Hermetic Virtues Magazine - Issue 3 - Hermetic Virtues

Winter Solstice 2007
Volume I, Edition 3
In this edition:
A Pronounciation Guide to 2
the Angelical Language of Dr.
John Dee
by Aaron Leitch
The final part of a trilogy on
Angelical; a detailed analysis to
aid in practical use..
The Genius of the Golden 14

Dawn
by Nick Farrel
Who was the genius behind
the Golden Dawn?
The Rosicrucian Vault—A 20

Compendium of the Universal
Unity
by Chic Cicero
The significance of the vault in
the Rosicrucian tradition
The Keryx and the Caduceus 36

by Melissa Seims
A look at the role of the Keryx
Dear Readers, in the Golden Dawn.
At this time of the year we should like to send you greetings and best wishes. The
Light is increasing as the Winter Solstice takes place and the days will begin to get Understanding the Sphere of 39
Sensation
longer again. We wish you all the blessings of this period, regardless of how and in by Samuel Robinson
which tradition you celebrate it. An examination of the nature
and function of the Sphere of
To mark the 120th anniversary of the foundation of the Golden Dawn in London on Sensation.
March 1st 1888, a commemorative lapel pin has been designed. It is available for “Judgement” 59
those who wish to obtain one on the Hermetic Virtues website. by Harry Wendrich
A new painting of the Tarot
We wish you all health, happiness, prosperity and growth in the coming year of trump.
2008 and hope to see you at the celebration that is being planned in March. As
To Lie with a Foul Witch— 61
soon as details are known they will be announced on the website, where full informa- W.B. Yeats and the Irish Revo-
tion will become available. lution
by Ian Cowburn
The poet and esotericist , his
May the Rose bloom on your Cross. loves and political life.
Your Hermetic Virtues Team
Page 2 Hermetic Virtues
A Pronunciation Guide
to the Angelical Language of Dr. John Dee
by Aaron Leitch
Though I speak with the tongues of men and of angels, and have not
charity, I am become as sounding brass or a tinkling cymbal.
[-1 Corinthians 13:1]
During the reign of Queen Elizabeth I, scholar and mystic Dr. Johannas Dee (Elizabeth's
personal astrologer) performed a series of angelic evocations. As stated in his journals, it
was his desire to extend his education beyond the realm of human knowledge – most of
which he had already mastered. Therefore, like the prophets of Biblical times, Dee
sought direct communication with God and His Angels.
To this end, Dee employed the talents of the medium Sir Edward Talbot (later known as
Edward Kelley). Together, the men performed evocations of angelic Intelligences such as
Annael (Archangel of Venus), Michael, Gabriel, Raphael and Uriel. Under the tutelage of
these Archangels, the men were introduced to a host of previously unknown Angels,
along with a detailed system of magick and invocations written in the Tongue of the An-
gels itself.
Dee's Angelical Language – often known by the misnomer "Enochian" – has since had a
profound effect upon Western esotericism. The Angels first recorded in Dee's journals
have been contacted by countless mystics over the last four hundred years. The Angeli-
cal invocations have been adopted into many different magickal systems – from those
I have covered
employed by the Golden Dawn and Thelema all the way to the corrupted and bastard-
every aspect of ized versions found in LeVay's Satanic Bible.
the language
in my upcom- As you are reading this essay, I suspect you have already encountered the Angelical
ing work The Tongue. Perhaps you just want to know more about it, or perhaps (as I hope) you want
Angelical Lan- to learn how to use it. I have covered every aspect of the language in my upcoming
work The Angelical Language: Vols I and II, as well as A Course in the Tongue of Angels.
guage: Vols I
( http:/kheph777.tripod.com/indexangelical.html ) This essay is a great companion to
and II, as well either of them, as we will here focus exclusively upon the proper pronunciations of An-
as A Course in gelical words.
the Tongue of
Angels.
Dee's Pronunciation Notes
Dee provided phonetic notations with nearly every word of the Angelical Callings. How-
ever, far from aiding students with Angelical pronunciation, these notations have been a
further source of confusion. Modern students have little acquaintance with the early-
Modern (or Elizabethan) English spoken fluently by both Dee and Kelley. Therefore, look-
ing at Dee's pronunciation notes can be as confusing as trying to read a copy of the King
James' Bible or Shakespeare's plays as printed in the 17th century.
As a result, many scholars and occultists have ignored or misinterpreted Dee's notations.
(I once read a theory that the notes were actually alternate spellings for the primary
words!) Each individual or group that has adopted the Angelical Callings into their
magickal system has developed their own specialized methods of pronunciation. Per-
haps the most famous example is the Order of the Golden Dawn, which applied Hebrew
rules for vowel-sounds whenever the words contained groupings of consonants. Since
then, others have attempted to create pronunciation keys closer to what Dee may have
intended (see Laycock's Complete Enochian Dictionary and Christeos Pir's An Essay on
Enochian Pronunciation) but these scholars have also passed over Dee's phonetic nota-
tions in silence.
Volume 1, I s s u e 3 Page 3
(continued)
Because so many alternatives have evolved for vocalizing the Angelical Callings, a myth
has arisen that suggests the Angelical words do not have "true" pronunciations at all.
Many modern students are unaware of Dee's phonetic notes – which, upon inspection,
indicate that Dee heard specific words and attempted to record how they sounded.
My intent over the past decade has been to decipher Dee's phonetic notations. In The
Angelical Language, I discuss the intricacies of early-Modern English – along with Middle
English – and their relationship to Dee's Angelical words and phonetic notes. In this es-
say, I will focus upon the result of that work and the rules I have discovered for Angelical
pronunciation. Of course, I don't claim my pronunciations are ultimately correct or set in
stone. (Early-Modern English was a transitional language between Middle and Modern
English and there were various regional dialects on top of that!) However, I firmly believe
that my pronunciations are the first in history to follow the proper principals (according
to Dee's own notes) and are close to what Dee and Kelley likely heard.
--------------------
Looking in Dee's journal entitled A True and

Faithful Relation..., I find that his notations
seem to be rather haphazard for the first
two Callings but he settles into a fairly stan-
dard format by the end of Call Two. My
analysis of this format has led me to the fol-
Because so many
lowing observations:
alternatives have
1) Dee generally divided his pho- evolved for vo-
netic notes by placing spaces be- calizing the An-
tween the syllables. gelical Callings, a
myth has arisen
2) A letter that stands alone in a that suggests
syllable takes its long sound. For in- the Angelical
stance, an "A" standing alone will words do not
sound like "ay", an "L" standing alone
have "true" pro-
will sound like "el", etc. Otherwise:
nunciations at
3) vowels take their long or short all.
sounds depending on their position
within a syllable. If it appears at the
end of the syllable, it usually takes the
long sound. If it appears in the middle
of a syllable (i.e.- it is directly followed
by a consonant) it will most often take
the short sound. Finally:
4) the general rules of early-
modern English apply overall, though there are some Middle English in-
clusions as well.
I have arrived at the above observations primarily with the aid of marginal notations left
by Dee along with his phonetic notes. These extra notes often gave examples of other
words that rhymed with a given Angelical word or syllable. He also used several useful
phonetic notations in the 48 Claves Angelicae which further backed up my research. (I
have included all of these notations with the words in the Angelical Lexicon.)
(continued)
Let's look at an example or two: The word Abaivonin (Stooping Dragons) is given the
following phonetic notation in Dee's journal:
A ba í vo nin
This indicates five distinct syllables- with an accent mark over the "I" in the third syllable.
By the rules I described above, this note indicates all of the vowels are long, except for
the last "I." Taking it step by step: the first "A" is shown standing alone, the second "A" and
the "O" fall at the end of their syllables. Meanwhile, the "I" in the final syllable is short be-
cause it is followed by the consonant "N."
Here is another example: The word Fetharzi (Visit in Peace) is given the following pho-
netic notation by Dee:
Feth ár zi
Here we have three syllables, with an accent over the

"A" in the second syllable. In this case, the first two
vowels ("E" and "A") are both short- because each is
followed by a consonant in its syllable. Only the last
vowel ("I") falls at the end of its syllable – where it
likely takes its long sound.
… keys usually
focus upon the Based upon these principles, I have created a new
likely pronuncia- pronunciation key for Dee's Angelical language (see
tions of the let- below). It is intended to be simple to learn and intui-
ters of the An- tive to the modern English speaker. I will use this key
gelical alphabet, throughout my writings and discussions about An-
rather than gelical pronunciation:
upon the pho-
netic elements
(syllables) that Phonetic Angelical Pronunciation Key
actually make You may notice that this key is very different from
up the words. previous keys to “Enochian pronunciation.” Such
keys usually focus upon the likely pronunciations of
the letters of the Angelical alphabet, rather than
upon the phonetic elements (syllables) that actually
make up the words. The following pronunciation
key corrects this problem.
One of the earliest versions of the

Angelical alphabet
(continued)
Vowels
Short vowels are mostly represented by single letters, while I have extended the long
vowels to two letters:
Phonetic Sound Notation

A –long (cake, day) - ay
A –short (bat, cat) - a
E –long (beet, seat) - ee
E –short (bed, wed) - e
I –long (bite, kite) - ii
I –short (bit, sit) - i
O –long (boat, slope) - oh
O –short (bot, stop, father) - o, ah
U –long (boot, blue) - oo
U –short (but, cup) - u
Note: There are some cases where an “A” falls at the end of a word. I feel this likely indi-
cates something between a long and short "A" – or a schwa. In such cases, I have
simply left a single “a” in my pronunciation. It can be treated as a short “A”, but it
is more akin to a schwa sound. (I assume Dee, had he intended the long "A"
sound, would have ended the words with "AY" or "EH".) For example, the word
Amma (Cursed) likely ends with a sound somewhere between the long and short
"A" (schwa) – “am-a”.
If consonants
are written to-
Consonants gether, simply
If consonants are written together (as in: br, cr, gr, st, th, tr), simply pronounce the com- pronounce the
bined sound as you would in present day English (break, crate, grab, start, etc...). Other-
combined
wise, standard consonant sounds are indicated by the following:
sound as you
Phonetic Sound - Notation would in pre-
B (branch, blurb) - b sent day Eng-
D (dog, during) - d lish. Other-
F (far, fork) - f wise ...
G (gap, gourd) - g
H (half, heavy) - h
J (jump, giant, bludgeon) - j
K (kind, can) - k
L (large, loud) - l
M (many, move) - m
N (north, never) - n
P (pace, pardon) - p
R (rain, banner) - r, er
S (serve, circle) - s
T (test, tax) - t
W (water, wind) - w
X (exit, except) - ks
Y (yellow, your) - y
Z (zoom, zebra) - z
(continued)
“Long Consonants”
There are many cases where Dee indicated a consonant standing alone in a syllable. At
these times, the letter does not make its usual consonant sound. Instead, the syllable is
pronounced the same as the English name of the consonant. I have dubbed these “long
consonants” and I represent their sounds as follows:
Phonetic Sound - Notation

D - dee
F - ef
G - jee
J - jay
L - el
M - em
N - en
P - pee
Q - kwah (archaic today, but common in Dee's time.)
R - ur (Dee was instructed by the Angels on this sound.)
S - es
T - tee
Y - wii (rhymes with "why?")
Z - zohd, zed (archaic today, but common in Dee's time.)
There are many

cases where Diphthongs
Dee indicated a The Diphthongs are fairly standard to modern English:
consonant
standing alone Phonetic Sound - Notation
in a syllable. At Qu (queen, quick) - kw
these times, the Ou, Ow (out, town) - ow
Oi, Oy (oil, boy) - oy
letter does not
Sh (shine, wish) - sh
make its usual Ch (church, witch) - ch
consonant Ch (ache, chrome) - kh
sound. Ph (phone, philosophy) - f
Th (that, whither, thorn) - th
Accented Syllables
I have indicated accents in my pronunciations by writing the related syllable in ALL CAPS.
Dee did not record accents for all of the Angelical words. Yet, many of the unaccented
words are closely related to accented versions, so we can make educated guesses. I have
included these speculative accents where I could. In cases where no clues at all were left
by Dee, I have avoided making uneducated guesses. Plus, only in rare cases have I
adopted an accent from an uncompounded word into a compounded word, or vice
versa. Compounding often changes the pronunciation of the word drastically – and
Dee's notes indicate this includes accented syllables as well.
(continued)
Let's take a look at a few examples of my pronunciations in use. Keep in mind the four
observations I made about Dee's notes:
Angelical Word Dee's Phonetic Notation My Pronunciation Key

Maasi Ma a si (may-ay-sii)
Sobhaath Sob há ath (sob-HAY-ath)
Vohim Vóh im (VOH-im)
Odmiam Od mí am (ohd-MII-am)
Dee's Phonetic Glosses

Dee's phonetic notations are only half of the story. A deeper understanding of Angelical
pronunciation can be gained by examining the words themselves. It is vital to remember
that Dee did not record the Calls in Angelical characters. Kelley spoke the language flu-
ently while in his trance-state and Dee merely wrote what he heard with English letters. I
have no doubt that many of the words recorded by Dee are exact in their Angelical spell-
ing – meaning we could take the English letters and transliterate them directly into An-
gelical. However, there are many examples of words that have apparent “phonetic
glosses.” This is what I call spelling “peculiarities” that appear in different instances of the
same word – which are apparently intended to give us pronunciation cues.
Take, for example, the word Crip (But), which appears without the “I” in the compound
Crpl (But One). Therefore, the “I” should not likely represent an Angelical character in
Dee's phonetic
this word- leaving only “Crp” (But). The shortest and most "radical" version of the word
should be the “correct” spelling. What we have in Crip is a phonetic gloss – letting us notations are
know that “Crp” is pronounced “krip” rather than “kurp”. only half of the
story. A deeper
There is also the element “Purg” (Flames) – appearing in such words as Ialpurg (Burning understanding
Flames) and Malpurg (Fiery Darts). Yet, these same words appear elsewhere as Ialprg of Angelical
(Burning Flame) and Malprg (Through-thrusting Fire). Therefore, “Prg” and “Purg” are pronunciation
likely the same word with the same Angelical spelling. The extra “U” is merely a phonetic
can be gained
gloss, telling us where to place the vowel sound. Elsewhere, we can even see the word
Prge (Fire) – yet another phonetic gloss, adding the “E” to tell us the “G” is a soft “juh” by examining
sound. All of these clues suggest the true pronounciation of the Angelical word “Prg” is the words
identical to our word “Purge.” However, the word is probably spelled “Prg.” themselves.
Compounds are not the only places we can look for phonetic glosses. Several words that
stand alone in the Keys appear more than once with different spellings. For example,
consider the word Abramig (Prepared). This word appears only once in this form. Mean-
while, it appears in three other places in the Keys in the form of Abramg- twice standing
alone and once in a compound. Therefore, we might suspect that Abramg is the radical
spelling of this word. The extra “I” in Abramig merely tells us where to place the vowel
sound (“ay-bray-mig” rather than “ay-bram-jee”).
Another good example is the word NA – which appears as a name of God in the Five
Books of Mystery (the first set of Dee's angelic journals) and the Book of Loagaeth (a
mostly-untranslated book written entirely in Angelical). We might assume this word is
pronounced “nah” or “nay.” However, in the Keys we can find the same word written
phonetically as Enay (Lord). Thus, we know the proper pronunciation of NA is “en-ay,”
and it should be spelled with only two letters.
(continued)
As further examples, we can compare the following words, as they appear in Dee's re-
cords:
F (Visit) - Ef (Visit)
L (First) - El (First)
S (Fourth) - “Es” (Fourth)
The added “E” in each case is apparently a phonetic gloss – once again showing us
where to place the vowel sound in the pronunciation of the words.
--------------------
Further phonetic glosses seem to be associated with Angelical diphthongs – though the
subject is fairly uncertain. In ancient languages, diphthongs are usually indicated by a
single letter. For example, the Hebrew letter Peh represents the sounds of both “P” and
“Ph.” The letter Tau represents both “T” and “Th” in the same language. Likewise, there
are several examples of this in Angelical:
"Q" = "Qu" - Cnoqod (see-noh-kwod) - (Compare to Cnoquod)

"P" = "Ph" - Cormp (kormf) - (Compare to Cormf)
"S" = "Sh" - Lonsa (lon-sha - (Compare to Lansh)
"P" = "Ph" - Noncp (non-sef) - (Compare to Noncf)
Further phonetic "P" = "Ph" - Sapa (say-fa)
glosses seem to "C" = "Ch" - Telocvovim (tee-loch-voh-vee-im) - (Compare to Teloch)
be associated "P" = "Ph" - "Vonpo” (von-foh) - (Compare to Vonpho)
with Angelical
diphthongs – The above is fairly convincing evidence that Angelical diphthongs are indeed repre-
though the sub- sented by single letters. That would mean the secondary letters in these diphthongs (the
ject is fairly un- “h” in “Ph” and “Ch”; the “u” in “Qu”, etc) are merely phonetic glosses when the words are
certain. In an-
spelled in English transliteration, and should not be included when the words are spelled
in Angelical characters.
cient languages,
diphthongs are
However, there also exist counter-examples in Dee's journals. The very first word of the
usually indicated
Holy Book of Loagaeth (Table One, Side A) was originally recorded by Dee as “Zuresk.”
by a single letter.
Later, Raphael corrected this by telling Dee the word must contain seven letters- Zuresch.
(The “Ch” taking its hard sound, as in our words “ache” or “chrome.”) Because of this cor-
rection, we know the “Ch” diphthong is – in this case – actually written with two letters
instead of just one.
If we continue to look through the first few lines of Loagaeth (which Raphael spelled out
in Angelical character by character), we find several further examples of two-letter diph-
thongs as well.
Another good counter-example is the word Hoath (hohth) at the end of the First Angeli-
cal Calling. At that point, the Angel Nalvage was still transmitting the words letter by let-
ter. There, we can see undeniably, Nalvage transmitted both a “T” and an “H” for Hoath.
Therefore, once again, we can see an Angelical diphthong represented with two letters
as in modern English.
(continued)
Thus, we are left with several examples of one-letter diphthongs and several examples of
two-letter diphthongs. That leaves us with a large number of two-letter diphthongs in
Dee's records that give no clue to their proper Angelical-character spelling. Was Dee
writing these words in transliteration (letter for letter) or phonetically? Where no such
clues exist, I tend to spell the words in Angelical characters just as Dee recorded them in
English. Yet, there remains some room for debate on the issue.
Angelical Phonology
At last, we reach our final destination. In this section, I will outline all of the rules I have
identified concerning Angelical pronunciation. Each rule is illustrated with several exam-
ples – first showing the Angelical word (as Dee recorded it), followed by my pronuncia-
tion key in parentheses.
Vowels
Pronouncing the vowels in the Angelical tongue does not present much of a problem. A
vowel will usually take its short sound when followed by a consonant in the same syllable
(Remember Dee’s phonetic notes usually divide the words by syllables, thus indicating to
which consonant – if any – each vowel is attached):
Lap (lap)
Iad (yad)
Pronouncing the
Malpurg (mal-purj)
vowels in the
Manin (man-in)
Angelical
Panpir (pan-per)
Zir (zer) tongue does not
present much of
However, when a vowel is attached to the preceding consonant (i.e.- it stands at the end a problem. A
of its syllable), or when it stands alone in a syllable, it takes its long sound. vowel will usu-
ally take its short
Momao (MOH-may-oh) sound when
Napeai (nay-pee-ay) followed by a
Paradial (pay-ray-DII-al) consonant in the
same syllable .
Consonants
Of course, it is the consonants that cause most students to stumble with Angelical pro-
nunciation. While they generally make the sounds we are familiar with, there are several
words that contain peculiar groupings of consonants that make little or no sense to mod-
ern English readers. There are certain grammatical rules one must learn to make sense of
it all.
When two consonants are placed together, they can:
1) Make a diphthong as they would in present-day English (Ph, Ch, Th, Qu, etc):
The "Ph" in Dorpha (dor-fa)

The "Th" in Ethamz (ee-THAM-zohd)
The "Ch" in Chis (kiis)
The "Ch" in Teloch (tee-LOCH)
The "Qu" in Norquasahi (nor-kway-SAY-hii)
(continued)
2) Or they can make a new consonant sound as they would in present-day

English (Gr, Tr, Gn, etc):
The "Gr" in Grosb (grozb)

The "Tr" in Trian (TRII-an)
The "Gn" in Gnay (nay)
3) However, if neither of the above apply then the “peculiar” consonant letter is
pronounced as a syllable unto itself, after the manner of Middle English. By
“peculiar”, I mean the consonant in the cluster that stands as the “odd man
out.” For instance, in the cluster “GSP” we find that the letters “SP” naturally
form a sound together (as in spot or speak). Meanwhile, the letters “GS” do
not make a natural sound. Therefore, that “G” is the peculiar one in the
group – and it is pronounced by itself, in its own syllable. Here are some
examples in Angelical:
The "P" in Nazpsad (nayz-pee-sad)

The "M" in Farzm (farz-em)
The "Z" in Zchis (zohd-kiis)
In Angelical, a letter standing alone in a syllable is not pronounced phonetically. To con-

tinue our above "GSP" example, the “G” would take neither its hard sound (“guh” – as in
game or good) or its soft sound (“juh” – as in giant or huge). Instead, one would actually
pronounce the letter’s name (sounding like “jee").
In Angelical, a
Let’s take a look at some further examples in Angelical. In each case, the peculiar conso-
letter standing nant stands alone as its own syllable:
alone in a sylla-
ble is not pro- Mapm (map-em). The final letters “PM” do not make a natural sound to-
nounced pho- gether. Therefore, the "M" is pronounced alone as “em.”
netically.
Lring (el-ring). The initial letters “LR” do not combine naturally, so the "L"
is pronounced by itself as “el.”
Zlida (zohd-lii-da). The initial letters “ZL” do not combine, therefore the "Z"
is pronounced as “zohd.”
I admit it seems odd that Angelical consonants should sound like the names of English
letters. (After all, they have their own Angelical names!) However, notice that long vow-
els also sound like their English names (long “A” = “ay”, long “E” = “ee”, long “O” = “oh”,
etc) – and remember that any Angelical vowel that stands alone in a syllable takes the
long sound. It would appear, then, that the same principal is applied to Angelical conso-
nants when they stand alone. That is to say, Angelical recognizes “long consonants.”
Just as a long Un (A) sounds like “ay”, so a long (or extended) Tal (M) sounds like “em.”
While we are still on the subject of “long consonants”, I should mention that the letter
Ceph (Z) sometimes takes its long sound ("zohd") for no apparent reason. For example,
the Angel Nalvage informed Dee and Kelley that the word Moz could be pronounced
“moz” or “moz-ohd.” The shorter pronunciation indicates “Joy”, while the pronunciation
with the extended “Z” (“zohd”) indicates “Joy of God.”
(continued)
As we can see, there is no grammatical reason why the “Z” in Moz should be extended.
The same is true for the word Zacar (zay-kayr) - which appears in the 48 Keys several
times with the extended “Z“ (zohd-ay-kayr). My best guess is that this is not based upon a
grammatical rule at all. Perhaps, instead, it is merely a poetic (or lyrical) gloss – after the
manner in which a singer will elongate or add syllables to a word to fill metre or empha-
size emotion. This is suggested by the difference between “moz” as “Joy” and “moz-ohd”
as “Joy of God.”
Special Cases
Another quirk of the letter Ceph (Z), is that it is sometimes interchangeable with Pal (X).
This is perhaps because “Z” was somewhat new in the Elizabethan era, and “X” more usu-
ally served for the “Z” sound (as in xenophile or xylophone). We see evidence of this in
the Book of Loagaeth, where the Angelical letter-name Drux (N) is given the alternate
spelling of Druz in the margin.
The letter Don (R) is another Angelical character of interest. When the letter “R” becomes
the peculiar consonant in a cluster, it is neither pronounced “ar” (the long consonant
sound) nor given its own syllable. Instead, it is merely pronounced “ur” (as in our words
turn or spur) – so that it combines with the consonant before it. For example:
Prdzar (purd zar)

Prge (purj) Another quirk of
Dialprt (dii al purt) the letter Ceph
(Z), is that it is
There is one final special case I want to record here. In his journals, Dee established that sometimes inter-
the word Baltle was pronounced “bal-tayl” (rhyming with ball - tail). I found the pronun- changeable with
Pal (X). This is
ciation of the three-consonant cluster in the second syllable – “TLE” – very odd. I decided
perhaps because
to investigate further by searching for other words ending in “LE”, and found the follow-
“Z” was some-
ing words:
what new in the
Elizabethan era,
Bagle (BAY gayl) and “X” more
Cicle (sii kayl) usually served for
the “Z” sound.
Dee’s notes on these words are less than helpful but I find it likely that each of these
words should end with the sound of “ayl” (as in our words pale or tail). In fact, I suspect
that any time we see “LE” as the final two letters of a three-consonant cluster, they will
have the “ayl” sound.
--------------------
This brings my essay on Angelical pronunciation to a close. As an appendix to this essay,

I am adding an excerpt from my An Angelical Psalter. The full version (found in The An-
gelical Language: Vol. I) contains the text of all 48 Angelical Callings- fully corrected ac-
cording to Dee's journals and personal grimoire. It also includes several further Angelical
phrases, prayers and callings found throughout Dee's journals. My pronunciation key has
been used throughout the text to illustrate the words phonetically. In the excerpt in-
cluded here, I have provided the first two Calls as an illustration for this essay.
(continued)
Excerpts From An Angelical Psalter

The Angelical Psalter is intended mainly for practical use on the Calls, so that one can re-
cite them as proper invocations. Each Calling is presented in two columns: the first, or left
-hand, column contains the English translation. It is divided and formated so as to line up
with the Angelical on the right. I have fully modernized the punctuation.
The second, or right hand column contains the Angelical version of the Calling – or "Key".
This column is complete with phonetic pronunciations. Angelical words, as Dee recorded
them, are in regular type. My phonetic pronunciation notes are in italics underneath.
Note that I have used the same punctuation throughout this column as you see on the
left-hand side. This punctuation makes the Callings far easier to recite with proper inflec-
tion and tone.
In this excerpt, I have included the first two Angelical Calls, which invoke the "Kings and
Ministers of Government" – the angelic directors of natural and human events.
The Angelical
Psalter is in-
tended mainly
for practical
use on the
Calls, so that
one can recite
them as proper
invocations.
(continued)
Call in English: Angelical Key
Call One:
“I reign over you,” sayeth the God of "Ol sonf vorsg," goho Iad Balt, “lansh
Justice, “in power exalted above “ohl sonv vorzh,” goh-HOH yad balt, “lonsh
the firmaments of wrath: in whose calz vonpho: Sobra z-ol ror i ta

hands the Sun is as kalz von-foh. SOB-ray zohd-OL ror ii tay
a sword, and the Moon a through- nazpsad, graa ta malprg; Ds

thrusting fire: Which nayz-pee-sad, gray tay mal-purj: dee-es
measureth your garments in the midst holq qaa nothoa zimz, od

of my vestures and HOL-kwah kwah-AY-ay noth-OH-a zimz, ohd
trussed you together as the palms of commah ta nobloh zien. Soba thil
my hands. Whose seats KOM-ah tay noh-bloh zeen. SOH-bay thil
I garnished with the fire of gnonp prge aldi ds urbs oboleh

gathering, and beautified your gar- non-pee purj AL-dii dee-es yurbs OB-oh-lay
ments
with admiration. To whom I made a grsam. Casarm ohorela caba pir,

law to govern the Holy Ones, gur-sam. kay-SARM oh-hor-EL-a ka-BA per,
Each Calling is
and delivered you a rod (with) the ark ds zonrensg cab erm iadnah. Pilah,
dee-es zon-renj kab erm yad-nah. pee-ii-lah, presented in
of knowledge. Moreover,
two columns:
you lifted up your voices and swore farzm znrza adna gono iadpil the first, or left-
obedience and faith to Him farz-em snur-za ad-nah gon-oh ii-AD-pil hand, column
contains the
that liveth and triumpheth; whose be- ds hom toh; soba ipam, ul ipamis;
English transla-
ginning is not, nor end cannot be; dee-es hom toh: SOH-bay ip-am, yewl ip-am-is;
tion.
which shineth as a flame in the midst of ds loholo vep zomdux poamal,
your palace, dee-es LOH-hoh-loh vep zom-dooks poh-mal,
and reigneth amongst you as the bal- od bogpa aai ta piap baltle od
ance of righteousness and ohd bog-pa ay-AY-ii tay pii-ap bal-tayl ohd
truth (truth).” Move, therefore, and vaoan (vooan).” Zacar, ca, od

vay-oh-AN (voo-AN).” ZAY-kayr, see-ay, ohd
show yourselves. Open the mysteries zamran. Odo cicle qaa. Zorge.
of your creation. Be friendly unto me. zam-ran. od-oh sii-kayl kwah-AY-ay. zorj.
For, I am a servant of the same your Lap, zirdo noco mad; hoath Iaida.
God; the true worshiper of the Highest. lap, zir-DOH NOH-kwoh mad; hohth jay-II-da.
(continued)
Call Two:
Can the wings of the winds under- Adgt upaah zong om faaip sald,
stand your voices of wonder, ajt yew-pay-ah zong om fay-AY-ip sald,
O you the Second of the First, whom viiv L, sobam ialpurg izazaz
the burning flames have framed within vii-iv el, SOH-bam YAL-purj ii-zay-zaz
the depths of my jaws; whom I have piadph; casarma abramg ta

prepared as pii-AD-ef; kay-SAR-ma ay-BRAY-mig tay
cups for a wedding, or as the flowers talho paracleda, qta lorslq

tal-ho par-AK-lee-da, kwah-tay lors-el-kwah
in their beauty for the chamber of turbs ooge baltoh. Givi chis lusd orri,
righteousness. Stronger are your feet turbs oh-oj bal-toh. jiv-ii kiis lus-dee or-ii,
than the barren stone,
and mightier are your voices than the od micalp chis bia ozongon. Lap,
manifold winds. For, ohd mii-KALP kiis bii-a OH-zohn-gon. lap,
you are become a building such as is noan trof cors tage oq manin
not but in the mind of noh-AN trof kors tayj oh-kwah man-in
The second, or right the All Powerful. “Arise,” sayeth the Iaidon. "Torzu," gohel. Zacar
hand column con- First. Move jay-II-don. “tor-ZOO,” GOH-hel, ZAY-kayr
tains the Angelical
version of the Call- ca cnoqod. Zamran micalzo,
therefore unto His servants. Show
ing – or "Key". This
yourselves in power see-ay see-NOH-kwod. zam-ran mii-KAYL-zoh,
column is complete
with phonetic pro-
nunciations. Angeli- and make me a strong seething. For, I od ozazm urelp. Lap, zir Ioiad.
cal words, as Dee am of Him that liveth forever. ohd oz-az-em yer-elp. lap, zer joh-JAD
recorded them, are
in regular type. My
phonetic pronuncia- Zorge,
tion notes are in
italics underneath.
Aaron Leitch
August 2006
For further information:

http://kheph777.tripod.com/indexangelical.html
If you have questions, please post them to:

http://groups.yahoo.com/group/angelical_linguistics/
Copyright ©2006-2007 Aaron Leitch

The Genius of the Golden Dawn

by Nick Farrel
Over the years there has been much talk about who was the genius of the Golden
Dawn. Various cases have been made for William Wynn Westcott, Samuel Mathers
or even some more shadowy characters. Nick Farrell tries to find the answer.
The Hermetic Order of the Golden Dawn is the bedrock tradition for modern occultism. There
are very few modern orders that do not lean on the Order in some way. One of the things that
made the Golden Dawn unique was the eclectic way that it gathered a wide range of esoteric
material and linked it together into a system. This symbolic system is so detailed that it is almost
impossible to remove something from it without endangering the system somewhere else.
Common sense dictates it would take a genius to come up with a system that deep. You need a
visionary who can see where all the pieces fit and make sure that there are papers available to
students that explain your vision. There are two obvious candidates for this genius – the foun-
ders William Wyn Westcott and Samuel Mathers.
Mathers in particular gets the most backing. Looking though many of

the magical books that mention the Golden Dawn, it is he who figures
in the writers' eyes as the inventor of the system. Some of this seems fair
enough. After all, it wasn't it Mathers who wrote the rituals? Didn't he
develop the great eclectic poem 'The Z Documents' which enabled
much of the outer order of the Golden Dawn to be seen through magi-
cal eyes? It was he who created the Second Order with its glorious
It has been one
vault. Westcott, on the other hand, drifted off into SRIA and quit the GD of the myths of
just before the revolt against Mathers' rule. the Golden
Dawn that Math-
Yet there are flaws in this argument; one which when co-writer Melissa Seims and I came to ers was a genius
write King over the Water: the History and Rites of Mathers' AO became fairly obvious. Firstly, because he sin-
people have assumed that the Golden Dawn in which Mathers' was involved was the same one gle-handedly
that we know today. Secondly, they believe that he wrote most of the material and lastly that wrote the rituals.
he personally used his own system. Even Ellic Howe in his Magicians of the Golden Dawn dis-
misses Westcott as a simple administrator, while Mathers was a 'magician personified'.
It has been one of the myths of the Golden Dawn that Mathers was a genius because he single-
handedly wrote the rituals. The myth goes that Westcott, upon translating the cipher manu-
scripts, was unable to turn them into rituals himself and so asked Mathers to write them. How-
ever, the only person to imply this was Mathers, who made the general claim in a letter to the
rebels in February 16, 1900 that "every atom of knowledge of the order from 0=0 to 5=6" had
come from him alone. In fact he never backed up that statement and later smoothed over the
waters with Westcott.
However, Mathers did not write the cipher manuscripts, nor did he translate them or have much
to go on other than what Westcott told him. The cipher manuscripts also show that Enochian
words were added in Westcott's handwriting to the elemental grade rituals. Westcott had cop-
ies of letters from Mathers asking permission to write up the grades from 0=0 to 4=7. Obviously
the person in control was Westcott. Then the next question you have to ask is how good was
his work? One would think that we would see some brilliant writin, but instead, the early
Golden Dawn rituals are bland, bald and very masonic. There is little creative or particularly

(continued)
original.
Hegemon: Child of Earth, arise and enter the darkness.

Kerux: Very Honoured Hierophant is it your pleasure that the Canidate be admit-
ted?
Hierophant: It is. Admit (name of aspirant), who will hereafter be known by the
motto (motto). Frater Stolistes and Dadadouchos assist the Kerux in the reception.
Compare this with the later Stella Matutina rite:
Hierophant: I give permission to admit (name of aspirant), who loses his name and
will be henceforth known among us as (motto). Let the Stolistes and Dadadouchos
assist in the reception.
Hegemon: Inheritor of a dying world, arise and enter the darkness.

Stol: The Mother of Darkness hath blinded him with her hair.
Dad: The Father of Darkness hath hidden him under his wings.
Hierophant: His limbs are still weary from the wars which were in heaven.
Thus it would seem that Mathers' Golden Dawn ritual was not the exciting magical event that it
It can be seen would later become. This is further seen in the elemental grade rituals, where the rite appears to
that the actual be focused on presenting the candidate with a series of black and white drawings. And what of
work Mathers,
the days when there were no candidates? It would appear that the temple would be opened
Westcott and
and closed and much like a masonic meeting, a fairly dull business meeting would take place.
Woodman did
was to create a
But Mathers was busy writing flying rolls and papers, right? No. These came much later. Either
masonic style
he or Westcott wrote the knowledge papers based on material seen in the cipher manuscripts. It
side order that
would allow the can be seen that the actual work Mathers, Westcott and Woodman did was to create a masonic
study of certain style side order that would allow the study of certain occult symbols. Unlike SRIA, there were no
occult symbols. papers written and not much to distinguish the Golden Dawn from Freemasonry.
Mathers wrote a Portal grade a year after the Order was started. Its
goal was to unite the other elemental grades under the control of
spirit. It removed the Order's dependence on the cipher documents
as its sole source of material and the first person to go through the
Grade was Moina Mathers on 10 September 1889.
Once free of the constriction of the cipher manuscripts, one would

expect to see Mather's ritual genius shine. However it doesn't. The
Portal rite is even duller than the outer grade rituals, shorter and is
simply a presentation of more diagrams and tarot cards. It is not
clear if, when it was written, Mathers ever intended it to assume the
role an important portal to a future second order. After nine
months in the grade one would be declared a nominal 5=6. How-
ever, if Mathers had seen how impressive the SM rites were to become, he might have spent a bit
more time on them.

(continued)
Mathers moved to Paris and in 1892 he claimed that he had met a secret chief, Dr Thiessen from
Liege, who used the magical motto Lux E Tenbris (Light in Darkness) who gave him the right
and rituals to start a Second Order which would teach practical magic to those who had passed
through the Golden Dawn. Westcott saw the material that Mathers had been given and
agreed.
With a motto like that, one would expect Thiessen to have some
sort of Masonic connections. Lux E Tenbris is the motto of the
Scottish Rite of Masonry. On 30th July, Mathers wrote to Westcott
and told him that he had been in "much communication with
Frater LET and other chiefs since I have been over". Westcott was
also excited; particularly as the material that Mathers was showing
him was of a different order from what he had seen in England.
He wrote back and told Mathers that it seemed that he had made
contact with a higher adept. Mathers agreed.
The 5=6 ritual appeared. Mathers seems to have taken elements

given by this mysterious adept from Liege and fused it with rituals
from SRIA. At the same time there came the fantastic Z docu-
ments, which superimposed a magical technique over the outer order and gave a formula that
turned a somewhat dry masonic ritual into something that could be used to charge a talisman It is Westcott, along
with other adepts
or get a spirit to physical manifestation. There is also the fairly cryptic Man, Macrocosm paper
who were writing
which gives a fairly powerful introduction to the Sphere of Sensation. We also see Book T, the bulk of the
which was an inspired description of the Tarot. Flying Rolls. Logi-
cally, if Mathers
was the genius of
But we cannot be sure how much of this material or genius belonged to Mathers, or how much
the Golden Dawn
was a cut and paste from Lux E Tenebris. Certainly the 5=6 is nothing like what Mathers had we would expect to
written before, or would write again. Mathers or Tenebris? Or again was someone else in- see him function
volved? We know that other adepts were also inspired at this time. Take for example the design brilliantly after he
of the Vault. Mathers' rite does not say much about it, other than recount the official material was expelled by the
adepts.
from the Manifestos. Yet the person who seems to be writing the most about the Vault is West-
cott. It is his material, based on a lecture, that remains in both the SM and the AO.
It is Westcott, along with other adepts who were writing the bulk of the Flying Rolls. Logically, if
Mathers was the genius of the Golden Dawn we would expect to see him function brilliantly
after he was expelled by the adepts.
In our book King over the Water: the history and rites of Mathers' AO, we publish these rites for
the first time. But while there is some new material within them, Mathers also reveals a shocking
disregard for basic ritual practice and his own Z documents.
In our book are detailed 'short cuts' which Mathers believes are safe to perform. Some of these,
in our opinion, would have rendered the initiation null and void – a poor drama dressed as
magic. Not only can people be roped together to perform mass initiations, the number of con-
secrations and purifications can be reduced, and circumambulations dropped.

(continued)
That which is 'orthodox' stretches the interpretation of the Z documents and makes key points
difficult, if not impossible, to obey. True, a couple of things have been added, that are ritualisti-
cally good but these are not the work of genius, rather more an attempt to make the ritual
slightly different from that which was being performed by the rebels or the SM.
But what of the 6=5 and 7=4 rituals that Mathers was supposed to have written? Well, although
there is no doubt that these existed at some point in the AO's history, there is little evidence that
they were actually used. Certainly in the Isis temple under Berridge they were not. After one
passed a test, entrance to the 6=5 was given upon payment to Mathers of the equivalent of the
modern amount of $1,000. It is not clear what the fee was for a 7=4 but it is certain that there
was no rite performed and it appeared that it was simply one of Mathers methods of milking
money from his temples.
When dealing with Mathers, we are also compelled to look at what his input into the magical
field was. Here we have a person who had no job and could have been writing occult material
flat out. Arthur Waite, who was also a journalist, wrote countless books and papers. Writing ritu-
als for someone who is a genius should have been something Mathers did in his lunch hour. It
wasn't. His output is, bluntly, pitiable and shows little loyalty to the system that seeks to immortal-
ise his name. There are 700 pages in the 'Golden Dawn' and another 300 in Francis King's Flying
However, that is Roll book. Of them, Mathers hand can only been seen in less than half of them. Such is the gen-
not saying that eral lack of originality, it should have been possible for a jobless writer without any genius at all
Westcott was to knock them up in six months.
the genius of
the Golden Westcott, on the other hand, was coming up with many new ideas that were inspired by the
Dawn either. system. We can see him projecting tarot and the tree onto the heavens, and tinkering with the
He did not come Enochian tablets to provide a very interesting tabloid which is only now just being investigated.
up with the ci- He was running two Orders, several side orders and held down a proper job.
pher manu-
scripts, nor did However, that is not saying that Westcott was the genius of the Golden Dawn either. He did not
he write them come up with the cipher manuscripts, nor did he write them up. He was the administrative ex-
up.
pert who made it all happen and when he wanted, he could show how clever he was. But he
didn't, he believed that Mathers was contacted by the right people, seen or unseen and even
joined Mathers' AO with the same powers that he had under the old Golden Dawn. It is, how-
ever, clear that if the Golden Dawn had been left to these two, it would have remained a ma-
sonic style order with a spice of magic. Somehow the Golden Dawn became much more than
that.
The rebels, under Felkin, and the AO, under John Brodie Innes, took it in another direction. Un-
der both these people, each symbol was examined and re-examined. That which became a sim-
ple gesture had many meanings, nothing in an initiation could be dropped (literally or figura-
tively). Inspired by the symbols that were first revealed by Westcott and Mathers, rebel Morgan
Rothe adepts, who probably included Brodie Innes and Felkin, rewrote the rituals to the state
that we know them today. Felkin would write his own 6=5 and 7=4 rituals that were inspired by
Mathers' 5=6.

(continued)
Brodie Innes would later return to the Mathers ones when he took
over his AO but would bring the same 'magical ideas into that order
that impressed Dion Fortune and her teacher Maiya Tranchell-
Hayes. Later, Fortune would complete her magical training in Fel-
kin's Stella Matutina and apply the lessons she learn in her system.
This Inner Light tradition would have great impact on many modern
magicians.
This created something particularly magical and unique. When this

phase of the Golden Dawn died out in 1978 with the closure of
Whare Ra in New Zealand, it opened again, this time in Georgia, to
enable modern thought to be incorporated.
So who then was the Genius of the Golden Dawn? Well, the answer is that the tradition was,
and always will be, bigger than one or two people. Westcott and Mathers depended on the
writer of the cipher manuscripts. Westcott needed Mathers’ connection with European adepts.
Mathers would later depend on Lux e Tenbris. Both of them were too limited to carry it further,
so it took the likes of Felkin and Brodie Innes flesh out more details. Again, it required modern
people like Fortune and Regardie to take it to the next stage. Finally, it requires the hundreds of
adepts that have passed through its doors to develop the system further and make it more pow-
erful. The genius of the
Golden Dawn has
been to motivate
It is the nature of occultists to find links between symbols -- it proves the interconnectivity of all adepts and stu-
things. The genius of the Golden Dawn has been to motivate adepts and students to find links dents to find links
between a particular set of symbols and produce something so unique and magical that its foun- between a particu-
lar set of symbols
ders would never have dreamed possible. Rather than looking to the past to find the genius of
and produce some-
the Golden Dawn, we should be looking at the present. What is with us now does not stop thing so unique
evolving and deepening. It is a tradition that is alive and has its own genius. and magical that its
founders would
never have
King over the Water: the History and Rites of Mathers' AO, will be released early next year by dreamed possible.
Thoth Publications.
Copyright © 2007 Nick Farrel

The Rosicrucian Vault

A Compendium of the Universal Unity
by Charles “Chic” Cicero
In 1614, a mysterious document entitled the Fama Fraternitatis appeared in the German
town of Kassel and ignited a firestorm of interest all over Europe. This document de-
scribed a fantastic tale of a secret brotherhood of adepts who called themselves
“Rosicrucians” and their enigmatic founder, Christian Rosencreutz, or “C.R.C.” The Fama
announced the existence of a secret Fraternity of the Rose Cross and described the life
and teachings of Christian Rosencreutz. It went on to describe the vault in which C.R.C.
and much of the Rosicrucians’ secret knowledge were buried. The document finally in-
vites all like-minded individuals to contact the Brotherhood and share in its alchemical
wisdom and spiritual wealth.
The climax of the story centers on the rediscovery of C.R.C.’s tomb, buried in a concealed,
underground vault of seven sides. Engraved upon a circular altar over the tomb were
the words (in Latin): “Unto the Glory of the Rose Cross I have constructed this Tomb for
myself as a Compendium of the Universal Unity.”
This lecture will explore the symbolic structure and spiritual implication of the Rosicrucian
Vault hinted at in the Fama and explored in the later teachings of the Hermetic Order of
the Golden Dawn and the R.R. et A.C. The implications of this Vault are many—it is an
emblematic tomb of death and spiritual resurrection, as well as an initiation chamber and
This lecture will place of meditation. However, its primary significance is that of the “mystical center” or
explore the sym-
bolic structure and
“inner temple” of man. This is an internal, God-centered reality which is inherent in the
spiritual implica- symbolism of C.R.C.’s “Compendium of the Universal Unity.”
tion of the Rosicru-
cian Vault hinted Publication of the Fama caused a commotion. Traditionalists condemned the shadowy
at in the Fama and
explored in the
Rosicrucian brotherhood. Skeptics doubted its existence. Hermeticists embraced it. And
later teachings of several people tried to find and join the enigmatic fraternity. Printing presses all over
the Hermetic Or- Europe were kept busy publishing books and other documents on the subject. Within a
der of the Golden couple of years two other Rosicrucian manifestos appeared: The Confessio and the
Dawn and the R.R.
et A.C.
Chemical Wedding of Christian Rosencreutz. The Confessio offered a few more details
concerning the membership of the Rosicrucian Fraternity, while the Chemical Wedding
was an alchemical fable filled with symbolism and allegory.
Some of the theories concerning the origin and motives behind the publication of the
Rosicrucian Manifestos are worth mentioning. In her book on The Rosicrucian Enlighten-
ment, Frances Yates describes how the Manifestos may have been part of a planned
propaganda campaign to promote a Lutheran-Hermetic movement to support the reign
of Frederick the 5th, King of Bohemia in opposition to the Catholic House of Habsburg.
The manifestos were probably written by a group of college students, who attended the
University of Tuebingen and were members of a circle of Christian Hermeticists. Among
them were Tobias Hess, a student of Paracelsus and Johann Valentin Andreae, who be-
came a Lutheran minister and later admitted to writing the Chemical Wedding as a joke.
x

(continued)
Whatever the origins of Manifesto might have been—whether spiritual, political, or even
mythological—their influence on the Western Esoteric Tradition was certainly no joke. As
a whole the three Rosicrucian Manifestos described the beginning of a new spiritual
age—an age structured around Lutheran idealism, social reform, alchemical teachings,
astrological symbolism, Hermetic magic, and Christian mysticism.
x
They conveyed a sense of wonder at the hidden mechanics of the universe. They also
harkened back to an earlier time of archaic wisdom, early science,and the secret mystery
cults of the ancient world, where spiritual knowledge was only given to a select group of
initiates. For many, the three Manifestos seemed to awaken a spiritual longing for eso-
teric knowledge. But the essential story in the Rosicrucian trilogy is contained in the
Fama—the discovery of the hidden burial chamber of C.R.C.—a secret room of seven sides
which held the secrets of the Brotherhood and conveyed the essence of Christian Rosen-
creutz’s “Compendium of the Universal Unity.”
x
What does this mysterious description refer to? What is this strange hidden room that
seems to lie at the heart of the Rosicrucian tradition? What is the knowledge it contains?
And are hints of this knowledge given elsewhere in the Rosicrucian teachings? And
where is the tomb of Christian Rosencreutz to be found? In this brief lecture I hope to
provide a few answers to these questions and further food for thought. What does this
x mysterious de-
scription refer
“Universal Unity” to? What is this
The Fama tells us that when the Rosicrucian Brotherhood rediscovered the tomb of their strange hidden
founder, there appeared to their sight a vault of seven sides. In the center was a circular room that seems
altar engraved with figures and words, which was set over the sarcophagus of Christian to lie at the
Rosencreutz wherein the uncorrupted body lay. Triangles were inscribed within the ceil- heart of the
ing and the floor. The room was illuminated by a “second sun” while the floor contained Rosicrucian tra-
the names of the “inferior Governors” or infernal spirits. Each of the seven walls of CRC’s dition? What is
the knowledge
tomb was divided into ten squares which in turn were inscribed with several figures and
it contains?
sentences. Each wall also had a door for a chest which contained “diverse things” includ-
ing books, parchments, looking glasses, bells, burning lamps, songs, and the Minutum
Mundum or “small Universe.” In other words, what the vault contained was the whole of
the Rosicrucian secrets and mysteries. But why were all these “diverse things” described
as a summary of the “Universal Unity”?
The Rosicrucian texts often describe the idea of the “Universal Unity.” “Omnia ab
Uno,” (All from One) is one of the sayings of the Rosicrucians. It expresses the idea that
God is One—an undividable Whole—and that everything in the cosmos has evolved from
this One Eternal Source. The various activities of Life, which we see in the universe
around us, are simply the various forms of the manifestations of God. This Creative
Power of God, or the substance of Light and Life, is sometimes called the Logos, the
Word, or Christ.
X

(continued)
Here we see an 18th-century alchemical engraving show-

ing the “Compass of the Wise” as well as the seven-
pillared House of Wisdom, complete with the seven plan-
ets, the four elements and various Masonic and alchemi-
cal symbols. As the Universal Unity manifested itself into
the cosmos, it assumed various forms, qualities and func-
tions. Therefore it appears to the outside observer as a
multiple variety of unrelated objects, forms, energies, or
substances. It often appears as a series of dualities. And
yet to Rosicrucians, alchemists and mystics, all these forms
and powers are essentially One Unified Whole.
The various astrological and qabalistic words and images

used by alchemists and Rosicrucians—as well as the an-
gels, archangels, elements, planets, zodiacal signs and
spirits cited by magicians—are not meant to describe pow-
ers and qualities that are fundamentally different from each other.
x
They are simply different aspects of the One Universal Principle, just as the different He-
brew God-names used to describe the ten Sephiroth on the Tree of Life are not different
The Adeptus
Gods, but different aspects or qualities of the One God—such as God’s Love, God’s Mercy,
Minor Cere-
mony is largely God’s Wisdom and so forth. When all is said and done, one of the Rosicrucian maxim can
centered be summed up in the motto Omnia ab Uno, “All from One.”
around the x
story of the dis- Nearly three hundred years after the Manifestos were written, an esoteric fraternity
covery of the known as the Hermetic Order of the Golden Dawn took on the task of recreating and
tomb of Chris- expanding upon the imagery of the Rosicrucian Vault in a dramatic way. Under the guid-
tian Rosen- ance of MacGregor Mathers, the Vault of the Adepti became the initiation chamber of
kreutz.
the Golden Dawn’s Second or Inner Order.
The Adeptus Minor Ceremony is largely cen-
tered around the story of the discovery of
the tomb of Christian Rosenkreutz. In this
ritual, MacGregor Mathers echoed this con-
cept of the “Universal Unity” as it applied to
the seven walls of the Vault of the Adepti,
which was based upon the description of
CRC’s tomb. One square on each wall of
Mather’s Vault was white, “…representing
the changeless Essence of the Divine Spirit,
thus developing all from the One, through
the Many under the government of One.” (1)

(continued)
This is in keeping with one of the principle teachings of the Golden Dawn, which we
have described as “ultimately monotheistic, although it conceives of the Divine Unity or
ultimate Divinity as emanating itself through a multitude of forms, aspects, characteristics
and manifestations. […] Thus, although the system may appear to be outwardly polytheis-
tic, all deities are thought to be the various faces and rich expressions of the ultimate Di-
vine Unity. Although the cosmos appears to be diverse, at its most fundamental level, All
is One.” (2)
x
Author Franz Hartman described the Universal Unity this way: “…the four sides of a pyra-
mid originate in one point and end in one, each side appearing to have a distinct individu-
ality of its own. The higher we rise toward the summit, the more does this differentiation
disappear and the more does the Unity of all things and their identity with each other be-
come apparent, until; all difference is again absolved in the ultimate One. He who knows
the One knows All; he who believes to know many things knows nothing. The One is the
starting point for all occult science.” (3)
The Mountain
Reaching the top of a pyramid has often been com-
pared to climbing to the summit of a mountain, which
is a common metaphor for achieving spiritual enlight- … although the
enment. In mythology, the mountain is often used as system may ap-
a symbol of the center of the earth. The "peak of the pear to be out-
cosmic mountain is not only the highest point on wardly polythe-
istic, all deities
earth, it is also the earth's navel, the point where crea-
are thought to
tion had its beginning." This mystic sense of the moun-
be the various
tain,” writes J. E. Cirlot, "also comes from the fact that it
faces and rich
is the point of contact between heaven and earth, or expressions of
the center through which the world-axis passes." the ultimate
x Divine Unity.
Alchemists often used the image of the mountain for
the completion of the Great Work. In this 17th-century
engraving we see the Mystic Mountain of Initiation(4).
Here we see a blindfolded alchemist groping his way to find the path up the Mountain.
He is blindfolded because the wisdom he is looking for, lies within.
x
There are seven steps which lead up the mountain. On them are written the names of
seven alchemical processes which correspond to the seven planets, symbolized by the
seven deities standing on the mountain. Just as in the tomb of CRC, the planetary num-
ber, seven, has a special importance. The mountain itself is circled by the wheel of the
Zodiacal Signs and symbols of substances which are used in alchemy. As stated earlier,
these various images, ideas, figures and substances are not meant to describe powers
and materials that are fundamentally different from each other. They are simply different
aspects of the One Universal Principle. They are the Universal Unity in all of its manifesta-
tions.

(continued)
At the center of the mountain is a chamber or room—the temple of the Sun and the
Moon whose union results in the creation of the Philosopher’s Stone, which is a symbol
for true spiritual attainment. Could this be an early representation of the “diverse things”
and ideas contained in the Tomb of CRC?
The Mountain of the Caverns

Here we see an illustration(5) of what ap-
pears to be the mouth of a cave, with trees
growing above it, leading underground to
the Qabalistic source of Light and “the eter-
nal center of Life.” It shows the lovers of
Divine wisdom rising seven steps up the
mystic ladder. The gate contains 7 pieces of
advice on dealing with the celestial powers.
The symbolism of the mountain and the

cavern played an important role in the Rosi-
crucian teachings of the Golden Dawn. In
the Adeptus Minor Ritual it states that the
tomb of Christian Rosencreutz “is symboli-
cally situated in the center of the Earth, in the Mountain of the Caverns, the Mystic Moun-
The Fama de- tain of Abiegnus.” This is the mythical mountain that is both heavenly and subterranean.
scribes the Rosi- Mt. Abiegnus symbolizes the spiritual journey of the Initiate—who must scale its heights
crucian Vault as and also find the spiritual treasure deep within the mountain. In Latin, Mons Abiegnus
the Tomb of means “fir-tree covered mountain.” However, the Golden Dawn gave the name Abieg-
Christian Rosen- nus a much more elaborate meaning involving a complex word-play of Hebrew, Latin,
creutz. and Greek. In the Adeptus Minor Ritual it states: “The meaning of this title of Abiegnus —
Abi-Agnus, Lamb of the Father. It is by metathesis Abi-Genos, Born of the Father. Bia-
Genos, Strength of our race. And the four words make the sentence: ABIEGNUS ABIAG-
NUS ABI-GENOS BIA-GENOS. ‘Mountain of the Lamb of the Father, and the Strength of
our Race.’ I. A. O. YEHESHUA. Such are the words."
x
Yeheshuah is the divine name of Jesus associated with the Christian Qabalah—it is the
divine name of the God of the Old Testament, YHVH, with the Hebrew letter Shin, signify-
ing spirit and transforming the Tetragrammaton or “four-lettered name” of God, into the
Pentagramaton, or “five-lettered name” of the Redeemer. In the Golden Dawn system
I.A.O. is a reference to the cycle of life, death and resurrection from death.
x
The Tomb, the Womb, the Athanor, and the Bridal Chamber
The Fama describes the Rosicrucian Vault as the Tomb of Christian Rosencreutz. On one
level, the story of the life of CRC is symbolic of the life of Christ. But unlike Christ, CRC is
not resurrected, although his body is perfectly preserved. His tomb is a tomb of Death.

(continued)
And yet the opening of CRC’s tomb announces the rebirth of the mysterious Rosicrucian
Brotherhood as portrayed in the Fama. Therefore the Vault is a symbol of death and
spiritual resurrection.
x
The science of alchemy has long been thought of as the domain of the Rosicrucians. To
readers of the Fama, CRC’s uncorrupted body hinted at alchemical secrets that the myste-
rious Rosicrucians may have been used to preserve his remains. Whether this was meant
to tease the imagination of readers is unclear. What is clear is that the idea of death and
resurrection is inherent to the practice and the literature of alchemy.
x
Alchemy is an ancient science that is concerned with purification and transformation.
Spiritual, alchemy is concerned with the transformation of the human soul from a state of
baseness to one of spiritual enlightenment. In spiritual terms, Alchemy is symbolic of a
conversion from the heavy, leaden, earth-bound consciousness to the refined gold of the
divinely-inspired being.
x
The alchemical process is said to take place in three primary stages: separation, purifica-
tion and cohobation (or recombination). This is an internal process in which the various
parts of the base material being transformed are analyzed and separated. This is often
referred to in alchemical literature as a form of death or dismemberment and it is often And yet the open-
symbolized in alchemy by images of a black crow, or a dragon. In alchemy the separated ing of CRC’s tomb
portions are then cleansed or purified. Finally, they are recombined into a new, more announces the
purified whole that is greater than the sum of its parts. This part of the alchemical proc- rebirth of the mys-
terious Rosicru-
ess is often symbolized by the concept of rebirth or resurrection from death. cian Brotherhood
x as portrayed in
The Vault of the Fama is symbolically an Athanor or alchemical oven wherein the first the Fama. There-
matter—in this case, the body of CRC and the secrets that were buried with him—are fore the Vault is a
symbol of death
transformed into the resurrected Rosicrucian Brotherhood whose purpose is to raise the
and spiritual resur-
spiritual consciousness of humanity. On one level this can be seen as the Fraternity’s rection.
Greatest Work of alchemy, to obtain the Philosopher’s Stone (which is a metaphor for
spiritual attainment) with which the “General Transformation of the Whole World” may
be accomplished.
In the Adeptus Minor Ceremony of the Golden Dawn, the officer known as the Chief
Adept represents an Initiate who has undergone this alchemical process of self-
transmutation and spiritual evolution. The Chief Adept, representing Christian Rosen-
creutz at one point in the ritual, tells the Aspirant:
“Buried with that Light in a mystical death, rising again in a mystical resurrec-
tion, cleansed and purified through Him our Master, O Brother of Cross and
the Rose. Like Him, O Adepts of all ages, have ye toiled. Like Him have ye suf-
fered tribulation. Poverty, torture and death have ye passed through. They
have been but the purification of the Gold. In the alembic of thine heart,
through the athanor of affliction, seek thou the true stone of the Wise.”

(continued)
In the Adeptus Minor Ceremony of the Golden Dawn the tomb of Christian Rosencreutz
has another name: “This place was entitled by our still more ancient Fratres and Sorores,
the Tomb of Osiris Onnophris, the Justified One.” (6)
x
Osiris was the Egyptian god of the dead and the god of resurrection. Legend has it that
Osiris was killed by the evil god Set who entombed the body in a chest and cast it into a
river. The chest containing the body was eventually discovered by the goddess Isis, but
Set found it and disremembered the body into fourteen pieces which he scattered. Isis
patiently searched for the remnants and found them. She re-assembled the body, except
for the phallus. Aided by the gods Thoth, Anubis, and Horus, Isis was able to restore the
dead Osiris back to life.
x
Here we see a 17th century alchemical engraving of
Isis collecting the scattering pieces of the corpse. In
the foreground Osiris, also known as the King, is
emerging whole (or fixed) from a coffin(7). Death,
dismemberment, and resurrection are re-occurring
themes in alchemical and Rosicrucian texts. As a
whole, the story of Christian Rosencreutz is symbolic
In the Adeptus
to the story of Jesus Christ. So it is no surprise that
Minor Cere-
the magicians of the Golden Dawn saw a common
mony of the
Golden Dawn theme of death and resurrection connecting the fig-
the tomb of ures of Osiris and Christ. In the Adeptus Minor cere-
Christian Rosen- mony of the Golden Dawn, the sarcophagus of Chris-
creutz has an- tian Rosencreutz from the Fama and the coffin of Osiris from Egyptian legend and the
other name ... tomb of Jesus Christ from the New Testament, all became identified with the Pastos of
the Tomb of CRC, from which the Chief Adept of the ritual symbolically rises from the dead, infused
Osiris Onno- with new spiritual life.
phris, the Justi-
x
fied One.
In the story of the resurrection of Osiris, the Goddess Isis plays an
important role. In this respect, the tomb of CRC, a tomb of
Death, was also a womb of rebirth into a newer more exalted
life. In the Golden Dawn’s Vault of the Adepti, this was symbol-
ized by the door of the Vault being located on the Wall assigned
to the planet Venus. Only through the door of Venus was entry
into and exit out of the tomb possible.
x
Venus, the Goddess of Love, has always been an important fig-
ure in Rosicrucian symbolism. In the story of the Chemical Wed-
ding, Christian Rosencreutz encounters the Unveiled Lady Venus
in her own vault. CRC describes the Light of the Vault of Venus
as “the most precious thing that nature ever created.”

(continued)
Here the vault or sepulcher is also a symbol of the wedding chamber and CRC, like Christ,
is the bridegroom. The idea here is that of spiritual marriage, wherein two become One.
x
Of all the planets, the symbol of the planet Venus is the only one said to embrace all Ten
Sephiroth on the Qabalistic Tree of Life. In the Golden Dawn system Venus is attributed to
the Hebrew letter Daleth, which means “Door” indicating that Venus or the Power of Love
is the door of initiation into the Higher Mysteries. In the Second Order of the Golden Dawn
this is also symbolized by an implement carried by the three main Officers—the Crux Ansata
or Ankh, the Egyptian symbol of Life—said to be “a form of the Rose and the Cross” which is
the Key that opens the Tomb. It is also the planetary symbol of Venus.
x
The Rose is the flower sacred to the Goddess Venus—and in Christian times the Rose be-
came the flower of the Virgin Mary, who herself became the Rosa Mystica. The proces-
sions honoring the Mother of God walked on rose petals, just as the processions carrying
the images of the pagan deities had done. Christian scholars derived the origin of the
rose from the drops of Christ's blood falling upon a thornbush. The very structure of the
Rose, an outer layer of petals which conceal a secret inner core, is emblematic of the eter-
nal mystery of life. Thus it became a symbol of mystery and secrecy. As one Persian poet
wrote: “Mystery glows in the rose bed, the secret is hidden in the rose.” (8)
x It is likely that
And what does Love have to do with “the Compendium of the Universal Unity”? As one some of the
author put it: “Spiritual Love is an all-penetrating spiritual power, uniting the high ele- Vaults from the
ments of Humanity into one inseparable whole. It is not led by external sensual attrac- early days of the
tions. It is the power by which man recognizes the unity of the All and the product of Golden Dawn
that knowledge which springs into existence, when man recognizes the identity of his were painted on
own spirit with the spirit of every other being.” (9) large sheets of
canvas, in-
x
tended to be
A Modern Day Vault more or less
It is likely that some of the Vaults from the portable.
early days of the Golden Dawn were
painted on large sheets of canvas, in-
tended to be more or less portable. Moina
Mathers was responsible for painting the
elaborate designs of the Vault at Isis-Urania
in London and possibly another at Ahat-
hoor in Paris. Moina’s preferred technique
was a combination of oil paint and collage
on canvas. It is possible that the walls of
some Vaults were done in this manner.
x
When my wife and I decided to build a
Golden Dawn Temple in the state of Geor-
gia in 1977, it was decided that a sturdier Vault was called for.

(continued)
This involved the construction of a room out of wood and plaster, not only ensuring that
the angles of the heptagon would be right but also that the room would be a virtually
soundproof chamber—blocking out all outside noises while at the same time enhancing all
spoken vibrations. Israel Regardie consecrated our Neophyte Hall and our Vault on Corpus
Christi, June 26, 1982 and initiated two people into the grade of Adeptus Minor. The old
house containing the Vault was altered to ensure that its inner chamber could not be dis-
covered by accident. The parlour was completely sealed off from the rest of the house, as if
the room never existed. Entrance to the chamber was gained only through a small door
cut into the back wall of a closet, which led to the antechamber or portal of the Vault.
x
On the door to this closet was a reproduction of a painting that I had owned for several
years. It was a painting by Rembrandt entitled “A Man in Armour.” (10) I hung it on the
closet door because I thought it was a nice painting. Later I found out that this painting
was said to represent none other than Christian Rosenkreutz. So, unknown to us at the
time, we had a painting of Christian Rosenkreutz hanging on the secret entrance to our
Vault of the Adepti. We all took this as a good sign.
x
The Vault of the Adepti
Under the genius of MacGregor Mathers, the brief description of CRC’s tomb from the
… the brief de-
scription of Fama was transformed into an elaborate chamber for the initiation ceremonies of the
CRC’s tomb from Golden Dawn’s Inner Order. It is explained to the Aspirant in the Adeptus Minor Ritual as
the Fama was follows:
transformed x
into an elabo- “Upon more closely examining the Door of the Tomb, you will perceive, even as Frater
rate chamber for N.N. and those with him did perceive, that beneath the CXX in the inscription were
the initiation placed the characters IX thus:
ceremonies of
Post CXX Annos Patebo
the Golden
IX
Dawn’s Inner
Order. “…being equivalent to Post Annos Lux Crucis Patebo—At the end of 120 years, I, the Light
of the Cross, will disclose myself. For the letters forming LVX are made from the dismem-
bered and conjoined angles of the Cross; and 120 is the product of the numbers from 1
to 5, multiplied in regular progression, which number five is symbolized in the Cross with
four extremities and one center point. On the following morning, Frater N. N. and his
companions forced open the door and there appeared to their sight a Tomb of Seven
Sides and Seven Corners. Every side was five feet broad, and eight feet high, even as the
same is faithfully represented before you.

(continued)
“Although in the Tomb the Sun does not shine, it

is lit by the symbolic Rose of our Order in the cen-
ter of the first heptagonal ceiling. In the midst of
the Tomb stands a circular Altar with these de-
vices and descriptions on it:
A. G. R. C. — Ad Gloriam Roseae Crucis(11)
A. C. R. G. — Ad Crucis Rosae Gloriam(12)
Hoc Universal Compendium Unius Mihi Sepul-
chrum Feci
“Unto the Glory of the Rose Cross I have con-
structed this Tomb for myself as a Compendium of the Universal Unity. With the next cir-
cle is written:
Yeheshua Mihi Omnia— Yeheshua is all things to me.
“In the center are four figures of the Kerubim enclosed within circles surrounded by the
following four inscriptions and each distinguished by one of the following four inscrip-
tions and each distinguished by one of the letters of the Tetragrammaton:
Yod — Lion — Nequaquam Vacuum — Nowhere a Void.
Heh — Eagle — Libertas Evangelii — Liberty of the Gospel.
Vau — Man — Dei Intacta Gloria — Unsullied Glory of God.
Heh (final) — Ox — Legis Jugum — Yoke of the Law.
Unto the Glory
x
of the Rose
“And in the midst of all is Shin, the Letter of the Spirit forming thus the Divine Name Ye-
Cross I have
heshuah, from the Tetragrammaton.” (13) constructed this
x Tomb for myself
The complex symbolism of the Vault is further described later in the same ritual: as a Compen-
dium of the Uni-
“It is divided into three parts—the Ceiling versal Unity.
which is white; the Heptagonal Walls of
seven Rainbow colours and the Floor
whose prevailing hue is black; thus show-
ing the powers of the Heptad between the
Light and the Darkness. On the ceiling is a
triangle enclosing a Rose of 22 petals,
within a Heptangle reflected from the
Seven Angles of the Wall. The Triangle
represents the Three Supernal Sephiroth;
the Heptagram, the Lower Seven; the Rose
represents the 22 paths of the Serpent of
Wisdom.

(continued)
“The Floor has upon it also the Symbol of

a Triangle enclosed within a Heptagram,
bearing the titles of the Averse and Evil
Sephiroth of the Qlippoth, the Great Red
Dragon of Seven Heads, and the inverted
and evil triangle. And thus in the tomb
of the Adepti do we tread down the Evil
Powers of the Red Dragon and so tread
thou upon the evil powers of thy nature.
For there is traced within the evil Trian-
gle the rescuing Symbol of the Golden
Cross united to the Red Rose of Seven
times Seven Petals. As it is written ‘He descendeth into Hell.’ But the whiteness above
shines the brighter for the Blackness which is beneath and thus mayest thou compre-
hend that the evil helpeth forward the Good.”
“And between the Light and the Darkness vibrate the colours of the Rainbow, whose
crossed and reflected rays under the Planetary Presidency are shewn forth in these Seven
Walls. Remember that thou hast entered by the door of the planet Venus, whose symbol
And between includes the whole Ten Sephiroth of the Tree of Life. Each Wall of the Tomb is said mysti-
the Light and the
cally to be in breadth five feet and in height eight feet, thus yielding forty squares, of which
Darkness vibrate
the colours of
ten are marked and salient, representing the Ten Sephiroth in the form of the Tree of Life,
the Rainbow, acting throughout the Planet. The remaining squares represent the Kerubim and the Eter-
whose crossed nal Spirit, the Three Alchemic Principles, the Three Ele-
and reflected ments, the Seven Planets, and the Twelve Signs, all operat-
rays under the ing in and differentiating the rays of each planet. Note
Planetary Presi- that in all, the Central square alone remains white and
dency are shewn
unchanged, representing the changeless Essence of the
forth in these
Divine Spirit, thus developing all from the One, through
Seven Walls.
the many under the governance of One.
x
“The colours of the varying squares may be either repre-
sented by the colour of the Planet and the colour of the
Force therein mixed together, or by these colours being
placed in juxtaposition (not the preferred or most accu-
rate method) or in any other convenient manner; but the
foundation of them all is the Minutum Mundum dia-
gram.” (14)
x
Here is where I disagree with the original text of the
Golden Dawn Rituals. I do NOT believe that juxtaposi-
tion is correct method for painting the vault squares. It
only leads to confusion and makes skrying the squares harder. The Mystical title of the
Adeptus Minor is Hodos Chamelionis “the Path of the Chameleon” or “the Path of Mixed

(continued)
Colours.” These colours have to be mixed together, not simply placed next to each other.
For example on the Mars Wall (shown), the main colour is red. All of the squares are
painted according to the colours of the Minutum Mundum diagram.
x
But on the Mars Wall, a little bit of red will be mixed into all of the squares (except the
spirit square). All of the symbols on the Mars Wall will be mixed with a little green, which
is the flashing colour of red. On the Moon Wall the colours mixed in would be blue and
orange, on the Jupiter Wall they would be violet and yellow and so forth.
x
Some of the Golden Dawn’s manuscripts described the Vault in greater detail. One of
these was a paper called “The Book of the Tomb.” Another, called “The Symbolism of the
Seven Sides” was written by Dr. William Wynn Westcott. In it, he explains how the vault
walls were assigned to the seven planets:
x
“…these planetary sides are found to be in a special order, neither astronomi-
cal nor astrological. The common order of the succession of the planets is
that defined by their relative distances from Earth; putting the Sun, however,
in the Earth’s place in the series—thus: Saturn, Jupiter, Mars, Sun, Venus, Mer-
cury, Moon. Saturn is farthest from the Earth, and the Earth is between Mars
and Venus. Beginning with Saturn in the case of the Walls of the Vault, the The Fama
order is Saturn, Jupiter, Mars, Sun, Mercury, Venus, Moon. Here Mercury and states that
Venus are transposed.” each wall of
x CRC’s Vault is
Westcott goes on to explain that in the Vault, Mercury and Venus are switched in order: 8 feet high
x and 5 feet
“The planets are in the order of the Rainbow colours and in colours because wide—giving a
this Adeptus Minor grade is the special exponent of colours. You Adepti are total of 40 feet
in the Path of the Chamelion—Hodos Chamelionis. If now you take the which are di-
planetary colours and affix the planet and arrange them in the order of the vided into 10
solar spectrum and then bend up the series into a ring and make the chain
into a Heptagram, and turn the whole about until you get the two ends of
the series to meet at the Eastern point, you will have this mysterium: Violet -
Jupiter. Indigo – Saturn. Blue – Moon. Green – Venus. Yellow – Mercury. Or-
ange – Sun. Red – Mars.”
x
In other words, the seven walls are coloured in the natural progression of the rainbow or
colour wheel, bent so that both ends of the rainbow meet in the east where the infra-red
and ultraviolet rays meet—colours which are invisible to the human eye and are symbolic
of the spiritual worlds that exist beyond the human senses.
x
The Fama states that each wall of CRC’s Vault is 8 feet high and 5 feet wide—giving a
total of 40 feet which are divided into 10 squares. Westcott asserts that this is a blind—
that each wall should have a total of 40 squares, ten of which, “are marked and salient’—

(continued)
they are the Sephiroth.” In the Vault of the Adepti, these are the squares shown with
borders around them.
x
In addition to the central square of Pure Spirit, the top row of squares is assigned to the
four Kerubim—the Bull, the Man, the Eagle and Lion, which represent the letters of the
name YHVH. They are coloured as the forces of the four elements and they are always
arranged in the Hebrew order of the letters (right to left).
x
Below the Kerubim are the Three Alchemical Principles: Mercury, Salt, and Sulphur on the
left, and the elements assigned to the Three Hebrew Mother Letters on the right. The
squares of the Seven planets are placed next to their respective Sephirah. The squares of
the 12 zodiacal signs are placed in the 5th, 7th, and 8th rows. The Kerubic or fixed signs
are shown in the 5th row, in the order of the Tetragrammaton. The Cardinal Signs are in
the 7th row in the order of the Equinoxes and Solstices, starting with Spring. The Muta-
ble Sings are in the bottom row(15).
Uses of the Vault: Initiation, Meditation, and Astral Work

The Tomb of CRC as described in the Fama was most probably never a real building, but
rather a symbolic construction—a western Mandala—intended to inspire those like-
Of course the
magicians of the minded individuals who longed for the dawning of a new, more enlightened spiritual
Golden Dawn age. Modern day practitioners of various Rosicrucian groups can use the symbolism of
used their own the Tomb in meditation and visualization designed to elevate one’s spiritual awareness.
unique version of
An image of the Tomb as described in the Fama mcan be created in the imagination for
Tomb—the Vault
of the Adepti—as
Astral Workings similar to pathworkings in the Golden Dawn Tradition.
a physical cham- x
ber of initiation Of course the magicians of the Golden Dawn used their own unique version of Tomb—
and a place for the Vault of the Adepti—as a physical chamber of initiation and a place for mediation and
mediation and
astral work of all kinds. In a paper from the Stella Matutina called “Concerning the Use of
astral work of all
kinds. the Vault” (16) Dr. Robert Felkin gave some suggestions for ritual work in the Vault. He
writes:
x
“All who are eligible should use the Vault when it is in its place. When work-
ing it is well to be clothed in the White Robe and yellow sash, yellow slippers
and yellow and white Nemyss on your head. Rose Cross should be upon the
breast. Remember that within the Vault you never use a banishing Ritual.
The chamber is highly charged by the Ceremonies which have been held
there and the atmosphere thus created should not be disturbed.”
x
Felkin goes on to say that the Adept should enter the Vault, light a candle and some
incense, place a chair in the east, and then stand in the east facing west and give the Sign
of Osiris Risen: he goes to suggest:
x
“…breathe in a fourfold rhythm, regularly, and compose your mind. Then,
being calm and collected, make the full L.V.X. Signs, repeating the accompa-

(continued)
nying words, and endeavor to bring down the Divine White Brilliance.
x
“Having done this, seat yourself and give yourself up to meditation, tranquil and
without fear. At first try to feel, it may be, or to see the play of the colours as they
pass and re-pass from side to side and from square to square. Then await with se-
rene expectation what message may be vouchsafed to you. When you are used to
the place it is well to extinguish the light, for the darker the material atmosphere,
the better it is. Before leaving the Vault make the L.V.X. signs, and quit it with arms
crossed upon breast in the sign of Osiris risen. […] The next seven visits should be
devoted to a careful study of each side of the Vault in turn… Another time, con-
template the roof, and if you feel strong enough, the floor. […] Again you may
draw aside the Altar, lift the lid of the Pastos and contemplate the figure you may
perceive lying within it. For this you should have a small candle lit on the Altar. Or
you may lie down in the Pastos yourself and meditate there.
“Sometimes you may see the simulacrum of C. R. C. in the Pastos, or it may be your
own Higher Self. In every case you should gain knowledge, power, and satisfac-
tion.”
x
Today’s Golden
Today’s Golden Dawn Practitioners perform a number of esoteric workings in the Vault, Dawn Practitio-
including Rose Cross Rituals, Qabalistic and Planetary invocations and talisman consecra- ners perform a
tions. A great deal of astral work—especially skrying and other forms of clairvoyant meth- number of eso-
ods—takes place there, including skryings into the various squares on each of the seven teric workings in
the Vault ... A
walls, into the cross on the floor, the rose on the ceiling, the circular altar and the dia- great deal of as-
grams on the Pastos. Every piece of symbolism within the Vault can be a tool for skrying tral work—
work. But I must say, that simply meditating quietly while sitting in the Vault or lying especially skrying
within the Pastos is the best way to experience its energy and understand its essence as a and other forms
of clairvoyant
symbol of the Mystic Centre. methods—takes
place there
The Mystic Centre
I would like to draw your attention to a rather humorous
looking engraving from the 17th century(17), published in
1604. The drawing is full of Rosicrucian symbolism—
including a rose and a cross on either side of the doorway, a
winged bell-tower, a scholar inside the building who is study-
ing a globe, sinners who are being saved from an under-
ground dungeon, new stars appearing in the sky and the
wings of YHVH overshadowing all. It also shows the Temple
of the Rosicrucian Brotherhood as a building on wheels—a
kind of Rosicrucian mobile home.
x

(continued)
For several years after the Manifestos were published, many people searched in vain for
the original Tomb of Christian Rosencreutz, assuming that a physical Vault existed some-
where in Germany. Even today, some wishful thinkers may hold out hope that the origi-
nal Vault or some remnant of it may yet be found. Those who do, completely miss the
point of the story.
x
All of the alchemical and Rosicrucian teachings we have examined so far, tell us plainly in
symbolic language about where the true knowledge contained within the Vault can be
found—it is on high upon a mountain peak and at the same time, it is at the mountain’s
core. It is at the center of the earth. It is not contained in any building. It is mobile, so it
can move from place to place. Where is this centre? It is everywhere. But most impor-
tantly, the spiritual center of man—the true Stone of Philosophers, the Stone of the Wise—
lies within us. For as one alchemical saying tells us: “Visit the Interior of the Earth and
therein find the Secret Stone.” (18)
Here we see the figure of Christ within the Rose. For centuries this mystical center of
man, often symbolized by the Rosicrucian Vault, has also
been symbolized by the Rose. For initiates, the Rose is
the living symbol of the revelation of the universal har-
mony of Being. It is the emblem of beauty, life, love, and
… to unite the
goodness. It is the hieroglyphic sign of the accomplish-
Rose to the
Cross within us, ment of the Great Work. And to unite the Rose to the
is the goal pro- Cross within us, is the goal proposed by initiation into
posed by initia- the Highest mysteries of the Western Esoteric Tradition."
tion into the x
highest myster- As for the complex and diverse symbolism contained
ies of the West- within the Vault, said to be “A Compendium of the Uni-
ern Esoteric Tra- versal Unity,” I close with this verse from First Corinthians, chapter 12, verses 4 - 5: "There
dition.
are different gifts but the same Spirit; There are different ministries but the same Lord;
There are different works but the same God..."
___________________________________

(continued)
Sources:
The Golden Dawn by Israel Regardie

The Essential Golden Dawn by Chic Cicero and Sandra Tabatha Cicero
The Rosicrucian Enlightenment by Frances Yates
The Rosicrucians by Christopher McIntosh
The Fama and Confession of R:C: (Privately printed for the SRIA)
The Golden Game by Stanislas Klossoski De Rola
Secret Symbols of the Rosicrucians of the 16th and 17th Centuries by “A Brother of the
Fraternity”
The Hermetic Museum: Alchemy and Mysticism by Alexander Roob
Magic and the Western Mind by Gareth Knight
Cosmology or Universal Science by Franz Hartman
A Compendium on the Rosicrucian Vault edited by Adam McLean
A Dictionary of Symbols by J.E. Cirlot
Tergit, Gabriele. Flowers Through the Ages. London: Oswald Wolff, 1961.
Notes:
(1) Regardie, The Golden Dawn. There are differ-

(2) Cicero, The Essential Golden Dawn, page 30. ent gifts but the
(3) Hartman, Cosmology or Universal Science. same Spirit;
(4) Art from Cabala, Mirror of Art and Nature, by Steffan Michelspacher. There are differ-
(5) From Heinrich Khunrath’s Amphitheatrum Sapientiae Aeternae (“Ampitheater of ent ministries
Eternal Wisdom”), (1602). but the same
(6) Regardie, The Golden Dawn. Lord; There are
(7) From Michael Maier’s Atalanta Fugiens (“Atalanta Fleeing”) 1618. different works
(8) Farid ud-din Attar, (12th century), quoted in Tergit, Flowers Through the Ages, but the same
page 46. God
(9) Hartman, Cosmology or Universal Science.
(10) http://www.rembrandtpainting.net/complete_catalogue/storia_b/armour.htm
(11) “To the Glory of the Rose Cross.”
(12) “To the Glory of the Rose Cross.”
(13) Regardie, The Golden Dawn.
(15) Here the earliest in the year is Gemini on the left of Mem, and passing left to Virgo, then
around to the extreme right to Sagittarius, and then Pisces.
(17) From Theophilus Schweighard’s Speculum Sophicum Rhodo-Stauroticum (1618).
(18) From Basil Valentinus.
Copyright © 2006-2007 by Charles “Chic” Cicero

The Keryx and the Caduceus

by Melissa Seims
In the Golden Dawn system there are various officer roles, each with their own tasks and
correspondences. This article will take a closer look at the role of the Keryx (female:
Kerykissa), who is the wielder of the lamp of knowledge and the directing power of the
caduceus. They play an important part in the initiatory grades of the Outer Order, for
they are an agent for the Higher Self of the candidate and serve to both warn and guide
them on their spiritual path.
In the Neophyte temple opening and initiatory grade, the Keryx sits, ‘within the portal’, in
the Southwest on the Hiereus’ right-hand side. The Keryx is the inner expression of the
Phylax, who sits outside the portal. He or she is the herald of the temple, who also acts as
a guide and caretaker of the candidate in the lower grades. The Phylax guards and
watches on the outside. It is therefore not surprising that the godform associated with
both the Keryx and the Phylax is Anubis. The former is ascribed to Anubis of the East and
the latter to Anubis of the West, who is also known as Ophois.
Anubis was the jackal-headed Egyptian god of death and

the underworld. In ancient Egypt, dogs and jackals were
often found scavenging near cemeteries, in other words
they recycle waste or useless things and transmute them
to that which is more useful. In Egyptian belief, the en-
trance to the underworld was considered to be in the
West, which explains the position of the Keryx and the
The Keryx is the Phylax near the Banner of the West and the station of the
inner expression Hiereus. According to the Unas text, Anubis was also asso-
of the Phylax, ciated with the Eye of Horus, which was said to aid people
who sits outside
in finding Osiris, in other words, finding their own inner
divine self and this is indeed a crucial part of the Keryx’ job.
the portal. He or
she is the herald
Anubis was also associated with funerary customs and was
of the temple,
the father of Kebechet. Often seen has having the body of
who also acts as a snake, she was the Goddess of the purification of bodily
a guide and organs, that were ritually placed in canopic jars during
caretaker of the mummification. In
candidate in the our temple, the
lower grades. Keryx ritually ‘removes’ the organs of the candi-
date which, during a neophyte initiation, are sym-
bolically represented by the rose, cup, paten and
candle on the altar. They are placed for safekeep-
ing in the corners of the temple associated with
the four sons of Horus; Amset in the Northeast,
Toouamaautef in the Southeast, Kabehsonef in
the Southwest and Ahaphi in the Northwest. Fol-
lowing the neophyte’s successful entry, these are
symbolically returned to the cubical altar during
the Hierophant’s long speech about how the can-
didate can attain future advancement.
The Keryx has the role of temple herald and messenger. Upon hearing the Hierophant’s
knock, the Keryx initiates the opening of the temple with the proclamation ‘Hekas Hekas
Este Bebeloi’, which effectively demands that all things profane, leave. This idea is also
reflected by the actions of the Keryx, who moves sun-wise from their station in the South-
west, to the Northeast, a location just before the dawning of the Sun in the East. This is
where the seed of light is waiting to blossom. He or she takes up an ‘L’ position, with one

(continued)
hand holding the lantern stretching towards the altar and the other arm raised up and
holding the caduceus wand, which now acts as a ‘conductor’ and channel for the pow-
ers ‘above’ to move down to manifestation in the subsequent erection of the temple. This
is why the Keryx leads circumambulations, for this officer stands between the worlds and
helps to bring down the Light, which sees the profane scattering and which also defines
and creates the sacred space that brings us into contact with our own Higher Selves, our
own divine sparks.
The caduceus is the perfect symbol for such an action; its de-
sign encapsulates the ideas behind the phrase ‘as above so be-
low’. Composed of the three elemental Hebrew letters Shin,
(fire), Aleph (air) and Mem (water) it also transposes nicely onto
the Tree of Life with the ‘wings’ of the Caduceus connecting
together the triune of Kether, Chokmah and Binah. The polar
twin snakes wrap around the other sephiroth. They are the ser-
pents of the transformative power of wisdom which they chan-
nel down from the upper parts of the Tree, to Malkuth.
The double serpent symbolism goes back a long way. In the

Louvre, there is a libation vase dating to approximately 2500BC,
which depicts two snakes entwined around a rod. There is a
dedication on it to the Mesopotamian god Ningizzida, reputed
to be the son of Enki. The caduceus is associated with both of
them. Ningizzida’s name fittingly translates from the ancient Sumerian into ‘Lord of the
good tree’ and he was also considered to be the predecessor to the Egyptian God Thoth,
also associated with a caduceus. The caduceus
was also seen as
an ancient sym-
The idea of the snake being a creature that could travel between the worlds is also seen bol for com-
in Mexico, where the snake was seen as a god that connected Heaven and Earth. The merce and here
snake also features in the story of Inanna, where it upsets her by making a nest amongst again, the em-
the roots of her huluppu tree. This is analogous to the Tree of Life and the biblical story phasis is on a
of the Garden of Eden and indeed, serpent imagery can be seen in mythologies from all two-way ex-
around the world. change.
There is a Greek myth pertaining to the origins of the caduceus, concerning Tiresias, a
prophet of Thebes. It was said that he came upon a pair of snakes copulating and he
prudishly struck them. Hera, queen of the gods of Olympus, punished him by turning
him into a woman in an attempt, it seems, for him to open his eyes to the dualistic nature
and polar dance that is endemic throughout most of nature. The caduceus was also seen
as an ancient symbol for commerce and here again, the emphasis is on a two-way ex-
change.
Nowadays, the caduceus is most commonly associated with Hermes, the ‘messenger of
the Gods’ and his Roman equivalent Mercury, both of whom are later variations of Thoth.
They also relate to the Hermit tarot card and most decks will show the Hermit with a staff
and lantern of knowledge. In the original Golden Dawn a simple staff was used, though
this was later fittingly replaced by the caduceus by the Stella Matutina’s Bristol temple.
The Hermit is the questing Fool, who has made significant progress on his spiritual jour-
ney. No longer are the hounds of materialism snapping at his heels. This is why the
Keryx makes such a good guide for the candidate in the elemental grades, for the Keryx
hears the whispers of their own path, on the journey lying before the candidate.

(continued)
On the Tree of Life, the 20th path leading from Tiphareth to Chesed
is ascribed to the Hermit. It is balanced by the 22nd Path leading
from Tiphareth to Geburah. Associated with Justice, this card has a
connection with the Hegemon in a Golden Dawn temple, who also
acts as a guide for the candidate in some sections of the grades. It is
very fitting, then, that the Hegemon and Keryx are both linked to
Tiphareth and help to facilitate the candidate’s access to their own
personal Tiphareth consciousness, their own Higher Self.
The Keryx is not, however, as harmless as the Hermit outwardly ap-

pears. The Keryx is ‘cruel to be kind’, for having gained admission to
the candidate, the Keryx must now test the worthiness and suitabil-
ity of the candidate to receive access to their own divine wisdom.
Unpurified and unconsecrated, the candidate cannot advance. It is
their own Higher Self, acting through the Keryx, that is challenging them, beseeching
them with a firm blow of the caduceus to their chest, to look into their own hearts. This
enables the candidate to see into the darkness of their own soul. Thus our own Higher
Self, acting through the Keryx, becomes our first initiator. We initiate ourselves through
the choices we make. It is ourselves that are solely responsible for our starting, progress-
ing, and finishing any spiritual path. The prompting of our own Higher Self drives us past
the spiritual gates and into the temple. It’s all a veritable ‘Never-Ending Story’(1).
In the subsequent grade of Zelator, it is the great archangels Samael (Hiereus) and Meta-
The Keryx is tron (Hegemon) who challenge the advance of the candidate. The Keryx, as Anubis, acts
'cruel to be kind' on the behalf of the candidate, leading him or her toward their stations and then pulling
and must now the candidate back when their way is barred. The only path open to the candidate is the
test the
middle path, which leads to Sandalphon (Hierophant), archangel of Malkuth, who strides
forwards and with an upward glance of his sceptre, removes the sceptre and sword of
worthiness and
the Hegemon and Hiereus that are blocking the candidate’s way.
suitability of the
candidate to In the Theoricus grade, the active roles of the Hegemon and Keryx are balanced, with
receive access to both acting equally as a guide to, and the voice of, the candidate. When the title of the
their own divine 32nd path is about to be given, it is the Keryx who steps forward and stands on the candi-
wisdom. date’s left-hand side, taking his or her hand. The candidate’s Higher Self and inner guide
is now symbolically connected to the candidate, with the Keryx visualising the transfer.
Having left Malkuth and the 1=10, behind the Candidate is now ‘between the worlds’
aspiring to Tiphareth-consciousness and the emphasis on the Keryx carrying this connec-
tion on his behalf, as seen in the earlier grades, is now reduced. So much so, that the
Keryx has no role at all to play in the next two grades, that of the 3=8 and 4=7.
As has been shown, the Keryx is a vital part of the lower elemental grades. This officer
also has the most physically active and perhaps challenging role in the temple, for it can
easily get confusing when trying to move about in symbolically meaningful ways involv-
ing circles, spirals, hexagrams and various other geometric shapes! However, this is all
rewarded when one discovers that the Keryx also gets to go last in the Mystic Repast,
which usually means that they get the most to drink! Perhaps this is why in mythology,
Hermes helped with the birth of Dionysus, for being a Messenger to the Gods is indeed
thirsty work.
Copyright © 2007 Melissa Seims
(1)
I am referring to the movie. For those who have not seen it, there is a scene where
the ‘hero’ has to pass through a series of gates guarded by sphinxes. Only if his
heart is pure and his intentions are honourable, does he escape their wrath.
Understanding the Sphere of Sensation

by Samuel Robinson
‘He whose face gives no Light, shall never become a star.’ William Blake.
Here we shall examine the Sphere of Sensation because of its principle importance in ob-
taining visionary experiences with the Guardian Angel. The subject of the Sphere of Sen-
sation is unusual in itself and remains obscure to the majority of Golden Dawn students,
yet my opinion is that it must be understood as the fundamental theory upon which all
successful magic rests. Every inch of Golden Dawn methodology travels through it. It is
here that the spiritual progression of the Golden Dawn student is found, because in it
Mathers explains the Golden Dawn conception of our spiritual makeup. The pitfall main-
stream magic provides us with is that magical methods are given without knowing the
journey. This journey is a human one. The Sphere of Sensation is the joining point be-
tween human being and the Tree of Life.
In this short paper it is impossible to provide any great exposition on the concept without
it falling short of being complete. However, so far too little has been said of the human
side of our kabalistic expansion. It is through this line of progression that the student’s
growth becomes an exact science, because what is found in it are the landmarks of pro-
gression. Our evolution is one of expansion of consciousness. It begins from the seed of
our physical senses and expands outwards with the Rays of the Ruach. These rays are
our ability to penetrate into the universe, both to perceive and to have influence through-
out the levels of consciousness that exist within our Sphere of Sensation.
Every tradition of esoteric cosmology throughout history draws correspondences be- Our evolution is
tween man and the heavens. Mathers calls his Sphere of Sensation document the ‘Man – one of expan-
Microcosm’ document in order to show the Golden Dawn conception of how man is a sion of con-
little universe, a reflection of all the universe and heavens around us. Paracelsus writes sciousness. It
‘Just as the sun shines through a glass, as though divested of body and substance, so the begins from the
stars penetrate one another in the body… for the sun and the moon and all planets, as seed of our
well as the stars and the whole chaos are in man… the body attracts heaven and this physical senses
takes place in accordance with the great divine order. In him there lies the ‘young
and expands
heaven,’ that is to say all the planets are part of man’s structure and they are the children
outwards with
of the ‘great heaven’ which is their father. For man was created from heaven and earth
and is therefore like them! No brain can fully encompass the extent of man’s virtues, he the Rays of the
can be understood only as an image of the macrocosm, of the Great Creature. For what Ruach.
is outside is also inside. The outer and the inner are one thing, one constellation, one
influence, one concordance, one duration… one fruit.’(1)
The problem of Mathers’ document, however, is that he draws severally upon traditional
concepts found in sources such as Agrippa, Paracelsus or in standard Hermeticism and
the traditional sources are not always clear. The above example shows that many teach-
ers taught and made clear that there was a relationship between man and the macro-
cosm. Beyond this the details become blurred. Some traditions reveal a zodiac man. In
this model the head begins with Aries so that the zodiac signs form relationships to our
constitutions traveling down the body. Another model yet demonstrates how the body
may fit neatly upon the Tree of Life structure. Seemingly separate, Mathers’ answer is to
reconcile all teachings in his model of the Sphere of Sensation. It should be noted that
modern critics of Golden Dawn are left baffled and content to argue that Mathers breaks
from traditional Western magical ideas.
(1) Paracelsus’ pg. 21, Jacobi.


(continued)
In this argument the Golden Dawn suddenly seems to give birth to a new form of magic
that is somehow overly complex as compared to the older traditions of ceremonial magic.
The traditions to which they refer are those of Dee, Agrippa and all the grimoires that
today represent pre-Golden Dawn magic. My personal opinion, which I hope to demon-
strate here, is that Mathers, however, has indeed drawn upon traditional sources and
simply brought them together in one document.
The first reference to the concept under the term ‘Sphere of Sensation’ comes from Hon.
Job Durfee in his work ‘Panidea’ published in 1846. He writes “Now, in the constitution
of souls, thus true to all things, there is a trinity of degrees or spheres – variously named, it
is true; and about their names there may be some disagreement but every body knows
what I mean when, in logical order, I call the most external sphere, the Sphere of Sensa-
tion; the sphere next within, the sphere of the understanding, or reflective reason,
wherein the conscious Me exerts, internally, its free activity; and the third and central
sphere, the sphere of the spontaneous Reason, or all-pervading Logos – by others called
intuition, instinct, law etc. In the sensitive sphere, the conscious Me perceives the forms
or objects of the material universe, merely as objects or forms. In the sphere of the under-
standing, it apperceives their images -- ideal images, which subsist even in the absence of
the sensuous object. These images and those things which they represent, are, in this
sphere, understood to be effects or sequences of something which logically precedes
them as their cause. Whilst from the third or central sphere, the spontaneous Reason,
pervading all, is ever tending to reveal and subject to the forms of the understanding, the
cause or antecedent.” Here it seems Mathers has understood the practicality of the con-
Golden Dawn cept and simply explained the same through the Kabalistic ideal. The oldest reference,
cosmology however, comes from a Gnostic scripture called ‘the Exegeis of the Soul’, which explains
states that sur- the Womb of the Soul saying ‘As long as the soul keeps running about everywhere copu-
rounding man is
lating with whomever she meets and defiling herself, she exists suffering her just deserts.
But when she perceives the straits she is in and weeps before the father and repents,
a Sphere of Sen-
then the father will have mercy on her and he will make her womb turn from the exter-
sation, other-
nal domain and will turn it again inward, so that the soul will regain her proper character.
wise a spherical For it is not as with a woman. For the womb of the body is inside the body like the other
aura which is internal organs, but the Womb of the Soul is around the outside like the male genitalia
also a map of which is external."(2)
the universe.
The Structure of the Sphere of Sensation

The first of these concepts is the notion of the Sphere itself. Golden Dawn cosmology
states that surrounding man is a Sphere of Sensation, otherwise a spherical aura which is
also a map of the universe. Instead of having a flat and vertical Tree of Life, as is usually
depicted in Kabbalah, Mathers’ version provides a spherical Tree of Life. Imagine a ball
surrounding the body, an invisible ball upon which are templated the model of the Tree
of Life, with all of its paths and spheres included. This seems a significant change from
the standard model, however Mathers is conveying a complete universe in which man is
the center. Mathers writes ‘Thou shalt know that the whole Sphere of Sensation which
surroundeth the whole physical body of a man is called the Magical Mirror of the Uni-
verse. For therein are represented all the occult forces of the Universe projected as on
sphere, convex to the outer, but concave to man.’(3) We also find that before Creation, or
the ‘Berashith’ of traditional Kabbalah, there were certain movements within the Ain
Soph.
(2) Naghamadi Library.

(3) Man – Microcosm document of the GD.

(continued)
The first of these movements is called the contraction, or in Hebrew the ‘Tzimtzum.’ This
contraction took place in a spherical or circular manner. Since Man is a Microcosm of the
realms above and about him; he/she too requires a space into which his creation may
exist. (Here the Kabbalah only states that it was done in a spherical form in order to illus-
trate concepts to the student. It makes analogies for matters which are in reality beyond
form.) In the Lurianic teachings of Rabbi Chayim Vital we find:
“Behold He then Restricted Himself, in the Middle Point of His Self, precisely
in This Middle, He Restricted the Light.
The Light Withdrew around Centre, and There Remained an Empty Space,
An Atmosphere, a Vacuum Surrounding the Exact Middle Point.
And the Vacuum was Circular and in Complete Balance and Sameness All
Around. It was not in the shape of a cube, with its straight angles.
The Endless withdrew its Light in a Circular Form, Equal on All sides as The
Endless Light Itself is Equal; It Must Contract Itself in Omniparity on All Sides.
A Sphere or Circle is the most balanced and uniform of all figures. This is not
true of the cube, the Triangle or any other form that might be considered.
Therefore, the Endless found it necessary for the Middle Point to be re- In Golden Dawn
stricted in the form of a Circle. (4)" teachings, the
sphere and circle is
Also in the Upanishads the universe was represented as an Egg: ‘In Khandogya Upani- … the geometric
shad the sage describes the World Egg thus: “in that egg, Oh Brahman, were the conti- shape representing
nents, the seas and mountains, the planets and divisions of the universe, the gods, de- Kether. Here its
mons, and mankind.” (5) In Golden Dawn teachings, the sphere and circle is further the concave inside
geometric shape representing Kether. Here its concave inside focalizes the influx of astro- focalizes the influx
of astrological
logical influence upon a central point which is our Tiphareth center in the body.. Paracel-
influence upon a
sus writes ‘the whole world surrounds man as a circle surrounds one point. From this it
central point
follows that all things are related to this one point, no differently from an apple seed which is our Tipha-
which is surrounded and preserved by the fruit, and which draws its sustenance from it… reth center in the
Similarly, man is a seed and the world his apple, and just as the seed fares in the apple, so body.
does man fare in the world, which surrounds him… Each thing has its own origin, partly
in the eternal, and partly in the temporal. And wisdom, whether it be heavenly or
earthly, can be achieved only through the attractive force of the center and the circle.’ (6)
It is also significant that man was ‘created in the image of the Elohim’ should reflect his
divine makeup. Also according to Bryant, ‘the Persians relate that when Ormuzd formed
mankind, he enclosed them or concealed them in an egg.’ (7) The founder of the Chabad
Hasidism Qabalistic school of thought, Rabbi Schneur Zalman of Liady, also effectively
points out that ‘Nature’ is equal to that of ‘Elohim.’ (8)
(4) Special thanks to Olen for these Kabbalah notes!

(5) Pg. 115, ‘Man, Grand Symbol of the Mysteries.’ Manly Palmer Hall, Philosophical Research
Society.
(6) Paracelsus’ by Jacobi pg. 38
(7) Pg. 112, ‘Man, Grand Symbol of the Mysteries.’ By Manly Palmer Hall, Philosophical Research
Society. .
(8) Nature=Hatevah.

(continued)
However, most revealing of all is how Paracelsus describes the universe. He indicates
“the yolk of an egg rests in the albumen without sinking to the bottom of the shell. The
yolk represents the Earth, and the white represents the invisible surroundings of the
Earth, and the invisible part acts upon the visible one, but only the Philosopher perceives
the way in which the action takes place.” (9) Manly Palmer Hall also notes upon this that
‘when Paracelsus declares the invisible to act upon the visible, he infers the albumenous
part of the egg to represent invisible super-physical planes of Nature, from which, un-
known to the average person, flows the life by which the mortal fabric is sustained.’ (10)
Thus, according to many sources, both the universe and man are enclosed within a
Sphere. Jung called it the Mundus Minor or ‘Little World’ around a man. (11)
Below are the Golden Dawn diagrams revealing the Sphere of Sensation. In it there are
five pillars in total. Two Pillars of Severity and two Pillars of Mercy, while the Pillar of Mild-
ness has four Yesods, four Tiphareths, and four Daaths. In the model there are two Gebu-
rahs and two Cheseds because of the four pillars, two of severity and two of mercy. Ke-
ther is the topmost point, while Malkuth is at the bottom. Around the Kabalistic model
the signs of the zodiac are also found, making the system a combination of both schools
of thought; the Zodiac Man and the Man upon the Tree of Life. Traditionally their idea
established the correspondence between our bodies and the macrocosm for alchemical
purposes. Specifically for transmutation of ourselves. Thus, it is through this model that
we also face reconciliation between ourselves and the whole. The idea behind the sys-
tem is also similar to Indra’s web from Indian mythology. The myth has it that in each
intersection of Indra’s web is a jewel or a drop of water that is us. The drop is so shiny
Thus, according that it reflects all that is around us to infinity.
to many
sources, both
the universe
and man are
enclosed within
a Sphere. Jung
called it the
Mundus Minor Top half of the Sphere of Sensa-
or ‘Little World’ tion: Kether on top. Closest to
Kether are two Binah and two
around a man.
Chockmah spheres. Outside
this are two Chesed and two
Geburah spheres. Note that
the Tiphareths are on the di-
agonals but are hidden on this
diagram.
(9) Pg. 118, ‘Man, Grand Symbol of the Mysteries.’ By Manly Palmer Hall, Philosophical Research
Society. .
(10) Pg. 118, Ibid
(11) Mysterium Conjuntionis, pg. 386.

(continued)
Bottom half of the Sphere of Sen-

sation: Four Yesods on the diago-
nals. Two Netzachs and two Hod
spheres. Note that the Hod
spheres are opposite one another,
as are the Netzachs.
The Golden Dawn rendition of the Sphere of Sensation at first seems quite advanced.
However, in a nutshell, the concept is that the aura has impressed upon it a map of the
universe encompassing the Tree of Life. Manly Palmer Hall also relates ‘the auric egg of
Agrippa ... states
man is so complex in its structure that all the description which applies to the universal
that there are
system is equally applicable to the human auric envelope. Within man’s aura are the divine characters
zones and belts; the stars, the planets, and the elements; the gods, the angels, and the written upon man
demons. Man is a universe and at his present state of development, his physical personal- ‘somewhere’
ity is a golden embryo suspended within the brilliant shell of his auric sheaths. As the around the body
Rosicrucian would say, he is in a proper womb of quickening, preparing himself to come which are astro-
gloriously forth with all the radiance and beauty of the Orphic Planes.’ (12) logical in nature
and ... clearly re-
lates his concept
Agrippa on the Sphere of Sensation to the Tree of Life
Agrippa also states that there are divine characters written upon man ‘somewhere’ like the Golden
around the body which are astrological in nature and yet he clearly relates his concept to Dawn aura.
the Tree of Life like the Golden Dawn aura. In his Three Books of Occult Philosophy
Chapter XL is named “That on every man a divine character is imprinted, by the virtue of
which man can attain the working of miracles” where we read:
“By no small experience it is found that a certain power of ruling and pre-
dominating is implanted in man by nature; for (Pliny testifies) that an ele-
phant, meeting a man wandering in a desert, is reported to shew himself
gentle and courteous, and to shew the way to him: and the same creature
also is said, before he seeth man, to tremble, to stand still, to look about, to
quake at the steps of man, for fear of treachery: in like manner the tiger, the
most fierce of all beasts, at the sight of man doth remove her young ones;
and more of this kind we read in divers authors, who have writ great vol-
umes of creatures; but from whence do these animals know that man is to
be feared, whom they never saw: and if they have seen and known, why do
they fear him, seeing they do excel him in greatness, force and swiftness?
What is this nature of man, striking this terror on wild beasts?
(12) Pg. 123, Man, Grand Symbol of the Mysteries, Manly Palmer Hall.

(continued)
All the historiographers of animals do find out and grant this, but have left
to others to teach and prove it. Concerning this, therefore, Apollonius
Tyaneus (as we read in Philostratus), seeing a child leading a huge elephant,
answered Damus who asked him whence came that obedience of so huge
a creature to the little child: That it was from a certain active terror, im-
planted in man by his creator, which inferior creatures and all animals per-
ceiving do fear and reverence man, which is, as it were, a terrifying Charac-
ter, and a seal of God imprinted on man, by the which every thing is subject
to him, and acknowledges him superior, whether it be servant or animal.
For otherwise neither could a child rule his herd and elephants, neither
could a King terrify his people, nor the Judge the guilty. Therefore this Char-
acter is imprinted on man from the divine Idea which the Cabalists of the
Hebrew call Pahad ãäô and the left hand, or sword, of God: furthermore,
man hath not only a seal by which he is feared, but also by the which he is
beloved, the Idea of which in the divine numerations is called Hesed ãñä
which signifies Clemency, & the right hand and Scepter of God: from these
divine numerations, by the intelligences and Stars, Seals and Characters are
imprinted on us to every one according to his capacity and purity: which
signs the first man created, without doubt did possess in all integrity and
fullness, when all creatures being attracted by secret gentleness, and sub-
jected by terror, came to him as to their lord, that he might give them
names: but after the sin of prevarication he fell from that dignity with all his
The Sphere of posterity; yet that Character is not all together extinct in us. But by how
Sensation is im- much every one is laden with sin, by so much he is farther off from these
printed upon us divine Characters and receives less of them; and whence he ought to receive
by Divine Idea, friendship and reverence, he falleth into the slavery and terror of others,
i.e. conception both of animals and also men and devils: which Cain perceiving feared, say-
of God. It is in- ing to God, every one who findeth me, will kill me; for he feared beasts and
tended to pro-
devils, not only men, who were very few; but in the old times, many men
vide a human
being with cer- who lived innocently, a very good life, as yet did enjoy that obedience and
tain powers power, as Samson, David and Daniel over the Lions, Elisha over the Bear,
through the Paul over the Viper; and many Anchorites lived in the deserts, in caves and
elements and dens of wild beasts, not fearing, nor receiving any hurt; for as by sin that di-
over spirits and vine Character is obscured, so sin being purged and expiated, it again more
demons and more shineth forth.’ (13)
Thus we find several observations from Agrippa which demonstrate important points:
1. The first is that Agrippa simply calls the Sphere of Sensation the
‘Character.’ (14)
2. According to Agrippa this Character is ‘Cabalistic.’
3. The Sphere of Sensation is imprinted upon us by Divine Idea, i.e. conception
of God.
4. The Sphere of Sensation is a ‘terrifying seal of God,’ or in modern day terms
is intended to provide a human being with certain powers through the ele-
ments and over spirits and demons.
(13) Book III Ceremonial Magic, Agrippa, Three Books of Occult Philosophy.
(14) Paracelsus also writes ‘Man is the child of two fathers, one father is the earth, the other is
heaven… from the earth he receives the material body, from heaven his character. Thus the
earth moulds his shape, and then heaven endows this shape with the Light of Nature.’ Pg. 18
Paracelsus, Jacobi.

(continued)
5. It is supposed to distribute to us the virtues of the stars, planets and heavens.

6. We have spiritually weakened and our Spheres are decreased in power.
7. However, we receive these virtues and forces to the capacity of our own
purity. And
8. thus the Rays of the Ruach may increase the power of the Sphere of Sensa-
tion and its powers may be regenerated.
Astrology and the Sphere of Sensation

The Man Micro document by Mathers also states ‘This sphere suroundeth the physical
body of a man as the Celestial Heavens do the body of a Star or a Planet, having their
forces mirrored in its atmosphere. Therefore its allotment or organization is the copy of
that Greater World or Macrocosm.’ That is to say ‘at the time of birth’ according to Math-
ers. This quote also gives much meaning to the words of Crowley ‘every man and
woman is a star.’ What the Golden Dawn teachings made clear was that all of us have a
different Sphere of Sensation. Our Spheres still contain the same Tree of Life and constel-
lation information. However, the change occurs where each of us is facing a different
direction in the Sphere of Sensation. Here its position around us is rotated according to
the astrological influences, our natal chart, that turns our Sphere to face in an individual
direction. Here Mathers’ system is genius because it takes into account the fact that we
are all different and unique beings. Paracelsus also writes 'For if the same heaven were
in all of us, all men would be equally sick, and equally healthy. But this is not so, the What the
unity of the Great Heavens is split into our diversities by the various moments at which Golden Dawn
we are born. As soon as a child is conceived, it receives its own heaven.' Which again teachings made
proves that Mathers’ ideas were nothing new and entirely rooted in the traditional. clear was that all
of us have a dif-
Here we are not going to explain in any detail how to find out about your individual
ferent Sphere of
Sphere of Sensation. This would require us to go into great detail about Golden Dawn
astrology. What concerns us here is utilizing the Sphere of Sensation as a practical win- Sensation. Our
dow to higher worlds and how we can use it as a magical skrying device. What this brief Spheres still con-
consideration to the concept means is that the Sphere of Sensation is our reference point tain the same
to the macrocosm. By this we mean that universal energies are being translated to our Tree of Life and
own comprehension through this window. It is as though the singular, unique arrange- constellation
ment of each person’s sphere – their own heaven, or snapshot of the universe at their information.
instant of incarnation, is then the mode of address for all future workings. In much the
same way that anyone has a given outlook on life derived from their upbringing and
childhood experiences, so too our Sphere of Sensation is our own peculiar ‘outlook’ upon
the universe and into Godhead. In a very real way it is the frame of reference through
which we grow when attempting to align ourselves with greater macrocosmic forces.
Mathers also writes in ‘Task to be Undertaken by the Adeptus Minor’ that ‘This, therefore,
is the magical manner of operation of the Initiate when skrying in the spirit vision. Select-
ing not many, but one symbol, and that balanced and with its correlatives, then sending
he a thought-ray from his Spiritual Consciousness, illuminated by his Higher Will, directly
unto the part of his Sphere of Sensation which is consonant with the symbol employed.
There, as in a mirror, doth he perceive its properties as reflected from the Macrocosmos,
shining forth into the Infinite Abyss of the Heavens. Thence can he follow the ray of re-
flection therefrom, and while concentrating his united consciousness at that point of his
Sphere of Sensation, can receive the direct reflection of the ray from the Macrocosmos.
Thus receiving the direct ray as then reflected into his Thought, he can unite himself with
the Ray of this Thought so as to make one continuous ray from the corresponding point
of the Macrocosmos unto the center of his consciousness.’ Here what he is saying is that

(continued)
universal energies are translated for our own comprehension and alignment through
their being focused into our Sphere, and in the like sense our own energies and workings
are also translated, so to speak, to the universal.
The astrological side of the Sphere of Sensation is quite complex, in fact too complex to
cover in just one paper and very few comprehend the amount of knowledge Mathers
imbedded within his ‘On the Tree of Life Projected in a Sphere’ document. Its Tarot appli-
cations are VAST! Our own natal astrology describes the way we stand within our own
unique Sphere of Sensation. Our astrology creates our own atmospheric picture. The
universe is ever changing, hence no two people have an identical Sphere of Sensation.
This is perhaps the origin of different ‘points’ of view! Thus, it is important to perform the
work we attempt within our Sphere of Sensation. Whatever we bring into our own
Sphere is naturally expressed directly back into the macrocosm itself – and more impor-
tantly, any Light we bring or energy we share, through its reflection into the macrocosm,
is also therefore directly affecting the Sphere of Sensation of every other living being. The
Sphere of Sensation is the subtle medium for the transition of forces into our own
Nephesh. When such forces are experienced within the Sphere of Sensation, the very
cells in our bodies are changed. The Generation of Wonders increases the evolution of
our planetary sphere. Therefore, as we shape our own microcosm, we affect the macro-
cosm. This in turn is reflected through the reactions of each Sphere of Sensation, which is
translated into experiences and changes for other individuals.
Whatever we bring This also supports the reason as to why we should strive for the theurgical path rather
into our own Sphere than dabbling in the many varied magical forms. The astrological concept also explains
is naturally ex- why it is so impossible to find ‘one true authority’ in the occult world. Most students go
pressed directly back
through several years of joining groups, buying untold books, testing things out, until
into the macrocosm
– and more impor-
finding that nobody really has the answers. We can waste lifetimes trying to find the ex-
tantly, any Light we act "right" way to do things, or searching for the one teacher who can give us the simple
bring or energy we "true" instructions. What every student must do is learn and understand the workings,
share, through its followed by finding out how they best work for YOU. This, then, is what is meant by
reflection into the
working within your Sphere of Sensation. You learn the work, absorb the lessons, assimi-
macrocosm, ialso
therefore directly
late the tools – but then must use these and, through experience and experience alone,
affects the Sphere of you understand how they relate to your own Sphere. Consider, for example, if you wore
Sensation of every glasses. If you wore someone else's glasses, the world looks strange – the light that hits
other living being. your eyes is mistranslated into a shape that your physical eyes are not able to properly
assimilate. This affects the information accepted into your brain, and hence the actions
you take upon that basis. The same occurs if someone else wears your glasses— because
THEY WERE MADE FOR YOU. Optical prescriptions are not quite so unique as your
Sphere of Sensation. The analogy suggests that if you merely learn your spiritual work
from others and never truly bring it into your own heart to be expressed your own way,
then the energies you are sending out are misshapen. They are geared for someone
else's Sphere, hence, when translated to the macrocosm, are not a true expression of
your spiritual intent, your own Great Work. Do NOT base your own magical outlook on
that of someone else – some published authority or guru. You must express your inner
soul in the way you are meant to. It cannot be converted through someone else’s point
of view. Certainly, at first you study and must learn from those who have experienced
the path themselves. You must, however, not only listen, but bring what you are learning
into yourself, your own Sphere – to genuinely see how they will work for you. In this way
you discover the guidance of your Holy Guardian Angel, and further its teachings which
are intended only for YOU to move forward in this work.

(continued)
Rays and the Ruach

Within the structure of the Sphere of Sensation, the Golden Dawn also provided a series
of terms that could explain our spiritual development. One of the most important of
these, and so far never discussed, is the ‘Rays of the Ruach.’ (15) The term ‘ruach’ means
‘breath’ and represents our human consciousness. It is our ability to think and compre-
hend. It signifies our thoughts before they take action trough the Nephesch and body.
On the Tree of Life the sephiroth from Chesed to Hod make up the total of the ruach. In
terms of consciousness, our ruach is rarely in a state of perfection. We often have mixed
feelings and consider many options in life. All of our ideas are processed in the ruach.
When we cannot decide or have mixed feelings about anything, it fails to send a true
command into the Nephesch. This is why we often fail to take action in life.
However, the Tree of Life represents a perfect pattern of consciousness. It is a map of

harmony and in the ruach our perfection is symbolized by the Star of David around Ti-
phareth. The progression of the ruach is also symbolized by the Rose upon the Rose
Cross Lamen. The question then begs why ‘Rays of the Ruach’ and not just ‘Ruach.’ Here
Mathers is providing a measuring stick to mark our spiritual progression. The Sphere of
Sensation is not an idle rigid model but a courtyard in which we may flower. The con-
cept of Rays signifies increase of our personal illumination. It also embodies the projec-
tion and expansion of our consciousness beyond ordinary bounds. Mathers writes ‘the
Rays of Ruach, which do not ordinarily proceed beyond the limits of the physical body.
That is to say, in the ordinary man the Rays of Ruach rarely penetrate into the sphere of
Sensation.’ Ordinarily, our rays of consciousness are limited to experiencing our physical Ordinarily, our rays
world through our five senses. Our touch, sight, feeling, smell and hearing mark the first of consciousness are
boundary. But the initiate who looks beyond the world of Malkuth soon uncovers higher limited to experienc-
ing our physical
levels and makes divine contact. It is our expansion of consciousness, through meditation
world through our
and ritual work, that extends these rays beyond normal experience. five senses, which
mark the first
The Sphere of Sensation according to Mathers is the domain of expansion for these Rays. boundary. ... It is our
He writes ‘the space between the physical body and the boundary of the Sphere of Sen- expansion of con-
sation is occupied by the ether of the astral world; that is to say, the container or recipient sciousness, through
meditation and
of the Astral Rays of the Macrocosm.’ Thus, as our consciousness expands through the
ritual work, that
Sphere of Sensation, the further we experience the macrocosmic worlds. However, ac- extends these rays
cording to Mathers, the Rays of the Ruach can only expand through the illumination of beyond normal
yet even higher Rays, which shine down from above. He also says ‘Shining through infi- experience.
nite worlds, and darting its rays through the confines of space, in this Sphere of Sensation
is a faculty placed even as a light is placed in an aperture of the upper part of the Ruach,
wherein act the rays from Chokmah and Binah which govern the reason, Daath. This
faculty can be thrown downwards into the Ruach, and thence can radiate into the
Nephesch. It consists of seven manifestations, answering to the Hexagram, and is like the
Soul of Microprosopus or the Elohim of the Human YHVH.’ (16) He is talking about the
restoration of the virtues, and further a harmonious consciousness as represented by the
balanced spheres around Tiphareth. The Tree of Life is a perfect pattern that we can fol-
low and embody. Rosicrucians at one time appropriately called this the Morale Regenera-
tion. (17) We call it the Regeneration of the Ruach.
(15) A term coined by Mathers in the ‘Man Micro’ paper also appearing in other GD manuscripts.
(16) ‘Man Micro’ document
(17) Golden Rosicrucians in the ‘Thesaurus Theasaurum’ and repeated by Cagliostro in his Arcana
Arcanorum.

(continued)
The Golden Dawn made it quite clear as to the process of personal illumination in the
‘Purification of the Soul’ – ‘Man Microcosm’ and ‘Task to be Undertaken by the Adeptus
Minor’ papers. Yet mainstream Golden Dawn has largely ignored these outlines. An-
other quote from Mathers says ‘then shall it happen that the Higher Will, i.e. the Lower
Genius, shall descend into the Royal Habitation, so that the Higher Will and the Lower
Will shall be as one, and the Higher Genius shall descend into the Kether of the Man,
bringing with him the tremendous illumination of his Angelic Nature. And the Man shall
become what is said of Enoch. “And Chanokh made himself to walk with God, and he
was not, for God took him.” Then also this shalt thou know, that the Nephesch of the
Man shall become as the Genius of the Evil Persona, so that the evil persona itself shall be
as the power of the Divine in the Qlippoth.’ Thus now Mathers has said that the Rays
must shine from the Kether, Chokmah and Binah into the Lower. And that the Ruach
shall receive this Light and further illuminate the Nephesch down below with it.
This is why visualizing the higher light is so important when commencing Golden Dawn
training. We always imagine a higher light before commencing any vibrations. The stu-
dent is becoming accustomed to aspiring to Light and drawing it down from his Higher
Soul, through his Ruach and out through his Nephesch during ritual. I always found that
the Middle Pillar Ritual was perfect grounds for this training. The Light of Kether is formu-
lated and shines onto the Daath. When the student feels he is radiated around his head
and throat with Light, he proceeds to illuminate his Tiphareth with the divine name
YHVH Eloah V’Daath, meaning ‘Lord God of Knowledge’, which also embodies Knowl-
The circulation of edge and Conversation with our Higher Being. This ritual flows through both aspiration
light also serves and feeling and by simply opening yourself to those higher influences. We must learn to
to further purify be receptive to our higher selves. When lastly the Yesod and Malkuth are radiated, the
the Sphere of ritual is complete. If the higher rays are received into the Ruach and thrown down prop-
Sensation. Its erly into the Yesod and Malkuth both our ego and lives shall be changed. The circulation
also good to note of light also serves to further purify the Sphere of Sensation. Its also good to note that
that visualiza- visualizations, such as we are doing with light, are not mere ‘imaginations’ on their own.
tions, such as we Rather visualizations are the language by which our consciousness is able to communi-
are doing with cate with the Higher Soul. Imagining Light around us is a symbolic language to the
light, are not higher, and the higher likewise uses these same symbols to make impressions upon us.
mere This is why the Rays of the Ruach are so important. We cannot initiate the higher Rays
‘imaginations’ on upon us without their consciousness. And the Rays of the Ruach are needed to descend
their own. and throw down the Light into the Lower Will. In other words, illumination is always a
conscious effort.
Agrippa on the Rays of the Ruach

Agrippa explicitly writes of the Light radiating through levels of the soul in chapter XLIII
‘Of the Power of Man’s Soul, in the Mind, Reason and Imagination.’ This chapter ad-
dresses yet further dimensions to the previous chapter on the Character imprinted upon
Man. He writes ‘Man’s soul consisteth of a mind, reason and imagination; the mind illumi-
nates reason, reason floweth into the imagination: all is one soul. Reason unless it be illu-
minated by the mind, is not free from error: but the mind giveth not light to reason,
unless God enlighten, viz. the first light; for the first light is in God very far exceeding all
understanding: wherefore it cannot be called an intelligible light; but this when it is in-
fused into the mind, is made intellectual, and can be understood: then when it is infused
by the mind to the reason, it is made rational, and cannot only be understood but also
considered: then when it is infused by the reason into the phantasy of the soul, it is made
not only cogitable, but also imaginable; yet it is not as yet corporeal; but when from
hence it goeth into the celestial vehicle of the soul; it is first made corporeal, yet not mani-
festly sensible till it hath passed into the elemental body, either simple and aerial, or com-

(continued)
pound, in the which the light is made manifestly visible to the eye; The Chaldaean Phi-
losophers considering this progress of light, declare a certain wonderful power of our
mind: viz. that it may come to pass, that our mind being firmly fixed on God, may be filled
with the divine power (aspiration: Maui); and being so replenished with light, its beams
being diffused through all the media, even to this gross, dark, heavy, mortal body, it may
endow it with abundance of light, and make it like the stars, and equally shining, and also
by the plenty of its beams and lightness lift it on high, as straw lifted up by the flame of
fire, and can presently carry the body as a spirit into remote parts. So we read of Philip in
the Acts of the Apostles, who, baptizing the Eunuch in India, was presently found, in Azo-
tus. The like we read of Habacuc in Daniel: so others going through the doors being
shut, escaped both their keepers and imprisonment; as we read of Peter the Apostle and
of Peter the Exorcist: he may the less wonder at this, who hath seen those famous melan-
cholic men, who walk in their sleep and pass through places even unpassible, and ascend
even unaccessible places, and exercise the works of those that are awake, which they
themselves being awake could not do; of the which things there is no other reason in
nature, then a strong and exalted imagination: but this power is in every man, and it is in
the soul of man from the root of his Creation; but it is varied in diverse men, in strength
and weakness, and is increased and diminished according to his exercise and use, by the
which it is drawn forth from power into act, which thing he that rightly knoweth, can
ascend by his knowledge, even until his imaginative faculty doth transcend and is joined
with the universal power, which Alchindus, Bacon, and Gulielmus Parisiensis do call the
sense of nature; Virgil the etherial sense, and Plato the sense of the vehicle: and his imagi-
nation is made most strong, when that etherial and celestial power is poured out upon it,
There is no doubt
by whose brightness it is comforted, until it apprehend the species, notions and knowl-
but that the
edge of true things, so that that which he thought in his mind, cometh to pass even as he power of the mind
thought, and it obtaineth so great power, that it can plunge, join and insinuate itself into is greater, if at any
the minds of men, and make them certain of his thoughts, and of his will and desire, even time it shall obtain
throw large and remote spaces, as if they perceived a present object by their senses; and its proper nature,
it can in little time do many things, as if they were done without time; yet these things are and being no way
not granted to all, but to those whose imaginative and cogitative power is most strong oppressed by the
and hath arrived to the end of speculation; and he is fitted to apprehend and manifest all allurements of the
things, by the splendour of the universal power, or intelligence and spiritual apprehen- senses, shall perse-
sion which is above him: and this is that necessary power, which everyone ought to fol- vere both uncor-
low and obey, who followeth the truth; if therefore now the power of the imagination is rupted and like
so great, that it can insinuate itself unto whom it pleaseth, being neither hindered nor let itself
by any distance of time or place, and can sometimes draw its heavy body along with it,
whither it imagineth and dreameth: There is no doubt but that the power of the mind is
greater, if at any time it shall obtain its proper nature, and being no way oppressed by the
allurements of the senses, shall persevere both uncorrupted and like itself; but now for
example, that the souls abound with so plentiful Light of the Celestial Stars (Regenerated
Sphere of Sensation) and hence, a very great abundance of light redoundeth into their
bodies; so Moses face did shine, that the children of Israel could not behold him by rea-
son of the brightness of his countenance; thus Socrates was transfigured, as we read, that
in light he overcame the luciferous wheels of the Sun; So Zoroaster being transfigured,
his body was taken up. So Eliah and Enoch ascended to heaven in a certain fiery chariot,
so Paul was rapt up into the third heaven: So our bodies after the judgement of the
world, shall be called glorified, and in like manner be rapt up, and we may say by this
means, shall shine as the Sun and Moon; which thing that it is possible, and hath formerly
been done, Avicebron the Moore, and Avicen the Arabian and Hippocrates of Cous, and
all the school of the Chaldeans do acknowledge and confirm: Moreover it is reported in
Histories, that Alexander the great being circumvented and in great danger in India, did
so burn in mind, that he seemed to the Barbarians to cast forth light; the father of Theo-
doricus also is reported to have cast forth sparks of fire through his whole body; the same

(continued)
thing a wise man also delivered concerning himself, so that sparkling flames did break
forth here and there even with a noise; neither is this power of the soul found in men
only, but sometimes even in beasts, as in the horse of Tiberius, who seemed to send forth
flames out of his mouth. But the mind is above fate in providence, therefore is not af-
fected either with the influences of the heavenly bodies, or the qualities of natural things;
Religion therefore can only cure it; but the sensitiveness of the soul is in fate, above na-
ture, which is in a certain manner the knot of the body and soul, and under fate, above
the body; therefore it is changed by the influences of the heavenly bodies, and affected
by the qualities of natural and corporeal things: now I call the sensitiveness of the soul,
that vivifying and rectifying power of the body, the original of the senses; the soul it self
doth manifest in this body its sensitive powers and perceiveth corporeal things by the
body, and locally moveth the body, and governeth it in his place, and nourisheth it in a
body. In this sensitiveness two most principal powers predominate; viz. one which is
called the Phantasy, or imaginative or cogitative faculty, of whose power we have al-
ready spoken, where we have handled the passions of the soul: the other which is called
the sense of nature..’
Rays and the Nephesch

Now we come to discuss the true magical body that generates power in the Sphere of
Sensation. The Nephesch usually describes the invisible body of ourselves, closest to the
physical, after which the physical body is formed. The physical body duplicates the
The Nephesch Nephesch in form and the Nephesch provides the body with its vitality. It is the Keeper of
usually describes Life and means of transfusing life into the body. Blood is the direct vehicle of the
the invisible body Nephesch and conduit fluid of transfusing its energy throughout the body. In the
of ourselves, clos-
scheme of the Sphere of Sensation we know that the Rays of the Ruach are regenerated
est to the physical,
after which the
through obtaining a true Tiphareth consciousness. This centre of being embodies the
physical body is
glorified perfected human being. In the Golden Dawn these Rays are represented by the
formed. The physi- Vault of C.R.C as a symbol of what is to occur within the Adeptus Minor. The macrocos-
cal body duplicates mic powers are now transfused through the central Adept. He is not in slumber or dead,
the Nephesch in but dwells in a higher state of consciousness ready to be reborn. C.R.C here represents
form and the the ultimate potential of regeneration. However here the candidate is not dramatically
Nephesch provides resurrected from the coffin as in other rituals. He is left to resurrect himself from a state of
the body with its obtaining higher knowledge. He must bring himself to life, as a living example of Light.
vitality. According to Mathers, this Light from the illuminated Ruach then radiates into the lower
Nephesch. Agrippa supports this idea by saying that once we again obtain virtue ‘it
again more and more shineth forth’ into the Sphere of Sensation.(18) The Nepesch is of-
ten related to automatic consciousness and our animal-like primal instincts. The effect of
the Rays of the Ruach is that of a shinning orb illuminating a dark cave, as with the sym-
bolic Ever Burning Lamp inside the Vault of Christian Rosenkreutz. Here in the Vault an
important transformation has occurred. The candidate has witnessed three major dia-
grams throughout the initiation rituals. The first was the ‘Tree of Life Before the Fall’ dia-
gram representing the original Light of Man. The second was the ‘Tree of Life After the
Fall’ diagram. In this particular version, the serpents from the pits below have climbed up
and overtaken the man. Their heads represent the penetration of evil in our natures. The
Vault of the Adepti contains the last important diagrams. Seven lamps light up the coffin
of master C.R.C. The serpent dragon is repressed once again, this time upon the floor, so
that the initiate now stands upon them, trampling them beneath his feet.
(18) Book III Ceremonial Magic, Agrippa, Three Books of Occult Philosophy. ‘that on man is a Di-
vine Character imprinted.’ See above Agrippa quote.

(continued)
These images are used to describe the transmutation of the Nephesch by the Rays of the
Ruach. It shows the Light of the Tiphareth consciousness purifying the Nephesch.
Mathers makes it clear that the Rays of the Ruach must contend and drive out the ‘Rays of
the Coils of the Stooping Dragon. (19)’ This term in fact comes from his ‘Qlippoth’ paper
given to Philosophus grade initiates. The Rays of the Coils of the Stooping Dragon are
simply adverse actions and emotions that sometimes creep into our consciousness. Math-
ers calls these rays the ‘distortion and perversion of the Sephiroth’ and then classifies
them in his Qlippoth paper by saying ‘eleven are their classes, yet ten are they called;
seven are the heads and yet an eighth head arises. Seven are the Infernal Palaces, yet do
they include ten. (20)’ He makes it clear in his ‘task to be undertaken by the Adeptus Mi-
nor’ when he says that we must ‘expel from the Sephiroth of the Nephesch the usurpa-
tion by the evil Sephiroth; to balance the action of the Sephiroth of the Ruach in those of
the Nephesch.’ He is describing the Nephesch as the middle-ground for the contending
forces of both good and evil. In other words, the Rays of the Coils of the Stooping
Dragon are driven out by the Rays of the Ruach. In some individuals the Rays of the
Dragon will overcome their Nephesch bringing an end to their spiritual existence. On
the other hand, the Nephesch may become immortalized, which is the goal of every al-
chemist, the creation of a New Body of Light. Further, Mathers adds that we must
‘prevent the Lower Will and Human Consciousness from falling into and usurping the
place of the Automatic Consciousness. To render the King of the Body, the Lower Will,
obedient to and anxious to execute the commands of the Higher Will.’ Originally this
was shown in the Golden Dawn grade diagrams described. Strangely, no other publica- The Nephesch is
tion or author has pointed out these relationships between the diagrams and Mathers’ the middle-
Sphere of Sensation, but Mathers did make it clear throughout his Golden Dawn papers. ground for the
contending
forces of both
Seven Palaces of the Nephesch good and evil. In
The Nephesch is the most important aspect of study. Here it is crucial to note that the other words, the
Sphere of Sensation does not diverge from the standard model of Kabalistic Souls. In fact, Rays of the Coils
Mathers makes it quite clear that the Neschamah is still located around the head. The of the Stooping
Ruach to the torso. The Nephesch to the groin region. All that he has done is simply ex- Dragon are
tend the idea of the Nephesch into a more practical ideology. He says ‘The Nephesch is driven out by the
the subtle body of refined astral Light upon which, as on an invisible pattern, the physical Rays of the
body is extended. The physical body is permeated throughout by rays of the Ruach, of Ruach.
which it is the material completion.’ Here his notion is quite standard. But next he says
‘The Nephesch shineth through the Material body and formeth the Magical Mirror or
Sphere of Sensation.’ In other words, an internal-external view of our spiritual makeup is
now given. The Higher Soul and consciousness are internal components but now, ac-
cording to Mathers, also radiate externally outside the body through the vehicle of the
Nephesch. He is extending the Nephesch beyond the physical body, into a sphere draw-
ing together the concept of both an external Aura and internal Spirit.
(19) ‘Rays of the Coils of the Stooping Dragon’ comes from the Philosophus ‘Qlippoth’ paper
where we read ‘These be they who are Unclean and Evil, even the Distortion and Perversion
of the Sephiroth; the fallen restriction of the Universe; the Rays of the Coils of the Stooping
Dragon. Eleven are their classes, yet Ten are they called; seven are the heads and yet an
eighth head arises. Seven are the Infernal Palaces, yet do they include Ten’
(20) Philosophus ‘Qlippoth’ paper.

(continued)
Next, he goes on to draw more attention to his added dimension; ‘this Magical Mirror or
Sphere of Sensation is an imitation or copy of the Sphere of the Universe. The space be-
tween the physical body and the boundary of the sphere of Sensation is occupied by the
ether of the astral world.’ (21) This last sentence is quite important. In it are explained all
the mechanisms behind practical magic. It is the region that transfers our magical intent,
from being merely intent into becoming an image upon the Astral Plane. It is not merely
a concept but is the functional vehicle through which all practical applications must pass.
Mathers says that this space between the Sphere of Sensation and body, his Nephesch, is
‘the container or recipient of the Astral Rays of the Macrocosm.’ Thus, it is that invisible
portal through which Light becomes Life. It transfers macrocosmic forces to us through
our very breathing. Thus we may define it as ‘absorbent energy’ because it is open to the
exchange of all forms of energy. For example, a walk along a silent forest track in the
early hours of the morning, will soothe and restore your energy. It absorbs the balance
and renewal of nature. Esoterically all of the magical correspondences, such as perfumes,
colours and sounds are provided to attract forces through the Nephesch. When we con-
secrate a planetary flashing tablet the colours are drawing forces through this field
around the body. When we burn an astrological incense the Nephesch becomes a por-
tal. Suddenly forces and entities have a window through which they pass and may be
seen in our world. The Nephesch of the Sphere of Sensation is literally the bridge to
heaven.
Mathers goes further by saying that ‘the Nephesch is divided into its seven Palaces.’ Here
we are provided with not just seven heavens, but also seven levels of consciousness. It is
the expansion of the Rays of the Ruach throughout these levels that the true seven de-
This Magical grees of all initiation is founded. Obviously the seven levels are planetary. But as in the
Mirror or GD diagrams of ‘the Seven Heavens in Assiah, the three higher sephiroth combine to-
Sphere of Sen- gether as sub-levels in the highest heaven. Mathers explains ‘The Nephesch is divided
into its seven Palaces, combining the Sephirotic influences in their most material forms.
sation is an
That is, the world of passions dominated by the Ruach, or by the world which is beyond.
imitation or That is, its Sephiroth are passionate, expressing a passionate dominion. Thus, its three
copy of the Supernal Sephiroth, Kether, Chokmah and Binah, are united in a sense of feeling and
Sphere of the comprehending impressions. Its Chesed is expressed by laxity of action, its Geburah by
Universe. violence of action. Its Tiphareth is expressed by more or less sensual contemplation of
beauty, and love of vital sensation, its Hod and Netzach, by physical well-being and
health, its Yesod, by physical desires and gratifications, its Malkuth, by absolute increase
and domination of matter in the material body.’ What is so important about this state-
ment is that Mathers ingeniously incorporates the Theosophic notion of the aura. Many
modern psychics teach that in the human aura there are seven layers called ‘the Seven
Auric Bodies.’ They are the Physical, Etheric, Vital, Astral, Lower Mental, Higher Mental,
and Spiritual Auric Bodies. (22) Mathers is also stating that life’s impressions surface
through the seven layers of the Nephesch. These manifest as the colours of the human
aura. For example, the presence of royal blue indicates ‘that the person has found their
chosen path. It further represents good judgment and honesty. It stimulates and ex-
pands the skills of those working in health care professions. (23)
(21) Man – Micro’ paper.

(22) Other schools may use other names.
(23) Pg. 78 ‘How the See and Read the Human Aura’ by Judith Collins. Lothian Books. I highly rec-
ommend this book for learning and mastering this aspect of the Sphere of Sensation.

(continued)
And navy blue indicates ‘evaluation of ethics and when seen anywhere in the aura can
cause a person to make slow, but safe progress. (24)’ Both blues represent scales of one
blue and we find that these attributes also coincide with Jupiter, which is coloured blue
on the Tree of Life. These auric variations of color are also to be found upon the walls of
the Vault of the Adepti.
In ritual application these seven layers are quite important. The purpose of colour and
the planetary perfumes cannot be overstated in consideration to the Generation of Won-
ders. The Nephesch is ideally the field of spiritual progress. The Rays of the Ruach drive
out the Rays of the Coils of the Stooping Dragon. And in addition, as they expand be-
yond the body, also make contact with higher levels of consciousness and other worlds,
including Knowledge and Conversation with the Guardian Angel in the Tiphareth level.
The colours of the Elemental Weapons and flashing Talismans seek to draw upon the
powerful energies, as the Nepesch is the vehicle for the forces of the Macrocosm. Imag-
ine the powerful impact the formulation of a coloured Godform really has. At first
Agrippa says in his Sphere of Sensation chapter that ‘the intelligences and star are im-
printed on us to every one according to his own capacity and purity.’ Similarly Mathers
says, in direct reference to the Elemental Weapons and Rose Cross Lamen, that ‘also do
these insignia, which have been consecrated, give you a certain power through their
having attracted rays of force form the Infinite Invisible, more or less potent in proportion
to your development. (25)’ Thus virtue and the Regeneration of the Ruach remain impor-
tant. The expansion of the Rays of the Ruach throughout the Sphere of Sensation acti-
vates the occult abilities of each layer. Every level brings with it new magical powers.
The Rays of the
Mathers confirms how the Nephesch acts like an elemental field of energy when colors Ruach drive out the
are placed within it by the use of Elemental Weapons. He says ‘The importance of using Rays of the Coils of
the implements on every occasion would appear to be great, for the implement assists in the Stooping Dragon
the invoking of a ceremony, and the latter should help the implement, and therefore and as they expand
beyond the body also
every voyage, for example, to the realms of Fire or Water should add a flame to the Wand make contact with
and moisture to the Cup.’ (26) Thus the colours of Elemental Weapons and any Flashing higher levels of con-
Tablet serve not only to attract the force but also activates the sexual generative forces in sciousness and other
the Sphere of Sensation. Mathers makes it clear that their reception results in the miracu- worlds, including
lous on physical levels, producing physical results. To produce a flame or manifest water, Knowledge and
Conversation with
seemingly from nowhere, through the elemental weapons confirms not only Mathers’ the Guardian Angel
belief in the Generation of Wonders, but also that the Nephesch is their vehicle of mani- in the Tiphareth
festation, from the invisible to the visible, and that physical manifestations are an outward level.
representation of inward perfection.
Vision and the Voice

The applications for the Sphere of Sensation are endless but one of its constant uses is
that of visionary experience. According to Mathers, it is not just a symbolic gateway, but
is also a practical gateway to other dimensions. Accordingly, it is a magical mirror for per-
ception of higher worlds. Consider the concept of a television but this time a spherical
television surrounding one’s whole body. Today we have flat screen, wide-screen and
the magical world is experienced through ‘spherical screen.’ God is your show-host and
there are as many channels as there are on the Tree of Life; 32. However, this television
screen plays more like your X-box because it’s more interactive. You will be introduced to
many characters, including elementals, the Guardian Angel and possibly higher. How-
ever, unlike your game-station, the Sphere of Sensation is not for entertainment.
(24) Ibid.
(25) Pg. 469 ‘The Golden Dawn’ by I.R ‘Skrying and Astral Projection’ paper.
(26) Pg. 469 ‘Rules for Skrying’ paper, ‘The Golden Dawn.’ By I.R

(continued)
The student must regard it with the highest respect and responsibility. Your growth de-
pends upon it. And I am sure that, due to the level of difficulty one experiences, it is
treated as a sacred object which was only acquired through the greatest effort. The Rosi-
crucian concept of a visionary Sphere around the body is, however, more widespread
than first appreciated.
For example, Manly Palmer Hall also writes that ‘Man began his physical evolution as a
creature in which the rudimentary sense perceptions – in fact, all the parts and members
– were distributed as potentialities throughout the entire body. Ultimately these potenti-
alities will be converted into active powers and man will enjoy the extension of his sense
perceptions to every part of the body, in the same manner that the sense of feeling is
generalized today. A symbol of this ultimate condition was preserved in the Egyptian
Mysteries by the figure of Osiris, who is often shown seated upon a throne with his body
entirely covered with eyes. The Greek god Argus was also noted for his ability to see with
different portions of his body. The perfect body is the sphere, and when man again fi-
nally achieves to this shape, he will have one great centre of sense perception connected
to the circumference of the body by radii, by means of which the even distribution of
awareness will be assured.’ (27)
We can liken the sephirotic spheres around the Sphere of Sensation to the eyes. By their
very presence and colour, the Sphere of Sensation is being attuned to the worlds which
they represent. Both the colour and magical names used to awaken them are important
We can liken the here. The surface spheres are not something we are born with, but something we build
sephirotic spheres into the aura through the practical application of the Sphere of Sensation Ritual. The
around the Sphere
aura is being trained for cosmic perception through the presence of all sephiroth around
of Sensation to the
eyes. By their very
the aura and not just one. Thus in Golden Dawn Kabbalah the Sphere of Sensation is the
presence and col- All Seeing Eye. The sephirotic colours are also acting as rays do inside a television. We
our, the Sphere of are providing the separate pigments by which the artist paints his landscape. They com-
Sensation is being bine within the Nephesch so that images come to life, not as flat screen images but as
attuned to the three dimensional projections. Obviously the visions are being experienced in the
worlds which they Nephesch which surrounds the body. Its subtle sensual aspect triggers us to experience
represent. Both the
sights, smells and sounds. We become immersed in the experience of such visions, seem-
colour and magical
names used to ingly encompassed by them.
awaken them are
important here. When Mathers states that the space between the body and Sphere is occupied by the
Ether of the Astral World he is also alluding to the theatric substance. Max Heindel, in his
Rosicrucian philosophy, called it the ‘Reflecting Ether.’ He states, like Mathers, that it con-
tains projections from the higher worlds; that these images exist in the air we breathe
and that they are created in the subtle field held around the blood. This is none other
than the Nepesch once again. Heindel’s theory further adds that, contained in the im-
ages and records of the Reflecting Ether, is the knowledge of all our past incarnations.
He says that the Reflecting Ether is the screen upon which images are projected, not on
the surface of the ether but in it. Also importantly, he says that the Reflecting Ether con-
tains all historical information and that future images may be seen before they are
brought into being; and this is valuable information when understanding the Z2 Divina-
tion and Spiritual Development documents. See ‘Etheric Vision and What it Reveals’ by
Anonymous, which discusses Heindel’s ideas as derived from his Rosicrucian Cosmo Con-
ception. His basic theory states that the Nephesch contains sub-atomic psychic atoms
and molecules, which formulate the images we see. When discussing these same ideas,
Manly Palmer Hall nicely named these particles ‘psychicplasm.’
(27) Pg. 367 ‘Man-Grand Symbol of the Mysteries’ Manly P Hall.


(continued)
Mathers’ instructions on how to obtain visions in the Sphere of Sensation are filled with
many clues and spread throughout many documents. In ‘Skrying and Traveling in the
Spirit Vision’ we read ‘You must be prepared to receive impressions of scenes, forms and
sounds as vivid thought forms. ‘Thought forms’ I use for want of a better word. There
are distinctly in these experiences, things heard, things felt, as well as things seen, which
would prove that the qualities that we are here using are really the sublimated senses.’ (28)
At first he is talking about being receptive but also that skrying itself provides the training
grounds on which the ability may be developed. However it is ritual, combined with this
skrying ability, that trains the psychicplasma field to be receptive enough to conform to
macrocosmic images. It is a fluid that flows and forms by reflection. Skrying in the Sphere
of Sensation is the extending of a psychic ability outside the body by projection of con-
sciousness; Rays of the Ruach. Only then can it objectively perceive images outside the
body in the Spherical world. Mathers also writes ‘The lower will power should control the
descent of this spiritual consciousness into the Ruach, and thence into the Nephesch, for
the consciousness must descend into the Nephesch before the images of the Sphere of
Sensation can be perceived.’ The lower will control to which he refers is performed
namely through; aspiration, imagination, visualization and concentration. The lower will
must therefore be strengthened first through rituals such as the LBRP, which trains the
Theurgist in these skills. He is ultimately integrating himself through the Keys of Knowl-
edge; symbols which will then speak to him directly through the second stage of present-
ing divine images. If you will consider ritual, on one hand it is extremely active and re-
quires a lot of creative imagination on the part of the theurgist. But at some point this
imagined world enfolds upon itself, when the Divine Rays enact upon the awakening We must be re-
Sphere of Sensation. The psychic-plasmic-particles, no longer dormant, are rearrested by
ceptive to im-
divine qualities as the meeting point between Man and the Macrocosm, which the
ages and also
Sphere of Sensation is. Mathers also hints ‘in both skrying and astral projection then, the
key of success would appear to be, alternately to employ Intuition and Reason, firstly by make sense of
permitting each thought-picture to impress itself on the brain in the manner compre- them. However,
hended generally by the word ‘inspiration,’ followed by the reason applying its knowl- there appear to
edge of correspondence to an affirmation or correction of the same.’ (29) He states that be many stages
we must be receptive to images and also make sense of them. However, there appear to and levels to
be many stages and levels to integrating the Sphere of Sensation with the Higher Worlds. integrating the
Sphere of Sensa-
At first we see there is dual integration on both sides of the Sphere of Sensation; one side tion with the
from the Theurgist and one side from the Cosmos. Let’s consider the Theurgist. To be Higher Worlds.
successful we must participate in reception and projection through the Rays of the
Ruach. This then attracts the side of the Divine which leads to the re-absorption and di-
gestion of the Cosmic Rays. Here we actively invoke, which is the reception of LVX upon
the Ruach to provide it with magical force. Then we extend the Rays of the Ruach into
the Sphere of Sensation to the symbol and degree we hope to experience. This is the
projection, which is first initiated by the imagination. The presence of the symbol or flash-
ing tablet assist the Ruach in focalizing its Rays into the corresponding part of the Sphere
of Sensation. An Astral Ray is projected forth from that point of the Sphere of Sensation
to that part of the macrocosm which awakens the Sphere of Sensation to divine interplay.
The Astral Ray then becomes a channel for divine expression. When done correctly,
penetrating the veil of Paroketh, the Sphere of Sensation is thrown into a state of reflec-
tive activity, formulating images inside the mirror field; causing psychicplasm to present
the images, sounds and smells to our etheric senses. Through training, so integrated, the
etheric senses become such that visionary experiences become exceedingly real. This is
but the second level, normal two dimensional skrying being the first.
(28) 6th and 7th Paragraphs.

(29) Skrying and Travelling in the Spirit Vision.’

(continued)
The final level is that of total integration between the cosmic worlds and the theurgist.
Here the Sphere of Sensation no longer remains the window, but becomes the door.
Here the theurgist actively participates in every world as we do within our own. The Rays
of the Ruach are now so grown that they EXIST beyond the first dimension (of the seven
palaces of the Nephesch.) He has acquired a body within each world which has inte-
grated with his own Nephesch. The Adept lives, feels, influences and has his being be-
yond this world. In other words, we exist and live inside the elemental places and inter-
act like ordinary people in those worlds as we do in ours. This third level is only acquired,
it seems, by the use of Alchemy. For example, the apparent Rosicrucian document titled
‘Comte de Gabalis’ teaches us that by rectifying, say, an element or sign inside our
Nephesch – then the Sphere of Sensation acquires new Light, it integrates and becomes
a Nephesch in that world. Instead of merely being a visionary experience inside the
Sphere of Sensation, the Sphere of Sensation is placed inside the world! The planes be-
come concrete living reality for the Rosicrucian Adept. The Count says that “When you
have been enrolled among the Children of the Philosophers, and when your eyes have
been strengthened by the use of the very Holy Medicine, you will straightway discover
that the Elements are inhabited by most perfect beings.’ Here he mentions the use of
alchemy to obtain this integration between visible and invisible. He states that the Phi-
losophers Stone does more than transform the body. It works directly upon the
Nephesch by closing the divide between the invisible worlds. The veil of Paroketh is en-
tirely removed, so that once visionary worlds become concrete realities, physical worlds
that the Adept may further inhibit. Comte de Gabalis further states “One has only to seal
The final level is a goblet full of compressed Air, Water, or Earth and to leave it exposed to the Sun for
that of total in- month. Then separate the Elements scientifically, which is particularly easy to do with
tegration be- Water and Earth. It is marvelous what a magnet for attracting Nymphs, Sylphs, and
tween the cos- Gnomes, each one of these purified Elements is. After taking the smallest possible quan-
tity every day for some months, one sees in the air the flying Commonwealth of the
mic worlds and
Sylphs, the Nymphs come in crowds to the shores, the Guardians of the Treasures parade
the theurgist.
their riches.” (30) The remainder of the doctrine explains how humanity should acquire a
Here the Sphere
special relationship with the elemental and invisible worlds. The word ‘marriage’ is used
of Sensation no often by the Count to describe this level of Reintegration.
longer remains
the window, but
becomes the Tree of Life in the Sphere Ritual
door. Now that the concept of the Sphere of Sensation has been discussed, should come practi-
cal application. The original Golden Dawn did not practice the Middle Pillar Ritual of to-
day. Instead, they formulated around their beings the Tree of Life projected in the
Sphere. We will now call this the Sphere Ritual for practicality. In addition they did per-
form the Tree of Life in the Aura exercise, which formulated all ten spheres over the body
using all ten divine names. An interesting expansion of this ritual was to not only use
Light in the spheres but also use the four scales of colour. Here the student first created
the ten spheres over his body using the ten colours from the world of Assiah. Then he
repeated the Tree of Life in the Aura exercise, but this time using the colors of Yetzirah.
Twice more using the Queen and then King scales of colour. The path colours were not
used but only those of the ten Sephiroth. This was practiced and preserved by the Whare
Ra temple. It is not known if the Middle Pillar Ritual was Regardie’s own creation or some-
thing he learned from the Stella Matutina Adepti. In either case, I have included the Mid-
dle Pillar Ritual as part of performing the actual Sphere Ritual itself. This may not be the
original Golden Dawn practice. However, no-one actually knows how the original
Golden Dawn formulated the Sphere of Sensation around the aura.
(30) Comte de Gabalis’ Second Discourse.


(continued)
They left no notes or official document. I suspect that the Sphere concept was a vast yet
taboo subject which carried with it a large oral tradition. The version I give here is my
own invention and is based upon my understanding of Golden Dawn ritual, the Sphere
of Sensation and Mathers notes on the Soul. Mathers makes it clear that, before the Rays
of the Ruach may illuminate the Nephesch, a certain process of self illumination from the
Neschamah of the Higher Soul must take place. At first he says ‘the Lower Genius, shall
descend into the Royal Habitation, so that the Higher Will and the Lower Will shall be as
one, and the Higher Genius shall descend into the Kether of the Man, bringing with him
the tremendous illumination of his Angelic Nature.’ (31) This Light is supposed to be
thrown down through Daath from the Kether, Chokmah and Binah. The Middle Pillar
Ritual is one way to initiate this process. The Light is brought down from Kether, through
Daath and into the Tiphareth of the student. It is then projected down to the Yesod and
Malkuth. The Middle Pillar as the forerunner comes in part with understanding the inter-
nal-external role of Light in the Sphere of Sensation. On the internal side it is passing
through the Adept, illuminating his Inner Being from the higher. Yet this Light must
shine through the body to become the Sphere of Sensation of Mathers. His Nephesch
becomes Spherical and Mathers Nephesch is external. Thus I am saying that, in order to
firmly create this magical Sphere around the body, we must first obtain the personal illu-
mination. In part the Rays of the Ruach grow through virtue; and here we are trying to
further train and project them forth from the foundation of the Middle Pillar Ritual. We
are building the Inner Light. Once this has successfully been achieved, I believe we shall
have the power to ‘regenerate our Spheres in the Astral Light’ as the Order would have
it. Another important ingredient I would like to mention is that of incense and perfumes.
Aggrippa makes it clear that perfumes serve to substantiate astral forces through to the Another impor-
material plane. They serve as a subtle vehicle of transportation to our world of percep- tant ingredient I
tion. When we consider the Sphere of Sensation, we find that such incenses and per- would like to
fumes work directly through the Sphere of Sensation medium. In my own personal work- mention is that of
ings I have found that incense, herbs, oils and perfumes have assisted in activating the incense and per-
Sphere of Sensation. In particular, the creation and sense of the actuality of the Spheres fumes. Aggrippa
around the body. They become quite physical sensations, both as present spheres and in makes it clear
the circulation of the Light around the body. One can actually feel the spheres vibrating that perfumes
and ringing around the aura. When the circulation of Light is performed around the serve to substan-
Sphere one begins to contemplate the meaning of the Serpent and the Egg and its con- tiate astral forces
nection to the Golden Dawn Dragon Formula. (32) Lastly, students may find the Sphere through to the
Ritual quite difficult at first. My only advice can be; persevere and practice, practice, prac- material plane.
tice! Remember, the original Golden Dawn practiced formulating the Sphere around the
aura. Its return to mainstream practice signals the restoration of our original tradition
and recovering of a lost teaching.
(31) Task of the adeptus minor paper.

(32) Note: the order materials made clear that the Dragon Formula provides instructions on differ-
ent kinds of work within the Sphere of Sensation. For example, in Knowledge Lecture II ‘On
Purity and Will’, we read ‘Spiritual power results from the transmutation of the gross animal
nature. The various centres of sensation in the human body can be harmonized by the equi-
poise or circulation of the contrary forces of attraction and repulsion, or on the other hand,
the vehicle of excess.’

(continued)
1. Perform the Middle Pillar Ritual; however do not perform the Circulation of
Light in finishing the Middle Pillar Ritual. Allow yourself to attract the strong-
est sense of LVX through aspiration and being as open as possible.
2. While standing, meditate and obtain a sense of the Light around you.
3. Now spend a moment trying to perceive the Spheres around the Sphere of
Sensation, mentally acknowledge the presence of each one of them.
4. Look up and aspire. Vibrate the divine name ‘Eheieh’, formulating a Brilliant
White glowing Sphere at the top of your Sphere of Sensation. Repeat this
name ten times as with all the following divine names.
5. Now, around the top portion of your Sphere, visualize four more coloured
spheres. Two of them are grey and opposing one another. The other two
are black and also oppose one another. The grey ones show the direction of
the Pillar of Mercy in the aura. It runs diagonally in your Sphere so that one
is South-east an the other is North-west above your head. The black spheres
show the direction of the Pillar of Severity. They face North-east and South-
west. (This is not based upon your personal Sphere of Sensation assemblage-
point in your Natal Chart. Instead it is based upon the Hall of Maat floor
plan, the universal grid to which the student is attuning, as with the Angel
of the Golden Dawn.) Now you must visualize all four spheres together, two
black and two grey signifying Chokmah and Binah.
6. Now vibrate the two grey Chokmah spheres with the divine name of ‘Yah.’
During this time you should feel them pulsate with energy coming to life.
7. Now repeat the same for the two Binah spheres vibrating ‘Yhvh Elohim.’
Students may
Feel the polarity and generative force the opposing spheres create in the
aura.
find the Sphere 8. At shoulder level, now see two blue spheres and two red spheres belonging
Ritual quite to Chesed and Geburah. Vibrate their names ‘El’ and ‘Elohim Gibor.’
difficult at first. 9. Now formulate four golden-yellow spheres. The four tiphareths should ap-
My only advice pear at the four quarters of your Sphere of Sensation, North, South, East,
can be; perse- West.
vere and prac- 10. Vibrate their divine names so they resonate together ‘Yhvh Elohim V’Daath.’
11. At belt level, formulate two green and two orange spheres. The Netzach
tice, practice,
spheres run North-west to South-east. The Hod spheres run North-east to
practice! South-west.
12. Again vibrate their names: Netzach ‘Yhvh Sabaoth’, Hod ‘Elohim Sabaoth’
ten times each. First vibrate the Netzach names and then complete the Hod
vibrations.
13. At pelvis level see four purple spheres around the aura. These are your Ye-
sod spheres which need to be vibrated with ‘Shadai El Chai.’
14. The last sphere is at the feet. See your Malkuth in the form of a glowing
planet earth to send more Light into the world. Vibrate the name ‘Adonai
Malahk.’
15. Now complete the Circulation of the Light exercise, sending and revolving
Light around every part of the Sphere of Sensation.
16. Meditate in a state of transformative deep ecstasy.
Copyright © 2007 Samuel Robinson

“Judgement”
by Harry Wendrich
The Horus Hathor Temple GD Tarot deck is painted by Harry and Nicola Wendrich of
Wendrich artHouse with the help of Nick Farrell.
The aim is to prepare a modern tarot deck which uses the symbolism of the Hermetic Or-
der of the Golden Dawn. This makes it suitable for use in all our temple's Golden Dawn
work, magically and in meditation. Since it is our Temple's own tarot, it has some things
that show our particular slant on things. It is a bit more Egyptian, for example.
The work is in progress and will take some time. It is our intention to publish the full set
when completed through Thoth Publications. They are about the same size as the Crow-
ley deck. It is planned to release a larger A4 version of at least the major keys in a special
meditation deck. Wendricharthouse will be selling prints and the originals of the card to
finance the project.
Judgement, Key 20, Fire, Shin.

This card is based on the 3=8 ritual, in which the candidate encounters the Samothracian
mysteries and the element of fire. All the components of the tarot key that are described
in the ritual are included in this card.
The angel, encircled by the rainbow, whence leap coruscations of fire and crowned by
the sun, represents Michael, the great Archangel, the ruler of Solar Fire, the serpents that
leap in the rainbow are symbols of the fiery Seraphim. The trumpet represents the influ- This card is
ence of spirit descending from Binah, while the banner with the cross refers to the four based on the 3=8
rivers of paradise and the holy name. He is also Axieros ... Zeus and Osirus. ritual, in which
the candidate
The left hand figure below, rising from the Earth, is Samael, the ruler of volcanic fire. He is encounters the
Samothracian
also Axiokersos. .. Pluto and Typhon. mysteries and
the element of
The right hand figure below is Anael, the ruler of Astral Light. She is also Axiokersa, Ceres fire. All the com-
and Persephone, Isis and Nepthys. She is, therefore, represented in duplicate form and ponents of the
rising from the waters. Around both these figures dart flashes of lightning. These three tarot key that are
form the Fire triangle and represent the other three elements of Earth, Air and Water. described in the
ritual are in-
cluded in it.
The central, lower figure with his back turned and his arms in the sign of the 2=9 is Arel,
the ruler of latent heat. He is rising from the Earth as if to receive the properties of the
other three. He is Kasmillos, the candidate and Horus of Egypt. He rises from a rock-
hewn cubical tomb. The three lower figures represent the letter Shin and the seven He-
brew yods refer to the sephiroth operating in each of the planets and to the Schemham-
phoresh."
The Horus Hathor key emphasises the Egyptian nature and Golden Dawn aspect of this
key. The Archangel Michael is shown as a Hierophant. Instead of a traditional trumpet,
he blows a priestly Ram's horn which was used to call the Jews to the Temple. He has
the traditional Nemys to indicate that he is not the actual initiating officer but an arche-
type of him or her.
Horus, who is also the candidate in 3=8 rite, is shown in his Harpocrates form with an
Egyptian 'youth's side plait. On his back is the Kerux's caduceus. This indicates that the
candidate has absorbed those powers represented by the Kerux in the 2=9 grade. Fur-
ther it shows the spiritual fire, that force that rises in the candidate's sphere of sensation
as part of the outer order work.
“Judgement”
(continued)
The clockwise spiral of the rainbow shows that the Higher Self, represented by the angel,
is moving into manifestation. This depicts the principle that when a person aspires, it cre-
ates an impulse from the higher downwards to meet them. The flames on the stone cof-
fin emphasize the idea that he represents fire latent within matter.
The clockwise spiral

of the rainbow
shows that the
Higher Self, repre-
sented by the an-
gel, is moving into
manifestation. This
depicts the princi-
ple that when a
person aspires, it
creates an impulse
from the higher
downwards to
meet them.
Copyright © 2007 Harry Wendrich, all rights reserved

"To Lie With A Foul Witch" -

William Butler Yeats and the Irish Revolution
by Ian Cowburn
THE WITCH
Toil and grow rich,
What's that but to lie
With a foul witch
And after, drained dry,
To be brought
To the chamber where
Lies one long sought
With despair.
W.B. Yeats
The entwining of Yeats’ "romantic interests" in his

"revolutionary ladies" (Constance Markiewicz, Maud
Gonne ...) to his ideal egregore of Erin (Caitlin ni Houlihan,
the “one long sought with despair”), and his stance on the
Irish Revolution and the subsequent civil war, would lead
to suspecting some magical background to those episodes.
Especially as Éamon de Valera, Yeats' sworn enemy, was
working his own particular brand of Iberian shamanism on
the "other side". Might there be sorcery here?
The Aisling I would like to try

Yeats is often appreciated from a point of view that ac- and encompass
cords to one’s own interests. The aesthete will read his the whole of
poetry and plays, or admire his Irish currency bill designs. Yeats’ activities in
An adherent of the Old IRA will think of his dedication to one picture, as he
the Cause, smile at his infatuation with Maud Gonne and William Butler Yeats: himself evidently
remember his stint as a Senator of the Oireachtas; a mod- the Aisling withdrew from him did. One symbol
ern-day Real, or Continuity, an IRA member will probably sums it up, that of
dismiss him as a “Free Stater” and exalt the “bould Fenian Caitlin ni Houli-
men” such as those who gunned down O’Higgins. And, of course, the student or practi- han (Irish : Caitlín
tioner of the Golden Dawn will rehearse Yeats’s brushes with Mathers and Crowley and Ní hUallacháin,
be aware that he made some attempt to work up a “Celtic” Golden Dawn. "Kathleen, daugh-
ter of Houlihan").
I would like to try and encompass the whole of Yeats’
activities in one picture, as he himself evidently did. One
symbol sums it up, that of Caitlin ni Houlihan (Irish :
Caitlín Ní hUallacháin, "Kathleen, daughter of Houlihan"),
who is a represenation of Ireland as a sorrowing woman.
She was perhaps most famously invoked by Yeats in his
play of the same name.
In the play, she speaks of the heroes who gave their lives
for her in failed rebellions – which rejuvenates her. This
sacrificial mythology can be tied to pagan concepts of
"seasonal renewal" and is manifest throughout the Irish
Revolution’s long history, from Pádraig Pearse’s conscious
invocation of her, through the claim to represent her by
the anti-Treaty forces in 1921, to the various hunger
strikes by Irish Republican Army prisoners.
Caitlín ní Houlihan: the harp of
becoming, the shawl of forever
“To Lie with a Foul Witch” -

(continued)
This vision is in the long tradition of the “Aisling”, where Ireland appears to the poet in
the form of a woman, sometimes young and beautiful (An Spéirbhean, the sky-woman),
sometimes old and haggard (Sean mBan Bhocht, the ugly old woman). She laments the
state of Ireland and predicts an imminent revival of its fortunes, usually linked to the re-
turn of a Pretender to the throne. Both Pearse and the anti-Treaty leaders were claiming
this “Pretender” status.
Probably the most well-known example of an Aisling is the song “Roisin Dubh” (Dark-
Haired Rosaleen):
Thou hast slain me, O my bride, and may it serve thee no whit,
For the soul within me loveth thee, not since yesterday nor today,
Thou has left me weak and broken in mien and in shape,
Betray me not who love thee, my Little Dark Rose!
Yeats was obviously aware of this tradition, reaching back to the 16th century, in the
works of, inter alia, Eoghan O Reilly, Brian Merriman, and “Blind” Raftery and associated
this poetry with his esoteric ideas. He described his "one unshakable belief" that
"whatever of philosophy has been made poetry is alone... I thought... that if a powerful
and benevolent spirit has shaped the destiny of this world, we can better discover that
destiny from the words that have gathered up the heart's desire of the world." In a letter
to Sturge Moore he wrote “I always feel that my work is not drama but the ritual of a lost
faith. It returns to the past for support but alters the past even as it recreates it”.
The significance of
the Aisling, as is The significance of the Aisling, as is evident from the excerpt above, is that the desire is
evident from the somehow trampled underfoot by its object, it is unrequited, rejected, the cause is lost ;
excerpt above, is but thereby, mystically rejuvenated. This theme runs powerfully through Yeats’ writing,
that the desire is where he indicates that the anguish of the rejection is the fuel for the vehicle of change :
somehow tram- “Only an aching heart conceived a changeless work of art” (from ‘Meditations in Time of
pled underfoot by
Civil War’).
its object, it is
unrequited, re-
jected, the cause is
lost ; but thereby, Maud Gonne MacBride
mystically rejuve- We might now look at his involvement with Maud Gonne,
nated. who he met in 1889, an Anglo-Irish heiress, feminist and
actress who was to devote herself to the Irish nationalist
movement. Yeats developed an obsession with Gonne
and she was to have a significant effect on his poetry and
his life ever after. In 1891, she briefly joined the Hermetic
Order of the Golden Dawn. Between 1893 and 1895, she
and a Frenchman who she had met in Paris, Lucien
Millevoye, had two children together. Only the second, a
girl named Iseult Lucille Germaine Millevoye, survived.
In 1897, along with Yeats and Arthur Griffith, leader of

(Old) Sinn Fein, she organized protests against the
Queen's Jubilee. At Easter 1900, she founded Inghinidhe
Maud Gonne:
na hÉireann ("Daughters of Ireland"), a revolutionary
does the Aisling haunt her?
women's society, to provide a home for Irish nationalist
women who, like Maud herself, were considered unwelcome in male-dominated nation-
alist societies. In May 1914, Inghinidhe na hÉireann merged with the newly-formed
Cumann na mBan ("Women's League") a paramilitary organisation formed in April 1914
as an auxiliary of the Irish Volunteers.

(continued)
In April 1902, she took a leading role in Cathleen ní Houlihan. She gave a powerful act-
ing performance in that production, written specially by Yeats for her and about her. In
the same year, Maud joined the Roman Catholic Church. Two years after their initial
meeting, Yeats proposed to her, but was rejected. He was to propose to Gonne a total of
three more times : in 1899, 1900 and 1901. With each proposal, she refused him because
she viewed him as insufficiently nationalist and because of his unwillingness to convert to
Roman Catholicism (due, at least in part, to his occult leanings, as member of the Her-
metic Order of the Golden Dawn).
She married Major John MacBride in Paris in 1903. The following year, their son, Sean
MacBride, was born. However after the failed marriage ended in divorce her husband
returned to Ireland. He was a veteran who had led the Irish Transvaal Brigade against
the British in the second Boer War. MacBride was executed in 1916 along with James
Connolly and other leaders of the Easter Rising. Maud remained in Paris until 1917.
Yeats spent the summer of 1917 with her, and proposed, this time to Gonne's daughter,
Iseult, but was rejected.
In 1918 Maud was arrested in Dublin and imprisoned in England for six months. In 1921
she opposed the Treaty and advocated the Republican side. She published her autobiog-
raphy in 1938, ironically titled "A Servant of the Queen", a reference to the vision she her-
self had of Cathleen ní Houlihan.
No poet has celebrated a woman's beauty to the extent Yeats did in his lyric verse about
Maud. From his second book to Last Poems, she became the Rose, Helen of Troy, the
Ledaean Body, Cathleen ní Houlihan, Pallas Athene and Deirdre. His poem "He Wishes
for the Cloths of Heaven" ends poignantly: No poet has
I have spread my dreams under your feet ; celebrated a
Tread softly because you tread on my dreams. woman's beauty
to the extent
Maud died in Clonskeagh, aged 86 and is buried in Glasnevin Cemetery, Dublin. Yeats did in his
lyric verse about
Maud.
The Abbey Theatre
Much of the impetus for the Irish Literary Revival came from the work of scholars who
were rediscovering the ancient sagas and Ossianic poetry and the more recent folk song
tradition in Irish . One of the most significant of these was Douglas Hyde, later the first
President of Ireland, whose Love Songs of Connacht was widely admired.
In 1899 Yeats, Lady Gregory, Hyde and George Moore

founded the Irish Literary Theatre. Working with his unpaid-
yet-independently wealthy secretary Annie Horniman (who
had previously been involved in the presentation of George
Bernard Shaw's Arms and the Man in London in 1894), and
leading West End actress Florence Farr (who created the part
of Aleel in Cathleen Ní Houlihan), the group established the
Irish National Theatre Society. Both women were also promi-
nent members of the Golden Dawn.
This group of founders was able, along with J. M. Synge, to

acquire property in Dublin and open the Abbey Theatre on
27th December 1904. Cathleen ní Houlihan was featured
Augusta Persse, Lady Gregory:
on the opening night. Yeats continued to be involved with
to ever hear the whisper of the
the Abbey up to his death, both as a member of the board
past
and a prolific playwright.

(continued)
Constance Gore-Booth, Countess Markiewicz

The light of evening, Lissadell,
Great windows open to the south,
Two girls in silk kimonos, both
Beautiful, one a gazelle.
From William Butler Yeats' “In Memory of Eva Gore-Booth and Con Markievicz”
Constance, Countess Markiewicz (4 February 1868 – 15 July 1927),

was an Irish politician, revolutionary nationalist and suffragette. She
was also the first woman elected to the British House of Commons,
though she did not take her seat. She was born Constance Geor-
gina Gore-Booth, the elder daughter of the Arctic explorer Sir Henry
Gore-Booth, 5th Baronet. Unlike many Anglo-Irish landowners in
Ireland, he was an enlightened landlord who administered his forty
square mile estate with compassion. During the famine of 1879–80,
Gore-Booth provided free food for the tenants on his estate in the
County Sligo. Their father's example inspired in Constance and her
younger sister, Eva a deep concern for the poor. The sisters were
childhood friends of Yeats, who frequently visited the family home
Lissadell House in County Sligo and were influenced by his artistic
and political ideas. Eva later became involved in the labour move- Constance Booth-Gore,
Constance, Countess Markiewicz :
ment and women's suffrage in England, although initially the future
Countess from Dublin Castle to
countess did not share her sister's ideals. the Aisling's side
Markiewicz , was
an Irish politician,
revolutionary
Constance decided to train as a painter and in 1892 she went to study at the Slade in
nationalist and
London. It was at this time that she first became politically active and joined the National
suffragette. She
Union of Women's Suffrage Societies (NUWSS). Later she moved to Paris and met her
was also the first
future husband, Count Casimir Dunin-Markiewicz, a wealthy Polish aristocrat, who wed
woman elected to
Constance in 1901, making her Countess Markiewicz. She gave birth to their daughter,
the British House
Maeve, at her family home, Lissadell, shortly after the marriage. The child was raised by
of Commons,
her Gore-Booth grandparents and eventually became estranged from her mother.
though she did
not take her seat.
The couple settled in Dublin in 1903 and moved in artistic and literary circles, the Count-
ess gaining a reputation for herself as a landscape painter. In 1905, along with the poet
John Butler Yeats, the Countess was instrumental in founding the United Artists Club,
which was an attempt to bring together all those in Dublin with an artistic and literary
bent. At this time, there was nothing tangible to link her to revolutionary politics, but
socialising in this milieu, she met the leading figures of the Gaelic League founded by the
future first President of the Irish Free State, Douglas Hyde. Although primarily concerned
with the preservation of the Irish language, the league brought together many patriots
and future political leaders. Markiewicz met there with revolutionary patriots Michael
Davitt, John O'Leary and Maud Gonne. In 1906, Constance rented a small cottage in the
countryside around Dublin; the previous tenant was the poet Padraic Colum who had left
behind old copies of The Peasant and Sinn Féin. These revolutionary tracts promoted
independence from British rule. The Countess read these publications and was propelled
into action.
In 1908, she became actively involved in nationalist politics in Ireland. She joined Sinn
Féin and Inghinidhe na hÉireann ('Daughters of Erin'), founded by Maud Gonne.
Markiewicz came directly to her first meeting from a function at Dublin Castle, the seat of
British rule in Ireland, wearing a satin ball-gown and a diamond tiara. Naturally, the

(continued)
members looked upon her with some hostility. She acted with Maud Gonne in several
plays at the Abbey Theatre. In the same year, she stood for Parliament, contesting the
Manchester constituency in opposition to Winston Churchill. Her sister Eva had moved
there to live with her lover and fellow suffragette Esther Roper and they both cam-
paigned for her. The Countess lost the election, but in the space of two years she had
gone from a life oriented around art, to a life centered on politics and Irish independence
in particular.
In 1909, Markiewicz founded Fianna na -hÉireann ("Soldiery of Ireland", named after the
mythological Fianna), a para-military organisation that instructed youths in the use of
firearms. Pádraig Pearse said that the creation of Fianna na-hÉireann was as important
as the creation of the Irish Volunteers in 1913. The Fianna na hÉireann were along the
lines of Baden-Powell's Boy Scouts, but emphasising Irish nationalism rather than the Brit-
ish nationalism of the Baden-Powell Scouts. Many Fianna had graduated to the Irish Re-
publican Army by the time of the War of Independence (1919–1921). During the Irish
Civil War (1922–1923), the organisation was affiliated to the anti-Treaty faction of the
IRA. The organisation split into factions with differing political views and ideologies over
the subsequent decades, in a manner comparable to that of the various organisations
claiming the title 'Irish Republican Army'.
The Countess was jailed for the first time in 1911 for speaking at an Irish Republican
Brotherhood demonstration attended by 30,000 people, organized to protest against
George V's visit to Ireland. Markiewicz also joined James Connolly's Irish Citizen Army, a The Countess was
small volunteer force formed in response to the lockout of 1913, to defend the demon- jailed for the first
strating workers from the police. As a member of the ICA Constance took part in the time in 1911 for
1916 Easter Rising. speaking at an
Irish Republican
Lieutenant Markiewicz was second in command to Michael Mallin in St. Stephen's Green. Brotherhood
She supervised the setting up of barricades as the rising began and was in the middle of demonstration
the fighting all around Stephen's Green, wounding a British sniper. attended by
30,000 people,
Mallin and Markiewicz would hold the Green for six days, finally giving up when the Brit- organized to pro-
ish brought them a copy of Pearse's surrender order. They were taken to Dublin Castle test against
and the Countess was then transported to Kilmainham Jail. There, she was the only one George V's visit to
of 70 women prisoners who was put into solitary confinement. At her court-martial she Ireland.
told the court, "I did what was right and I stand by it." Her conviction was assured, only
her sentence was in doubt. She was sentenced to death, but General Maxwell com-
muted this to life in prison on "account of the prisoner's sex." She told the court, "I do
wish your lot had the decency to shoot me."
The Countess was released from prison in 1917 as the government in London granted a
General Amnesty for those involved in the Easter Rising. It was around this time that
Markiewicz, born into the Church of Ireland, converted to Catholicism. In 1918, she was
jailed again for her part in anti-conscription activities. In the December 1918 general
election, Markiewicz was elected as one of 73 Sinn Féin MPs. This made her the first
woman elected to the British House of Commons. However, in line with Sinn Féin policy,
she refused to take her seat.
Revitalized after the Rising and led by Countess Markiewicz, Cumann na mBan took a
leading role in popularising the memory of the 1916 leaders, and canvassing for Sinn
Féin in the 1918 general election, in which Countess Markiewicz was elected Teachta
Dála. Jailed at the time, she became the Minister for Labour of the Irish Free State from
1919 to 1922. Holding cabinet rank from April 1919, she became the first Irish female

(continued)
Cabinet Minister, the only one in Irish history until 1979. She was re-elected to the Sec-
ond Dáil in the House of Commons of Southern Ireland elections of 1921, where she was
joined by fellow Cumann na mBan members
Mary MacSwiney, Dr. Ada English and Kathleen
Clarke as Teachtaí Dála.
At a convention called to discuss the 1921 Anglo-

Irish Treaty, 419 Cumann na mBan members
voted against as opposed to 63 in favour. In the
ensuing Civil War, its members supported the anti
-Treaty Republican forces. Many of its members
were imprisoned by the forces of the Free State.
Cumann na mBan continued to exist after the
Treaty, forming (alongside Sinn Féin, the Irish Re- Members of the Cumann na mBan:
publican Army, Fianna Éireann and other groups) the Aisling's daughters
part of the Irish republican milieu. The govern-
ment of the Irish Free State banned the organisation in January 1923. Its membership
strength was adversely affected by the many splits in Irish republicanism, with sections of
the membership resigning to join Fianna Fáil, Clann na Poblachta and other parties.
Markiewicz left government in January 1922 along with Éamon de Valera and others in
opposition to the Treaty. She fought actively for the Republican cause in the Civil War.
Yeats' mystical She was not elected in the general election for the Third Dail of 1922 but was returned in
the 1923 Fourth Dail elections, for the Dublin South constituency. In common with other
inclinations,
Republican candidates, she did not take her seat. However her staunch republican views
informed by the
led her to being sent to jail again. In prison, she and 92 other female prisoners went on
writings of Swe-
hunger strike. Within a month, the Countess was released.
denborg and
Hindu religion, She joined Fianna Fáil on its foundation in 1926, chairing the inaugural meeting of the
theosophical new party in the La Scala Theatre. In the June 1927 election, she was re-elected to the
beliefs and the Fifth Dáil as a candidate for the new party, which was pledged to return to Dáil Éireann,
occult, formed but died only five weeks later, before taking her seat.
much of the
basis of his late She died at the age of 59, on 15 July 1927. Her estranged husband, daughter and step-
poetry son were by her side. She was buried in Glasnevin Cemetery, Dublin, Ireland. Éamon de
Valera, the Fianna Fáil leader, gave the funeral oration.
Yeats and the Hermetic Orders

Yeats had a life-long interest in mysticism, spiritualism, occultism and astrology. He read
extensively on these subjects, being especially impressed and influenced by the writings
of Swedenborg. In 1885, he and friends formed the Dublin Hermetic Order. This society
held its first meeting on 16 June, with Yeats in the chair. The same year, the Dublin The-
osophical lodge was opened with the involvement of Brahmin Mohini Chatterjee. Yeats
attended his first séance the following year.
Yeats' mystical inclinations, informed by the writings of Swedenborg and Hindu religion
(Yeats translated The Ten Principal Upanishads, published in 1938, with Shri Purohit
Swami), theosophical beliefs and the occult, formed much of the basis of his late poetry,
which some critics attacked as lacking intellectual or philosophical insights, though he
himself wrote in 1892, 'If I had not made magic my constant study I could not have writ-
ten a single word of my Blake book, nor would The Countess Kathleen ever have come to
exist. The mystical life is the centre of all that I do and all that I think and all that I write.'"

(continued)
Yeats was admitted into the Golden Dawn in March 1890, taking the name Festina
Lente, but after attaining Adeptus Minor, he changed it to Daemon Est Deus Inversus
(D.E.D.I.) translated as Devil is God inverted, this name being taken from the writings of
Madame Blavatsky, in which she discussed that "...even that divine Homogeneity must
contain in itself the essence of both good and evil."
He made notes for an Irish mystical order in 1898/9 - the “Castle of Heros”. His symbolic
correspondences for the Four Talismans were linked to William Blake’s notions of the
Zoas. Mastery of the four (fire/spear = passion, air/sword = intellect, water/cup = imagi-
nation, earth/stone = vision) gave access to the fifth, harmony/Jerusalem.
Yeats was an active recruiter for the Golden Dawn's Isis-Urania temple, bringing in
George Pollexfen (his uncle) and Florence Farr. He remained in London for much of the
period of the Irish Revolution (1919-21), working on his Adeptus Minor and Adeptus Ma-
jor degrees. He eventually left the Golden Dawn when it became embroiled in in-
fighting and power struggles. The final straw came in a stand-off with Aleister Crowley.
In his hermetic thinking, Yeats continually made the link with politics: from Rosa Al-
chemica, “the magician or artist could call when he would, as if they were demons out of
the mind of the ignoble, a mood, a divinity, first descending like a faint sigh into men’s
minds and then changing their thoughts and their actions until empires moved their bor-
ders, as though they were but drifts of leaves”. He wrote to Florence Farr in 1899,
“whatever we build in the imagination will accomplish itself in the circumstance of our
lives” – a secret pamphlet he wrote for the Golden Dawn has the same tenor: ‘the central We Irish, born
principle of all the Magic of power is that everything we formulate in the imagination into that an-
realises itself in the circumstances of life, acting, either through our own souls, or through cient sect, but
the spirits of nature” – ‘Is the Order of the RR&AC to Remain a Magical Order?’ London,
thrown upon
privately printed, 1902.
this filthy mod-
ern tide, and by
its formless
Yeats and the Irish revolution
spawning fury
Yeats chose to “never go for the scenery of a poem to any country but (his) own” when
at the age of twenty he met old John O’Leary, the Fenian veteran, who returned to Dub- wrecked, climb
lin from a 20 years enforced exile in Van Diemen’s Land. He encouraged his disciples to our proper
(Yeats, Katherine Tynan, Douglas Hyde, etc) to borrow his many books on Irish subjects dark...
and he talked to them of the Young Ireland poet-revolutionaries of forty years before,
because he had known them personally.
Yeats' direct engagement with politics can be seen in the poem September 1913, with its
well-known refrain "Romantic Ireland's dead and gone, it's with O'Leary in the grave."
This poem is an attack on the Dublin employers who were involved in the famous 1913
lockout of workers who supported James Larkin's at-
tempts to organise the Irish labour movement. How-
ever the full quote reveals the link with the Aisling: “was
it for this that the wild geese spread, the grey wing
upon every tide; for this that all that blood was shed, for
this Edward Fitzgerald died, and Robert Emmett and
Wolfe Tone, all that delirium of the brave? Romantic
Ireland’s dead and gone, it’s with O’Leary in the grave.”
Here perhaps we can sense how Yeats would equate
the “political” outcome of an invokation of the Aisling as
Banner of the 1916 Insurrection: “lying with the Foul Witch”, something that would re-
heroic iconography of the fallen surface with the split over the Treaty. In Easter 1916,
heroes with its equally famous refrain "All changed, changed

(continued)
utterly:/A terrible beauty is born", the same echo of the Aisling surfaces: “And what if ex-
cess of love bewildered them till they died?”
However, this same poem echoes Yeats’ Nietzschean desire for action, as expressed
through mythological, esoteric symbolism: “When Pearse summoned Cuchulainn to his
side, what stalked through the Post Office? What intellect, what calculation, number,
measurement, replied? We Irish, born into that ancient sect, but thrown upon this filthy
modern tide, and by its formless spawning fury wrecked, climb to our proper dark, that
we may trace the lineaments of a plummet-measured face”. This again takes us back to
our Foul Witch, this “filthy modern tide”. From another letter to Florence Farr, in 1907: “I
at last find that I can move people by power, not merely by “charm” or “speaking beauti-
fully”. He began reading Nietzsche in the summer of 1902. “Nietzsche the strong en-
chanter, he completes Blake and has the same roots, the destructiveness of sexual pas-
sion, its power to upheave the world”. Yeats defines the Hero thus: “I find my peace by
pitting my sole nature against something and the greater the fighting, the greater my self
-knowledge”.
He was appointed to the first Irish Senate, Seanad Éireann in 1922 and re-appointed in
1925. One of his main achievements as a Senator was to chair the coinage committee
that was charged with selecting a set of designs for the first currency of the Irish Free
State. During his time as a senator Yeats warned his colleagues "If you show that this
country, southern Ireland, is going to be governed by Roman Catholic ideas and by
Catholic ideas alone, you will never get the North … You will put a wedge in the midst of
"If you show that
this nation".
this country,
southern Ireland,
After suffering from ill health for a number of years, Yeats died in Menton, France on 28
is going to be gov-
erned by Roman
January 1939, aged 73. The last poem he wrote was the Arthurian-themed The Black
Catholic ideas and
Tower. He was finally buried at Drumcliffe, County Sligo in September, 1948. His epitaph
by Catholic ideas is the final line from one of his last poems, Under Ben Bulben : "Cast a cold eye on life, on
alone, you will death; horseman, pass by!" Yeats said, "the place that has really influenced my life most is
never get the Sligo."
North … You will
put a wedge in the
midst of this na- Some exegesis of the Revolutionary Aisling of Ireland
tion". Irish Republicanism is an ideology based on the Irish nationalist belief that all of Ireland
should be a single independent republic, whether as a unitary state, a federal state or as a
confederal arrangement.
In Irish history and politics, it is com-

mon to draw a distinction between
nationalism and republicanism. The
term nationalism is used for any mani-
festation of national sentiment, includ-
ing cultural manifestations, for move-
ments demanding autonomy from
Britain but not complete independ-
ence; and sometimes for secessionist
movements committed to constitu-
tional methods. The term republican-
ism denotes movements demanding
Easter 1916 postage stamp:
complete independence under a re- popularised iconography of the failed insurrection
publican government. It is frequently
associated with a willingness to use force to achieve political goals (‘Physical Force’ repub-
licanism), and often, but not always, with a secular or non-sectarian outlook, whereas

(continued)
Irish nationalism is almost universally associated with Catholicism.
The United Irishmen were the first group to advocate an independent Irish republic.
With military aid from the republican government in France, they organized the failed
Irish Rebellion of 1798. Theobald Wolfe
Tone famously summarised then the in-
clusive agenda of republicanism as the
uniting of Catholic, Protestant and Dis-
senter, “the men of no property”. There-
after, republicanism was to play a central
part in the development of Irish national-
ism. Nationalist rebellions against British
rule in 1848 (by the Young Irelanders)
and 1865 and 1867 (by the Irish Republi-
can Brotherhood) were followed by
harsh reprisals by British forces.
In 1916 the Easter Rising was launched

in Dublin against British rule. Even
The Provisional Government of 1916: though the rebellion failed and most of
only Éamon de Valera would escape the firing its leaders were executed by the British, it
squad was to be a turning point in history, lead-
ing to the end of British rule in most of
The harsh meas-
Ireland. The conscious sacrifice of its leaders “rejuvenated” Caitlin ni Houlihan once more,
ures adopted by
as expressed by Pádraig Pearse its leader.
both sides, includ-
ing assassinations
From 1919-1921 the newly-organized guerrilla army, the Irish Republican Army (IRA) led
of politicians by
by Michael Collins, fought against British forces. In 1921 the British government, led by
the Republicans
David Lloyd George, negotiated the Anglo-Irish Treaty with Collins and the other republi-
and executions
can leaders, ending the war.
and atrocities by
Though many across the country were unhappy with the Treaty (since, during the Anglo- the Free State
side, left a bitter
Irish war, the IRA had fought for independence for all Ireland and for a republic, not for a
legacy in Irish
partitioned dominion under the British crown), a majority of republicans were satisfied
politics until to-
that the Treaty was the best that could be achieved at the time. However, a substantial
day.
minority opposed it. Dáil Éireann, the revolutionary Irish parliament, voted by 64 votes to
57 to ratify it, the majority believing that the treaty created a new base from which to
move forward. Éamon de Valera, who had served as President of the Irish Republic dur-
ing the war, refused to accept the decision of the Dáil and led the opponents of the
treaty out of the House. The IRA itself split between pro-Treaty and anti-Treaty elements,
with the former forming the nucleus of the new National Army.
Michael Collins became Commander-in-Chief of the National Army. Shortly afterwards,

some dissidents, apparently without the authorisation of the anti-Treaty IRA Army Execu-
tive, occupied the Four Courts in Dublin and kidnapped a pro-Treaty general. The gov-
ernment, responding to this provocation and to intensified British pressure following the
assassination by an IRA unit in London of Sir Henry Wilson (CIC, Imperial General Staff),
ordered the regular army to take the Four Courts, thereby beginning the Irish Civil War.
By May 1923, the war (which had claimed more lives than the War of Independence)
had ended in the defeat of the Irregulars. However, the harsh measures adopted by both
sides, including assassinations of politicians by the Republicans and executions and atroci-
ties by the Free State side, left a bitter legacy in Irish politics until today. The sacrifice of
the anti-Treaty republicans “rejuvenated” the Aisling.

(continued)
Irish republican legitimism is thus a term that may be used to describe a current within
Irish republicanism that denies the legitimacy of the political entities of the Republic of
Ireland and Northern Ireland and argues that the Irish Republic continues to exist. The
Aisling is here recognisable in this “vision” of the ideal Republic as proclaimed in 1916,
and rejuvenated in 1921 and at every “split” in the Republican organisations thereafter,
and this legitimism can be identified with the restoration of the Pretender linked to the
Aisling in earlier times.
These claims are rejected by the vast majority of the Irish people, expressed by virtue of
their participation in elections to Dáil Éireann and rejection of abstentionist candidates.
Senator Martin Mansergh, a prominent figure in Fianna Fail, summed up these opinions
when he described as "preposterous nonsense" the "concoction of a sort of pseudo-
apostolic succession from Pearse (who openly and successfully invoked the Aisling by the
supreme sacrifice) to the Second Dáil (where the Aisling was invoked by the anti-Treaty
party) to the IRA anti-Treaty Executive (who claimed absolute right to the invocation from
the rump of the Second Dail) to the Sinn Fein party (as refounded in the 1960s) and the
small irredentist movement since claiming that it, not the elected government of the Re-
public, is the true government of Ireland".
The IRA leadership was indeed deeply divided over the decision by the Second Dáil to
ratify the Treaty. Despite the fact that Michael Collins — the de-facto leader of the IRA —
had negotiated the Treaty, many IRA officers were against it. Of the General Headquar-
Irish republican ters (GHQ) staff, nine members were in favour of the Treaty while four opposed it. Many
legitimism is a term of the IRA rank-and-file were against the Treaty and in January-June 1922, their discon-
that may be used to tent developed into open defiance of the
describe a current elected civilian Provisional government
within Irish republi- of Ireland. Anti-treaty historian Dorothy
canism that denies
Macardle has claimed that 70 to 80 per
the legitimacy of
cent of the IRA was against the Treaty.
the political entities
of the Republic of
Although she cannot be regarded as a
Ireland and North- particularly neutral source, Free State
ern Ireland and General Richard Mulcahy estimated at
argues that the the outbreak of the Civil War that the
Irish Republic con- anti-treaty IRA members outnumbered
tinues to exist. the pro-treaty ones by over 2-1.
The anti-Treaty side argued that the IRA's

allegiance was to the Dáil of the Irish
Republic as mandated in 1918, and the
decision of the Dáil to accept the Treaty
meant that the IRA no longer owed that
body its allegiance. They called for the
IRA to withdraw from the authority of
the Dáil and to entrust the IRA Executive
with control over the army. On 16 Janu-
ary 1922, the first IRA division – the 2nd
Southern Division led by Ernie O'Malley
– repudiated the authority of the GHQ.
A month later, on 18th February, Liam
Forde, O/C of the IRA Mid-Limerick Bri-
gade, issued a proclamation stating that:
"We no longer recognise the authority of Proclamation of the Irish Republic: the dead
the present head of the army, and re- generations ride in from the Foggy Dew

(continued)
new our allegiance to the existing Irish Republic". That is, the “vision” (Aisling) of the Re-
public invoked by Pearse.
On 22nd March, Rory O'Connor held what was to become an infamous press conference
and declared that the IRA would no longer obey the Dáil as it had violated its oath to up-
hold the Irish Republic. He went on to say that "we repudiate the Dáil … We will set up an
Executive which will issue orders to the IRA all over the country." In reply to the question
on whether this meant they intended to create a military dictatorship, O’Connor said:
"You can take it that way if you like."
The pro-treaty IRA soon became the nucleus of the new (regular) Irish National Army cre-
ated by Collins and Mulcahy. British pressure – Winston Churchill wrote to Michael
Collins, warning him that: "An adverse decision by the convention of the Irish Republican
Army (so called) would, however, be a very grave event at the present juncture. I pre-
sume you are quite sure there is no danger of this" – and tensions between the pro- and
anti-Treaty factions of the IRA, led to the civil war, ending in the defeat of the anti-Treaty
faction. Roughly 7,000 to 8,000 of the Free State's National Army were former IRA Volun-
teers. On the other side, perhaps 15,000 men fought on the anti-Treaty side. On May
24th, 1923 Frank Aiken, the (anti-treaty) IRA chief-of-staff, called a cease-fire. Many left
political activity altogether, but a minority continued to insist that the new Irish Free State,
created by the "illegitimate" Treaty, was thus an illegitimate state. They asserted that their
"IRA Army Executive" was the real government of a still-existing Irish Republic (the
“Aisling”). The IRA of the Civil War and subsequent organisations that have used the
name claim lineage from that group. Yeats’ romantic
involvement with
Thus, according to ‘Physical Force’ Irish republican theory, the two Irish governmental two women, ma-
entities which have existed in Ireland since 1922, Northern Ireland and the state variously jor figures of the
known at different times as the Irish Free State and the Republic of Ireland, were illegiti- Irish Revolution
mate, as they had been imposed by the British at the time of the Anglo-Irish Treaty, in and both later
defiance of the last all-Ireland election in 1918, when the majority had voted for full inde- opposed to the
pendence. The real Irish state was the revolutionary Irish Republic declared in 1919 and Treaty, seems to
which, according to republican theory, was still in existence. Accordingly, the modern reflect the con-
day Irish Republican Army is merely the continuation of the original Irish Republican scious invocation
Army which served as the army of the Irish Republic during the Irish War of Independ- of the Aisling, or
ence. Vision, of Ireland.
While at the time of the Treaty and the subsequent Civil War the majority of the IRA held
this position, by the 1930s most republicans had accepted the Free State and were will-
ing to work within it – recognising the National Army as the state's armed force. How-
ever, a minority of republicans argued that the army of the Republic (of Caitlin ni Houli-
han) was still the pre-1969 Irish Republican Army, the lineal descendant of the defeated
faction in the Irish Civil War. Moreover, the IRA Army Council was the legitimate govern-
ment of Ireland until the Irish Republic could be re-established, that is, until the Aisling
could be invoked once more for the final overthrow of the Foul Witch.
The Shadowy Waters ; Yeats, the Aisling and the Foul Witch
We have seen how Yeats’ romantic involvement with two women, major figures of the
Irish Revolution and both later opposed to the Treaty, seems to reflect the conscious invo-
cation of the Aisling, or Vision, of Ireland, in its tragic sense of rejuvenation by sacrifice.
His first major piece of theatre also consciously invokes this vision ; how striking then, that
he seems to abandon the vision at its anti-Treaty rejuvenation, embracing the Foul Witch
by “collaborating” with the Free State. His poem of that name, recited at the beginning

(continued)
of this article, gives an explanation: this is inevitable, given both the human state in
Malkuth, and the despairing nature of the Aisling – witness the four proposals of mar-
riage to Maud Gonne, and the one to her daughter. And we must not ignore the fact
that at the time of the Revolution, he was working through his Adeptus Minor and Adep-
tus Major grades, where he would be faced with his own personal choices in the per-
spective of the Second Order. The Countess Kathleen, or the Foul Witch? His poetry on
these themes suffers a sharp break in 1917, and as his “ladies” pass into Catholicism and
the service of the Vision, he himself draws away.
Éamon de Valera, his arch-enemy, of Iberian stock, invoked other, earthier, more primeval
egregores, in his vast cloak whipped by the wind at his peat-fired torchlit meetings. “Dev”
often said that to know the deepest aspirations of the Irish people, he had but to look in
his own heart. Yeats would say that this would be but the whispering of the Foul Witch,
whereas the foreknowledge of failure would assure the eternity of their “true” aspirations,
the Vision of the Woman of the Sky, and her Pretender.
The Publication of Yeats’ Poetical and Mythological Work:

* 1889 — The Wanderings of Oisin and Other Poems
* 1891 — Representative Irish Tales
* 1892 — Irish Faerie Tales
* 1892 — The Countess Kathleen and Various Legends and Lyrics
* 1892 — The Lake Isle of Innisfree
At the time of the * 1893 — The Celtic Twilight
Revolution, Yeats * 1894 — The Land of Heart's Desire
was working * 1895 — Poems
through his Adep- * 1897 — The Secret Rose
tus Minor and
* 1899 — The Wind Among the Reeds
Adeptus Major
grades, where he
* 1899 — The Song of The Old Mother
would be faced
* 1900 — The Shadowy Waters
with his own per- * 1902 — Cathleen ni Houlihan
sonal choices in the * 1903 — Ideas of Good and Evil
perspective of the * 1903 — In the Seven Woods
Second Order. The * 1904 — The King's Threshold
Countess Kathleen, * 1907 — Discoveries
or the Foul Witch? * 1910 — The Green Helmet and Other Poems
* 1913 — Poems Written in Discouragement
* 1916 — Reveries Over Childhood and Youth
* 1916 — Easter 1916
* 1917 — The Wild Swans at Coole
* 1926 — Autobiographies of William Butler Yeats
* 1928 — The Tower
* 1929 — The Winding Stair
Select Bibliography
1. Yeats
Brown, Terence (2001). "The Life of W. B. Yeats".
Ellmann, Richard (1978). Yeats: The Man and the Masks.
Foster, R. F. (1996). W. B. Yeats: A Life, Vol. I: The Apprentice Mage.
Foster, R. F. (2003). W. B. Yeats: A Life,Vol. II: The Arch-Poet 1915-1939.
Igoe, Vivien (1994). A Literary Guide to Dublin.
Jeffares, A Norman (1989). W B Yeats: A New Biography.
King, Francis (1989). Modern Ritual Magic: The Rise of Western Occultism.

(continued)
2. The Irish Revolution

Seamus Fox, Chronology of Irish History 1919-1923
Éamon de Valera, entry on www.archontology.org
The World at War - Ireland Timeline 1918-1948
Alvin Jackson, Home Rule: An Irish History 1800—2000 (2004)
Michael Laffan, The Resurrection of Ireland: The Sinn Féin Party 1916—1923 (1999)
Tim Pat Coogan, The Troubles (1995, 1996)
Tim Pat Coogan, Michael Collins (1990)
Brian Feeney, Sinn Féin: A Hundred Turbulent Years (2003)
Roy Foster, Ireland 1660-1972
F.S.L. Lyons, Ireland Since the Famine
Brian Maye, Arthur Griffith
Dorothy Macardle, The Irish Republic (1968)
Sean O'Callaghan, The Informer (1999)
Patrick Sarsfield, S. O'Hegarty & Tom Garvin, The Victory of Sinn Féin : How It Won It &
How It Used It (1999)
Peter Taylor, Behind the Mask: The IRA & Sinn Féin
Robert Kee, The Green Flag: A History of Irish Nationalism (1972–2000)
Henry Patterson, The Politics of Illusion: Republicanism and Socialism in Modern Ireland
(1989)
C. Younger, Ireland's Civil War (1968)
Mike Milotte, Communism in Modern Ireland: The Pursuit of the Workers' Republic since
1916 (1984)
Tim Pat Coogan, Michael Collins (1990)
The foreknow-
Michael Hopkinson, The Irish War of Independence
ledge of failure
Ernie O'Malley, On Another Man's Wound
would assure
M. E. Collins, Ireland 1868-1966
Meda Ryan, The Real Chief : Liam Lynch (2005) the eternity of
Tom Barry, Guerrilla Days in Ireland their “true” aspi-
T. Ryle Dwyer, The Squad and the intelligence operations of Michael Collins rations, the Vi-
Paddy Bryne, Memoirs of the Republican Congress sion of the
Fearghal McGarry, Irish Politics and the Spanish Civil War (1999) Woman of the
Séan Cronin, Frank Ryan : The Search for The Republic (1980) Sky, and her
Bob Doyle, Brigadista: An Irishman's Fight Against Fascism (2006) Pretender.
Adrian Hoar, In Green and Red: The Lives of Frank Ryan (2004)
Eoghan Ó Duinnín, La Niña Bonita agus an Róisín Dubh (1986)
Michael O'Riordan, Connolly Column: The story of the Irishmen who fought for the Span-
ish Republic 1936-1939 (2005)
Maryann Gialanella V, Portrait of a Revolutionary. General Richard Mulcahy and the
Founding of the Irish Free State (1992)
Paul V. Walsh, The Irish Civil War, 1922-1923
Henry Boylan, A Dictionary of Irish Biography (1998)
Brian Hanley, The IRA: 1926-36 (2002)
Seán MacBride That Day's Struggle. A Memoir, ed. Caitríona Lawlor (2005)
J. Bowyer Bell, The Secret Army: The IRA (1997)
Ed Moloney, A Secret History of the IRA (2003)
T. Ryle Dwyer, The Squad and the Intelligence Operations of Michael Collins
Copyright © 2007 Ian Cowburn

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Winter Solstice 2007

The Genius of the Golden 14

The Rosicrucian Vault—A 20

The Keryx and the Caduceus 36

Looking in Dee's journal entitled A True and

Here we have three syllables, with an accent over the

One of the earliest versions of the

Phonetic Sound Notation

Phonetic Sound - Notation

There are many

Angelical Word Dee's Phonetic Notation My Pronunciation Key

Dee's Phonetic Glosses

"Q" = "Qu" - Cnoqod (see-noh-kwod) - (Compare to Cnoquod)

When two consonants are placed together, they can:

The "Ph" in Dorpha (dor-fa)

2) Or they can make a new consonant sound as they would in present-day

The "Gr" in Grosb (grozb)

The "P" in Nazpsad (nayz-pee-sad)

In Angelical, a letter standing alone in a syllable is not pronounced phonetically. To con-

Prdzar (purd zar)

This brings my essay on Angelical pronunciation to a close. As an appendix to this essay,

Excerpts From An Angelical Psalter

Call in English: Angelical Key

the firmaments of wrath: in whose calz vonpho: Sobra z-ol ror i ta

a sword, and the Moon a through- nazpsad, graa ta malprg; Ds

measureth your garments in the midst holq qaa nothoa zimz, od

I garnished with the fire of gnonp prge aldi ds urbs oboleh

with admiration. To whom I made a grsam. Casarm ohorela caba pir,

truth (truth).” Move, therefore, and vaoan (vooan).” Zacar, ca, od

the depths of my jaws; whom I have piadph; casarma abramg ta

cups for a wedding, or as the flowers talho paracleda, qta lorslq

For further information:

If you have questions, please post them to:

Copyright ©2006-2007 Aaron Leitch

The Genius of the Golden Dawn

Mathers in particular gets the most backing. Looking though many of

The Genius of the Golden Dawn

Hegemon: Child of Earth, arise and enter the darkness.

Compare this with the later Stella Matutina rite:

Hegemon: Inheritor of a dying world, arise and enter the darkness.

Once free of the constriction of the cipher manuscripts, one would

The Genius of the Golden Dawn

The 5=6 ritual appeared. Mathers seems to have taken elements

The Genius of the Golden Dawn

The Genius of the Golden Dawn

This created something particularly magical and unique. When this

Copyright © 2007 Nick Farrel

The Rosicrucian Vault

The Rosicrucian Vault

The Rosicrucian Vault

Here we see an 18th-century alchemical engraving show-

The various astrological and qabalistic words and images

The Rosicrucian Vault

The Rosicrucian Vault

The Mountain of the Caverns

The symbolism of the mountain and the

The Rosicrucian Vault

The Rosicrucian Vault

The Rosicrucian Vault