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An Essay on Enochian Pronunciation by Christeos Pir

Fr. VITRIOL 335 0 O.T.O.


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

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

Part One:

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

Example:

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

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

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

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

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

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

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

Part Two:

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

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

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

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

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

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

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

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

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

</blockquote></HTML> Also:

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

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

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

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

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

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

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

One last note:

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

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

Love is the law, love under will.

Christeos Pir

Fr. VITRIOL 335, 0° O.T.O.

_O_

 

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


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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

 

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


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

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

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

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

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

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

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

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


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

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

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

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

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

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


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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

BLI-OR^.
BLIOR.
bli-or.

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


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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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


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

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

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

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

1 “nonsi


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

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

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

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

1 -“jen


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

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

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

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


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

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

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

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


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

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

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

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

1 “jeh
2 as “Yils


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

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

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

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

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


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

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

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

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

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

1 “QZMOZ … Moz


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


 

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

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

 

PRONUNCIATION KEY

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

C – as k before aou (some exceptions)

– as s before ie (some exceptions)

E – stressed: as in “obey”

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

G – as (hard) g before aou

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

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

I – stressed: as in “machine”

– unstressed: as in “pill”

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

O – stressed: as in “go”

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

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

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

– in initial position may be pronounced as “yew”

X – as in “fox”

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

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

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

PH – as f

SH – as sh

TH – as th

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

 

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

THE NAMES OF THE THIRTY AETHYRS

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

 

 

APPENDIX

 

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

A as the first vowel sound in “father”

E as the vowel sound in “say”

I as the vowel sound in “meet”

O as the vowel sound in “hold”

U as the vowel sound in “food”

 

a as the vowel sound in “add”

e as the vowel sound in “yet”

i as the vowel sound in “sit”

o as the vowel sound in “hot”

u as the vowel sound in “foot”

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

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

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

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

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

C – as k before aou (with some exceptions)

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

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

D – as d in all positions

E – when stressed, as in French “fee”

– when unstressed, as in “bed”

F – as f in all positions

G – as (hard) g before aou

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

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

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

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

K – as k in all positions

L – as l in all positions

M – as m in all positions

N – as n in all positions

O – when stressed, as in French “mot”

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

P – as p except in combination ph

PH – as f

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

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

S – usually as s in “sit”

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

SH – as sh in “ship”

T – as t except in combination th

TH – as th in “thank”

U – as oo in “boot”, or u in “put”

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

X – as x in “fox”

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

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

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

 

BIBLIOGRAPHY

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

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

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

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

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SOURCE: Hermetic.com

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

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

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

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

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

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

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

VIII. [THE FOURTH UTTERANCE.]

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

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

IX. [THE FIFTH UTTERANCE.]

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

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

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

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

 

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

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

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

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

Greek Alphabet, Vowels, Consonants, And Dipthongs

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

The Greek Alphabet

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

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

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

Vowels

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

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

Consonants

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

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

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

Classes

Labial or π-mutes π, β, φ

Palatal or κ-mutes κ, γ, χ

Lingual or τ-mutes τ, δ, θ

Orders

Smooth mutes π, κ, τ

Middle mutes β, γ, δ

Rough mutes φ, χ, θ

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

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

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

Dipthongs

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

12. The diphthongs are pronounced:

αι as in aisle

αυ as ou in hour

ει as in eight

υι as in quit

οι as in oil

ου as in group

ευ as ĕh-oo *

ηυ as ĕh-oo *

* For these there is no exact equivalents in English.

 

13.Pronunciation Practice

Read each of the following words aloud

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

HTML Other Symbols

HTML Other Symbols

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

 

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

 

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

HTML Greek Symbols

HTML Greek Symbols

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

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

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

Constructing Enochian Temples, by Benjamin Rowe

Constructing Enochian Temples

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

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

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

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

Background

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

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

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

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

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

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

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

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

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

The Bricks

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

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

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

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

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

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

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

Design

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

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

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

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

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

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

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

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

E S W N <– (direction of face)

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

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

Example Consecration of the Temple of Earth

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

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

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

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

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

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

5. Vibrate the Key of the Element.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Symbolism and Visualizations of the Consecration Ritual

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Last Words

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Correspondences

The Tablets and the Tree of Life

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

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

The Tablets and the Four Worlds

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

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

The Temple and Man

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

Additional sections of Enochian Temples

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

Analysis of the First Key.

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

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

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

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

Footnotes

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

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

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

4 Geburah.

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

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

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

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

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

10 Sagittarius, connecting Chesed and Chokmah.

11 Chesed.

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

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

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

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

16 More Binah.

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

18 Chokmah.

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

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

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

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

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

Copyright year, 1992 by Benjamin Rowe

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

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

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

Benjamin Franklin Developed and Practiced His Character Based on 13 Virtues in Thoughts, Actions and Words

Benjamin Franklin 1767

Founding father Benjamin Franklin sought to live his life based on 13 virtues. He even kept a chart to record which virtues he was actually living by on a weekly basis. Tracking and reflecting on these traits could help you lead a more virtuous life.

For a large portion of his life, he carried around a card in his pocket with seven columns (for the days of the week) and 13 rows on it for the virtues, trying to keep them front of mind in his actions.

Benjamin Franklin’s 13 virtues:

  • Temperance: Eat not to dullness; drink not to elevation, as he put it.
  • Silence: Speak not but what may benefit others or yourself; avoid trifling conversation.
  • Order: Let all your things have their places; let each part of your business have its time.
  • Resolution: Resolve to perform what you ought; perform without fail what you resolve.
  • Frugality: Make no expense but to do good to others or yourself.
  • Industry: Lose no time; be always employed in something useful; cut off all unnecessary actions.
  • Sincerity: Use no hurtful deceit; think innocently and justly and, if you speak, speak accordingly.
  • Justice: Wrong none by doing injuries, or omitting benefits that are your duty.
  • Moderation: Avoid extremes.
  • Cleanliness: Tolerate no uncleanliness in body, clothes or habitation.
  • Tranquility: Be not disturbed at trifles, or at accidents common or unavoidable.
  • Chastity: Rarely use venery but for health or offspring, never to dullness, weakness, or the injury of your own or another’s peace or reputation.
  • Humility: Imitate Jesus and Socrates.

 

Benjamin Franklin was born in 1706 into a family of very modest means. Today, they’d probably be called lower middle class at best. His parents had just enough money to send him to school for a couple of years in hope that he could eventually join the clergy, but by the age of 10, he was done with school. He was a print shop apprentice by the age of 12, climbing around on printing presses, sorting letters, mixing ink, and all of the other tasks needed to keep a printing press running.

From that humble background, Franklin became a highly successful printer, a well known writer, a scientist, a politician, and a diplomat, among the many other hats he wore. During those efforts, he accumulated enough wealth to effectively retire independently wealthy in his forties, and he largely devoted the rest of his life to public service (and his individual interests). He was such a towering figure in the American Revolution that he was deservedly called the “first American,” and his light shines brightly even today.

Even to this day, Franklin’s “Autobiography” is a splendid read. You can get a nice pocket edition of it for just a few dollars, check it out at your library for free, or download it and read it electronically for free. No matter how you read it, I highly recommend you do so, as it’s an insightful book about an amazing person.

One of the things that has really stood out to me each time I’ve read his autobiography is the fact that he attributed most of his success (beyond that of luck) to practicing 13 core life virtues, to the best of his ability. He believed that by living those virtues, he had done everything he could to put himself in a position to be on the good side of the unexpected events of life.

He actually had an incredible system for working on those virtues, which I want to talk about today.

Ben Franklin’s ‘virtue cards’

For a large portion of Franklin’s life, he carried around a card in his pocket that depicted a simple table with seven columns and 13 rows on it.

Each column on this card represented a day of the week — Monday through Sunday. Each row on this card represented one of 13 virtues that he wanted to work on.

During the day, he might glance at these virtues a time or two to keep them fresh in his mind. At the end of each day, however, he’d pull out a pen and go through those virtues, asking himself if he’d actually practiced them during the day and marking the box if he had done so. His goal was to fill in as many boxes as possible, and each week, he would start anew with a fresh blank chart.

That wasn’t all. Not all of the charts were identical. In fact, he had 13 variations of the charts, which he cycled through every 13 weeks. On the top of each variation of the card was listed one virtue, which was the main one he wanted to practice that week, along with a brief description of that virtue.

For example, one week, he might really focus on frugality, while the next week might particularly focus on temperance. He’d reflect on and record his success with all 13 virtues each day, but he would intentionally focus on just one virtue each week.

You can download a generic duplicate of his virtue card (without the specific focus for the week) here.

A final key part of his practice is that he’d review the cards as a whole at the end of each week, evaluating which virtues were successful that week, which ones were not, and which areas really needed focus and improvement in his life. He’d also review them as a set, and thus with 13 cards to review, that roughly covers three months of living. A larger review like this — a “quarterly review” if you will — can point you to some larger patterns along your path to becoming a better person.

Over time, these virtues became more and more ingrained in his character. He found himself naturally practicing them more than he once did, which made him into a more well-rounded and successful person and a better participant in society, which he attributed to being a healthy part of the success that he found in almost every attribute of life.

So what were these 13 virtues?

Benjamin Franklin’s 13 virtues

Here are the virtues that Franklin tracked and reflected upon each day. His goal was to improve himself with regard to each virtue so that over time he was a better person in that regard, and by being a better overall person, he was more open to life’s opportunities.

Temperance

Eat not to dullness; drink not to elevation.

This one’s pretty simple. Eat until you’re not hungry any more rather than stuffing yourself, don’t eat just for entertainment’s sake or for boredom’s sake, and stop drinking when it begins to impair your judgment and sensibilities. It’s about self-regulating what you put into your body and making the conscious choice to put in only enough for good living.

Silence

Speak not but what may benefit others or yourself; avoid trifling conversation.

SOURCE: https://www.theglobeandmail.com/report-on-business/careers/management/the-four-ways-to-divide-your-day/article37716726/
https://www.businessinsider.com/benjamin-franklin-virtues-weekly-plan-2018-1

Some Popular Ancient Egyptian Gods with Pictures

Ancient Egyptian Gods (List with Pictures)

Affiliate Disclosures

Table of Contents

The Egyptian pantheon is full of many deities, each with its own significance, myths and symbolism. Some of these beings goes through several transformations between the different Egyptian kingdoms, which can make it confusing to identify them. In this article, we cover 25 of the most popular gods of ancient Egypt, and why they’re important.

Ra

Ra god
god Ra

Ra is one of the most famous gods of ancient Egypt. He was both the sun god and was the main deity in Egypt by the Fifth Dynasty or around 25th and 24th centuries BCE. Ra was also believed to be Egypt’s first pharaoh back when gods roamed the Earth with people. As a result, he is also worshipped as the god of order and kings. After his ascension, Ra was said to cross the sky on his ship or “solar barge” as the sun, setting in the west every evening and traveling the underworld, Duat, in order to rise in the East again in the morning. During Egypt’s Middle Kingdom, Ra was also often affiliated and combined with other deities such as Osiris and Amun.

Osiris

Osiris god

Osiris took over the world from Ra when the latter grew old and ascended to the heavens. Osiris was the son of Geb and Nut and was a wise and just pharaoh – he taught the people of Egypt how to farm and how to build large cities. Legend says, however, that he was eventually betrayed by his jealous brother Set, who tricked him into lying in a golden coffin. Set killed Osiris and cut him into pieces as he was in the coffin. And even though Osiris’ wife Isis eventually managed to resurrect him and make him into the first mummy, Osiris wasn’t fully alive anymore. Since then, he became the god of the underworld where he judged the souls of the dead.

Isis

Isis goddess

Isis was the sister and wife of Osiris and the goddess of magic, and is often portrayed with large wings. In a popular myth, Isis poisoned Ra with a snake, and would only heal him if he revealed his true name to her. After he told her his name, she healed him and removed the poison, but she had become powerful with the knowledge of his name and could manipulate him to do anything.

In one version, Isis used her power to force Ra to move further away from the world, as his tremendous heat was killing everything in it. In the other version, she used the power to miraculously fall pregnant from the mummified Osiris.

After Osiris’ death at the hands of Set, Isis managed to resurrect her husband and he then retired to rule over the Underworld. Isis encouraged their son Horus to avenge his father by battling Set. Portrayed as a beautiful winged woman, Isis was worshipped as a clever and ambitious goddess as well as a loving spouse.

Set

The brother of Osiris and father of Anubis, Set or Seth is a god with a mixed reputation. He has always been worshipped as the god of the desert, storms, and foreign lands but he used to be viewed positively by the ancient Egyptians. For a long time, he was believed to ride the sky with Ra on his solar barge every day, protecting him from the armies of the evil serpent, Apep.

In the days of Osiris, however, the legend of Set killing his brother and usurping his throne became prevalent in Egypt and turned the god’s reputation in a more negative direction. He began to be seen as an antagonist in the stories of Osiris and Horus.

Thoth

Thoth God
Thoth God

Thoth was worshipped as the god of wisdom, science, magic, and hieroglyphs in ancient Egypt. He was depicted as a man with the head of either an ibis bird or a baboon, as both animals were sacred to him.

Together with his wife Ma’at, Thoth was said to live on Ra’s solar barge and travel with him through the sky. While Thoth never got the “chief” role in Egypt’s pantheon the way Ra, Osiris, Set, Horus, and others did, Thoth was always revered as a vital god in Egyptian mythology.

Horus

Horus god
Horus Egyptian God

The son of Osiris and Isis, and the nephew of Set, Horus is usually portrayed as a man with a falcon head. He’s worshipped as the god of the skies but also of kingship and remained the chief deity in the Egyptian pantheon until the era of Roman Egypt. In the oldest Egyptian myths, he was known as the tutelary or guardian deity in the Nekhen region of Upper Egypt but he eventually rose to the top of the Egyptian pantheon. After Horus’ uncle Set usurped the divine throne from Osiris, Horus battled and defeated Set, losing an eye in the process but also winning the throne. The Eye of Horus is an important symbol in itself, representing protection and guardianship.

Bast

Bastet God

It’s no secret that the ancient Egyptians used to worship cats. That’s largely because of how useful these pets were for them – they used to hunt snakes, scorpions, and other nasty pests that plagued the Egyptian’s everyday lives. Often pictured as a cat or a lioness with jewels on her head and neck, and even a knife in her foot, Bast was the goddess of the Egyptians’ feline pets. She was also sometimes depicted as a woman with a cat’s head.

A protective goddess, Bast or Bastet, was the patron goddess of the city Bubastis. She was often connected with Sekhmet, another of Egypt’s protective goddesses. While the latter was portrayed as a warrior, however, Bast had a more subtle yet important protective role.

Sekhmet

Sekhmet goddess

Sekhmet, or Sachmis, was a warrior goddess and a goddess of healing in Egyptian mythology. Like Bast, she was often portrayed with a lioness’ head but was a much more war-loving deity. She was particularly viewed as the protector of pharaohs in battle and she was the one that would carry the pharaohs to the afterlife if they died in battle. This puts her in a somewhat similar position to that of Odin’s valkyries in Norse mythology.

Bast, on the other hand, was more of a common people’s goddess which is likely why she is the more famous of the two today.

Amun

Amun God

Amun or Amon is a major Egyptian deity, typically worshipped as the creator god in Egyptian mythology and the patron god of the city of Thebes. He is a part of the Ogdoad, the pantheon of 8 major deities in the city of Hermopolis. He gained a much wider national importance later on when Egypt was unified and Amun became “fused” with the sun god Ra, from then on worshipped as Amun-Ra or Amon-Ra.

After Alexander the Great conquered large swathes of the Middle East and Egypt, in many of the territories with mixed Greek and Egyptian influences Amun started being identified with Zeus and worshipped as Zeus Ammon. Together with Osiris, Amon-Ra is the most widely recorded Egyptian deity.

Amunet

Amunet, or Imnt, is one of the primordial deities of ancient Egypt. She’s the female counterpart of the god Amun and is also a part of the Ogdoad pantheon. The name “Amunet” was popularized by 20th century Hollywood movies as an Egyptian queen but she was actually one of the oldest Egyptian gods. Her name comes from the Egyptian feminine noun jmnt and means “The Hidden One”. This is similar to Amun’s name which also has a similar meaning but comes from the masculine jmn. Before Amun fused with Ra, he and Amunet were worshipped as a pair.

Anubis

Anubis god
Anubis God

Son of the “evil” god Set, Anubis is the god of funerals. Despite his relation to death, he was actually revered and loved by the Egyptians who were firm believers of life after death. Anubis was the one who helped Isis mummify and resurrect her husband Osiris after Set killed him. Anubis was also believed to care for every soul in the afterlife and prepare them for the Hall of Judgement where Osiris would judge their life and worth. Anubis wore the head of a jackal as the Egyptians associated these animals with the dead.

Ptah

Ptah goddess

Ptah is the husband of the warrior goddess Sekhmet and an ancient Egyptian deity of craftsmen and architects. He was also believed to be the father of the legendary sage Imhotep and the god Nefertem.

He was also worshipped as a creator god as he existed before the world itself and thought it into existence. As one of the oldest deities in Egypt, Ptah was the recipient of many other honors and epithets – the lord of truth, the master of justice, the lord of eternity, the begetter of the first beginning, and more.

Hathor

Hathor Goddess

Hathor had many different roles in Egyptian mythology. She was portrayed either as a cow or as a woman with cow’s horns and a sun disk between them. That’s because in many legends she was believed to be Ra’s mother. At the same time, she acted as Ra’s feminine counterpart and as the Eye of Ra – the very sun disk which the sun god used against his enemies.

Her portrayal as a cow was actually flattering as cows were associated with maternal care. In other myths, however, she was also believed to be the mother of Horus instead of Isis. This is supported by her very name which in ancient Egyptian is read as ḥwt-ḥr or House of Horus.

Babi

A lesser known god, who was popular back then, and a somewhat amusing deity, Babi was the god of sexual aggression as well as Duat, the Underworld. Babi was portrayed as a baboon because he was the god of wild baboons, animals well-known for their aggressive tendencies. This puts him in contrast to Thoth for whom baboons are also sacred. However, while with Thoth baboons are associated with wisdom, the exact opposite is true for Babi. This god’s name translates as Bull of the baboons, i.e. the chief baboon.

Khonsu

The son of Amun and the goddess Mut, Khonsu was the god of the moon in ancient Egypt. His name translates to a traveler which likely refers to the moon traveling across the sky every night. Like Thoth, Khonsu was a god that marked the passage of time as the ancient Egyptians used the phases of the moon to mark time. He was also believed to play an instrumental role in the creation of all living things in the world.

Geb and Nut

Many deities in ancient Egypt came in pairs but were also important individually. However, Geb and Nut simply have to be talked about as one. Geb is the male god of the earth and Nut is the female goddess of the sky. He was often portrayed as a brown-skinned man, laying on his back while covered in rivers. Nut, on the other hand, was portrayed as a blue-skinned woman covered with stars stretching above Geb.

The two of them were siblings but were helplessly attracted to each other. The sun god Ra knew of a prophecy that Geb and Nut’s children would eventually overthrow him, so he tried his best to keep the two apart. Eventually, Nut had four or five children, depending on the myth, from Geb. These were Osiris, Isis, Set, and Nephthys, with Horus often added as a fifth child. Naturally, the prophecy came true, and Osiris and Isis overthrew Ra and took his throne, followed by Set and then Horus.

Shu

Shu is one of the primordial gods in Egyptian mythology and he’s the embodiment of air and wind. He’s also the god of peace and lions, as well as the father of Geb and Nut. As the wind and air, it’s Shu’s job to keep Geb and Nut apart – a job he did well most of the time except whenever Osiris, Isis, Set, and Nephthys were conceived.

Shu is one of the nine deities in the Ennead – or main pantheon – of Heliopolis cosmology. He and his wife/sister Tefnut are both children of the sun god Atum. The three of them are accompanied in the Ennead by their children Geb and Nut, their grandchildren Osiris, Isis, Set, and Nephthys, and sometimes by Osiris and Isis’ son Horus.

Kek

In the Hermopolitan Ogdoad pantheon of Egyptian gods, Kek was the personification of cosmic darkness. His female name was Kauket and the two of them were often thought of as representing the night and day. The two of them were depicted as humans with various different animal heads. Kek often had the head of a snake while Kauket – the heads of either a cat or a frog.

Curiously enough, “kek” also has the modern meme meaning of “lol” in many message boards and is often connected with another meme – Pepe the Frog. While this connection was coincidental it has sparked a lot of interest in the ancient Egyptian deity.

Bes

Bes is a god most people are surprised to find in the Egyptian pantheon as he’s a dwarf. While we usually associate dwarves with Norse mythology, Bes was a very popular, albeit minor, deity in Egypt.

He was usually portrayed as a rather ugly person with a lion’s mane and a pug nose. He was a powerful protector of mothers and children, however, and was believed to scare off evil spirits. People in Egypt believed that those born with dwarfism were inherently magical and brought luck to the household.

Tawaret

Taweret god

Just as the Egyptians associated cows with motherly care and protection, they also thought the same of female hippos. They were afraid of hippos in general as the animals are overly aggressive but the Egyptians nevertheless recognized motherly care in that aggressiveness toward outsiders. That’s why it’s not surprising that the goddess protector of pregnant women Tawaret was portrayed as a female hippo.

Tawaret was portrayed as an upright female hippo with a big belly and often Egyptian royal headgear on her head. She was said to scare off evil spirits during pregnancies and childbirth just like Bes, and the two were thought of as a pair.

Nephthys

Nephthys goddess

Nephthys is the least talked about of the four children of Geb and Nut as Osiris, Isis, and Set are much more well-known nowadays. She was the goddess of rivers and was very much beloved by the ancient desert-dwelling Egyptians.

Just as Osiris and Isis were married, so were Set and Nephthys. The god of desert lands and foreigners didn’t get along with his river goddess wife too well, however, so it’s no surprise that Nephthys helped Isis resurrect Osiris after Set killed him. She mothered Anubis, the god of funerals and mummification, and he too went against his father and helped in Osiris’ resurrection.

Nekhbet

One of the oldest deities in Egypt, Nekhbet was first a local vulture goddess in the city of Nekheb, later known as the city of the dead. She did eventually become the patron goddess of all of Upper Egypt, however, and after the kingdom’s unification with Lower Egypt, she was one of the two most honored gods in the entire kingdom.

As a vulture goddess, she was the goddess of the dead and the dying but was also the protector goddess of the pharaoh. She was often portrayed as hovering over him protectively rather than menacingly.

Wadjet

What is the Egyptian uraeus

The corresponding patron deity of Lower Egypt to Upper Egypt’s Nekhbet, was Wadjet. She was a serpent goddess, often portrayed with the head of a snake. Pharaohs of Lower Egypt would wear the symbol of the rearing cobra called Uraeus on their crowns and that symbol would remain on royal headgear even after the unification of Egypt. In fact, the Eye of Ra sun disk symbol that emerged centuries later continued to feature two Uraeus cobras on the sides of the disk, in homage to Wadjet.

Sobek

Sobek God
Sobek egypt

The god of crocodiles and rivers, Sobek was often portrayed as a crocodile or a man with a crocodile head. As the fearsome river predators were a menace for many Egyptians, Sobek was often feared by the people of Egypt.

At the same time, however, he was also honored as the god of pharaohs in some cities and as a powerful military deity, likely because crocodile-infested waters would often stop advancing armies. Funnily enough, he was also a god of increased fertility – that’s likely because of crocodiles laying 40-60 eggs at a time. It was also said in some legends that the world’s rivers were created from Sobek’s sweat.

Menhit

Originally a Nubian war goddess, Menhit was portrayed as a woman with a lioness’ head and royal headgear. Her name translates to she who massacres. She was also sometimes depicted on pharaohs’ crowns instead of the traditional Uraeus symbol. That’s because she became known as a crown goddess after she was adopted by the Egyptians. Menhit also personified the brow of Ra and was sometimes identified with another feline war goddess Sekhmet, but the two were distinctly different.

 

SOURCE:Ancient Egyptian Gods (List with Pictures) – Symbol Sage

 

The Judgement Scene in the Book of the Dead from Ancient Egypt – An Interpretation of the Scene

Death continues to be one of the greatest fears of human society. Since the dawn of recorded history through the centuries of plague, pestilence, and meeting our own modern global pandemic, death has always been a worry. It marks the end of life and forces cosmic questions such as: What is the purpose of life? Is there an afterlife, and if an afterlife exists, how does someone guarantee his or her place in it? The ancient Egyptians definitely believed in an afterlife, but they also believed that the afterlife was not a guaranteed experience. The deceased must avoid dangers and pass tests to become justified in gaining admittance into paradise. To aid the deceased on his or her journey, the ancient Egyptians created fabulously detailed Books of the Dead with magic spells and practical advice divided into chapters. One of the finest chapter examples is the Judgement Scene from Book of the Dead of Hunefer. It records the most dramatic moments in one man’s journey to enter the ancient Egyptian afterlife. What follows is Hunefer’s story captured on papyrus over 3,300 years ago.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK.

History: Surrounding Circumstances

The ancient Egyptians were obsessed with the art of dying well. They wanted to ensure their place in the afterlife and that it was as enjoyable as life itself. Hunefer was no exception to this desire, especially since he had a privileged and prosperous life. He was a royal scribe and steward to Pharaoh Seti I, who ruled during the 19th dynasty of the New Kingdom. Hunefer boasted many titles including Estate Overseer of Menmaatra, Overseer of the Cattle of the Lord of the Two Lands, and King’s Scribe. The era in which Hunefer lived was a period of renewed prosperity.  Like his own Judgement Scene, many fine works of art and calligraphy were created through private commissions. Every Book of the Dead was different–all custom-made. No two are identical examples. Over 200 known spells in cursive hieroglyphs could be individualized for inclusion in chapters with accompanying vignettes or miniature paintings. Hunefer’s Judgement Scene is one such chapter of his Book of the Dead. Because these funerary papyri were so long and had so many chapters, they were known by the ancient Egyptians as Chapters of Coming Forth by Day.

Pantheon of Gods: Supervisors & Witnesses

Hunefer’s Judgement Scene is Frame/Chapter 3 of his Book of the Dead/Chapters of Coming Forth by Day. The chapter measures 1’ 6” H x 3’ W (45cm H x 90.5cm W), resulting in a panoramic 1:2 aspect ratio. It is divided into two major registers–or horizontal levels–separated by defined lines. In the first register, in the upper left corner, kneels the adoring Hunefer in front of a pantheon of Egyptian gods. The gods are individually labelled and identified as Ra (immediately in front of Hunefer) followed by Atum, Shu, Tefnut, Geb, Nut, Horus, Isis, Nephthys, Hu, and Sia, and the personifications of the Southern, Northern, and Western Roads. These fourteen gods will act as supervisors and witnesses to the drama that unfolds below in the second register of Judgement Scene.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Egyptian Pantheon.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Anubis: Prosecutor & Defense Attorney

On the left side of the second register of Judgement Scene is the Theban scribe Hunefer holding hands with the jackal-headed god Anubis. Anubis is the ancient Egyptian god of embalming and the protector of the dead. He leads Hunefer towards the balance scale where he will perform the critical Weighing of the Heart Ceremony which will determine if Hunefer is “True of Voice” or worthy of eternal life. Hunefer’s heart sits on the left side of the balance scale weighing against the Feather of Ma’at (Truth) on the right side. The ancient Egyptians believed a person’s heart was the seat of emotions, intellect, and character. It was the organ thus representative of a person’s good or bad life. It was so symbolically important to the ancient Egyptians that it was one of the few organs remaining in the body after the famous mummification process.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Anubis.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Ammit: Executioner

If the heart weighed more than the Feather of Ma’at, then the heart indicated a sinful life ineligible to an afterlife. Sinful hearts that failed the test were immediately devoured by Ammit, the grotesque creature below the scale and sitting to the right of Anubis. Ammit is a female demon with a hybrid body. She is part crocodile, lion, and hippopotamus. She is a manifestation and combination of the three largest man-eating animals known to ancient Egyptians. Hence she was fearfully known as the Devourer of the Damned because anyone who had his or her heart eaten was deprived of an eternal afterlife. He or she was condemned to non-existence–a second but far worse death in the eyes of the ancient Egyptians. Judgement Scene captures the balancing act with Anubis adjusting the plumb-weight and Ammit looking eagerly for her next meal. The tension is almost palpable.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail. of Balance Scale.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Thoth: Court Stenographer

Standing to the right of Anubis, Ammit, and the scale is the ibis-headed god Thoth. Thoth is the god of writing, scribes, and magic spells. He stands facing the balance scene, holds a pen and a scribal palette, and records the test’s results. His face bears no emotion, unlike the demoness Ammit. He is simply an objective stenographer transcribing the proceedings before him. Thoth completes the Weighing of the Heart Ceremony in Judgement Scene. However, what does Thoth record? Does Hunefer’s heart weigh the same as the Feather of Ma’at, thus proving he is worthy of an afterlife, or does he face eternal oblivion?

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Thoth and Horus.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Court Decision: Not Guilty!

Hunefer passes the test!  Standing to Thoth’s right is Hunefer again but with happiness that anyone who has ever passed a difficult test can understand. There is a sense of euphoria, self-congratulations, but more importantly, relief. The test is over, and the anxiety can end. Hunefer is clearly delighted with his test result because his face has a more animated expression compared to his image earlier in the scene on the far left. His eyes are wide, and his lips are curled in a closed smile. Pride can almost be felt in his heart. Judgement Scene is going to deliver a happy ending!

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Hieroglyphics.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Horus: Court Guard

In Judgement Scene, the falcon-headed god Horus stands to Hunefer’s immediate right and points with his right hand towards the seated Osiris, god of the dead, afterlife, and agriculture. Horus is the god of kingship and the sky and is the son of the god Osiris and the goddess Isis. Horus escorts Hunefer to meet the divine family and to be welcomed into the afterlife.

Osiris: Judge & King

To the far right of Judgement Scene sits the deathly green-skinned Osiris. He is enthroned within his judgement hall at the center of his divine court. Before him are the four sons of Horus standing on a large lotus flower that grows from a pool of water beneath the throne of Osiris. Behind Osiris are his sister-wife-goddess Isis and sister-goddess Nephthys. They hold their left hands in veneration of Osiris and in welcome of Hunefer. Osiris holds the crook and flail symbolizing his kingship and his control of the fertility of the land. He is king over the Fields of Reeds, or paradise, which is the ancient Egyptians’ ideal vision of an afterlife. It is a bountiful agricultural land where the Nile River regularly rises and famine does not exist.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Osiris.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th Dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Style: Liberal vs. Conservative

Judgement Scene from Book of the Dead of Hunefer is certainly a complex painting with its vignettes and passages from spells to ensure a successful weighing of the heart. What is incredible to consider is that Judgement Scene represents only one chapter, one stage, one obstacle of Hunefer’s long journey into the afterlife. There are more dangers he must face, but Judgement Scene captures the most dramatic of his challenges. It is beautifully illustrated with bold lines and vibrant colors. It has a strong formality in the figures’ rigid stances and angular frames. Judgement Scene marks the return to a more conservative and traditional style of ancient Egyptian art and rejects the flexible, curvilinear, and liberal style of the Amarna Period during the previous 18th dynasty. The scene is finely crafted, and paying the expert scribes and master draftsmen who created it would have easily cost Hunefer six months of wages. Since it was so expensive, it is believable that Hunefer, a formally trained royal scribe, would have written some parts of his own Book of the Dead to offset the overall cost. The less work others had to complete, the more he would have saved. All it would have cost Hunefer were his materials and his own time– but not other people’s wages.

Judgement Scene from Book of the Dead of Hunefer, New Kingdom, Dynasty 19, ca 1290-80 BCE, British Museum, London, UK. Enlarged Detail of Judgement Hall.
Judgement Scene from Book of the Dead of Hunefer, New Kingdom, 19th dynasty, ca. 1290-80 BCE, British Museum, London, UK. Detail.

Conclusion: Final Judgement

No matter the methodology of how Judgement Scene from Book of the Dead of Hunefer was created, it can be agreed that it is a masterpiece of ancient Egyptian art. It is expertly rendered, and it is wonderfully preserved after the three millennia since its creation. When the British Museum acquired Judgement Scene in 1852 and placed it on public display, it inadvertently fulfilled Hunefer’s desire to achieve immortality. His artwork has been viewed by the general public for over 160 years, and his name has been spoken by countless visitors as they read the labels describing his papyri. The ancient Egyptians believed that to speak the name of the dead was to make them live again. Well, Hunefer, you live every day, my friend, because your name continues to be said through the fabulous artistic legacy you left behind. Enjoy the afterlife, Hunefer. May we all be so lucky when we, too, leave our mortal shell and pass into the unknown.

Works Referenced

  • Gardner, Helen, Fred S. Kleiner, and Christin J. Mamiya. Gardner’s Art Through the Ages. 12th ed. Belmont, CA: Thomson Wadsworth, 2005. ISBN 9780155050907.
  • Hagen, Rose-Marie, and Rainer Hagen. Egyptian Art. Edited by Norbert Wolf. Cologne, Germany: Taschen, 2018. ISBN 9783836549172.
  • Page from the Book of the Dead of Hunefer: An In-Painting Tour.” Google Arts & Culture. Retrieved April 23, 2021.
  • Papyrus.” Collection. British Museum. Retrieved April 23, 2021.
  • Pemberton, Delia. Treasures of the Pharaohs: The Glories of Ancient Egypt. Consulted by Dr. Joann Fletcher. New York, NY: Metro Books, 2011. ISBN 9781435127227.

SOURCE: Book of the Dead of Hunefer: The Judgement Scene | DailyArt Magazine

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