing. 3. For 1 am to behold to-day with Deathless Eyes – I, mortal, born of mortal womb, but [now] made better by the Might of Mighty Power, yea, by the Incorruptible Right Hand – [I am to see to-day] by virtue of the Deathless Spirit the Deathless Æon, the master of the Diadeins of Fire – I with pure purities [now] Purified, the human soul-power of me subsisting for a little while in purity; which [power] I shall again receive transmitted unto me beyond the insistent Bitterness that presses on me, Necessity whose debts can never go unpaid – I, N. N., son of N. N. (fem.) – according to the Ordinance of God that naught can ever change.

  1. For that it is beyond my reach that, born beneath the sway of Death, I should [unaided] soar into the Height, together with the golden sparklings of the Brilliancy that knows no Death. 5. Stay still, O nature doomed to Perish, [nature] of men subject to Death! And straightway let me pass beyond the Need implacable that presses on me; for that I am His Son; I breathe; I am! III. [THE FIRST INSTRUCTION.] 1. Take from the [Sun-]rays breath, inhaling thrice [as deeply] as thou canst; and thou shalt see thyself being raised aloft, and soaring towards the Height, so that thou seem’st to be in midst of Air. 2. Thou shalt hear naught, nor man nor beast; nor shalt thou see aught of the sights upon the earth, in that same hour; but all things thou shalt see will be immortal. 3. For thou shalt see, in that same day and hour, the Disposition of the Gods – the Ruling Gods ascending heavenwards, the other ones descending. And through his Disk – the God’s, my Father’s – there shall be seen the Way-of-going of the Gods accessible to sight. 4. And in like fashion also [shall be seen] the Pipe, as it is called, whence comes the Wind in service [for the day]. For thou shalt see as though it were a Pipe depending from His Disk; and toward the regions Westward, as though it were an infinite East Wind. But if the other Wind, toward the regions of the East’ should be in service, in the like fashion shalt thou see, toward the regions of that [side,] the converse of the sight. 5. And thou shalt see the Gods gazing intently on thee and bearing down upon thee. Then straightway lay thy dexter finger on thy lips and say: IV. [THE FIRST UTTERANCE.] Silence! Silence! Silence! The Symbol of the Living God beyond Decay. Protect me, Silence! †! Next “hiss” forth long: Sss! Sss! Then “puff” saying: †!

And thereon shalt thou see the Gods gazing benignly on thee, and no longer bearing down upon thee, but proceeding on the proper order of their doings. V. [THE SECOND INSTRUCTION.] When, then, thou see’st the Upper Cosmos clean and clear, with no one of the Gods (or Angels) bearing down on thee, expect to hear a mighty thunder-clap so as to startle thee. Then say again: THE [SECOND] UTTERANCE (LOGOS). 1. O Silence! Silence! I am a Star, whose Course is as your Course, shining anew from out the depth †. Upon thy saying this, straightway His disk will start expanding. 2. And after thou hast said the second utterance – to wit, twice Silence and the rest – “hiss” twice, and “puff” twice; and straightway shalt thou see a mighty host of stars, five-pointed, emerging from His Disk, and filling all the Air. 3. Then say again: O Silence! Silence! And when His Disk is opened [fully] out, thou shalt behold an infinite Encircling and Doors of Fire fast closed. Straightway set going then the utterance that follows, closing thy eyes: THE THIRD UTTERANCE (LOGOS). 1. Hear me, give ear to me – N. N., son of N. N. (fem.) – O Lord, who with Thy Breath hast closed the Fiery Bars of Heaven; Twin-bodied; Ruler of the Fire; Creator of the Light; O Holder of the Keys; Inbreather of the Fire; Fire-hearted One, whose Breath gives Light; Thou who dost joy in Fire; Beauteous of Light; O Lord of Light, whose Body is of Fire; Light-giver [and] Fire-sower; Fire-loosener, whose Life is in the Light; Fire-whirler, who sett’st the Light in motion; Thou Thunder-rouser; O Thou Light-glory, Light-increaser; Controller of the Light Empyrean; O Thou Star-tamer! 2. Oh! Open unto me! For on account of this, the bitter and implacable Necessity that presses on me, I do invoke Thy Deathless Names, innate with Life, most worshipful, that have not yet descended unto mortal nature, nor have been made articulate by human tongue, or cry or tone of man: ëeö · oëeö · iöö · oë · ëeö · ëeö · oëeö · iöö · oëëe · öëe · öoë · ië · ëö · oö · oë · ieö · oë · öoë · ieöoë · ieeö · eë · iö · oë · ioë · öëö · eoë · oeö · öië · öiëeö · oi · iii · ëoë · öuë · ëö · oëe · eöëia · aëaeëa · ëeeë · eeë · eeë · ieö · ëeö · oëeeoë · ëeö · euö · oë · eiö · ëö · öë · öë · öë · ee · ooouiöë! 3. Utter all these with Fire and Spirit once unto the end; and then begin again a second time, until thou hast completed [all] the Seven Immortal Gods of Cosmos. When thou hast uttered them, thunders and crashings shalt thou hear in the Surround, and feel thyself a-shake with every crash. Then once more utter Silence! [and] the utterance [following it]. 4. Thereon open thy eyes ; and thou shalt see the Doors thrown open, and the Cosmos of the Gods that is within the Doors; so that for joy and rapture of the sight thy Spirit runs to meet it, and soars up. Therefore, hold thyself steady, and, gazing steadily into thyself, draw breath from the Divine. When, then, thy Soul shall be restored, say :

VIII. [THE FOURTH UTTERANCE.]

1. Draw nigh, O Lord! Upon this utterance His Rays shall be turned on thee, and thou shalt be in midst of them.

2. When, then, thou hast done this, thou shalt behold a God, in flower of age, of fairest beauty, [and] with Locks of Flame, in a white Tunic and a scarlet Mantle, wearing a Crown of Fire. Straightway salute Him with the Salutation of the Fire:

IX. [THE FIFTH UTTERANCE.]

  1. Hail Lord! O Thou of mighty Power; O King of mighty Sway; Greatest of Gods; O Sun; Thou Lord of Heaven and Earth; O God of Gods! Strong is Thy Breath; strong is Thy Might! O Lord, if it seem good to Thee, make Thou announcement of me unto God Mosthigh, who hath begotten and created Thee ! 2. For that a man – N.N., son of N.N. (fem.), born of the mortal womb of N.N. (fem.), and of spermatic ichor, yea, of this [ichor], which at Thy Hands to-day hath undergone the transmutation of re-birth -, one, from so many tens of thousands, transformed to immortality in this same hour, by God’s good-pleasure, of God transcendent Good-, [a man, I say,] presumes to worship Thee, and supplicates with whatsoever power a mortal hath. 3. Upon this utterance He shall come to the Pole, and thou shalt see Him moving round as on a path. Then gaze intently, and send forth a prolonged “bellowing,” like to a horn-note, expelling the whole breath, with pressure on the ribs, and kiss the amulets, and say first to that upon the right: X. [THE SIXTH UTTERANCE.] Protect me! †! When thou hast uttered this. thou shalt behold the Doors thrown open, and, issuing from the Depth, Seven Virgins, in byssus-robes, with serpent-faces. and golden sceptres in their hands. These are they who are the so-called Heaven’s Fortunes (Tychai). When thou dost see these things, make salutation thus: XI. [THE SEVENTH UTTERANCE.] 1. Hail Heaven’s Seven Fortunes, Virgins august and good, ye sacred ones who live and eat with †! Ye holiest Protectors of the Four Supports!

Hail thou, the First, †! Hail thou, the Second, †! Hail thou, the Third, †! Hail thou, the Fourth, †! Hail thou, the Fifth, †! Hail thou, the Sixth, †! Hail thou, the Seventh, †! 2. There come forth others, too – Seven Gods, with faces of black bulls, in linen loincloths, with seven golden fillets on their heads. These are the so-called Heaven’s Pole-lords. And in like fashion unto each of them thou must make salutation with his special name.

XII. [THE EIGHTH UTTERANCE.] 1. Hail Guardians of the Pivot, ye, sacred sturdy Youths, who all, at once, revolve the spinning Axis of Heaven’s Circle, ye who let loose the thunder and the lightning, and earthquake-shocks and thunder-bolts upon the hosts of impious folk, but [who bestow] on me, who pious am and worshipper of God, good-health, and soundness of my frame in every Part, and Proper stretch of hearing and of sight, and calm, in the now Present good-hours of this day, O mighty Ruling Lords and Gods of me! Hail thou, the First, †! Hail thou, the Second, †! Hail thou, the Third, †! Hail thou, the Fourth, †! Hail thou, the Fifth, †! Hail thou, the Sixth, †! Hail thou, the Seventh, †! 2. Now when they [all] are present in their order, here and there, gaze in the Air intently, and thou shalt see lightnings down-flashing, and lights a-quiver, and the earth a-shake; and [then] a God descending, [a God] transcending vast, of radiant Presence, with golden Locks, in flower of age, [clad] in a Robe of brightness, with Crown of gold [upon His Head], and Garments [on His Legs], holding in His Right Hand the golden Shoulder of the Calf. This latter is the Bear that moves the Heaven[-dome], and changes its direction, now up now down, according to the hour. Then shalt thou see lightnings leap from His Eyes and from His Body stars. 3. Straightway send forth a “bellowing” prolonged, with belly-pressure, to start thy senses going all together-prolonged unto the very end, kissing again the amulets and saying:

XIII. [THE NINTH UTTERANCE.] †, [O Lord] of me – N. N. – abide, with Me, within my Soul! Oh! leave me not! For † bids thee [remain]. And gaze intently on the God, with “bellowing” prolonged, and thus salute Him: [THE TENTH UTTERANCE.] Hail Lord, Thou Master of the Water! Hail, Founder of the Earth! Hail, Prince of Breath! O Lord, being born again, I Pass away in being made Great, and, having been made Great, I die. Being born from out the state of birth-and-death that giveth birth to [mortal] lives, 1 now, set free, Pass to the state transcending birth, as Thou hast stablished it, according as Thou hast ordained and made, the Mystery.

 

ëeö · oëeö · iöö · oë · ëeö · ëeö · oëeö · iöö · oëëe · öëe · öoë · ië · ëö · oö · oë · ieö ·
oë · öoë · ieöoë · ieeö · eë · iö · oë · ioë · öëö · eoë · oeö · öië · öiëeö · oi · iii · ëoë ·
öuë · ëö · oëe · eöëia · aëaeëa · ëeeë · eeë · eeë · ieö · ëeö · oëeeoë · ëeö · euö · oë ·
eiö · ëö · öë · öë · öë · ee · ooouiöë!
3. Utter all these with Fire and Spirit once unto the end; and then begin again a
second time, until thou hast completed [all] the Seven Immortal Gods of Cosmos.
When thou hast uttered them, thunders and crashings shalt thou hear in the
Surround, and feel thyself a-shake with every crash.
Then once more utter Silence! [and] the utterance [following it].
4. Thereon open thy eyes ; and thou shalt see the Doors thrown open, and the Cosmos
of the Gods that is within the Doors; so that for joy and rapture of the sight thy
Spirit runs to meet it, and soars up.
Therefore, hold thyself steady, and, gazing steadily into thyself, draw breath from
the Divine.
When, then, thy Soul shall be restored, say :
VIII.
[THE FOURTH UTTERANCE.]
1. Draw nigh, O Lord!
Upon this utterance His Rays shall be turned on thee, and thou shalt be in midst of
them.
2. When, then, thou hast done this, thou shalt behold a God, in flower of age, of
fairest beauty, [and] with Locks of Flame, in a white Tunic and a scarlet Mantle,
wearing a Crown of Fire.
Straightway salute Him with the Salutation of the Fire:
IX.
[THE FIFTH UTTERANCE.]

1. Hail Lord! O Thou of mighty Power; O King of mighty Sway; Greatest of Gods; O
Sun; Thou Lord of Heaven and Earth; O God of Gods! Strong is Thy Breath;
strong is Thy Might!
O Lord, if it seem good to Thee, make Thou announcement of me unto God Mosthigh,
who hath begotten and created Thee !
2. For that a man – N.N., son of N.N. (fem.), born of the mortal womb of N.N.
(fem.), and of spermatic ichor, yea, of this [ichor], which at Thy Hands to-day
hath undergone the transmutation of re-birth -, one, from so many tens of
thousands, transformed to immortality in this same hour, by God’s good-pleasure,
of God transcendent Good-, [a man, I say,] presumes to worship Thee, and
supplicates with whatsoever power a mortal hath.
3. Upon this utterance He shall come to the Pole, and thou shalt see Him moving
round as on a path.
Then gaze intently, and send forth a prolonged “bellowing,” like to a horn-note,
expelling the whole breath, with pressure on the ribs, and kiss the amulets, and say
first to that upon the right:
X.
[THE SIXTH UTTERANCE.]
Protect me! †!
When thou hast uttered this. thou shalt behold the Doors thrown open, and, issuing
from the Depth, Seven Virgins, in byssus-robes, with serpent-faces. and golden
sceptres in their hands. These are they who are the so-called Heaven’s Fortunes
(Tychai).
When thou dost see these things, make salutation thus:
XI.
[THE SEVENTH UTTERANCE.]
1. Hail Heaven’s Seven Fortunes, Virgins august and good, ye sacred ones who live
and eat with †! Ye holiest Protectors of the Four Supports!

Hail thou, the First, †!
Hail thou, the Second, †!
Hail thou, the Third, †!
Hail thou, the Fourth, †!
Hail thou, the Fifth, †!
Hail thou, the Sixth, †!
Hail thou, the Seventh, †!
2. There come forth others, too – Seven Gods, with faces of black bulls, in linen loincloths,
with seven golden fillets on their heads. These are the so-called Heaven’s
Pole-lords.
And in like fashion unto each of them thou must make salutation with his special
name.
XII.
[THE EIGHTH UTTERANCE.]
1. Hail Guardians of the Pivot, ye, sacred sturdy Youths, who all, at once, revolve the
spinning Axis of Heaven’s Circle, ye who let loose the thunder and the lightning,
and earthquake-shocks and thunder-bolts upon the hosts of impious folk, but [who
bestow] on me, who pious am and worshipper of God, good-health, and soundness
of my frame in every Part, and Proper stretch of hearing and of sight, and calm, in
the now Present good-hours of this day, O mighty Ruling Lords and Gods of me!
Hail thou, the First, †!
Hail thou, the Second, †!
Hail thou, the Third, †!
Hail thou, the Fourth, †!
Hail thou, the Fifth, †!
Hail thou, the Sixth, †!
Hail thou, the Seventh, †!
2. Now when they [all] are present in their order, here and there, gaze in the Air
intently, and thou shalt see lightnings down-flashing, and lights a-quiver, and the
earth a-shake; and [then] a God descending, [a God] transcending vast, of radiant

Presence, with golden Locks, in flower of age, [clad] in a Robe of brightness, with
Crown of gold [upon His Head], and Garments [on His Legs], holding in His Right
Hand the golden Shoulder of the Calf.
This latter is the Bear that moves the Heaven[-dome], and changes its direction,
now up now down, according to the hour.
Then shalt thou see lightnings leap from His Eyes and from His Body stars.
3. Straightway send forth a “bellowing” prolonged, with belly-pressure, to start thy
senses going all together-prolonged unto the very end, kissing again the amulets
and saying:
XIII.
[THE NINTH UTTERANCE.]
†, [O Lord] of me – N. N. – abide, with Me, within my Soul! Oh! leave me not! For †
bids thee [remain].
And gaze intently on the God, with “bellowing” prolonged, and thus salute Him:
[THE TENTH UTTERANCE.]
Hail Lord, Thou Master of the Water! Hail, Founder of the Earth! Hail, Prince of
Breath!
O Lord, being born again, I Pass away in being made Great, and, having been made
Great, I die.
Being born from out the state of birth-and-death that giveth birth to [mortal] lives, 1
now, set free, Pass to the state transcending birth, as Thou hast stablished it,
according as Thou hast ordained and made, the Mystery.

Greek Alphabet, Vowels, Consonants, And Dipthongs

Lesson 1: The Greek Alphabet, Vowels, Consonants, And Dipthongs

The Greek Alphabet

1. The Greek Alphabet has 24 letters. You will find a good pronunciation tutorial with recorded audio at http://socrates.berkeley.edu/~ancgreek/pronunchtml/pronunc_guideU.html, and recordings of longer Ancient Greek texts at http://www.princeton.edu/%7Eclip/.

Form Phonetic Value Name
Α, α papa, father Alpha
Β, β bed Beta
Γ, γ go, sing Gamma
Δ, δ do Delta
Ε, ε met Epsilon
Ζ, ζ adze Zeta
Η, η prey Eta
Θ, θ thin Theta
Ι, ι pin, machine Iota
Κ, κ kill Kappa
Λ, λ land Lambda
Μ, μ men Mu
Ν, ν now Nu
Ξ, ξ wax Xi
Ο, ο obey Omicron
Π, π pet Pi
Ρ, ρ run Rho
Σ, σ, ς sit Sigma
Τ, τ tell Tau
Υ, υ French u, German ό Upsilon
Φ, φ graphic Phi
Χ, χ German buch Chi
Ψ, ψ hips Psi
Ω, ω tone Omega

2. At the end of a word ς, elsewherε σ, as σκηνης, of a tent.

Vowels

3. The vowels are α, ε, η, ι, ο, ω, υ. The remaining letters are consonants.

4. Vowels are either short or long. There are separate Greek characters (ε, η, ο, ω) for the e and o sounds, but not for a, i, and u sounds. In this book the long vowels are designated by α macron– a straight line that appears above the vowel when it is long- , η, ῑ, ω, ῡ; the short vowels are α, ε, ι, ο υ.

Consonants

5. The consonants are divided into semivowels, mutes and double consonants.

6. The semivowels are λ, μ, ν, ρ, σ, and γ-nasal (10). λ, μ, ν, ρ are liquids, σ is a siblant.

7. The mutes are of three classes, and of three orders.

Classes

Labial or π-mutes π, β, φ

Palatal or κ-mutes κ, γ, χ

Lingual or τ-mutes τ, δ, θ

Orders

Smooth mutes π, κ, τ

Middle mutes β, γ, δ

Rough mutes φ, χ, θ

8. Mutes of the same class are called cognate, those of the same order co-ordinate.

9. The double consonants are ξ (for κς), ψ (for πς), and ζ.

10. The consonants are pronounced, in general like their English equivalents; but gamma before κ, γ, χ, or ξ equals (sounds like) the ng in sing, and is called gamma nasal.

Dipthongs

11. A dipthong is a combination of two vowel sounds in a single syllable. The Dipthongs are αι, αυ, ει, ευ, οι, ου, ηυ, υι, ᾳ, ῃ, ῳ. The last three, formed by writing ι under ᾱ, η, ω, are called improper diphthongs. Their second vowel is called iota subscript.

12. The diphthongs are pronounced:

αι as in aisle

αυ as ou in hour

ει as in eight

υι as in quit

οι as in oil

ου as in group

ευ as ĕh-oo *

ηυ as ĕh-oo *

* For these there is no exact equivalents in English.

 

13.Pronunciation Practice

Read each of the following words aloud

ἡ-μἐ-ρᾱ day.
σκη-νή tent.
ἄν-θρω-πος man.
βου-λεύ-ει he plans.
ὁ-πλί-της hoplite.
ἐν τῇ χώ-ρᾳ in the country.
υἱ-ὀς son.
λό-γοι speeches.
ᾤ-κη-σα I dwelt.
ὧ-δε thus.
θύ-ρᾱ door.
ἐν σκη-νῇ in a tent.
ἄ-γε-τε you lead.
ἅ-μα-ξα wagon.
ἁρ-πά-ζω I plunder.
φο-βε-ρός frightful.
αὐ-τός self, Lat. ipse.
ἐν λό-γῳ in a speech.
Ἑλ-λη-νι-κός Greek.
ἀ-γα-θός good.
θύ-ραι doors.
λύ-ου-σι they loose.
ἄγ-γε-λος messenger.
δῶ-ρον gift.
χώ-ρᾱ country.
ψέ-λι-ον bracelet.
λό-γος speech.
οἰ-κέ-ω I dwell.
Ἄρ-τε-μις Artemis.
οἴ-κοι at home.

HTML Other Symbols

HTML Other Symbols

This entity reference includes all the other symbols supported by HTML. You should note that entity names are case sensitive.

 

Standard Character Entity Number Entity Name Description
HTML 2.0 &#34; &quot; quotation mark
HTML 2.0 & &#38; &amp; ampersand
XHTML 1.0 &#39; &apos; apostrophe
HTML 2.0 < &#60; &lt; less-than sign
HTML 2.0 > &#62; &gt; greater-than sign
HTML 3.2 &#160; &nbsp; no-break space
HTML 3.2 ¡ &#161; &iexcl; inverted exclamation mark
HTML 3.2 ¢ &#162; &cent; cent sign
HTML 3.2 £ &#163; &pound; pound sign
HTML 3.2 ¤ &#164; &curren; currency sign
HTML 3.2 ¥ &#165; &yen; yen sign
HTML 3.2 ¦ &#166; &brvbar; broken bar
HTML 3.2 § &#167; &sect; section sign
HTML 3.2 ¨ &#168; &uml; diaeresis
HTML 3.2 © &#169; &copy; copyright sign
HTML 3.2 ª &#170; &ordf; feminine ordinal indicator
HTML 3.2 « &#171; &laquo; left pointing guillemet
HTML 3.2 ¬ &#172; &not; not sign
HTML 3.2 ­ &#173; &shy; soft hyphen
HTML 3.2 ® &#174; &reg; registered sign
HTML 3.2 ¯ &#175; &macr; macron
HTML 3.2 ° &#176; &deg; degree sign
HTML 3.2 ± &#177; &plusmn; plus-minus sign
HTML 3.2 ² &#178; &sup2; superscript two
HTML 3.2 ³ &#179; &sup3; superscript three
HTML 3.2 ´ &#180; &acute; acute accent
HTML 3.2 µ &#181; &micro; micro sign
HTML 3.2 &#182; &para; pilcrow sign
HTML 3.2 · &#183; &middot; middle dot
HTML 3.2 ¸ &#184; &cedil; cedilla
HTML 3.2 ¹ &#185; &sup1; superscript one
HTML 3.2 º &#186; &ordm; masculine ordinal indicator
HTML 3.2 » &#187; &raquo; right pointing guillemet
HTML 3.2 ¼ &#188; &frac14; vulgar fraction one quarter
HTML 3.2 ½ &#189; &frac12; vulgar fraction one half
HTML 3.2 ¾ &#190; &frac34; vulgar fraction three quarters
HTML 3.2 ¿ &#191; &iquest; inverted question mark
HTML 3.2 × &#215; &times; multiplication sign
HTML 3.2 ÷ &#247; &divide; division sign
HTML 4.0 ˆ &#710; &circ; modifier letter circumflex accent
HTML 4.0 ˜ &#732; &tilde; small tilde
HTML 4.0 &#8194; &ensp; en space
HTML 4.0 &#8195; &emsp; em space
HTML 4.0 &#8201; &thinsp; thin space
HTML 4.0 &#8204; &zwnj; zero-width non-joiner
HTML 4.0 &#8205; &zwj; zero-width joiner
HTML 4.0 &#8206; &lrm; left-to-right mark
HTML 4.0 &#8207; &rlm; right-to-left mark
HTML 4.0 &#8211; &ndash; en dash
HTML 4.0 &#8212; &mdash; em dash
HTML 4.0 &#8216; &lsquo; left single quotation mark
HTML 4.0 &#8217; &rsquo; right single quotation mark
HTML 4.0 &#8218; &sbquo; single low-9 quotation mark
HTML 4.0 &#8220; &ldquo; left double quotation mark
HTML 4.0 &#8221; &rdquo; right double quotation mark
HTML 4.0 &#8222; &bdquo; double low-9 quotation mark
HTML 4.0 &#8224; &dagger; dagger
HTML 4.0 &#8225; &Dagger; double dagger
HTML 4.0 &#8226; &bull; bullet
HTML 4.0 &#8230; &hellip; horizontal ellipsis
HTML 4.0 &#8240; &permil; per mille sign
HTML 4.0 &#8242; &prime; prime
HTML 4.0 &#8243; &Prime; double prime
HTML 4.0 &#8249; &lsaquo; single left-pointing quotation mark
HTML 4.0 &#8250; &rsaquo; single right-pointing quotation mark
HTML 4.0 &#8254; &oline; overline
HTML 4.0 &#8260; &frasl; fraction slash
HTML 4.0 &#8364; &euro; euro sign
HTML 4.0 &#8465; &image; black-letter capital I
HTML 4.0 &#8472; &weierp; script capital P
HTML 4.0 &#8476; &real; black-letter capital R
HTML 4.0 &#8482; &trade; trademark sign
HTML 4.0 &#8501; &alefsym; alef symbol
HTML 4.0 &#8592; &larr; leftwards arrow
HTML 4.0 &#8593; &uarr; upwards arrow
HTML 4.0 &#8594; &rarr; rightwards arrow
HTML 4.0 &#8595; &darr; downwards arrow
HTML 4.0 &#8596; &harr; left right arrow
HTML 4.0 &#8629; &crarr; carriage return
HTML 4.0 &#8656; &lArr; leftwards double arrow
HTML 4.0 &#8657; &uArr; upwards double arrow
HTML 4.0 &#8658; &rArr; rightwards double arrow
HTML 4.0 &#8659; &dArr; downwards double arrow
HTML 4.0 &#8660; &hArr; left right double arrow
HTML 4.0 &#8968; &lceil; left ceiling
HTML 4.0 &#8969; &rceil; right ceiling
HTML 4.0 &#8970; &lfloor; left floor
HTML 4.0 &#8971; &rfloor; right floor
HTML 4.0 &#9001; &lang; left-pointing angle bracket
HTML 4.0 &#9002; &rang; right-pointing angle bracket
HTML 4.0 &#9674; &loz; lozenge
HTML 4.0 &#9824; &spades; black spade suit
HTML 4.0 &#9827; &clubs; black club suit
HTML 4.0 &#9829; &hearts; black heart suit
HTML 4.0 &#9830; &diams; black diamond suit

 

SOURCE: https://www.joeswebtools.com/html/html-other-symbols/

HTML Greek Symbols

HTML Greek Symbols

This entity reference includes all the greek symbols supported by HTML. You should note that entity names are case sensitive.

Standard Character Entity Number Entity Name Description
HTML 4.0 Α &#913; &Alpha; Greek capital letter Alpha
HTML 4.0 Β &#914; &Beta; Greek capital letter Beta
HTML 4.0 Γ &#915; &Gamma; Greek capital letter Gamma
HTML 4.0 Δ &#916; &Delta; Greek capital letter Delta
HTML 4.0 Ε &#917; &Epsilon; Greek capital letter Epsilon
HTML 4.0 Ζ &#918; &Zeta; Greek capital letter Zeta
HTML 4.0 Η &#919; &Eta; Greek capital letter Eta
HTML 4.0 Θ &#920; &Theta; Greek capital letter Theta
HTML 4.0 Ι &#921; &Iota; Greek capital letter Iota
HTML 4.0 Κ &#922; &Kappa; Greek capital letter Kappa
HTML 4.0 Λ &#923; &Lambda; Greek capital letter Lambda
HTML 4.0 Μ &#924; &Mu; Greek capital letter Mu
HTML 4.0 Ν &#925; &Nu; Greek capital letter Nu
HTML 4.0 Ξ &#926; &Xi; Greek capital letter Xi
HTML 4.0 Ο &#927; &Omicron; Greek capital letter Omicron
HTML 4.0 Π &#928; &Pi; Greek capital letter Pi
HTML 4.0 Ρ &#929; &Rho; Greek capital letter Rho
HTML 4.0 Σ &#931; &Sigma; Greek capital letter Sigma
HTML 4.0 Τ &#932; &Tau; Greek capital letter Tau
HTML 4.0 Υ &#933; &Upsilon; Greek capital letter Upsilon
HTML 4.0 Φ &#934; &Phi; Greek capital letter Phi
HTML 4.0 Χ &#935; &Chi; Greek capital letter Chi
HTML 4.0 Ψ &#936; &Psi; Greek capital letter Psi
HTML 4.0 Ω &#937; &Omega; Greek capital letter Omega
HTML 4.0 α &#945; &alpha; Greek small letter alpha
HTML 4.0 β &#946; &beta; Greek small letter beta
HTML 4.0 γ &#947; &gamma; Greek small letter gamma
HTML 4.0 δ &#948; &delta; Greek small letter delta
HTML 4.0 ε &#949; &epsilon; Greek small letter epsilon
HTML 4.0 ζ &#950; &zeta; Greek small letter zeta
HTML 4.0 η &#951; &eta; Greek small letter eta
HTML 4.0 θ &#952; &theta; Greek small letter theta
HTML 4.0 ι &#953; &iota; Greek small letter iota
HTML 4.0 κ &#954; &kappa; Greek small letter kappa
HTML 4.0 λ &#955; &lambda; Greek small letter lambda
HTML 4.0 μ &#956; &mu; Greek small letter mu
HTML 4.0 ν &#957; &nu; Greek small letter nu
HTML 4.0 ξ &#958; &xi; Greek small letter xi
HTML 4.0 ο &#959; &omicron; Greek small letter omicron
HTML 4.0 π &#960; &pi; Greek small letter pi
HTML 4.0 ρ &#961; &rho; Greek small letter rho
HTML 4.0 ς &#962; &sigmaf; Greek small letter final sigma
HTML 4.0 σ &#963; &sigma; Greek small letter sigma
HTML 4.0 τ &#964; &tau; Greek small letter tau
HTML 4.0 υ &#965; &upsilon; Greek small letter upsilon
HTML 4.0 φ &#966; &phi; Greek small letter phi
HTML 4.0 χ &#967; &chi; Greek small letter chi
HTML 4.0 ψ &#968; &psi; Greek small letter psi
HTML 4.0 ω &#969; &omega; Greek small letter omega
HTML 4.0 ϑ &#977; &thetasym; Greek theta symbol
HTML 4.0 ϒ &#978; &upsih; Greek Upsilon with hook symbol
HTML 4.0 ϖ &#982; &piv; Greek pi symbol

SOURCE: https://www.joeswebtools.com/html/html-greek-symbols/

Constructing Enochian Temples, by Benjamin Rowe

Constructing Enochian Temples

During the six months beginning November, 1985, I was involved in an extended exploration of the Enochian Tablet of Earth. There was no purpose to the work other than tourism – I merely wanted to see what was there and record it as accurately as possible. Curiosity is sometimes well rewarded; instructions were given on a new way to use the Tablets for magickal workings. The method involves the transformation of the two-dimensional Tablets into a three- dimensional structure that is the Temple of the Tablet. The Temple demonstrates the fundamental geometric, energetic, and spiritual properties of the Enochian magickal system through a form embodying the character of its active, intelligent energies.

There is much more to the Enochian magick than a mere collection of elemental energies. Rather, each tablet is an expression of the whole of existence, parallel to the cabalistic Tree of Life and equal to it in power and descriptive ability. With the practical and symbolic tools provided here, the competent magician will be able to unlock the higher aspects of the magick for himself.

Before using the Temple technique, the magician should be thoroughly conversant with the basic attributions of the Hebrew letters and numbers as described in the Golden Dawn documents and Crowley’s 777 Revised.  Equally useful is a familiarity with the “restored” Tree of Life first presented by Charles Stansfield Jones, aka Frater Achad. A sketch of his Tree is provided in figure # at the end of this book. Achad’s Tree forms the basis for all existing explanations of the Temple’s symbolism. The author believes that the Temple can be used effectively by persons using other symbol-systems, but at this point it is up to the users of other systems to discover how they can be connected with the Temple.

The magician should have had some success in using the Enochian system to invoke the forces of single squares, and have made a preliminary exploration of the forces of the Tablet in question to the point that he feels both familiar and comfortable with them. This is not a technique for beginners. Successful construction of the Temple generates a tremendous concentration of force, which can unbalance the inexperienced magician and open him to levels he is not yet ready to deal with.

Background

Each of the Elemental Tablets of the Enochian system is a 12 by 13 square board. Figure 1 shows the general layout of a Tablet, with the various types of squares labeled. These squares can be re-arranged into a three-dimensional structure, which is the Temple of the element.

The squares of the Tablets are arranged according to a regular hierarchical scheme, and each level of the hierarchy defines a particular part of the Temple.

The Great Central Cross of each Tablet is made up of the seventh row across the Tablet, and the sixth and seventh columns. The cross contains the highest three levels of the Tablet’s hierarchy.

The three Names of God come from the horizontal line, and are formed by taking the letters in groups of three, four, and five letters. The Names for the Earth Tablet are thus MOR DIAL HCTGA.

The Elemental King of the Tablet has his name formed by an inward clockwise spiral around the center of the Tablet. In the Earth Tablet, the King’s name is ICZHIHAL. (Fig. 2)

The Six Seniors represent the forces of the planets in the Tablet, and their names are formed by reading outwards along the arms of the cross.  For the Earth Tablet, these names are ACZINOR, LZINOPO, ALHCTGA, LIIANSA, AHMLICV, and LAIDROM. (Fig. )

These names from the Central Cross are used to make up various parts of the upper Temple. The next set of squares are the Sephirotic Crosses, which are the five by six crosses centered in each Lesser Angle of the Tablet. These crosses make up the floor of the upper Temple, and the ceiling of the lower Temple, and project their force downwards into the Temple proper. (Fig.)

The four Kerubic squares of each lesser angle are the four squares above the horizontal arms of the sephirotic crosses. These squares are used to make the four outer pillars of the Temple.

Finally, the remaining squares below the arms of the Sephirotic crosses are the servient squares, which represent the most material manifestation of the force of the tablet. These squares are rearranged to make the floor and altars of the Temple.

The Bricks

The basic unit in the Elemental Tablets is the square. Since the Temple is a transformation of the Tablets into three dimensions, it follows that the basic unit for the construction of the Temple will be the cube.  One particular kind of cube has proven to significantly enhance the effectiveness of astrally-constructed Temples. However, after a short explanation I will continue to refer to “squares” rather than to cubes, in order to emphasize that these cubes are three- dimensional projections of the squares of the Tablets.

These special cubes are formed from four truncated pyramids of the kind used in the Golden Dawn system to symbolize the energies of the Tablets.  The pyramids have square bases. Each side adjacent to the base meets it at an angle of forty- five degrees, and the top has sides whose length is one-third that of a base side. The pyramids are then set with their bases outwards to form four sides of a cube, with the top and bottom faces empty.

The cube thus formed acts as an accumulator and focusing device for whatever energies are assigned to it. The four “solid” sides channel energies into the center of the cube. Beams meet in opposing pairs and are thrown outwards in the only directions remaining, as rays from the empty top and bottom faces. The wand-like nature of the projecting forces suggests that this form of the cube be associated with the fire aspect.

Adding a fifth pyramid to the cube neutralizes the opposing forces of the first four, and causes energy to well up out of the sixth side like a fountain, or like a perpetually-opening lotus. Clearly, this form of the cube relates to the water aspect.

A cube of six pyramids perhaps combines earth and air, since all the faces are solid, but the hollow center contains the accumulated energies, distributed at equal concentration at all points of the space.

There are only two places in the Temple where one of these forms is required. Everywhere it is not specified, any of these forms can be used at the preference of the magician, or none of them used. My personal feeling is that the six- pyramid cube is not useful.

It should be noted that all of these cubes are actually three-dimensional representations of a four-dimensional object, the hypercube or tesseract, which is an object having eight cubical “sides”.  In the 3-d cube, six of these cubical sides are seen in distorted perspective as truncated pyramids. So the cube, which started as a projection of a two-dimensional form, contains within it the potential for the projection to continue into additional dimensions. By correspondence, the completed Temple will also be linked to other dimensions.

Design

The dimensions of the Temple are all defined in terms of the size of a single component, the square, with the length of the square’s side being the unit of measure. Thus the relative dimensions remain constant no matter how large or small the unit is when measured in real terms. The Temple can be made any size that is convenient to the magician. It can be constructed physically, or entirely on the astral levels. The effect on any plane will be about the same, no matter the materials used.  Coloring appropriate to the particular Element should be used.

The intelligences who gave the instructions say that it is also preferable, but not necessary, to paint on the attributions of each square as well. This seems valuable but tedious for a Temple constructed of physical materials. But for astral workings such a course would likely be unfeasible for magicians lacking an eidetic memory.

The floor of the Temple is made by lifting the Servient squares out of the tablet, and pushing them together to make an 8 by 8 board, with the squares maintaining their relative positions from the Tablet. (Fig.? )

The Kerubic squares of each Lesser Angle are arranged in a 2 by 2 square, which touches the corner of the floor. The squares are arranged within the larger square so that they are in the same position relative to each other that their sub- elements are in the Tablet as a whole.
(Fig. )

These grouped Kerubic squares are then extended upwards for a distance equal to eight times the width of a single square to form the pillars of the Temple.

The Sephirotic crosses are connected as in Fig. ?, and are laid horizontally at the height of the tops of the Kerubic pillars to form the inner ceiling of the Temple. The crosses project downwards to form the inner walls of the Temple. The long arms of the crosses are oriented to follow diagonal lines drawn between the Kerubic Pillars, and the Malkuth squares of the vertical arms rest on the top of each pillar. The Malkuth square of each cross is centered precisely over the center of of its quarter’s Kerubic pillar, and the intersection of the four lesser columns that make up each pillar divides it into four equal parts. The
Tiphereth square of each cross will be over the center of the sixteen Servient squares of the Lesser Angle. Also note that in this formation, the squares attributed to Kether and Tiphereth are always hidden from any viewpoint outside of the Temple.

The names of the six Seniors are made into a star-shaped formation.  (Fig. ?) The first letter of each name is formed into an equilateral triangle having sides of one unit, and the remaining letters are assigned to squares extending in a line from the base of the triangle.  The triangular units are fitted together to form a hexagonal center to the star. Except for this center, the arms of the star-shape are bent downwards at an angle of about thirty degrees to form the roof-braces of the Temple. The outermost square of each arm will be at the height of the tops of the Kerubic pillars. The arms should extend outwards far enough that a circle touching all their ends would just enclose the Malkuth squares of the sephirotic crosses.

The name of the Elemental King is formed into a stack of four fire-aspect cubes, which stands on the center of the Seniors’ star. The outer faces of the cubes in the stack are attributed to the letters of the name in this manner:

E S W N <– (direction of face)

I C I C
Z H Z H        ICZHIHAL, Earth Tablet
I H I H
A L A L

The three Names of God in a Tablet are expressed in the Temple as three rings, each having a circumference of 12 units. When it is desired to emphasize the purely elemental aspects of the Temple, the rings are arranged so that they have a common center-point, and the plane of each ring is at right angles to the planes of the other two. When the higher, planetary aspect of the Temple is to be emphasized, then the rings are arranged so that they share a common diameter and their planes are set at angles of 120 degrees to each other.

Example Consecration of the Temple of Earth

(The symbols and visualizations follow the text of the ritual.)

1. The Temple should be fully prepared ahead of time. If an astral or etheric Temple has been built, the magician should be able to hold its image steady without effort for several minutes at least, and to move about inside and outside of it without difficulty.

2. Perform a preliminary banishing of the work area, using both the Ritual of the Pentagram and the Ritual of the Hexagram.

3. Vibrate the First Key, and call upon the Archangel of the Element in the Tablet of Union to oversee the work of consecration.

“Hear me, Ye spirits of the Tablet of Union! Hear me, and send your great Archangel, NANTA, unto me. NANTA, thou great and powerful angel of the Spirits of Earth, I call upon thee to oversee this work of consecration, so that the Light of Spirit may ever dwell in the Temple.  I have dedicated this Temple to the work of returning the Earth, the daughter who is our mother, to the realms of the Gods from whence she came. This is my true will, and a great and holy work. Therefore, NANTA, do I call upon you by right to aid in its completion. Let the light of the Gods raise her again upon high. Amen.”

4. Perform a preliminary invocation of the element of the Tablet. (See Crowley’s Liber LXXXIX vel Chanokh for examples.)

5. Vibrate the Key of the Element.

“Hear me, spirits of the Tablet of Earth! Hear me, and come unto me, and make this Temple the true house of the Daughter. I charge you all to make your force known within the Temple, as I call upon you by name.”

6. “MOR DIAL HCTGA, holy spirit, seed of the Unknown God! You are the magnet of the Temple, drawing unto it from the Ethyrs the forces of Earth. Indwell the crown of this Temple, MOR DIAL HCTGA, so that the forces of Earth shall ever flow into it.”

7. “ICZHIHAL, thou great and terrible King who dwells in the center of the Tablet of Earth! Thou who does express the force of the male within the Tablet! Thou Sun, who does blind all with your light! Hear me, and come unto me, and send thy force to dwell in this Temple, ICZHIHAL, so that the light of the Father may ever be seen in the Daughter.”

8. “Hear me, ye Seniors! Ye, who are as Moons to the Sun of the King, who are as Water to His Fire! Ye who represent the god-stars within the Tablet! Ye who do receive and distribute the seed of the King unto the lower worlds! Hear me and come unto me! Hear me:

“ACZINOR, child of Jove, royal and benevolent!
“LIIANSA, child of Saturn, dark and rigid!
“AHMLICV, child of Hermes, bright and quick!
“LZINOPO, child of Luna, reflective and changing!
“LAIDROM, child of Mars, forceful and will-full!
“ALHCTGA, child of Venus, loving and sensual!

“Come unto this Temple, and be its roof, so that the acts of men within the Earth be as the acts of the Gods within the womb of Nuit! Yea, ye children of the Gods, come unto this Temple, and enliven the earth with your flavorful waters!”

“Thus is the home of the Gods within the Temple built. And let Man as well have his place therein. Let the sephiroth enclose him, and the Kerubs guard and focus him, and the Earth herself support him.”

9. “Hear me, ye angels of the Sephiroth within the Tablet of Earth! Hear me, ye who are the walls of the inner Temple, and do hide the light of the Sun therein from the eyes of the profane! Ye, who distribute the elements within the fields of the Earth’s domain! Come unto me, and enliven this Temple, so that Man may see the roads to the Gods, and travel those roads in sureness and understanding!

“OPMNIR, bring thy fiery seed to enliven the Temple. ILPIZ, plant thee this seed in this Temple of Earth.

“ANAEEM, I call thee to pour out the waters of earth, to purify the Temple and make it holy. SONDN, do thee bind these waters to the fabric of the Temple.

“ANGPOI, Let thy wings blow the Airs of Earth into this Temple, so that knowledge and understanding shall be therein for Man. UNNAX, bind thee these winds to the Temple.

“ABALPT, daughter of the Daughter, bring forth thy powers of richness and abundance, so the Temple shall never lack that which it needs for continual comfort. ARBIZ, bind thee this abundance to the Temple.

“Thus are the inner walls of the Temple established, so that the light of the Sun may be concealed, and yet seen clearly by the eyes of Man.”

10. “Hear me, ye Kerubs of the Tablet of Earth! Mighty warriors are ye, set to stand at the corners of the Temple as guards of the mysteries therein. Ye, co- equal with the Sephirotic Angels, whose power does run from the depths to the heights, expressing the same nature in all the worlds. Ye, pillars of the Temple, foursquare and righteous!

“ASMT, thou Lion! By thy Spirit NASMT do I call thee to appear!”
“PHRA, Eagle of the Waters! Obey me by thy Spirit NPHRA!”
“BOZA, Thou wind of understanding! Blow thee here, by thy Spirit NBOZA!”
“OCNC, Thou Bride, Earth most pure! Thy Spirit NOCNC graces thee!”

“Come ye, ye Angels, and bind your forces into the pillars of the Temple, so that they will be a defense and a focus for the light!”

11. “The Temple is built, and Man dwells therein as the child of the Gods. Let the child come to meet his parents, in this place of light.  And let the light of the Temple shine forth for all men to see and to wonder at. And let it infect them as does a puissant poison, and shatter their shells to show the Stars therein!

“And let these Stars light the Daughter on her way, as she rises again into the company of the Gods.”

12. Let the magician commune with the Gods within the Temple. Then let him go forth to do his Will.

The Symbolism and Visualizations of the Consecration Ritual

0. Most of this ritual was given directly to the scribe by the “Angels” associated with the Tablet. In transcribing it, the author had the strong impression that the intelligences he was speaking with were consulting a manuscript written in enochian, translating that into some sort of thought-form, and leaving it to him to translate it into English. Thus any lack of artistry in the presentation is probably the fault of the author, and not the communicating beings. Despite this, I feel that the archaism and formal stylism reflects the original.

The ritual is meant only as an example, and the magician is free to vary it or write an entirely new one more suited to his or her own methods.  The only essential parts are the names invoked, and the ideas or visualizations associated with each name. The other words and acts are unimportant, according to the communicating entities, and serve only to fire the imagination of the magician.

As an example of a variation, the names on the levels below the Six Seniors could be grouped according to their sub-element, and the sub-elemental keys recited before they are invoked. There will of course be variations in the symbolism if the magician chooses to work with a Tablet other than that of Earth.

The higher intelligences associated with the Earth Tablet have a distinct character of expression that is unmistakable once it is recognized. It has a strongly Masonic flavor, as if every communication or contact was part of a meeting of an Illuminated Lodge. Thus it should be unsurprising that they have concerned themselves here with the building of the Temple. The explanation of the symbolism of the Temple that follows was also dictated, and for the larger part is rendered here exactly as given.

The true Temple is of course Man, and the parts of the Temple are the parts of the spiritual man.

The floor is the unilluminated man, trampled under the feet of those with power, moving blindly at the pull of forces outside himself. With him we do not concern ourselves, for he is upon the earth and we are as heaven, and he does not see us. Thus the floor of the Temple does not need to be consecrated in the building of the Temple, although to do so would increase the power somewhat.1

The Kerubic Pillars and the Sephirotic inner walls are the powers of the soul, and the powers of the Ruach. The soul envelopes the man of earth, and protects him from the powers beyond himself. When, by an act of will, he tears down the veil between the personality and the soul and stops acting as the pawn of mundane forces, then he becomes the pillars and the sephiroth. He uses their strength and fixity to push himself up out of the earth, as Kephra forces himself above the waters in the form of a winged sun. He becomes the manifest expression of a cosmic force, though he does not perceive that force in himself. For though he uses those forces, and wields them to his own benefit, yet are the greater parts of their power above his perception as yet.

The crossing of the forces between the pillars, in the center of the Temple, causes his consciousness to become focused, fixed in place, like the sun at the center of the Solar system. It seems as if the world now revolves around him, like the planets about the sun, and that he controls all within this domain. Yet he is still only a little above the floor of the Temple.2

Once the man has spent some time reveling in his new-found freedom from the forces of manifest existence, he suddenly discovers that even on this new level, he is at the mercy of the Gods. He is pulled this way and that as they travel their paths around the sky, and he travels his with the earth. Each tug of the planets disturbs his spiritual equilibrium, and takes from him a little of that balance and joy that the first experience of the Soul gives.3

Yet again, he must put on his armor and prepare for battle. But this time it is against an enemy far superior to himself. The Earth, he has seen, was but a child’s playroom, and the difficulties to be overcome there simply the play of children. Now he must fight as a man, against those who are his superiors both in strength and in spirit, and he must stand against them in direct combat, showing himself equal to them. 4

But he lacks the leverage to fight them directly, and so, to give himself some chance, he binds himself to the pillars of the Temple, which are the fixed cross of the zodiac, as the mutable cross was the mundane world, the floor of the Temple, and the cardinal cross is the realm of the gods. 5

Upon this cross does he bind himself, holding himself with the nails that he finds there, and gives himself over to the pulls of the planets as they dance their dance of death around him. They attempt to pull him from his perch on the cross, and to throw him down again into matter, there to perish with the dogs of earth. 6

Or so it seems to the mage as he stands upon the cross. There are none to aid him in his struggle, so he must bear the force of the gods fully upon himself. He is Odysseus confronted with the Siren’s song, and Mithra entering the cave, and Jesus on his cross.7 Yet the first of these is the best, for this path of the Temple is a path for knights, and adventurers, and those who dare to go beyond the confines of their own worlds.

He does not bind himself to the cross in sacrifice to some pagan god.  Nor does he do so with thought of saving others, for he knows others are not worth saving unless they save themselves. He climbs the cross out of defiance, because it is the only way he can fight against the gods, and come to freedom from their dominance, and stand as their equal in the heavens. 8

For the gods do not make their worshipers like unto themselves, but only absorb them back into themselves. And when the god’s attention is distracted from the lower worlds, then do those thoughts in his mind that were his worshipers vanish, leaving nothing behind.9

Those who fight the gods, and die, and live to fight again are those who the gods welcome as brothers, for within the greater world are none accepted save those who are able to stand on their own, free of the support of the gods, and who make their own paths through the endless wonders of Nuit.10

So the gods attempt to tear the man from his place. But the nails of thecross hold him fixed, and he does not fall, despite the greater will of the gods. For the pillars of the Temple are strong warriors, in the earth and in the heavens, and none may remove them from their posts.

Eventually, the pulls of the gods do lessen in force, and the man finds them fading from his mind. All save the gods of the outer darkness, beyond the ring- pass-not of Saturn. Those do call equally to all, and do affect the gods as they do affect men, calling to them to dissolve themselves in the night, speaking to them of the greater universe beyond the solar system. But the man himself finds the other gods do not call to him as they used to, and he takes himself from his cross, and climbs down, and looks about him.11

At first all things seem unchanged, from when he was upon the cross. Yet he has gained great knowledge, in his fight with the Gods, and he does look about the Temple, and he sees that his pieces of knowledge do greatly resemble those upon the inner walls of the Temple. Carefully does he fit each piece to its place, checking each against its pattern in the walls. And when he fits the last piece into place, and does call out to the gods of men to observe his creation, then do the inner walls open for him, and lead him into the sanctuary of the Temple. For his life and being is itself the key to the Temple, and all therein must be applied to its place in the wall to unlock the door of the sanctum. 12

Having put each piece of himself into the keyholes of the inner door, he has stripped himself of himself. Naked and bereft of protection does he enter the Sanctum, and as the doors close behind him, a brilliant beam stabs down, and blinds him, and burns all that he was from himself.

And in the place of the man in the Temple there now stands a Sun, brilliant as the light which kindled it, shining with a glory that can not be denied, and giving to all of its light, unreservedly. 13

But the man who was there is beyond this sun. For the Gods have come unto him again, this time as brothers and sisters, and they do raise him up among themselves, and do greet him as a younger brother, now come for the first time into the affairs of adults. And the gods do give to him of their nectar, that sweetness of the throat and of the spirit, that water from the womb of Nuit that the gods do feed upon. And the sweetness of the nectar in whatever flavor he may drink does transform that man into a god himself, making him in truth as one of the brothers of the Sun. 14

The gods also show him that their pulls at him upon the cross were not of malevolent intent. Rather, were they midwifes at his birth into the heavens, and their pulls upon him were their efforts to pull him from the womb of his mother. As the child is frightened of the process of birth, yet comes through it unharmed into a larger world, so is the crossing of the adept into the heavens. There is no Abyss, save in the minds of lying Piscean magi. There is no separation between god and man.  One is simply the unborn form of the other, as the ritual does show.  There is no destruction of the self in the formation of the god, but only an expansion, a greater life absorbing that which was once thought to be all of the self.15

Our mother/daughter the Earth is the womb of Nuit incarnate. The passage between the womb and the god-lands is the dark night of the soul, when all seems lost, and nothing of any meaning. Yet this is not an abyss, but only an interval of uncertainty and upheaval between the certainties of the womb, and those of the greater day, which are the man’s true life.16

Now the gods have made that man as themselves, yet still within the Temple does the Sun shine. And that sun remains within the Temple as a light for all to see, burning through the veils of the inner Temple, shining between the pillars of the guardians. For all to see, we say, be they initiated or not. Yet the blind can not be made to see, no matter how bright the light. And those who still dwell wholly within the worlds of the elements will not see that light. It shall be as a great darkness to them. Yet within them shall it still work, burning from then the sins of their youthful times upon the earth.17

And the light grows ever stronger, as that new god does rise in the sky, and shed his light in the heavens. And the god’s light supplies the sun of the Temple with its power, increasingly so as the god rises fully into the heavens.

Now do the new gods fellows reveal to him the mystery of the star-roads, those roads that exit the system into the greater night of Nuit. They show him that these roads are endless, and that all are gods alike traveling those roads, moving from wonder to wonder within the heavens, praising the infinite marvels of Nuit. From wonder to wonder do they travel, and each along the way discovers new ways and things, and does tell his fellows of them, and each does look to the wonders of all. And all of them, every one, is unique within the heavens, both in his self and in his path. 18

Think ye not that since this road has no end, that it has no beginning.  For the beginning of the road is here in the earth, and in those other worlds of similar type that do come within the star-fields as the cradles of gods. And all those who come out of the earth will be ever related to her, within the annals of the gods. And each new god’s success does add to the praises that the elder gods heap upon her. For her work is the most difficult that any god can aspire to, and none may gainsay her place when again she rises among them.19

And you, o man, who does write these words at the bidding of your god, and of the elder gods who are his brothers, do know the truth of what we say. For you are yourself the supreme example of this path, which is the path of Set within the Cosmos. He has placed you in the world at the start of time and you have followed his path from beginning to end, in the many deaths that you have suffered at the hands of your fellows, and in the many conquests you have made. In your battles with your brother, who is Horus, you have shown the struggles of man, the struggles of light to free itself from the darkness and to return to the greater world of the gods. And now Horus, the undefeated, has fallen of his own ineptness, and has lost his chance to rule. And the dark brother, who is yourself, he who Horus does sacrifice upon his altar so that his own light might appear greater in the eyes of man, has come to his own reward. For he has shown himself to be the equal of Horus, and unconquered though many times has he been killed.

And Horus, in his knowing of the ways, did strike to the heart one last time, seeking to destroy you in your moment of Triumph. And he did succeed, he thought, until his body did die, and he did again see clear with his God’s eyes, and know that his own desperation to succeed was the cause of his failure to do so.

Now does Set rule in his own name, and not in the name of the Beast Who Was. For that lion, that self-proclaimed beast, did forfeit his right to praise with his last act of treachery, and therefore is he judged a failure in the eyes of the Gods.

Now does Set, the light in the darkness, the serpent in the depths of the Earth, show himself in the minds of Man. Through many do I speak, for my message is for all. Yet there is one who is my special priest, and my own beast, who I do set in place in the East at this equinox of the Gods, when the jeweled stars of Hadit do stand above against the backdrop of Nuit, and I myself do penetrate the mysteries of the Earth in my place at the western horizon. Thus are the Gods revealed, in this new aeon.20

(The scribe again speaks with his own voice from this point on.)

2. It is necessary to banish using both the Pentagram and Hexagram rituals, because the forces invoked operate on both the elemental and the planetary levels. Also, the rituals serve as a preliminary “tuning in” to the higher planes, making the later work more effective.

3. The conception here is of a brilliant, sourceless light, containing all colors and filling unlimited space, permeating everything within that space unhampered. This light should be seen as the manifest expression of the creative god of the Enochian magickal system, whose invocation is silence. The magician should try to fill his perception with the energy generated by vibrating the name, and then work from there to identify himself with the one who created that energy.

The First Key’s language is a commemoration of that god’s steps in the creation of the Tablets. In building the Temple the magician seeks to reflect the god’s act of creation. So he must try to identify with the god here at the beginning. The remainder of this ritual is a steady progression from the macrocosmic and the general towards the microcosmic and the specific.

After gathering the materials for his creation, the god anchored them into matter in the form of the Tablets. The Second Key commemorates this one step within the larger act of creation described by the First Key.  It generates those “fires of gathering” and the embodiment of the will within the form aspect. However, we do not use the Second Key in consecrating the Temple because it sometimes has the effect of collapsing the Temple back into its two-dimensional form.

The mage should change the dedications here and in point 11 to suit his/her own purposes. Use of the dedication given here would cause the mage’s Temple to resonate with the author’s Temple, and with the author’s assigned task as a Master of the Temple. This could result in distortions of the mage’s intent, when he seeks to use the Temple in his own work. If the mage or adept has no such specific task, a dedication to the accomplishment of the Great Work should be used. However, use of the given dedication is all right if the mage seeks to unite himself with the purpose stated.

The mage declares the righteousness of his work, and charges the spirit to assist in its completion. The enochian spirits see man as part of a spiritual hierarchy parallel to their own, whom they are charged to assist by their creator. But the enochian spirits also assume that if the mage is expressing doubts, or conflicts of will, it is because he wants the spirits to manifest in a form reflecting those things. They are perfectly responsive to the will, once invoked, and therefore must the mage’s will be single, and steady.

4. This is a further “tuning in” to the forces to be used in the consecration.

5. The light generated by the use of the First Key should take on something of the quality of the element as the Key of the Element is invoked.

6. The conception here is of Nuit, infinite space, and the infinite stars thereof. The magician should make every effort to perceive himself as existing within a space of infinite extent, which is formulated by the god out of his magickal light. No matter how far the magician projects in any direction there will be infinite unknown territory beyond.

The rings of the three names are seen suspended in this space, far from any star or planet. As the each of the three names is vibrated, the corresponding ring is filled with a circulating current, which in turn draws even more energy out of space. As if in response to the vibration of the name, a ray of light in the color of the corresponding zodiac sign should be drawn in from infinity to strike the ring.

The zodiacal correspondences of the names are shown in this table:

Mutable    Fixed     Cardinal
Fire        OIP         TEAA         PDOCE
Water    MPH        ARSL         GAIOL
Air        ORO         IBAH         AOZPI
Earth    MOR        DIAL         HCTGA

Vibrating the name MOR would cause a response in the colors of Virgo, DIAL in the colors of Taurus, and HCTGA in the colors of Capricorn.  These incoming energies are accumulated in a dimensionless point in the center of the sphere described by the three rings.The rings continually draw in more energy and pour it into this point. The point is Hadit, the complement of Nuit, from whom the three rays come.

An alternate conception of the Three Names was sometimes used by Dee. It assigns the names of four letters to their respective Kerubic signs, and assigns the names of three and five letters to the adjacent mutable and cardinal signs. This latter set of attributions is more useful in purely elemental workings.

In terms of the overall structure of the ritual, the light of point 3 can be viewed as the Limitless Light, the Ain Soph Aur. The infinite space is the Ain Soph, without limit, and the point at the center of the rings is the Ain, nothing, and its concentration into the dimensionless point of Hadit at the highest level of Kether.

7. As the King’s name is vibrated, the forces activated punch through the sphere formed by the Three Names, and provide a channel of escape for the energies concentrated by those names. These energies should be visualized bursting out of the dimensionless point and down through the center of the King’s column.

The letters of the Elemental King’s name are attributed to the sides of his column in such a way that four spirals can be drawn around the column connecting the letters in the correct order. Two of these spirals twist clockwise, and two counterclockwise. These spirals ensure that the energies are brought down in a balanced form. At any horizontal plane along the length of the spirals, the two spirals in each pair will have vector components that are exactly opposite. As one spiral turns east, the other turns west, and so on.

As the energies pass down through the column, the spiral effects of the King’s name imparts spinning motions to them. Passing out through the bottom of the column, they should be visualized as a beam of sharp, laser-like quality, of such brilliance and intensity as to seem almost solid. This beam projects all the way down to strike the floor of the Temple, and illuminates the entire area of work. The beam can be white, or the King Scale color of the element.

The pinpoint of light is Hadit, Kether, and the shaft is his expression in Heru-Ra- Ha, Shin-Tiphereth-Kether combined. The Elemental King represents the Sun in the Tablets, and here he is conceived as the Central Spiritual Sun and the Sun of the soul combined.

8. Here the conception is of a watery/airy nature, forces flowing outwards and downwards from the central letters to a circle touching the ends of the roof- braces at the level of the tops of the pillars. From there, the waters drop directly down, making the outer veils of the Temple.

The planets “step down” the vibration of the Sun, and show its multiple aspects in a form that can be perceived on the lower levels. So they are saluted here as receivers and distributors. As each name is vibrated, the magician should try to get a sense of the force of the planet being invoked, and perceive the waters to carry a flavor expressive of this force.

An identity is asserted that as the stars are to Nuit, so Man is to the Earth.  It is exactly the same relationship expressed on two different levels. The earth is a womb out of which new stars, the mages, are born, to begin their true life in the greater womb that is Nuit.

Last, it is declared that the part of the Temple dedicated to the gods has been completed, and that we now begin to build the part wherein the man dwells. The form of man’s section of the Temple is summarized.

9. The Sephirotic Crosses are seen as projecting their force downwards from their place on the ceiling of the Temple, forming walls around the shaft of light in the center of the Temple. The walls maintain the form of the connected crosses, and appear to be of some shimmering, translucent substance of vegetable origin, such as amber or frankincense. They exude rare scents that fill the area within the outer veils.

The sephiroth hide the light of the central sun, because they express his multiplicity, but not his unity. That is, they do not express the sun as he is in himself, but only his effects upon the world. At the same time, they reveal him, because they are an orderly and consistent expression of his will, and so they are spoken of as showing the road to the gods.

There is a sharp division in the Tablets between the macrocosmic aspects, whose symbolism is based on the number six, and the microcosmic aspects, where the symbolism is based on the number four. The link between the two is in this cross of ten squares. The King’s beam of light acts as the fifth element of Spirit for the lower Temple, but neither the Sephirotic crosses nor the Kerubic columns touch that beam.  The six highest squares of the crosses receive and “step down” the King’s energy for distribution into the Lesser Angles in a way analogous to that of the Seniors for the Tablet as a whole. The six squares attributed to the planets in turn channel the energy to the the lower four squares, which have elemental attributions. The crosses mediate the two systems, interpreting each to the other and binding them together.

The forces of the sub-elements are then invoked, and bound into the fabric of the Temple. The mage should feel the forces of each element as it is called, and direct it into the appropriate cross on the ceiling of the Temple.

10. The conception is of strong, pure, immovable powers, of equal strength at all points along the length of the pillars. The color of the lesser angle should be seen flaming on each pillar as its name is invoked, and the kerub of the sub- element should be seen standing within the column, facing outwards with the correct magickal weapons in hand. The sub-elemental kerubs all have the head of a bull, with the bodies of the kerub ruling their particular sub-element. For example, the kerub of the Fire Lesser Angle is bull-headed, with the body of a lion.

Alternately, they can be visualized as having the bodies of men, and the heads of the kerub of the Tablet’s or the Lesser Angle’s element. The Egyptian guardians of the quarters could also be used, or the telesmatic gods of the G.D. system. The Kerubs radiate their power with a distinctly fearsome yet exquisite purity.

As the last of the pillars is charged, sheets of force should be seen extending between the pillars, interpenetrating with the curtain previously formed by the waters of the planets. Sheets of force also extend diagonally across the Temple, crossing at the beam of light in the center.

(When the mage uses the consecrated Temple at a later date, these sheets of force and also the inner walls formed by the crosses can be allowed to fade from sight once they have been invoked, so as to leave all of the inner space of the Temple free from obstructions. It should also be noted that in the consecrated Temple, the Kerubic pillars will tend to cloak themselves in black, and no effort should be wasted to prevent this effect.)

11. The success of the consecration is declared, and the dedication is repeated in different terms.

12. Since the Temple is intended to be a permanent home for the forces, there is no banishing or dismissal at the end of the ceremony. If banishings are deemed necessary as part of the later use of the consecrated Temple they should be done in such a way that the entire Temple is enclosed within the circle of banishing.

Last Words

[This final “channeling” formed the basis for most of the visualizations of the consecration ritual. It describes the completed Temple.]

The three names of god within the quarter of the element are the signs of the zodiac in their glory, the outward-most manifestation of the God of Justice.

In the light provided by these twelve gods are all things governed within the earth. And in the light of the gods of one element is the Temple of the element built.

The three gods form themselves into interlocking rings, showing in their orientation the three dimensions of manifest space. Within that space is the Temple formed. On the top of the temple do the three rings stand, and they project their force into every corner and crevice within the area of working.

Also do their forces gather at the center of the globe they form, there do they form the whirl which is the first manifestation of the King of the Elemental Tablet. The light from the center of the globe erupts downwards into the temple, a blazing beam of light, a godflame.

Thrown outwards by the force of the blaze are the Seniors. I see their light as a wellspring of nectar, a flowing-forth of the sweetness of the vine, quenching the thirst of the King’s flame. Outwards they flow, then downwards, a curtain of liquid glory enclosing the outskirts of the temple proper.

The curtain is needed to protect the inner temple from the winds of external change. For the inner temple is filled with sweet airs and incense, and the slightest breeze would blow them away.

The airs exude from the gods of the crosses. Gods of the living air are they, trees of Life which man may climb to the heavens. One moment they stand in the roof of the Temple, above all, projecting downwards the light of the gods. Another moment, and they grow from the roots of the Temple, rising upwards. Resinous woods are they, and each gives to the airs its own unique scent. Breathe ye deep of that incense of life, and live. Above all and in all are they.

Mighty warriors are the guardians of the Temple. Standing at the corners, seeing every way for the safety of their Temple, they conceal a terrible fire within their cloak of darkness. In them are the beginnings and ends of things, and the secret of their continuance. They mix the fire and the water, the air and the earth, and out of them form pillars terrible to behold in their fullness. If they should once fully remove their cloaks in the presence of the mage, he will never again be able to say that he has not looked upon the countenance of the vengeful god.  At their heads, flames leap upward into the sky. As they move their feet the very earth trembles beneath them. The waters they drink through the palms of their hands, and the airs come forth from their mouths in raging tempests.

Yet in them yet is the light of the higher gods, a nimbus about the heads of the pillars, flowing down their columns, cloaking their fury with the gentleness of spirit. The gods of the airs21 are their mentors and shapers, and move them in the ways of nature.

Now do we move to the outside of the Temple, and place the altars in their places. In the four corners are they, in line with the God-king and the guardian of the quarter. Under their [i.e. the Kerub’s] eye are the altars placed before the eyes of men. Grails are they, full of the waters of the spirit, the transubstantiated substance of Adam Regenerate, seeking to lead all men back to Eden.

As the Sun consumes its own substance to give life to the worlds, so is Adam consumed in his giving to men. Yet he is not lessened thereby, for he receives in turn a wealth of substance greater than all he has given.

A consuming fire is He, yet his sacrament is of water and air to the lesser folk. For were they not reinforced therewith, his worshipers would cease to be in the instant of true communion, a dust scattered by the roar of his flames.22

Drink of the blood of Adam, o men, and be raised to Eden thereby! Its heat shall consume ye, yet ye shall not perish. As the flames of the heart drove ye out of Eden, so shall they lead you back.23

Correspondences

The Tablets and the Tree of Life

Kether the Three Names of God
Chokmah the Elemental King
Binah the Seniors
Chesed Sephirotic Cross name of six
letters
Geburah Sephirotic Cross name of five
letters
Tiphereth Kerubic Archangels
Netzach Kerubic Angels
Hod        Servient Archangels
Yesod        Servient Angels
Malkuth cacodemons

The Kerubic archangels manifest only that aspect of Tiphereth that relates to the four lower sephiroth. The combined effect of the Sephirotic cross names can be considered as expressing the macrocosmic aspect of Tiphereth.

The Tablets and the Four Worlds

Atziluthic    Three Names of God, Elemental
King
Briatic        Seniors
Yetziratic
Upper Ruach – Sephirotic Cross, Kerubic
Archangels
Lower Ruach – Kerubic Angels, Servient
Archangels and Angels
Assiatic        cacodemons

(The Seniors are also partially Yetziratic in nature, since their “curtain” in the Temple covers all the same levels as the Kerubic Angels, which are definitely of a Yetziratic character. Similarly, the Sephirotic cross angels must have something of Briah in their nature, since they form the floor of the upper Temple, as well as being the roof of the lower Temple. They are attributed here in terms of their dominant natures.

The Temple and Man

  • Three Names of God – the top-of-the-head chakra, the halo around the head
  • Elemental King – the top-of-head chakra’s anchor in the head, and its extension in the channel of the spinal column
  • Seniors – the other six “lights in the head”, and the aura considered as the matrix within which the lower bodies form.      The “sphere of sensation”.
  • Sephirotic Angels – The “Buddhic” and “Atmic” bodies, the link between spirit and the purely human levels. The “higher mind”.
  • Kerubic Archangels & Angels – The other chakras, and the arms and legs, both considered as the instruments by which man acts on the world. The being-in-the-world as opposed to the spiritual being.  The mental bodies.
  • Servient Archangels – The astral/emotional bodies
  • Servient Angels – the etheric and physical bodies
  • The macrocosm Three Names Elemental King Seniors
  • The link Sephirotic Cross
  • The microcosm Kerubic Angels & Archangels Servient Angels & Archangels (Cacodemons)

Additional sections of Enochian Temples

The Lower Temple. — Instructions for constructing altars from the “servient” squares of the tablets, and their basic symbolism. Includes 2 channelings describing their place in the Temple initiatory system.

Analysis of the First Key.

Invoking the Cacodemons. 5 pages. Record of an astral contact describing the use of the Temple to invoke the “cacodemons” of the Enochian system.

Generating the “Abyss” Experience with the Temple. Techniques for invoking the void of the Abyss.

The Aeonic Perspective of the Enochian Temples. The INRI/IRNI formulas, their relation to the Temple initiatory system and the Set/Horus duality. The cosmic effects of the Temples, and suggestions for using the Temples.

Set/Horus. Further examination of the Set/Horus mythos, its astrological characteristics and relation to the INRI formula. The Temple initiatory system in the Grail myths. The manifestation of INRI in other parts of the Earth Tablet Working.

Footnotes

1 This particular presentation is concerned with the way the Temple relates to the paths of the Adepts and Mages, from Tiphereth to Kether. The Temple’s relation to the man of the earth will be covered in another section.

2 All attributions follow Frater Achad’s version of the Tree of Life. These two paragraphs relate to Tiphereth, and to the path of Aries, which connects Tiphereth with Geburah.

3 Oin, The Devil, in his early incarnation as the tormentor of men. The planets are the primary influences operating above Tiphereth as the elements are the main influences below.

4 Geburah.

5 Scorpio. The “binding” is the intense concentration that this sign generates.

6 More Scorpio. In the Temple, the pull of the gods at this stage comes from the outer curtain formed by the power of the seniors. See point 8 below.

7 Pisces. Jesus is obvious. Odysseus is a sailor. Mithras in one form is Jupiter, ruler of Pisces.

8 Path of Mars, connecting Geburah with Binah. The rebellious Son.  Also Capricorn as Lucifer, the Angel who set himself up as a god.

9 Path of Sol, connecting Tiphereth with Chokmah. I also got the impression that the idea was related to the Hindu idea of the cyclic universe, which comes and goes from manifestation.

10 Sagittarius, connecting Chesed and Chokmah.

11 Chesed.

12 Chesed and the path of Sagittarius, connecting it with Chokmah.

13 Shin, connecting Tiphereth with Kether. In the Temple, this light is a beam passing down the middle of the Temple.

14 Binah. In the Temple, this stage refers to the second function of the Seniors, acting as the roof of the Temple.

15 More Binah. The effects of the path of Capricorn are also shown to be the reverse of what they were first perceived to be.

16 More Binah.

17 Resh, Shin, Oin, the three paths connecting Tiphereth with the Supernal Triad. This time seen from above Binah.

18 Chokmah.

19 Binah, and The Universe, which connects it with Kether.

20 This interprets the signs of the fixed cross of the zodiac as the angles of a horoscope. Aquarius, the force of the current aeon, is at its height, and therefore at the midheaven. The sign of Taurus is the ascendant, the power just rising into view, the “face” the gods present to the world, and therefore the most effective on the Earth. The god sets himself on the descendant, as the serpent going into the Earth. The Earth is represented by the nadir.

21 That is, the gods of the Sephirotic Cross, just described as airy, and not the Thirty Ethyrs or Aires that are another part of the Enochian system.

22 This paragraph identifies the regenerate Adam with the whole Tree of Life. In Achad’s version of the Tree, the paths of the middle pillar are (from top to bottom) Shin, Mem, and Aleph. The man who is Adam brings the light of Kether down into the worlds through these paths. The two earlier sacraments of Air (aspiration) and Water (devotion) must be fully absorbed before the true sacrament of Fire can be taken. The dust mentioned in the paragraph is of course Malkuth, Earth. In terms of the Enochian Temple, the altars/grails (representing the personality) must be shaped (Air) and consecrated (Water) before being filled with the fiery blood of Adam, represented in each Lesser Angle by the Sephirotic Cross.

23 This paragraph is a mystery of Tiphereth and the four sephiroth closest to it. The paths connecting the sephiroth around Tiphereth form a rectangle, which other paths divide internally into four triangles. In Achad’s Tree, the sum of the paths forming the upper and lower of these triangles is 177. 177 = GN ODN, the garden of Eden. The sum of the triangles to the left and right of Tiphereth is 161, which is the numeration of ADM OILAH, the primordial (lit. “causative”) Adam.

Copyright year, 1992 by Benjamin Rowe

Esoteric Astrology – “I am not ruled by the planets, I am a conscious being.”

Esoteric astrology teaches that as we free ourselves more and more from planetary influences, we gradually become more and more aware of, and receptive to, finer and higher frequency radiations from other stars and suns. (Maps of Consciousness, Ralph Metzner, p. 117)

“As man evolves the mechanism of response or the vehicles of consciousness likewise steadily improve. His reactions, therefore, to the planetary influences and to the energy of the various constellations change.” (Ibid., p. 69)