The Devil ⚧ PerPEtuaȴ I

Written by probationideadlyi on January 30th, 2013. Posted in Book of The Law

de-vil dance

 

  • Perpetual I
  • maze quadrants :safe harbour cube sagitar subquadrant safe harbour cube ra 
  • tarot-of-magus-fortune-catcher: XV   15  

The modern view of the Devil

Toth's The  Devil  linked with the Enochian Cosmic dance = modern bizzare interpretation, as both correspond to the so, called Galactic center reactor   found in constellation  sagitar, part of usual Ephemerisnetshatter. Further more this symbol is mirrored to Area 51  Earth quadrant,holder of some secret mysteries, hidden cipher solverra in a constellation ra aligner  mayan nawal  as pure virtual device software.If you were a programmer for kind of Matrixes you'll understand the command Go-at..something or somewhere so is valid here as pure link jumper.In pure alchemistic manner to activate the Devil, you must have knowledge in those areas c3po  to activate his main-subfunctions.This was shown in some contexts and movies mov movvia the Rabbit personages represented via   reactor keyhole I photon star

The Devil

 

 

 

The Devil (XV) is the fifteenth trump or Major Arcana card in most traditional Tarot decks.

We now come to an exceedingly sinister card, the . In this symbol, the makers of these hieroglyphs have been exceedingly cautious.As this card is governed by capr we have traditional Go-at represented also as   (5 elemental Goat link) in the Eastern animal zodiac .On it's forehead is the Eye of God, his curved horns represent the spiral force in nature, that is wanton creation, and his abandonment is emphasized by the bacchanalian bunch of grapes.Beneath him are his votaries in two dividing cells, stressing the doctrine that all Sin is division. The background is designed from the marking on the planet Mars.The Goat is supported on the Caduceus.At the top of the Tree of life at the back of the card is the rising Sun of Saturn.

 – Key words:Blind impulse-Irresistability -Strong and unscrupulus Person-Ambition-Temptation-Obsession-Aching discontent-Materialism-Fate

 + Key words: Secret plan about to be executed-Hard work-Endurance

It has seemed to them very necessary to hoodwink the eyes of the uninitiate. Apparently, the card represents the figure of a satyr or demon   . He is standing upon an altarar, and four other demons are worshipping him. It is simple to deduce from this that he refers to , the goat, ruled by  matrix code scanp fs Saturn and having  ma p17Mars exalted therein. In this exoteric reading, we see denoted earth at the end of December, an element one might say actively malevolent. The student will remember that the festival of   p fsSaturn was held at the entrance of the Sun into Capricorn. The Sun has reached his greatest southern declination. It is the culmination and finality of , but a deeper philosophy finds a deeper meaning in this card. It is noticeable that this  Devil bears the torchlighthouse and cup Hebeas did his predecessor. It is also remarkable that he and his worshippers are placed at the points of the pentagram, which, as we said before, is the symbol of God made man, the peculiar hieroglyph of Christ. It may also be observed that the  Devil is standing upon the cubic stone, and this fact is not unrelated to that upon which we have animdverted in our discussion of the . The torch and cup are the same symbols as the sceptre and orb, in a slightly different form, and the pentagram or pentacle has previously occurred in the card of that other earthy sign, buTaurus, which we call the Pope. We must then regard this Devil as the  in disguise, beneath a veil; and the symbolism of the whole will become clear when we recall what festival has replaced the   matrix code scan p fsSaturnalis  what was the principal event in the world's history which occurred at the entry of the Sun into . This card consequently represents esoterically the complete triumph of the creative force initiated by the . It is the birth of the . In the life of the year, too, this is not only the period of the Sun's greatest declination, but it marks the moment of the beginning of his return. It is the supreme optimism, not of the short-sighted folk whom William James called the “once-born”, but that of the thrice-born who regard life and death equally as parts of a sacrament. This card was redrawn by Eliphas Levi, who harmonized it with the ancient representations of
In it he shows the complete equilibration and triumph of all forces and in particular the perfect wedlockmultylocker of spirit and matter. The older form is, however, deeper and subtler. Particular attention should be paid to the planet Mars who represents the energy of the Sun. In Aries we saw him at work, in Scorpio in apparent defeat, here he is exalted in the house of  matrix code scan  p fsSaturn himself. It is the force of life triumphant in the palace of the King of Death.

This card is attributed to the letter , which means an Eye, and it refers to Capricornus in the Zodiac. In the Dark Ages of Christianity, it was completely misunderstood. Eliphaz Levi studied it very deeply because of its connection with ceremonial magic, his  favourite subject; and he re-drew it, identifying it with Baphomet , the ass-headed idol of the Knights of the Temple. [The Early Christians also were accused of worshipping an Ass, or ass-headed god. See Browning, The Ring and the Book -The Pope30°. But at this time archaeological research had not gone very far; the nature of Baphomet was not fully understood. /See Atu  /At least he succeeded in identifying the goat portrayed upon the card with Pan.

On the Tree of Life, Atu  and  are symmetrically placed; they lead from Tiphareth, the human consciousness, to the spheres in which Thought (on the one hand) and Bliss (on the other) are developed. Between them, Atu leads similarly to the sphere which formulates Existence.
These three cards may therefore be summed up as a hieroglyph of the processes by which idea manifests as form.
This card represents creative energy in its most material form; in the Zodiac, occupies the Zenith. It is the most exalted of the signs; it is the goat leaping with lust upon the summits of earth.

The sign is ruled by  matrix code scan  p fs Saturn, who makes for selfhood and perpetuity. In this sign, Mars is exalted, showing in its best form the fiery, material energy of creation. The card represents Pan Pangenetor, the All- Begetter. It is the Tree of Life as seen against a background of the exquisitely tenuous, complex, and fantastic forms of madness, the divine madness of spring, already foreseen in the meditative madness of winter; for the Sun turns northwards on entering this sign. The roots of the Tree are made transparent, in order to show the innumerable leapings of the sap; before it stands the Himalayan goat, with an eye in the centre of his forehead, representing the god Pan upon the highest and most secret mountainsof the earth. His creative energy is veiled in the symbol of the Wand of the Chief Adept, crowned with the winged globe and the twin serpents of Horus and Osiris

"Hear me, Lord of the Stars,
For thee have I worshipped ever With stains and sorrows and scars, With joyful, joyful Endeavour.
Hear me, O lilywhite goat
Crisp as a thicket of thorns,
With a collar of gold for thy throat, A scarlet bow for thy horns"

The sign of  is rough, harsh, dark, even blind; the impulse to create takes no account of reason, custom, or foresight. It is divinely unscrupulous, sublimely careless of result. "thou hast no right but to do thy will. Do that, and no other shall say nay. For pure will, unassuaged of purpose, delivered from the lust of result, is every way perfect." AL. I, 42-4.

It is further to be remarked that the trunk of the Tree pierces the heavens; about it is indicated the ring of the body of Nuith. Similarly, the shaft of the Wand goes down indefinitely to the centre of earth. "If I lift up my head, I and my Nuit are one. If I droop down mine head, and shoot forth venom, then is rapture of the earth, and I and the earth are one." (AL. II, 26).

The formula of this card is then the complete appreciation of all existing things. He rejoices in the rugged and the barren no less than in the smooth and the fertile. All things equally exalt him. He represents the finding of ecstasy in every phenomenon, however  naturally repugnant; he transcends all limitations; he is Pan; he is All.

It is important to notice some other correspondences. The three vowel-consonants of the Hebrew alphabet, , , these three letters form the sacred name of God, I A O. These three Atu, , , and , thus offer a threefold explanation of the male creative energy; but this card especially represents the masculine energy at its most masculine.  matrix code scan p fs  Saturn, the ruler, is Set, the ass-headed god of the Egyptian deserts; he is the god of the south. The name refers to all gods containing these consonants, such as  Sha i Tan, or Satan.  Essential to the symbolism are the surroundings – barren places, especially high places. The cult of the mountain is an exact parallel. The Old Testament is full of attacks upon kings who celebrated worship in "high places"; this, although Zion itself was a mountain! This feeling persisted, even to the days of the Witches Sabbath, held, if possible, on a desolate summit, but (if none were available) at least in a wild spot, uncontaminated by the artfulness of men.
Note that Sha-b-bath-AL /Shabbathai/, the  matrix code scan p fs"sphere of Saturn", is the Sabbath. Historically, the animus against witches pertains to the fear of the Jews; whose rites, supplanted by the Christian forms of Magic, had become mysterious and terrible. Panic suggested that Christian children were stolen, sacrificed, and eaten. The belief persists to this day.
In every symbol of this card there is the allusion to the highest things and most remote. Even the horns of the goat are spiral, to represent the movement of the all- pervading energy. Zoroaster defines God as "having a spiral force". Compare the more recent, if less profound, writings of Einstein. [Compare Saturn, at one end of the  Sacred Wanderers, with the Moon at the other: the aged man and the young girl -see "The Formula of Tetragrammaton". They are linked as no other two planets, since 3299, and each contains in itself the extremes of its own idea.

—————————————>Symbolism

In the Rider-Waite-Smith deck, the Devil is derived in part from Eliphas Levi's famous illustration "Baphomet" in his Dogme et Rituel de la Haute Magie (1855). In the Rider-Waite-Smith deck, the Devil has harpy feet, ram horns, bat wings, a reversed pentagram on the forehead, a raised right hand and lowered left hand with a torch. He squats on a square pedestal with two naked human demons—one male, one female, with tails who are chained to it. Baphomet has bird wings, goat horns, a raised right hand, lowered left hand, breasts and a torch on his head and also combines human and animal features. Many modern Tarot decks portray the Devil as a satyr-like creature. According to Waite, the Devil is standing on an altar.

In pre-Eliphas Levi Tarot decks like the Tarot of Marseille, the devil is portrayed with breasts, a face on the belly, eyes on the knees, Lion feet and male genitalia. He also has bat-like wings, antlers, a raised right hand, a lowered left hand and a staff. Two creatures with antlers, hooves and tails are bound to his round pedestal.


The Cosmic Dance

THE CRY OF THE 15 TH ÆTHYR WHICH IS CALLED  OXO tur oxo mayan nawal  3

There appears immediately in the Æthyr a tremendous column of scarlet fire, whirling forth, rebounding, crying aloud. And about it are four columns of green and blue and gold and silver, each inscribed with writings in the character of the dagger. And the column of fire is dancing among the pillars.

Now it seems that the fire is but the skirt of the dancer, and the dancer is a mighty god. The vision is over-powering.

As the dancer whirls, she chants in a strange, slow voice, quickening as she goes: Lo! I gather up every spirit that is pure, and weave him into my vesture of flame. I lick up the lives of men, and their souls sparkle from mine eyes. I am the mighty sorceress, the lust of the spirit. And by my dancing I gather for my mother Nuit the heads of all them that are baptized in the waters of life. I am the lust of the spirit that eateth up the soul of man. I have prepared a feast for the adepts, and they that  partake thereof shall see God.

Now it is clear what she has woven in her dance; it is the Crimson Rose of  flip square blueprintstar str indi indian 49 Petals, and the Pillars are the  Cross-section chi with which it is conjoined. And between the pillars shoot out rays of pure green fire; and now all the pillars are golden. She ceases to dance, and dwindles, gathering herself into the centre of the Roserose.

Now it is seen that the Rose is a vast ampitheatre, with 7 tiers, each tier divided into 7 partitions.

And they that sit in the Amphitheatre are the 7=777 grades of the Order of the Rosy Crossrose. This Amphitheatre is built of rose-coloured marble, and of its size I can say only that the sun might be used as a ball quadro ballsto be thrown by the players in the arena. But in the arena there is a little altar of emerald, and its top has the heads of the 4 Beasts, in Turquoise and rock-crystal. And the floor of the arena is ridged like a grating of lapis lazuli. And it is full of pure quicksilver. Above the altar is a veiled Figure, whose name is Pan. Those in the outer tier adore him as a Man; and in the next tier they adore him as a Goat; and in the next tier they adore him as a Ram; and in the next tier they adore him as a Crab ; and in the next tier they adore him as an Ibis; and in the next tier they adore him as a Golden Hawk; and in the next tier they adore him not.

And now the light streameth out from the altar, splashed out by the feet of him that is above it. It is the Holy 12-fold Table of OIT.
The voice of him that is above the altar is silence, but the echo thereof cometh back from the walls of the circus, and is speech. And this is the speech: Three and four are the days of a quarter of the moon, and on the seventh day is the Sabbath, but thrice four is the Sabbath of the Adepts whereof the form is revealed in the Æthyr ZID; that is the eighth of the Aires.
 
And the mysteries of the Table shall not be wholly revealed, nor shall they be revealed herein. But thou shalt gather of the sweat of thy brow a pool of clear water wherein this shall be revealed. And of the oil that thou burnest in the midnight shall be gathered together thirteen rivers of blessing; and of the oil and the water I will prepare a wine to intoxicate the young men and the maidens.
 
And now the Table is become the universe; every star is a letter of the Book of Enoch. And the Book of Enoch is drawn therefrom by an inscrutable Mystery, that is known only to the Angels and the Holy Sevenfold Table. While I have been gazing upon this table, an Adept has come forth, one from each tier, except the inmost Tier.

And the first drove a dagger into my heart, and tasted the blood, and said: caqarÒj, caqarÒj, caqarÒj, caqarÒj, caqarÒj, caqarÒj.
And the second Adept has been testing the muscles of my right arm and shoulder, and he says: fortis, fortis, fortis, fortis, fortis.
And the third Adept examines the skin and tastes the sweat of my left arm, and says: 
And the fourth Adept examines my neck, and seems to approve, though he says nothing; and he hath opened the right half of my brain, and he makes some examination, and says:
“Samajh, samajh, samajh.”
And the fifth Adept examines the left half of my brain, and then holds up his hand in protest, and says “PLA . . .”
(I cannot get the sentence, but the meaning is: In the thick darkness the seed awaiteth spring.)
And now am I again rapt in contemplation of that universe of letters which are stars.

The words  ORLO, ILRO, TULE are three most secret names of God. They are Magick names, each having an interpretation of the same kind as the interpretation of I.N.R.I., and the name  OIT, RLU, LRL, OOE are other names of God, that contain magical formulae, the first to invoke fire; the second, water; the third, air; and the fourth, earth.

And if the Table be read diagonally, every letter, and every combination of letters, is the name of a devil. And from these are drawn the formulae of evil magick. But the holy letter I above the triad LLL dominateth the Table, and preserveth the peace of the universe And in the seven talismans about the central Table are contained the Mysteries of drawing forth the letters. And the letters of the circumference declare in glory of Nuit, that beginneth from ram690yb

All this while the Adepts must have been chanting as it were an oratorio for seven instruments. And this oratorio hath one dominant theme of rapture. Yet it applieth to every detail of the universe as well as to the whole. And herein is Choronzon brought utterly to ruin, that all his work is against his will, not only in the whole, but in every part thereof, even as a fly that walketh upon a beryl-stone.
And the tablet blazeth ever brighter till it filleth the whole Aire. And behold! there is is one God therein, and the letters of the stars in his crown,Orion -Angus mcCloud pomegranate, and the , and , and centAlpha Centauri, and basilisk-cocatriche nightmare catcherCor Leonis, and Cor Scorpionisalien king, and gp, and the pole-star, andherc , and basilisk-cocatriche nightmare catcher, and  dove guitarpick, and the ipoRam’s Eye left eye of Horus vir eyes right eye of horus
And upon a map of the stars shalt thou draw the sigil of that name; and because also some of the letters are alike, thou shalt know that the stars also have tribes and nations. The letter of a star is but the totem thereof. And the letter representeth not the whole nature of the star, but each star must be known by itself in the wisdom of him that hath the Cynocephalus in leash     

And this pertaineth unto the grade of a Magus—and that is beyond thine. (All this is communicated not by voice, or by writing; and there is no form in the stone, but only the brilliance of the Table. And now I am withdrawn from all that, but the Rosy Cross of 49 petals is set upright upon the summit of a pyramid, and all is dark, because of the exceeding light behind.)
And there cometh a voice: The fly cried unto the ox 3,securet “Beware! Strengthen thyself. Set thy feet firmly upon the earth, for it is my purpose to alight between thy shoulders, and I would not harm thee.” So also are they who wish well unto the Masters of the Pyramid .

And the bee said unto the flowerthe plant: “Give me of thine honey,” and the flower gave richly thereof; but the bee, though he wit it not, carried the seed of the flower into many fields of sun. So also are they that take unto themselves the Masters of the Pyramid for servants.

Now the exceeding light that was behind the Pyramid, and the Rosy Cross that is set thereon, hath fulfilled the whole Aire.
The black Pyramid sith holocron is like the back of a black diamond. Also the Rosy Cross is loosened, and the petals of the Rose are the mingled hues of sunset and of dawn; and the Cross is the Golden light of noon, and in the heart of the Rose there is the secret light that men call midnight.

And a voice: “Glory to God and thanksgiving to God, and there is no God but God. And He is exalted; He is great; and in the Sevenfold Table is His Name writ openly, and in the Twelvefold Table is His Name concealed.”
And the Pyramid casts a shadow of itself into the sky, and the shadow spreads over the whole stone. And an angel clad in blue and scarlet, with golden wings and plumes of purple fire, comes forth and scatters disks of green and gold, filing all the Aire.
And they become swiftly-whirling wheels, singing together. And the voice of the angel cries: Gather up thy garments about thee, * O thou that hast entered the circle of the Sabbath; for in thy grave-clothes shouldest thou behold the resurrection. The flesh hangeth upon thee like his rags upon a beggar that is a pilgrim to the shrine of the Exalted One. Nevertheless, bear them bravely, and rejoice in the beauty thereof, for the company of the pilgrims is a glad company, and they have no care, and with song and dance and wine and fair women do they make merry. And every hostel is their place, and every maid their queen.

Gather up thy garments about thee, I say, for the voice of the Æthyr, that is the voice of the Æon, is ended, and thou art absorbed into the lesser night, and caught in the web of the light of thy mother in the word ARBADAHARBA
And now the five and the six are divorced, and I am come again within my body.
BOU-SÂADA.
December 3, 1909. 9.15 to 11.10 a.m.


Baphomet and Azoth

image002

 

The mysterious figure of Baphomet possesses great importance to Thelemites – we find him invoked in the Gnostic Mass as the serpent and the lion, as the speaking voice who reveals Liber A'ash, even as Crowley's motto as OHO.  Yet who or what is Baphomet?

Instead, Baphomet is familiar to us as the Devil card of the Tarot: a seated goat with breasts, the figure of a caduceus extending upwards from his lap, a flame burning between his horns.  The figure resembles a drawing in another of Levi's works, unpublished in his lifetime, but currently available under the title Mysteries of the Qabalah, an esoteric analysis of the book of  Ezekiel. There, a goat figure called "Azima," is identified also with Mendes or Beelphegor, the scapegoat or physical love (63). In a later diagram, Lévi attributes it to a perversion of Chesed as "obscure love" (70).  Considering that the Baphomet of the Templars was supposedly a cat, a skull or a bearded head, the leap to envisioning it as a goat is as perplexing asCrowley's depiction of it as a lion-serpent.

The "Goat of Mendes" is likely a Greek misinterpretation or reinterpretation of Egyptian custom.  It is likely that the original was a ram honored in the nome of Mendes with nothing like the ceremonies described most notably by Herodotus.  Nevertheless, said goat was known throughout the ancient world for its peculiar habit of copulating with female devotees.  Greeks identified the Goat of Mendes with the lusty Pan.  That Lévi would attribute this goat to physical love is hardly surprising.  The name "Azima" is partly explicable by the knowledge that the Hebrew word for he-goat is ayin-zayin, usually transcribed as "Az" or "Oz" (similarly, the Greek word for she-goat is "chimaira").  This is tied in to the legend of the Hebrew scapegoat, who is driven out of the community to be sacrificed to "Azazel," a fallen angel who lost his wings due to a propensity to cohabit with mortal women.  Azazel's misfortune, it seems, was not to be born in Mendes.

    In Transcendental Magic, Lévi describes what seems to be the original type of this figure, a picture of the spirit of earth depicted in Traitez du Vray Sol (1621) by Sieur de Nuisement: a bearded and crowned man, holding a scepter, standing on a flaming cube, having the sun and moon on his right and left breast respectively, and with a caduceus where his phallus should be.  This figure is explained as being Azoth on a pedestal of salt and sulphur.  Lévi goes on to say that by replacing the head of this figure with the goat of Mendes, you obtain Baphomet, or “the Word of the Gnostics,” (168).

            It is in Key of the Mysteries, the book translated by Crowley and reprinted in Equinox I:10 that Lévi makes his most significant statements about Baphomett.  "…the Templars, for example …are much less to be blamed for having worshipped Baphomet, than for allowing its image to be perceived by the profane.  Baphomet, pantheistic figure of the universal agent, is nothing else than the bearded devil of the alchemists" (203-204).  Pike, in his Morals and Dogma, who, speaking of the universal agent, blatantly plagiarizes Levi "…it was adored in the secret rites of the Sabbat or theTemple, under the hieroglyphic figure of Baphomet or the hermaphroditic goat of Mendes" (734; Transcendental Magic12).  The question now shifts: if Baphomet is the universal agent, then what exactly is the universal agent?

            The question is confounded by the number of terms used as synonyms for this substance. In Key of the Mysteries, Lévi states that miraculous prodigies are accomplished "…by means of a single agent which the Hebrew calls OD, as did the Chevalier de Reichenbach, which we, with the school of Pasqualis de Martinez, call astral light, which Mr. de Mirville calls the devil, and which the ancient alchemists called Azoth" (201). He says it is also called "magnetism," although he dislikes the term, and also "light" or the Hebrew "AOUR," and that this is connected to the gold of the alchemists or the French word for gold "OR" (202).  In Paradoxes of the Highest Science, when discussing similar prodigies, he refers to the same substance as the "light of dreams," the "dark or black light" (81-83).  In Transcendental Magic, it is an “ambient and all-penetrating fluid; this ray loosened from the sun’s splendour and fixed by the weight of the atmosphere and the power of central attraction,” (42) “the Great Magical Agent, the ether, magnetic fluid, soul of the earth, Lucifer, Tetragram, INRI,” the fourth emanation of the life principle which manifests as four kinds of phenomena: caloric, light, electricity and magnetism (55), the “ever-renewing circlus of unbridled life which produces vertigo in the imprudent; this corporeal spirit; this fiery body, this impalpable omnipresent ether; this monstrous seduction of Nature” (75), it is “a horse having nature analogous to a chameleon, ever reflecting the armor of his rider,” (85) “Magnesia, universal glass of vision, bond of sympathies, source of love, prophecy and glory,” (105) and it is synonymous with TARO/ROTA (383).  We are also told that Azoth is threefold: a Divine Hypothesis or belief, a philosophical synthesis or an idea, and a physical synthesis or a force, but it is unclear whether this idea originates with Lévi or is an interpolation of Waite’s (footnote 15).  Pike again drawing heavily on Lévi, calls it "the igneous body of the Holy Spirit, "the Life-Principle of the world," " the Serpent devouring its own tail,"  an "electro-magnetic ether" (734), "the Azoth of the Sages," the "Prima Materia" (773), "the universal magnetic force, the grand magical agent, the Astral light, the light of life," (778).  Apparently, Azoth is so all-encompassing that a profusion of terms is needed to describe it.

image004

Azoth  was considered to be a universal medicine or universal solvent sought in alchemy (similar to other alchemical idealized substance, alkahest, that like azoth was the aim, goal and vision of many alchemical works it was to achieve). Its symbol was the Caduceus and so the term, which being originally a term for an occult formula sought by alchemists much like the philosopher's stone, became a poetic word for the element mercury, the name is Medieval Latin, an alteration of azoc being originally derived from Arabic al-zā'būq "the Mercury".

Azoth-Fouth_woodcut

Translated on cyrillic language as it's sounds the word Azoth corresponds to chemical element Nitrogennitrogen7 and represent element of Fire like a  part of Enoch activation pentagram 

Azoth is the essential agent of transformation in alchemy. It is the name given by ancient alchemists to , the animating spirit hidden in all matter that makes transmutation possible. The spelling consists of the initial letter of the English, Greek and Hebrew alphabets followed by the final letters of the English alphabet  zeta, the Greek alphabetomega and the Hebrew alphabet Tau equal to tau.

The word Azoth is also related to the Ain Soph (ultimate substance) of the Kabbalah. In his masterwork The Secret Teachings of All Ages. Manly P. Hall explained this connection: "The universe is surrounded by the sphere of light or stars. Beyond that sphere is Schamayim (שמים), the Hebrew word for "heaven", who is the Divine Fiery Water, the first outflow of the Word of God, the flaming river pouring from the presence of the eternal mind. Schamayim, who is this fieryAndrogyne, divides. His Fire becomes Solar fire and his Water becomes Lunar water in our universe. Schamayim is the Universal Mercury or Azoth — the measureless spirit of life. That original spiritual fiery water comes through Eden ("vapor" in Hebrew) and pours itself into the four main rivers of the four Elements. This comprises the River of Living Water—the Azoth—or fiery mercurial essence, that flows out from the throne of God and Lamb. In this Eden (vaporous essence or mist) is the first or spiritual Earth, the incomprehensible and intangible dust out of which God formed Adam Kadmon, the spiritual body of man, which must become fully revealed through time."

In his book Transcendental Magic, Eliphas Levi wrote: "The Azoth or Universal Medicine is, for the soul, is supreme reason and absolute justice; for the mind, it is mathematical and practical truth; for the body it is the quintessence, which is a combination of gold and light. In the superior or spiritual world, it is the First Matter of the Great Work, the source of the enthusiasm and activity of the alchemist. In the intermediate or mental world, it is intelligence and industry. In the inferior or material world, it is physical labor. , , and , which, volatized and fixed alternately, compose the Azoth of the sages.

corresponds to the elementary form of Fire

 Mercury to Air and Water

  to Earth

Transcendental Magic also introduces many metaphors and mythological allegories hinting at the nature of the Azoth .  Lévi refers to ordeals concerning the loss of innocence, the descent into hell, a fall from grace. In this context, Azoth  is symbolized by:

He also alludes to the myth of Oedipus, saying the hero’s fatal error was to kill the Sphinx rather than to harness it.  Lévi also refers to Hermes Trismegistus in saying that Azoth is the “Soul of the earth,” “the son is its father, the moon its mother,” it is the “living image of the sun,” or “terrestrial sun” (55).  Far and away, however, Lévi’s favorite symbol is to typify the great magical agent as a serpent of some sort – sometimes the “serpent of Edenic mystery” or “the winged dragon of Medea,” (105).  This symbolism will merit further discussion.

            First, it might be useful to investigate the history of the word "Azoth," a term which, stemming particularly from the discipline of alchemy, might be imagined to have a precise technical definition.  Alas, not so.  Its origin is probably from the Arabic "al-zauq" which means specifically Mercurius, and it is used in some ancient alchemical texts to refer to the simple chemical element.  We see it also used to refer to the "first matter," "philosophical mercury," "mercurial water," or as a general term for solvent.  Significantly, its spelling varies: Azoth, Azo or Azoch (Abraham 15).

            Abraham cites an anonymous alchemical text, Zoroaster's Cave, for its depiction of "Azot" as a fifth essence differing from the other elements, but extracted from the other four, something that is not corruptible, but purifies and keeps from corruption all that is joined with it (15).  Azoth was also of great significance to Paracelsus, who, in fact, named a text Liber Azoth.

In this treatise, he uses the term to designate vital mercury.  In another text, Aurora, he says "Let fire and Azoc suffice thee."  The implication, then, is that "Azoc" is something other than fire.  Abraham says that Paracelsus uses the term Azoth to refer to a universal medicine which cures all diseases (15).  Adding to the evidence are two portraits of Paracelsus, one with the legend "zoth" on the pommel of his sword, the other with the symbol for mercury in the same place.  Although the equivalency would seem clear, De Givry reports that, bizarrely, it was commonly believed that Paracelsus had a demon named Azoth shut up in his sword (120-121).  This Renaissance urban legend may, however, have influenced later conceptions of the Azoth and its attribution to the daemonic Baphomet.

            The alchemist Thomas Vaughn differs from these earlier alchemists in his conception of the Azoth.  He says the "glassy Azoth" is "…a certain fiery, sulphureous, masculine minera.  And this is the gold philosophical" (402).  In fact, he contrasts it with the universal mercury, which he calls feminine.  His meaning, although diametrically opposed to Paracelsus, is incorporated into later definitions of Azoth.  It seems possible, perhaps, that Azoth is being used by the alchemists to denote "prima materia," and that the confusion over an exact definition of Azoth must be viewed in the context of alchemical debate over whether that first matter was of fiery or watery nature.

            The 19th century conception of Azoth seems heavily drawn from Basil Valentine, who is quoted by Waite as teaching that it was the universal agent or astral light (Transcendental Magic, footnote 15).  It also develops a dependency on a consistent spelling of the word not featured in the earlier alchemical terminology.  Lévi analyzes the composition of Azoth  in his commentary on the Apocalypse (also in Mysteries of the Qabalah) when he examines Christ's statement "I am the alpha and the omega."  He remarks that these are the beginning and end letters of the Greek alphabet, and adds that the beginning and end in Latin are "A" and "Z," in Hebrew Aleph and Tau.  These letters can be assembled to form "AZOTh."  This word "…signifies God and also the universal substance," (250).  In Transcendental Magic, he elaborates that God is “the AZOT of the sages, efficient and final principle of the great work” (15).To summarize, what Lévi has called in other places Baphomet, the devil, the astral or black light, in a Christian context he calls God!  In addition, by equating Baphomet to “the Word of the Gnostics,” (logos) he is also equating Baphomet to Christ.

            It seems a similar definition was widely used in other occult circles.  Mathers titles a paper "The Azoth  Lecture." He begins by using Lévi's analysis of the letters (without crediting the source), and also says that it can mean beginning and end, "…Astral Light wherein are the elements and the philosophic mercury extracted from Sol" or "essence" (30). The rest of the "Azoth  Lecture" contains nothing more about Azoth  – it is a disconnected jumble of alchemical and qabalistic information.  Its one commonality, it seems, with Azoth, is to try to be all-inclusive.

  Interestingly, this identification of the Azoth  with the "beginning and the end" is found in perhaps the earliest antecedent of Baphomet, a peculiar drawing found in a  Nabatean/Arabic work from ca. 900 CE by Ibn Wahshiyah, of a winged beetle with a crowned human that head he identifies as "Bahumed."  This book, Ancient Alphabets and Hieroglyphic Characters, was known to Blavatsky, and a copy of it was found in the library of W.B. Yeats (Mann). Thus, it is very possible that the book may have been known to either Crowley or Lévi.  It was translated by Joseph Hammer, author of the famous but nearly inaccessible book on the mysteries of Baphomet.  Wahshiyah identifies the figure as "the Secret of the nature of the world," and "The Beginning and Return of every thing" (23).  It is unknown whether the figure is of any antiquity before Wahshiyah; it is certain that he misinterprets Egyptian hieroglyphics, seeking in them a mystic symbolism the same way most European authors do before the discovery of the Rosetta Stone. It may be that the figure is simply one from medieval Arabic magic, but it is certain that Hammer and Blavatsky believed in its antiquity. Perhaps more to the point, the figure may have been circulating during the incursion of the Templars into the Levant; it is just possible that they were influenced by it.  Thus the connection of Baphomet to the Azoth  may have a venerable, if obscure, pedigree.

            Of the later 19th century writers, Pike is more instructive than Mathers although, at times, his comments seem paradoxical.  In one place he clearly states that the Azoth  is the philosophical mercury, which must be fecundated by sulphur, which he equates to intellect, which can then master and regenerate matter, or salt (778).  The attribution of Azoth to mercury is again repeated when he speaks of St. John's three witnesses in heaven, the Father, the Word and the Holy Spirit, which Pike claims correspond in opposition to the three witnesses in earth, the breath, water and blood.  He draws alchemical parallels:  Father=blood=salt=blood of the dragon or menstruum of earth; Word (Logos) = water = Azothic or Mercurial water; Holy spirit = breath = Ether (792).  Yet given his statement that Azoth is the universal agent, this contradicts his earlier statement that the universal agent is the Holy Spirit (734).  It also differs from his statement on the page immediately previous that the Hermetic Masons (read Levi, who he is again plagiarizing) attribute Azoth  to air, sulphur to fire, salt to earth, and mercury to water (791; Transcendental Magic 60).  Here, Azoth  is seen as distinct from the other three principles.  Earlier, he also refers to Azoth as being a combination of sulphur, mercury and salt after they have been volatized and fixed (773).  Yet, as we have seen, the universal agent is Baphomet, and sulphur is "represented by the Baphomet of the Temple" (779).  In another place, he refers to the Astral light (which he has equated toAzoth ) as "the spiritual, fiery, motive power, it is the Od, according to the Hebrews" (774).  On the next page he contradicts this, proceeding to equate the Od or astral light to Lully's alchemical mercury, and also makes the statement that the philosophical stone is but one-third of the composition of the Azoth.  "But Azoth is, as we know, the name of the grand Hermetic Agent, and the true philosophical Agent…" (775). Somehow Azoth seems to be fire, or water, or air, or a combination of fire/earth/water (or Leo-Capricorn-Scorpio, like a chimaera?) or sulphur/salt/mercury. Why is Pike so obtuse?  Perhaps he meant to leave only hints for initiates – or perhaps his understanding of Lévi, whose information he generously borrows, is not a deep as one might hope.

            These elaborate and paradoxical usages of the term Azoth , along with the other plethora of terms used to denote the universal agent, simply serve to indicate the futility of trying to verbally express the incommunicable, all-encompassing nature of the substance.  But although it may be impossible to express what Azoth is, it is possible to observe what Azoth does.  Pike is effusive: "There is in nature one most potent force, by means whereof a single man, who could possess himself of it, and should know how to direct it, could revolutionize and change the face of the world…It is a universal agent, whose supreme law is equilibrium; and whereby, if science can but learn how to control it, it will be possible to change the order of the Seasons, to produce in night the phenomena of day, to send a thought in an instant round the world, to heal or slay at a distance, to give our words universal success, and make them reverberate everywhere" (734).  "The Alchemists said that by means of it they could attain the transmutation of metals and the universal medicine" (773).

            Lévi is also difficult to understand, but he leaves enough pieces of the puzzle, especially in Transcendental Magic, to form a somewhat clearer picture.  When he speaks of alchemy, although he mentions that the alchemists sometimes called the philosophical mercury Azoth  (175), it is clear that his version differs. Alchemical salt is specifically the cubic form of the philosopher’s stone, and is related to “immovable reason, fixed wisdom” (164).  It is inscribed with opposing pairs of tetragrams: ShLMH/YHVH; ADAM/HEVA; AZOT/INRI (167).  This implies that Azoth, while being composed in part, by salt, is also recursively an element of the salt’s composition.  Later, he clarifies that the philosopher’s stone itself is, in fact, a combination of this alchemical salt and the Od or universal light, which he also calls sulphurated mercury.  Azot is inscribed upon the salt even as it imbues itself into it, to create the philosopher’s stone.  He leaves numerous hints as to the nature of the alchemical salt: it is a saline stone, it is both one and many, it can be dissolved or incorporated into other substances, it is a panacea, it must not be exposed to air which will destroy its virtue, and its extraction is a simple and easy operation.  If you haven’t figured it out yet: “The wise man more readily conserves it in the natural envelopes, knowing that he can extract it by a single effort of his will and by a single application of the Universal Agent to the envelopes,” (359).  Clearly, male semen is easy enough to find (we’ll get to the woman and the serpent yet!) so the question becomes how to “apply the Universal Agent.”  Lévi effuses about the rewards of doing this.  For one, it is a panacea for all illness since it is a deficiency of astral light which causes illness. Since it is the nature of astral light to cleave to living centers, the magician can manipulate it using his will for the purpose of healing (73).  It also preserves all images, which might be formed by either “rays” or “reflections.” Imagination is the soul’s ability to perceive these images (63); the important thing for the magician to master is telling the reflections, causes of illusion, from the rays, sources of true vision (121).

This reminds me of a similar discussion by Henri Corbin about differentiating fantasy from the Imaginal.  In both Key of the Mysteries and Paradoxes of the Highest Science, Lévi deplores the ability of those "congested with black light" to create the appearance of the miraculous.  He finds these dreamlike illusions (chimeras?) to be pointless distractions, inimical to the light of reason.  There is grave danger in making this mistake, for the astral light is also the fire of hell, or the instrument of initiation.  It is often symbolized by a monster to be overcome, for it is the source of daemonic energy.  Lévi tells us that if we lose to the forces of hell, we fall prey to melancholia, mania and other forms of insanity.  This is why experiments with evocation are dangerous – but if we win, we attain genius (76-77).  To abuse it is to deserve all suffering, but to master it is to become master of the absolute (16).  Comparing divine and infernal magic, Lévi states that the magician has knowledge of how to use this force, but the sorcerer abuses something of whose true nature he is ignorant.  “The devil gives himself to the magician, and the sorcerer gives himself to the devil,” (28).

            It soon becomes clear that the one overwhelming feature of the Azoth is the idea of duality – Alpha and Omega, beginning and end, creation and destruction, good vs. evil.  Lévi tells us that the Azoth  is the fire of the tormentor or of the sacrifice, the serpent and the aureole, Lucifer and Lucifuge, and that it both transmits light and propagates darkness (Transcendental Magic 75-76).

  He compares the Azoth  to Adam’s omnipotence and his punishment, malice vs. prudence, time vs. eternity, the tempter vs. the redeemer, and Satan vs. the Body of the Holy Ghost (85).  The Great Magical Agent is a “double-current of light” which Lévi best likes to represent as a serpent: the dual serpent of the caduceus, the serpent of Genesis, the brazen serpent of Moses, the serpent twined around the Tau (which he sees as a symbol of the generating lingam), the Gnostic Hyle, the twin serpents forming the legs of Abraxas, (242) and the Oroboros serpent, which her relates to prudence and matrix code scanSaturn (42).  In Key of the Mysteries he also states, "The universal agent is a force tractable and subordinate to intelligence.  Abandoned to itself, it, like Moloch, devours rapidly all that to which it gives birth, and changes the superabundance of life into immense destruction.  It is, then, the infernal serpent of the ancient myths, the Typhon of the Egyptians…" (202). Most intriguingly, in Transcendental Magic he relates it to a representation of a serpent with an ox, dog or goat head “in ancient theogonies,” (242).  Interestingly, he does not relate it to the serpent with the lion’s head – the Gnostic Chnoubis or Crowley’s figuration of Baphomet.  Chnoubis figures are extremely common on ancient amulets, but the figures Lévi mentions are not.  Perhaps Lévi is attempting a blind? Nevertheless, he explains the symbolism: the bull’s head is earth or salt, the dog is fluid, mercury and both air and water, and finally, the goat is fire (as in the Chimaera) and the symbol of generation.

            The goat symbolism deserves more mention, as it is intimately connected to our impression of Baphomet.  Like the snake, the goat also has a dual symbolism: the immolated goat vs. the scapegoat in the Biblical tradition, which comes to represent sanctuary in opposition to wilderness and priesthood in opposition to the devil’s Sabbath.  Lévi interprets this to mean that there will always be a tradition of magic outside the sanctity of the church, but he quickly points out that as bearer of man’s sins, Christ is also the scapegoat (Transcendental Magic 308).

He relates the goat’s head to Baphomet, or the alchemical sulphur (359).  The goat symbolism of the devil of the Tarot is discussed:  it represents Ahriman, Typhon, Python or the serpent of the Hebrews (so the goat and serpent symbolism intertwine again), a fantastic monster (Chimaera) or nightmare, the Great Beast (!), Baphomet, the bearded idol of the alchemists discussed earlier, Mendes, and the goat of the Sabbath.  Lévi points out that this symbol was worshipped by “inferior initiates” “profaners of the Grand Arcanum,” (307-308) and that “The Devil is the Great Magical Agent employed for evil purposes by a perverse will,” (135).  Yet he also states that those who worship the goat see it not as the devil, but as the great god Pan, the god of theurgists, Neo-Platonists and Gnostics! (308).

            The very nature of the Azoth is dualistic: it combines both the forces of attraction and projection, which is why Hermes says it ascends and descends eternally, or as Lévi would have it, “it moves by opposing spirals that never meet,” (Transcendental Magic 55).  This Universal Agent always seeks equilibrium – a sort of magical entropy – to “renew the power of fluidic life,” (86).  He also states that the universal agent is twofold, "wherein are two natures and a double current, of love and wrath."  According to Lévi, it is the source of “moral reactions,” the conservative backlash in an overly liberal society, or a revolution overthrowing tyranny.  In order to control this force, we must use its own mode of operation: “alternate use of contrary forces, warmth after cold, mildness after severity, love after anger, etc. is the secret of perpetual motion and the permanence of power,” (216).  This consists of two basic operations concentration/ projection (or fix/move) and solve/coagula (or collect/diffuse) (105).

            In a number of cases, Lévi likens the control of the Azoth to the symbol of a woman with her heel upon the head of a serpent.  This is a common Catholic image – the Virgin Mary triumphing over carnal desire – but it is also the imageCrowley chose for the dancer on the Universe card of the Thoth Tarot. Lévi describes her as a “white woman,” “Maia or Maria,” treading both a crescent moon and a black serpent (Great Secret 31).  In  Key of the Mysteries, "The universal agent…is the infernal serpent of the ancient myths…but if Wisdom, mother of the Elohim, puts her foot upon his head, she outwears all the flames which he belches forth, and pours with full hands upon the earth a vivifying light" (202-203).  In Transcendental Magic, Lévi identifies this as an image from the Zohar of a magical serpent who is the son of the sun (as Azoth is the living image of the sun or terrestrial sun) who intends to devour the world, but is subdued when the sea, the daughter of the moon, puts her foot upon his head.  Allegorically, this seems to describe the earlier technique of controlling a force by the application of its opposite, but Lévi goes further in Transcendental Magic: “She who is intended to crush the serpent’s head is intelligence, which ever rises above the stream of blind forces.  The Kabalists call her the virgin of the sea, whose dripping feet the infernal dragon crawls forward to lick with his fiery tongues, and they fall asleep in delight,” (42 – and I wish my French were good enough to go back to Dogma et Rituel to see if the pronoun “they” actually refers to tongues (as it does grammatically in Waite’s translation), feet, or the virgin and the snake).  This doctrine is depicted in an illustration accompanying Pascal Beverly Randolph’s “Second of the Great Arcanums” concerning “the Immortalization of the Soul.”

  We are invited to emulate this virgin, “The whole magical work consists therefore in our liberation from the folds of the ancient serpent, then in setting our foot upon its head and leading it where we will,” (242-243).  In order to govern the astral light, we must place ourself outside of its currents – like Apollonius of Tyana, to wrap ourselves in a woolen mantle (76). Lévi explains that this means we cannot allow ourselves to be obsessed by passion or prejudice and must practice chastity and sobriety (105).

            Despite this, Lévi tells us that Love is one of the great images of magical power (75), a mythological image of the Great Secret or Agent (17).  It is dual in nature, like the Azoth – action/passion, void/plenitude, shaft/wound (17).  The sexual imagery is obvious.  Yet Lévi claims love is forbidden to the magus!  He calls the astral light “the universal seducer,” and says that sexual love is an illusion, romantic love but “an intoxication of the astral light,” (75).  I can’t help but believe that Lévi’s philosophy is tainted by his bad marriage and Catholic upbringing.  Nevertheless, there is a certain truth in what he says – what Carl Jung would call projection.  Unhealthy romantic obsessions are certainly disastrous for magical undertaking (Crowley’s Kundry syndrome).  I believe Lévi would argue that in order to control the astral light, complete detachment from desire is needed.  In order to control people, one must not succumb to being controlled.  How do we reconcile this with the Thelemic dictum “Love is the law, love under will?”  A very careful examination of the word love must be undertaken, and is beyond the scope of this paper.

            Perhaps a further clarification can be found in a paper by a twentieth century writer of the Italian UR Group, who went by the pseudonym Abraxas.  In his paper entitled "Knowledge of the Waters," he identifies the Great Magical Agent as "craving, an appetite that is never satisfied, an endless restlessness, an irresistible need, and a blind, wild yearning," (15).  According to Abraxas, one experiences this force directly when one is hungry, afraid or sexually aroused.  It most clearly manifests during times of danger, when the conscious will is superceded by a blind reaction, the instinct for self-preservation.  When describing this life-force or universal agent, he draws to mind the devil card of the Tarot, "In relation to it, you usually have the same freedom of a chained dog; you may not feel the chain, and think you are free until you try to go beyond a certain limit.  But when you do, the chain tautens and stops you.  Otherwise, it deceives you: you move in a circle without realizing it" (16).  The relationship of this force to physical love, the "Goat of Mendes," is apparent.  Abraxas also points out that this force is responsible for "inclinations, faiths, atavisms, invincible and irrational convictions; habits, character…" (16). Here we see the movement of Lévi's black or astral light.

            Abraxas gives explicit directions, devoting the majority of his essay on how to master the universal agent, to become the "absolute ruler of your soul" by reducing yourself to a "simplicity that wills" (20).  Yet in my eyes there is something about the self-congratulatory language of his depiction of those who have successfully mastered the waters, "The Lords of Life and Salvation," "The Conquerors," "The Radiant Ones," which comes perilously close to describing the Black Brothers (compare please to the little pile of dust in the City of the Pyramids).  His statement of "having slain desire, say 'I want'" (20), presupposes an "I" left to want.  The ultimate emancipation of your Will is, after all, its freedom from you.  This danger of the Azoth may be one of the reasons for the secrecy surrounding it.  Recall the failure of the sorcerer who had "subdued all things to himself," in The Book of Lies (64):  "And with all this, he was but himself.  Alas!"

            And what exactly might Aleister Crowley have to say on this subject?  Peculiarly, a wealth of information is to be found in his whimsical novella The Lost Continent.  In the novella, the mysterious Zro is the source of all the power of Atlantis, and the object of all the work of the citizens.  In one circumstance, he states "…the Quintessence, said they, or Universal Substance (which some strove to identify with Hyle, others with the Luminiferous Aethyr) is the two-in-one, liquid and solid, the former part being also twofold, fluid and gaseous, and the latter earthy and fiery.  The combination of these four phases of Zro accounted for the universe."  This twofold nature is reminiscent of Crowley's depiction of Baphomet as lion and serpent, hermaphroditic, or as in the Book of Lies, a black two-headed eagle (76).  It is also interesting to consider Crowley's spelling of Baphometr, given as "Father Mithras," in the Book of Thoth.  Mithras, at least in Crowley's day, was considered to be connected to the fire-worship of the Zoroastrians. Another common etymology of Baphomet gives "Baph Metis," or "Baptism of Wisdom."  Seeing that the creed of the Gnostic Mass mentions "one baptism of wisdom," I doubt Crowley was unfamiliar with this theory.  Thus Baphomet is fire and water, father and mother.

            In another place in Lost Continent, Crowley writes, "…in its ninth stage, it is not only food and drink, but Universal Medicine, if properly understood.  For Zro is also a vision and a voice!"    As to proper understanding of the exact nature of Zro, one simply needs to look up the word in Hebrew: "seed."  Or as Pike says of the Od or astral light, "Therein is the secret fire, living and philosophical, of which all Hermetic philosophers speak with most mysterious reserve: the Universal Seed, the secret whereof they kept, and which they represented only under the figure of the Caduceus of Hermes" (775).  This throws a whole new light on the caduceus in Lévi's depiction of Baphomet.  It is well to remember, also, that the final evocation of the lion-serpent in the Gnostic Mass comes directly after the lance is used to deposit the particle in the cup.

            We are told of all the wondrous virtues of Zro, but also that it has the power to fail and become a deadly poison. Here we see echoed the ambivalence of Lévi and Abraxas.  Zro is all virtue and all venom, like Baphomet, god and devil both.  If the Azoth is so powerful, yet so deadly, how is one to master it?  Pike, drawing from Lévi, is perfectly clear: "The Great Work is, above all things, the creation of man by himself; that is to say, the full and entire conquest which he effects of his faculties and his future.  It is, above all, the perfect emancipation of his will, which assures him the universal empire of Azoth, and the domain of magnetism, that is, complete power over the universal magical agent" 

The Cosmic Dance

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