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Slideshow
the Book Of Thoth Aleister Crowley Mirrored By Mayet Swan
Truth Injustice & New Word Order Luminating World Order
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Canada is invisible and dark to the USA. It is not cut off though if one can get there.
More thanks to Jack O Hegarty. Thank you
the yellow green firewind wave hugs the ground and the ground becomes part of the mechanism of movement so to speak. It interacts and uses the ground for propulsion in some way. Over water though as above, I see when it touches the water surface by accident for eg waves rapids, it sparks and loses vitality. It moves along water from the propulsion of all behind it still “momentiuming” from the land. It cannot sustain this as no more energy is inserted over water or from water.
Lakes and river are not protected because of the strong bond of the wave running through next to the lake, it drags the wave onward over the water
so it will run out of energy if no sidelong land next to it when the full front is in water it will only push out until the end of it is also over water.
Here For the First Time Ever is the 22 atus and arches
the Major Arkana of the Book of ThoTh opened and aired out in their full naked glory.
Aleister Crowley The Book of Thoth — Lady Margaret Frieda Harris Artist of Thoth — Margaretruth Swan The Mirror of Thoth
Each image as been duplicated and the copies horizontally flipped and pasted on top of each other with the original in layers with 50 percent opacity. Edge to edge.
The Fool brings you luck with her gift to you of a four leaf clover
But
be careful life is a boonbane.
The Vertical Flips and the complete Horver’s of the 22 will be published in the next weeks.
[gtranslate]
a frog is the source and the cover “mask” “disguise” over the tunnel. a flying bug or butterfly in the tunnel is the catalyst.
from the booom the there is a bridge connecting two sides, it is burning, all the people above the bridge on both sides are burning .
From the burning bridge the centre it travels to the Sydney opera house, which holds a key in it’s centre. of the purple waves that is all linked to Uluru they are two parts of the urn.
Uluru holds the red sun at it centre, it is outlined by the ghosts of the past. Above the rocks are the ghosts of the past over australias head.
The doves from the north need to turn to the centre, to follow the aqua aura along the eac East Australia Current to the Queens Land, the purple, if it continues on their course they will land in a burning lake.
The AA is inverted in the north, its structure affected by Crowley and his A change not the shape of a letter
the Disabled AA follows the two doves one on each side down to the south. dove in the right brings extra shadows,
the front of the right dove is dissolving as it gets closers to the choice of three it is getting closer to the choice of fire.
snow capped mountains join the rock and the opera as the centre of the urn with the opera on top rock on bottom. HES. hydroelectric
more to come
All the princess cards melded above, they become up the center.
The hint of the name of it all above.
The two swans. ZooS.
It is no the S first as the two swans (the basilisk dragons, the blue and the red the black and the blue and red with the white) do not fire on each other. Phobos and Deimos is created from the ILL-Lumination of the illusion.
The Dragons are the twin sentinel guardians of the pearl of Knowledge, Lama, Thoth Lammas, Lamael. LUMIEL
The two swans, the eternal pair, ultimately the creator and the mirror, are joined at the heart Lumiel but face away from each other to share the power around and not to fire on each other and destroy all. North and South positive and negative, not to point at or face each other but to face towards the poles and ripple out to center the balance and the field of creation.
Dusk and Dawn Eosphorus and Astraeus.
see all princess and swan myths for details on the Princess and the Swan.
Princess of Disks above with the secret of the Swan Fire Serpent in her crown of horns, showing the two facing away from each other but connected and not eating their own tail.
In the cups the swans have turned into wings connected to the hidden pearl in the oyster. The oyster is steady and grounded
The princess is clothed in the mauve curtains of secrets
Princess of Disks with the sun
The Faun OF the Princess of Wands isn’t she beautiful
The levels and facets of the princess of wands the faun of fire.
*edit… this prophecy vision came while I was editing this post today 31st March 2025 12 21.
The prophecy of 2025.
Canada is invisible and dark to the USA. It is not cut off though. the east and west coasts are destroyed by the white fire. barren ground and thousands of miles out to sea. There is pockets of safety inland from the east coast towards the canadian border This goes the same with the west coast up towards idaho montana and dakotas. There is safety there.
The fire or force that comes, is like a wave along one level, burning and disintegrating everything in it’s path.
Deep canyons as low to sea level as possible in that area as such and caves are the safest places. Buildings are not safe as that is the “level” the wave will travel along on the surface and above. underground bunkers are safe.
It penetrates all. The LHC call it magic.
Take as many animals and free as many before as possible, their survival is your survival. They know what to do and where to go and where to find food after. Follow the animals, the little ones, hamsters and cats, the squirrels and groundhogs, the deer.
The east and west coast are cut from each other. Mexico is not only dark but cut off at the border.
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the princess cutting through the illusion
the lion and the hamster.
the power is started and continues on the negative team
under the southern cross stars blue yellow and green
as you see in the truth there is no red to be seen
The illusion in the north has been trumped by a dream
The Prophecy
Corners
SW Sharpener Leo Lilith
NW — Rock Gemini — Nona
SE — Scissors Leo — Faery Godmother
NE — Sore Thumb Gemini LyonLine
North
Special Guest Star
The Scottish Phare Oracle
Nexus of The North
A Kristmas Karel
Center
Center
Paper — Mayet (Maat) Paper — Mayet (Maat)
Bow — Kheiron Bow — Kheiron
Arrow — Astraea
Rock of Fate (Distaff)
Nona was one of the Parcae, the three personifications of destiny in Roman mythology (the Moirai in Greek mythology and in Germanic mythology, the Norns), and the Roman goddess of pregnancy. The Roman equivalent of the Greek Clotho, she spun the thread of life from her distaff onto her spindle. Nona, whose name means “ninth”, was called upon by pregnant women in their ninth month when the child was due to be born.[1][2] She, Decima and Morta together controlled the metaphorical thread of life.
The Guardian of the Rock, one half of the Gemini twins, is the interpreter and the one that ties the prophecies together with solid grounding. Together with her current opposite “twin” the Sore Thumb. One passive but active and one active but passive.
The Guardian of the rock, Nona is also known as the current Artist of Thoth Sanctioned by Thoth. She is a 51 year old Australian Grandmother of 5, mother of the 31 41 double twins and human mother of 6 of 9 of the dogs of Thoth.
Nona is the one that you go to for a bit of sensible rational advice. She is a country girl, loves art, craft, adventures, 4wd driving in the country, exploring, Al, animals especially her Her Beautiful iridescent aqua Indian Ringneck, and her dogs Hunta and Blair. She is the very loved housemum to ballsack, moe, cat, dozer and cat’s two puppies yin and yang.
[gtranslate]
This is the World of Earth prophecy FOR 2025
Notes and comment by the Oracle of Thoth
on the prophecy for you can be found here
Notes and Comment On Prophecy 1 Oracle of Oz for 2025
Please Read Part 1 for Context and Background Beware The GreenMan Part 1 the Weave
In 2019 the United States produced 200 tonnes (6.4 million troy ounces) of gold
Constellation Crux, the Southern Cross, is a southern constellation bordering Centaurus and Musca. It was introduced by Johann Bayer in 1603, and remains one of the 88 modern constellations.
The Southern Cross or Crux, a constellation visible in the Southern Hemisphere, is depicted on flags and coats of arms of various countries and sub-national entities. This star constellation is visible mostly in the southern hemisphere and it therefore symbolises the southern location of its users
The Southern Cross is known by many First Nations people as Mirrabooka, Ginan or Birubi—a body of stars that encompasses celestial stories deriving from creation-forming ancient knowledges that transcend time and space.
T he spiritual meaning of the constellation Crux is often seen as a reminder of endurance, protection, and the connection between the heavens and Earth.
In many southern hemisphere cultures, the Southern Cross represents hope and navigation.
Kheiron Chiron The Prater Centaur Iron Heir.
Crux was considered to be part of the constellation Centaurus by the Greek astronomer Ptolemy in the second century. The Greeks were able to see the celestial cross before it disappeared below the horizon due the procession of the Earth’s axis. Some linked the disappearance of the cross with the crucifixion of Christ.
The shape of the cross (crux, stauros “stake, gibbet”), as represented by the Latin letter T, came to be used as a new symbol (seal) or emblem of Christianity since the 2nd century AD to succeeding Ichthys in aftermaths of that new religion’s separation from Judaism.
Constellation Crux, the Southern Cross, is a southern constellation bordering Centaurus and Musca. It was introduced by Johann Bayer in 1603, and remains one of the 88 modern constellations. Crux spans 10 degrees of the zodiac in the Sign of Scorpio.
Crux is a small constellation that is centered on four stars in the southern sky. It is one of the most distinguishable constellations because it is very bright, with its asterism stars having an apparent magnitude brighter than +2.8.
The Crux constellation is the smallest out of all the 88 modern constellations. It’s name comes from the latin translation of “Cross”, which is reflected in it’s cross shaped asterism commonly known as the Southern Cross. The Crux became a constellation in it’s own right in 1679.
The five main stars of Crux that comprise the Southern Cross asterism are Acrux, Mimosa, Gacrux, Imai and Ginan, and there are currently only two stars in Crux that have been discovered to host planets. There are no Messier objects in the constellation of Crux, however there are many interesting stars and other deep-sky objects such as Coalsack Nebula or the Jewel Box Cluster.
The Crux constellation is associated with many stories and makes an appearance in many mythologies in the southern hemisphere. It is particularly important in Australia and New Zealand, because it is circumpolar and can be seen throughout the year.
The ancient Greeks considered Crux to be part of the constellation of Centaurus. However, the French astronomer, Augustin Royer, separated Crux from Centaurus. That being said, some historians and astronomers credit Dutch astronomer Petrus Plancius for creating the constellation in 1613, as it was published by Jakob Bartsch in 1624.
The ancient Greeks saw Crux before it’s stars dropped below the horizon for Europe and most of the northern hemisphere. Christians saw the significance in this and linked the disappearance of the cross from the sky with the crucifixion of Christ.
As we mentioned above, the Crux constellation is the smallest out of all the 88 modern constellations. It spreads out for around 68 square degrees in the sky.
It is visible between +20° and ‑90° in the southern hemisphere and it is circumpolar south of 34°S, this means that it never sets below the horizon. The Crux constellation is best seen a 9pm, during May. It’s right ascension is 12.6h and it’s declination is ‑60°.
The neighboring constellations around Crux are Centaurus and Musca and it belongs to the Hercules family of constellations.
The Southern Cross asterism stars — Acrux, Mimosa, Gacrux, Imai and Ginan — are the brightest stars in the Crux constellation.
Acrux, also known as Alpha Crucis, is the brightest star in the constellation of Crux, and the 13th brightest star in the night sky. However, it can also be the 12th brightest star in the night sky, due to its variability in brightness.
Acrux is a multiple star system. The primary star is a blue-white subgiant star located at around 321 light-years away from the Sun, and the secondary star is a blue dwarf.
The primary star, Acrux A, is around 25,000 times brighter than our Sun and has 1780% of our Sun’s mass. Acrux B the secondary star, is 16,000 times brighter than our Sun and has 552% of our Sun’s mass.
Acrux A is also bigger than our Sun, having 780% of our Sun’s radius. The secondary star Acrux B has 540% of our Sun’s radius. Both stars are hotter than the Sun, too, with Acrux A having a surface temperature of 24,000 K and Acrux B having a surface temperature of 28,000 K.
Gacrux, also known as Gamma Crucis, is the third brightest star in the constellation of Crux, and the 25th brightest star in the night sky. It is located around 88.6 light-years away from the Sun, yet is the nearest M‑class giant star to it.
Gacrux is around 820 times brighter than our Sun, and has 150% of its mass and 840% of its radius. It has an apparent magnitude of +1.64. It is also the nearest red giant to the solar system.
Imai is the fourth brightest star in the constellation of Crux. Designated as Delta Crucis, it is a blue-white subgiant star with an apparent magnitude of 2.79.
Imai is around 10,000 times brighter than our Sun, and has 890% of its mass and 800% of its radius. It has a temperature of around 22,570 K. It is also a fast-spinning star with a rotational velocity of around 210 km/130.4 miles per second.
Designated Beta Crucis, Mimosa is the second brightest star in the constellation of Crux and the 20th brightest star in the night sky. It has an apparent magnitude of 1.25 and is located around 280 light-years away from Earth.
Mimosa is around 34,000 times brighter than our Sun. It has 1600% of its mass and 840% of its radius. It is also quite a young star in comparison to others, having an estimated age between 8 to 11 million years.
Ginan, also known as Epsilon Crucis, is located around 230 light-years away from Earth. It is the fifth brightest star in the constellation of Crux and has an apparent magnitude of 3.58. It is an orange-hued star that is 302 times brighter than our Sun.
Ginan has 152% of the Sun’s mass and around 2841% of its radius. It is evolving away from the main sequence and thus it will continuously expand.
There are also many other stars in the Crux constellation. Four of them can be seen with the naked-eye.
Zeta Crucis is a binary star system that is located around 360 light-years away from us. It is visible to the naked-eye and has an an apparent magnitude of 4.04.
The primary star is a B‑type main sequence star. It is 737 times brighter than our Sun and has 640% of its mass. It is also cooler than our Sun.
Theta Crucis is located around 850 light-years away from us. It has an apparent magnitude of 4.7. Theta Crucis is a spectroscopic binary star and it’s primary star is 809 times brighter than our Sun. It also has system consisting of a B‑type main-sequence blueish-white star, as well as a Cephei variable star.
Lambda Crucis is located around 384 light-years away from us and has an apparent magnitude of 4.62. It is near the constellation border with Centaurus and is a suspected Beta-Cephei variable star.
It is 790 times brighter than our Sun and has 300% of its radius and around 500% of its mass.
Iota Crucis is located at around 125 light-years away from Earth as has an apparent magnitude of 4.69. It is a wide double star that appears with an orange hue.
It is around 24 times brighter than our Sun and has 726% of its radius. Iota Crucis is also an ageing star with a surface temperature of around 4,824 K.
BZ Crucis is a Be star classified as a B1IVe class star, a B class subgiant showing emission lines in its spectrum. It has an apparent magnitude of 5.316 and is approximately 1,000 light years away from us.
BZ Crucis is an X‑ray source and aa Gamma Cassiopeiae type variable star, which means it is a shell star that has a circumstellar gas disk around the equator.
NGC 4349–127 is a red giant star almost 20 times as massive as Jupiter. It is located around 7,097 light years from Earth and has an apparent magnitude of 7.4 and an absolute magnitude of ‑4.3. It was first discovered in 2007.
There are two main Deep Sky Objects in Crux Constellation — Coalsack Nebula and The Jewel Block Cluster.
The Coalsack Nebula, also known as the Southern Coalsack or Caldwell 99, is a famous dark nebula, easily seen as a large dark patch in the southern region of the Milky Way. It obscures the stars as they cross their southernmost region of the sky, east of Acrux.
It stretches nearly 7° by 5° and cross over into the neighbouring constellations, Centaurus and Musca. The nebula is about 600 light years distance from Earth and has a radius of between 30 and 35 light years.
The Jewel Box Cluster, also known as Kappa Crucis Cluster, NGC 4755, or Caldwell 94 is estimated to be about 14 million years old although it is one of the youngest clusters ever discovered. It was first discovered by French astronomer Nicolaus Louis de Lacaille on his trip to South Africa in 1751.
It has around 100 stars and the total integrated magnitude of the cluster is 4.2. The cluster is located around 1.0° southeast of the star Mimosa and is around 6,440 light years away from us. It can only be seen by the southern hemisphere.
<a href=“https://theplanets.org/constellations/crux-constellation/”>Crux Constellation – Facts & Features</a>
Yawkyawk is a word in the Kunwinjku/Kunwok language of Western Arnhem Land meaning ‘young woman’ and ‘young woman spirit being’. The different groups of Kunwinjku people (one of the Eastern dialect groups call themselves Kuninjku) each have Yawkyawk mythologies, which relate to specific locations in clan estates. These mythologies are represented in bark paintings and sculptures of Yawkyawk beings. There are also a few examples of rock art images of these beings.
The Yawkyawk is a female creature originating in the mythology of the Kunwinjku people of Western Arnhem Land, Northern Territory, Australia. It is also known as ngal-kunburriyaymi. It is a creature similar to the typical mermaid in appearance, and has seaweed for hair.
The female water spirits Yawkyawk or Ngalkunburriyaymi are perhaps the most enigmatic of mythological themes. Sometimes compared to the European notion of mermaids, they exist as spiritual beings living in freshwater streams and rock pools, particularly those in the stone country. The spirit Yawkyawk is usually described and depicted with the tail of a fish. Thus the Kuninjku people sometimes call them ngalberddjenj which literally means ‘the young woman who has a tail like a fish’. They have long hair, which is associated with trailing blooms of green algae (called man-bak in Kuninjku). At times they leave their aquatic homes to walk about on dry land, particularly at night.
Aboriginal people believe that in the beginning most animals were humans. During the time of the creation of landscapes and plants and animals, these ancestral heroes in human form transmutated into their animal forms via a series of various significant events now recorded as oral mythologies. The creation ancestor Yawkyawk travelled the country in human form and changed into the form of Ngalkunburriyaymi as a result of various ancestral adventures. Today the Kuninjku believe that Ngalkunburriyaymi are alive and well and living in freshwater sites in a number of sacred locations.
Some features of a respective country are equated with body parts of Yawkyawk. For example a bend in a river or creek may be said to be ‘the tail of the Yawkyawk, a billabong may be ‘the head of the Yawkyawk and so on. Thus different groups can be linked together by means of a shared mythology featured in the landscape, which crosscuts clan and language group boundaries.
SOURCE: Maningrida Arts & Culture
Yawkyawk, in the Kunwinjku language of Western Arnhem Land, refers to young female water spirits, often compared to mermaids, with a fish-like tail and long hair resembling seaweed.
“Yawkyawk” translates to “young woman” or “young woman spirit being” in the Kunwinjku language.
Appearance:
They are depicted as having the head and torso of a woman, a scaly abdomen, and the tail of a fish. Habitat:
Yawkyawk are believed to inhabit freshwater pools, streams, and billabongs in Western and Central Arnhem Land.
They are considered water spirits and are often associated with the Rainbow Serpent (Ngalyod).
The Kuninjku people believe that Yawkyawk were once young sisters who were transformed into these spirits after trespassing on sacred ground.
Their long hair is often depicted as trailing blooms of green algae (manbak in Kuninjku).
They are believed to protect the billabongs, streams, and waterways.
In Kundedjnjenghmi language, they are known as Ngalkunburriyaymi.
Yawkyawk are often represented in rock art, bark paintings, and sculptures.
Yawkyawk, 1985, by Balang Nakurulk: A bark painting depicting Yawkyawk, exhibited at the Art Gallery of New South Wales.
Yawkyawk sculptures: National Museum of Australia has a collection of Yawkyawk sculptures.
It is the Aeon of ME from The Queens “and
namorrorddo-interpretation-2It is the Aeon of ME from the Center of The Earth’s Power Base of The Queens Land downunder. Negative Powered System of Success Creation Inspiration and lumination. In conjunction with her twin children Aeons of SNML Samael Satan and her Sentient Animals. Her twin sister the Aeon of LMNS Lumiel (Lamael) Luminating the path and the way of YHI (Yindi/Djingoo ) Belah Feminine Southern Sun who luminates her biryt with the light from her heart to keep her people luminated and warm from the cold and dark.
Ngaangk
protected by the Guardians and Earth Spirits Namorrorddo, Biame, His Sons the Kaiditcha and the sisters of the black moon.
Rhea or Rheia (/ˈriːə/;[1] Ancient Greek: Ῥέα [r̥é.aː] or Ῥεία [r̥ěː.aː]) is a mother goddess in ancient Greek religion and mythology, the Titan daughter of the earth goddess Gaia and the sky god Uranus, himself a son of Gaia. She is the older sister of Cronus, who was also her consort, and the mother of the five eldest Olympian gods (Hestia, Demeter, Hera, Poseidon, and Zeus) and Hades, king of the underworld.
When Cronus learnt that he was destined to be overthrown by one of his children like his father before him, he swallowed all the children Rhea bore as soon as they were born. When Rhea had her sixth and final child, Zeus, she spirited him away and hid him in Crete, giving Cronus a rock to swallow instead, thus saving her youngest son who would go on to challenge his father’s rule and rescue the rest of his siblings. Following Zeus’s defeat of Cronus and the rise of the Olympian gods into power, Rhea withdraws from her role as the queen of the gods to become a supporting figure on Mount Olympus. She has some roles in the new Olympian era. She attended the birth of her grandson Apollo and raised her other grandson Dionysus. After Persephone was abducted by Hades, Rhea was sent to Demeter by Zeus. In the myth of Pelops, she resurrects the unfortunate youth after he has been slain.
In early traditions, she is known as “the mother of gods” and therefore is strongly associated with Gaia and Cybele, who have similar functions. The classical Greeks saw her as the mother of the Olympian gods and goddesses. The Romans identified her with Magna Mater (their form of Cybele), and the Goddess Ops.
Some ancient etymologists derived Rhea (Ῥέα) (by metathesis) from ἔρα (éra, ‘ground’, ‘earth’);[2] the same is suggested also by modern scholars,[3] such as Robert Graves.[4]
A different tradition, embodied in Plato[5] and in Chrysippus,[6] connected the word with ῥέω (rhéo, ‘flow, discharge’),[7] which is what A Greek–English Lexicon supports.[8] Alternatively, the name Rhea may be connected with words for the pomegranate: ῥόα (rhóa), and later ῥοιά (rhoiá).
The name Rhea may ultimately derive from a Pre-Greek or Minoan source.[9][10][11]
Rhea is the sister of the Titans (Oceanus, Crius, Hyperion, Iapetus, Coeus, Themis, Theia, Phoebe, Tethys, Mnemosyne, Cronus, and sometimes Dione), the Cyclopes, the Hecatoncheires, the Giants, the Meliae, and the Erinyes; and the half-sister of Aphrodite (in some versions), Typhon, Python, Pontus, Thaumas, Phorcys, Nereus, Eurybia, and Ceto.
According to Hesiod, Rhea had six children with Cronus: Hestia, Demeter, Hera, Hades, Poseidon, and Zeus.[12] The philosopher Plato recounts that Rhea, Cronus, and Phorcys were the eldest children of Oceanus and Tethys.[13]
According to the Orphic myths, Zeus wanted to marry his mother Rhea. After Rhea refused to marry him, Zeus turned into a snake and raped her. She had Persephone with Zeus.[14]
Rhea was born to the earth goddess Gaia and the sky god Uranus, one of their twelve (or thirteen[15]) Titan children.[16] According to Hesiod, Uranus imprisoned all his children, while Apollodorus states he only imprisoned the Cyclopes and the Hecatoncheires, not the Titans. With the help of Gaia, the youngest child, Cronus, overthrew his father, became king in his place, freed his siblings, and took his sister Rhea to wife. Ophion and Eurynome, a daughter of Oceanus, were said to have ruled snowy Mount Olympus in the early age. Rhea and Cronus fought them, and threw them into the waves of the Ocean, thus becoming rulers in their place.[17] Rhea, skilled in wrestling, battled Eurynome specifically.[18]
Gaia and Uranus told Cronus that just as he had overthrown his own father and become ruler of the cosmos, he was destined to be overcome by his own child; so as each of his children was born, he swallowed them.[19] Rhea, Uranus, and Gaia devised a plan to save the last child, Zeus. Rhea gave birth to Zeus in a cavern on the island of Crete and gave Cronus a stone wrapped in swaddling clothes, which he promptly swallowed; Rhea hid Zeus in a cave on Mount Ida. Her attendants, the warrior-like Kouretes and Dactyls, acted as bodyguards for the infant Zeus, helping to conceal his whereabouts from his father.[20] In some accounts, by the will of Rhea a golden dog guarded a goat which offered her udder and gave nourishment to the infant Zeus. Later on, Zeus changed the goat into an immortal among the stars while the golden dog that guarded the sacred spot in Crete was stolen by Pandareus.[21]
In an obscure version, attested only on the east frieze of a temple at Lagina, the goddess of crossroads Hecate assisted Rhea in saving Zeus from his father. The frieze shows Hecate presenting to Cronus the swaddled stone while the real infant is being whisked away in safety.[22][23]
While Zeus was still an infant hidden in Crete, Rhea caught her husband Cronus with his mistress the nymph Philyra in the act; Cronus then transformed into a horse and galloped away, in order not to be seen by his wife.[24]
In some accounts, Rhea along with Metis gave Cronus the potion that made him disgorge the children he had eaten.[25]
Following Zeus’s ascension, Rhea withdrew from spotlight as she was no longer queen of gods, but remained an ally of her children and their families.
In some traditions, Rhea disapproved of her children Hera and Zeus getting married, so the two had to elope in order to be together.[26] Rhea was present in the birth of her grandson Apollo, along with many other goddesses, the most notable exceptions being Hera and Eileithyia, the goddess of childbirth, whose absence left Leto in terrible agony.[27] Rhea was said to be a goddess who eased childbirth for women.[28]
After Demeter reunited with her daughter Persephone, Zeus sent Rhea to persuade Demeter to return to Olympus and rejoin the gods.[29]
Rhea raised another one of her grandsons, Dionysus, after the fiery death of his mother, the mortal princess Semele.[30] Later on she went on to heal Dionysus’ raging madness, which had been inflicted on him by the jealous Hera, causing him to wander around aimlessly for some time.[31] Rhea gave Dionysus the amethyst, which was thought to prevent drunkenness.[32] Rhea sometimes joined Dionysus and his Maenads in their frenzy dances.[33]
According to Bacchylides, it was Rhea herself who restored Pelops to life after his father Tantalus cut him down.[34]
Rhea and Aphrodite rescued Creusa, the wife of Aphrodite’s son Aeneas, from the slavery the Greeks would have subjected her to after the fall of Troy.[35] As for Aeneas, when he landed in Italy, a local warlord named Turnus set his pine-framed vessels ablaze. Rhea (or Cybele[36]), remembering that those hulls had been crafted from trees felled on her holy mountains, transformed the vessels into sea nymphs.[37]
After Melanion won the hand of Atalanta in marriage thanks to the help he received from Aphrodite, he neglected to thank her. Thus the goddess inflicted them with great passion for each other when they were near a temple of Rhea. The two then proceeded to have sex inside the temple. In anger, Rhea turned them into lions.[38]
At some point, a mortal man named Sangas offended the goddess, and she turned him into a river that bore his name; Sangarius (now Sakarya River) in Asia Minor.[39] In a similar manner a Phrygian man named Pyrrhus tried to rape her, but the goddess changed him into stone for his hubris.[40]
In one Orphic myth, Zeus was filled with desire for his mother and pursued her, only for Rhea to refuse him and change into a serpent to flee. Zeus also turned himself into a serpent and raped her.[41] The child born from that union was their daughter Persephone, and afterwards Rhea became Demeter.[42] The child, Persephone, was born so deformed that Rhea ran away from her frightened, and did not breastfeed her daughter.[41]
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Rhea had “no strong local cult or identifiable activity under her control.”[43] She was originally worshiped on the island of Crete, identified in mythology as the site of Zeus’s infancy and upbringing. Her cults employed rhythmic, raucous chants and dances, accompanied by the tympanon (a wide, handheld drum), to provoke a religious ecstasy. Her priests impersonated her mythical attendants, the Curetes and Dactyls, with a clashing of bronze shields and cymbals.[43]
The tympanon’s use in Rhea’s rites may have been the source for its use in Cybele’s – in historical times, the resemblances between the two goddesses were so marked that some Greeks regarded Cybele as their own Rhea, who had deserted her original home on Mount Ida in Crete and fled to the wilds of Phrygia to escape Cronus.[44][failed verification]
Rhea was often referred to as Meter Theon (“Mother of the Gods”) and there were several temples around Ancient Greece dedicated to her under that name. Pausanias mentioned temples dedicated to Rhea under the name Meter Theon in Anagyros in Attika,[45] Megalopolis in Arkadia,[46] on the Acropolis of Ancient Corinth,[47] and in the district of Keramaikos in Athens, where the statue was made by Pheidias.[48] In Sparta there was furthermore a sanctuary to Meter Megale (“[the] Great Mother”).[49] Olympia had both an altar[50] and a temple to the Meter Theon:
Her temple in Akriai, Lakedaimon, was said to be her oldest sanctuary in the Peloponnese:
Statues of her were also standing in the sanctuaries of other gods and in other places, such as a statue of Parian marble by Damophon in Messene.[53] The scene in which Rhea gave Chronos a stone in the place of Zeus after his birth was assigned to have taken place on Petrakhos Mountain in Arcadia[54] as well as on Mount Thaumasios in Arcadia, both of which were holy places:
The center of the worship of Rhea was however on Crete, where Mount Ida was said to be the birthplace of Zeus. Reportedly, there was a “House of Rhea” in Knossos:
Upon Mount Ida, there was a cave sacred to Rhea:
[edit]
Rhea only appears in Greek art from the fourth century BC, when her iconography draws on that of Cybele; the two therefore are often indistinguishable;[43] both can be shown wearing a crown (either a Mural crown or a Polos), seated on a throne flanked by lions, riding a lion, and on a chariot drawn by two lions. In Roman religion, her counterpart Cybele was Magna Mater deorum Idaea, who was brought to Rome and was identified in as an ancestral Trojan deity. On a functional level, Rhea was thought equivalent to Roman Ops or Opis.[citation needed]
[edit]
In Homer, Rhea is the mother of the gods, although not a universal mother like Cybele, the Phrygian Great Mother, with whom she was later identified.
In the Argonautica by Apollonius of Rhodes, the fusion of Rhea and Phrygian Cybele is completed. “Upon the Mother depend the winds, the ocean, the whole earth beneath the snowy seat of Olympus; whenever she leaves the mountains and climbs to the great vault of heaven, Zeus himself, the son of Cronus, makes way, and all the other immortal gods likewise make way for the dread goddess,” the seer Mopsus tells Jason in Argonautica; Jason climbed to the sanctuary high on Mount Dindymon to offer sacrifice and libations to placate the goddess, so that the Argonauts might continue on their way. For her temenos they wrought an image of the goddess, a xoanon, from a vine-stump. There “they called upon the mother of Dindymon, mistress of all, the dweller in Phrygia, and with her Titias and Kyllenos who alone of the many Cretan Daktyls of Ida are called ‘guiders of destiny’ and ‘those who sit beside the Idaean Mother’.” They leapt and danced in their armour: “For this reason the Phrygians still worship Rhea with tambourines and drums”.[57]
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[edit]
῾Ρέᾱ = Γη, από το ἔρα με μετάθεση των φθόγγων.
[edit]
[edit]
DOTH
You have heard of it using different term, however it’s name is DoTH.
If you wanted to be pedantic which, admittedly I can be occasionally just to be contrary, it’s name is DDoTH .. something that I will say now that you will need to do after a DoTh experience is to DeDoTh indeed. Debriefing of the Brief that is not brief.
Divine Knowledge, Conversation with GOD, a voice in the silence.
- enlightenment -
though I cringe to use that word because there is nothing EN’LIGHT’ening about the shocking knowledge dump, in fact it is the heaviest burden that you will ever wear.
The DoTH of HGA conversation and mirror assimilation of ThoTh the Scribe. Mercury, the yella fella themselves
More on that later.
THE DOG DAYS OF THOTH
Some Messy mid transmutation Epiphanies and Scattered notes
Transmuting With the Universe
Australia Land of The Southern Cross
Home of Astraea
You Are Invited To Quest Again and Venture Forward Inside
Beyond The Curtains of THoTH
Using the Gimp Mirror of Thoth The Mayet Method
Published here first for you in
By MargareTruth Swan
Maצet
This Trump was formerly called Strength. But it implies far more than strength
in the ordinary sense of the word. Technical analysis shows that the Path
corresponding to the card is not the Strength of Geburah, but the influence
from Chesed upon Geburah, the Path balanced both vertically and horizontally
on the Tree of Life (see diagram). For this reason it has been thought better to
1These are the four elements, summed in a fifth, Spirit, to form the Pentagram; and
the Magical Virtue corresponding is Ire, to go. “To go” is the token of Godhead, as
explained in reference to the sandal-strap or Ankh, the Crux Ansata, which in its turn
is identical with the astrological symbol of Venus, comprising the 10 Sephiroth.(See
diagram.)
p.91
change the traditional title. Lust implies not only strength, but the joy of
strength exercised. It is vigour, and the rapture of vigour.
“Come forth, 0 children, under the stars, & take your fill of love! I am
above you and in you. My ecstasy is in yours. My joy is to see your joy.”
“Beauty and strength, leaping laughter and delicious languor, force and
fire, are of us.”
“I am the Snake that giveth Knowledge & Delight and bright glory, and stir the
hearts of men with drunkenness. To worship me take wine and strange drugs
whereof I will tell my prophet, & be drunk thereof! They shall not harm ye at
all. It is a lie, this folly against self. The exposure of innocence is a lie. Be
strong, 0 man! lust, enjoy all things of sense and rapture: fear not that any God
shall deny thee for this.”
“Behold! these be grave mysteries; for there are also of my friends who be
hermits. Now think not to find them in the forest or on the mountain; but in
beds of purple, caressed by magnificent beasts of women with large limbs, and
fire and light in their eyes, and masses of flaming hair about them; there shall
ye find them. Ye shall see them at rule, at victorious armies, at all the joy; and
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there shall be in them a joy a million times greater than this. Beware lest any
force another, King against King! Love one another with burning hearts; on the
low men trample in the fierce lust of your pride, in the day of your wrath.”
“There is a light before thine eyes, 0 prophet, a light undesired, most desirable.
“I am uplifted in thine heart; and the kisses of the stars rain hard upon thy body.
“Thou art exhaust in the voluptuous fulness of the inspiration; the expiration is
sweeter than death, more rapid and laughterful than a caress of Hell’s own
worm.”
This Trump is assigned to the sign of Leo in the Zodiac. It is the Kerub of Fire,
and is ruled by the Sun. It is the most powerful of the twelve Zodiacal cards,’
and represents the most critical of all the operations of magick and of alchemy.
It represents the act of
p.93
the original marriage as it occurs in nature, as opposed to the more artificial
form portrayed in Atu VI; there is in this card no attempt to direct the course
of the operation.
The main subject of the card refers to the most ancient collection of legends or
fables. It is necessary here to go a little into the magical doctrine of the
succession of the Aeons, which is connected with the procession of the Zodiac.
Thus, the last Aeon, that of Osiris, is referred to Aries and Libra, as the
previous Aeon, that of Isis, was especially connected with the signs of Pisces
and Virgo, while the present, that of Horus, is linked with Aquarius and Leo.
The central mystery in that past Aeon was that of Incarnation; all the legends
of god-men were founded upon some symbolic story of that kind. The essential
of all such stories was to deny human fatherhood to the hero or god-man. In
most cases, the father is stated to be a god in some animal form, the animal
being chosen in accordance with the qualities that the authors of the cult
wished to see reproduced in the child.
Thus, Romulus and Remus were twins begotten upon a virgin by the god Mars,
and they were suckled by a wolf. On this the whole magical formula of the city
Rome was founded.
Reference has already been made in this essay to the legends of Hermes and
Dionysus.
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The father of Gautama Buddha was said to be an elephant with six tusks,
appearing to his mother in a dream.
There is also the legend of the Holy Ghost in the form of a dove, impreguating
the Virgin Mary. There is here a reference to the dove of Noah’s Ark, bringing
glad tidings of the salvation of the world from the waters. (The dwellers in the
Ark are the foetus, the waters the amniotic fluid.)
Similar fables are to be found in every religion of the Aeon of Osiris: it is the
typical formula of the Dying God.
In this card, therefore, appears the legend of the woman and the lion, or rather
lion-serpent. (This card is attributed to the letter Teth, which means a serpent.)
The seers in the early days of the Aeon of Osiris foresaw the Manifestation of
this coming Aeon in which we now live, and they regarded it with intense
horror and fear, not understanding the
p.94
precession of the Aeons, and regarding every change as catastrophe. This is the
real interpretation of, and the reason for, the diatribes against the Beast and
the Scarlet Woman in the XIII, XVIl and XVIII-th chapters of the Apocalypse; but
on the Tree of Life, the path of Gimel, the Moon, descending from the highest,
cuts the path of Teth, Leo, the house of the Sun, so that the Woman in the card
may be regarded as a form of the Moon, very fully illuminated by the Sun, and
intimately united with him in such wise as to produce, incarnate in human
form, the representative or representatives of the Lord of the Aeon.
She rides astride the Beast; in her left hand she holds the reins, representing
the passion which unites them. In her right she holds aloft the cup, the Holy
Grail aflame with love and death. In this cup are mingled the elements of the
sacrament of the Aeon. The Book of Lies devotes one chapter to this symbol.
Waratah-Blossom
Seven are the veils of the dancing-girl in the harem of IT.
Seven are the names, and seven are the lamps beside Her bed.
Seven eunuchs guard Her with drawn swords; No man may come nigh unto Her.
In Her wine-cup are seven streams of the blood of the Seven Spirits of God.
Seven are the heads of THE BEAST whereon She rideth.
The head of an Angel: the head of a Saint: the head of a Poet:
the head of an Adulterous Woman: the head of a Man of Valour:
the head of a Satyr: and the head of a Lion-Serpent.
Seven letters hath Her holiest name; and it is
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p.95
This is the Seal upon the Ring that is on the Forefinger of IT:
and it is the Seal upon the Tombs of them whom She hath slain,.
Here is Wisdom. Let him that hath Understanding count the Number of Our
Lady; for it is the Number of a Woman; and Her Number is
An Hundred and Fifty and Six.
There is a further description in The Vision and the Voice. (See Appendix.)
There is in this card a divine drunkenness or ecstasy. The woman is shown as
more than a little drunk, and more than a little mad; and the lion also is aflame
with lust. This signifies that the type of energy described is of the primitive,
creative order; it is completely independent of the criticism of reason. This
card portrays the will of the Aeon. In the background are the bloodless images
of the saints, on whom this image travels, for their whole life has been
absorbed into the Holy’ Grail.
“Now ye shall know that the chosen priest & apostle of infinite space is the
prince-priest the Beast; and in his woman called the Scarlet Woman all power is
given. They shall gather my children into their fold; they shall bring the glory of
the stars into the hearts of men.
“For he is ever a sun, and she a moon. But to him is the winged secret flame,
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and to her the stooping starlight.”
This sacrament is the physical-magical formula for attaining initiation, for the
accomplishment of the Great Work. It is in alchemy the process of distillation,
operated by internal ferment, and the in fluence of the Sun and Moon.
Behind the figures of the Beast and his Bride are ten luminous rayed circles;
they are the Sephiroth latent and not yet in order, for every new Aeon
demands a new system of classification of the Universe.
At the top of the card is shown an emblem of the new light, with ten horns of
the Beast, which are serpents, sent forth in every direc tion to destroy and recreate the world.
Further study of this card may be made by close examination of Liber XV
(Magick, pp.345 sqq.).
Namorrorddo is a profane spirit sometimes called a ‘bad angel’ in Aboriginal English.
The Namorrorddo is a yirridjdja moiety being associated with the Yabbadurruwa regional cult ceremony.
Namorrorddo sits upon a rock and is usually painted with long claw like hands and feet.
Sometimes spurs protrude from the elbows somewhat like those of a flying fox. Namorrorddo carries light, which emanates from his head. The shooting stars seen at night are Namorrorddo travelling across the night sky.
He whistles an eerie cry, which Aboriginal people say they can hear at night from time to time. Namorrorddo is feared as an evil being who attacks humans by clubbing them with his fighting stick or miyarrul. Namorrorddo is also sometimes depicted carrying bamboo spears and a spear thrower. Namorrorddo is a major dreaming totem for the Kardbam clan. There are a few examples of images of Namorrorddo painted in rock shelters in the Mann and Liverpool Rivers district. As a child Burruwal was kidnapped by a group of Namorrorddo and was saved by his father Balang, a powerful Kordang (Clever Man).
– Namorrorddo was a malevolent spirit that manifested itself as a fiery meteor. His long claws were used to grab the souls of people and hearts of children, after which he sped across the sky as a meteor.
The Book OF THoTH Aleister Crowley & Marguerite (Frieda) Harris -
The Mirror of THoTH by MargareTruth Swan -
The Mayet Method of Horver Flipping duplicating and Melding.
You Are Invited To Quest Again and Venture Forward Inside
Beyond The Curtains of THoTH
Using the Gimp Mirror of Thoth The Mayet Method Published here first for you in
By MargareTruth Swan
Maצet
VI. THE LOVERS OR: (THE BROTHERS)
This card and its twin, XIV, Art, are the most obscure and difficult of the Atu.
Each of these symbols is in itself double, so that the meanings form a divergent
series, and the integration of the Card can only be regained by repeated
marriages, identifications, and some form of Hermaphroditism.
Yet the attribution is the essence of simplicity. Atu VI refers to Gemini, ruled
by Mercury. It means The Twins. The Hebrew letter corresponding is Zain,
which means a Sword, and the framework of the card is therefore the
Arch of Swords, beneath which the Royal Marriage takes place.
The Sword is primarily an engine of division. In the intellectual world-which is
the world of the Sword suit-it represents analysis. This card and Atu XIV
together compose the compre hensive alchemical maxim: Solve et coagula.
This card is consequently one of the most fundamental cards in the Tarot. It is
the first card in which more than one figure appears. [The Ape of Thoth in Atu I
is only a shadow.] In its original form, it was the story of Creation.
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Here is appended, for its historical interest, the description of this card in its
primitive form from Liber 418.
“There is an Assyrian legend of a woman with a fish, and also there is a legend
of Eve and the Serpent, for Cain was the child of Eve and the Serpent, and not
of Eve and Adam; and therefore when he had slain his brother, who was the
first murderer, having sacri ficed living things to his demon, had Cain the mark
upon his brow, which is the mark of the Beast spoken of in the Apocalypse, and
is the sign of Initiation.
“The shedding of blood is necessary, for God did not hear the children of Eve
until blood was shed. And that is external religion; but Cain spake not with
God, nor had the mark of initiation upon his brow, so that he was shunned of
all men, until he had shed blood.
p.81
And this blood was the blood of his brother. This is a mystery of the sixth key of
the Tarot, which ought not to be called The Lovers, but The Brothers.
“In the middle of the card stands Cain; in his right hand is the Hammer of Thor
with which he hath slain his brother, and it is all wet with his blood. And his
left hand he holdeth open as a sign of innocence. On his right hand is his
mother Eve, around whom the serpent is entwined with his hood spread behind
her head; and on his left hand is a figure somewhat like the Hindoo Kali, but
much more seductive. Yet I know it to be Lilith. And above him is the Great
Sigil of the Arrow, downward, but it is struck through the heart of the child.
This child also is Abel. And the meaning of this part of the card is obscure, but
that is the correct drawing of the Tarot card; and that is the correct magical
fable from which the Hebrew scribes, who were not complete Initiates, stole
their legend of the Fall and the subsequent events.”
It is very significant that almost every sentence in this passage seems to
reverse the meaning of the previous one. This is because reaction is always
equal and opposite to action. This equation is, or should be, simultaneous in
the intellectual world, where there is no great time4ag; the formulation of any
idea creates its contradictory at almost the same moment. The contradictory of
any proposition is implicit in itself.
This is necessary to preserve the
equilibrium of the Universe. The theory has been explained in the essay on Atu
I, the Juggler, but must now be again emphasized in order to interpret this
card.
The key is that the Card represents the Creation of the World. The Hierarchs
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held this secret as of transcendant importance. Con sequently, the Initiates
who issued the Tarot, for use during the Aeon of Osiris, superseded the original
card above described in “The Vision and the Voice”. They were concerned to
create a new Universe of their own; they were the fathers of Science. Their
methods of working, grouped under the generic term Alchemy, have never been
made public. The interesting point is that all developments of modern science
in the last fifty years have given intelligent and instructed people the
opportunity of reflecting that the whole trend of science has been to return to
alchemical aims and (mutatis mutandis) methods.
p.82
The secrecy observed by the alchemists was made necessary by the power of
persecuting Churches. Bitterly as bigots fought among themselves, they were
all equally concerned to destroy the infant Science, which, as they instinctively
recognized, would put an end to the ignorance and faith on which their power
and wealth depended.
The subject of this card is Analysis, followed by Synthesis. The i first question
asked by science is: “Of what are things composed? “This having been answered,
the next question is: “How shall we recombine them to our greater advantage?”
This resumes the whole policy of the Tarot.
The hooded figure which occupies the centre of the Card is another form of The
Hermit, who is further explained in Atu IX. He is himself a form of the god
Mercury, described in Atu I; he is closely shrouded, as if to signify that the
ultimate reason of things lies in a realm beyond manifestation and intellect. (As
elsewhere explained, only two operations are ultimately possible—analysis and
synthesis). He is standing in the Sign of the Enterer, as if projecting the
mysterious forces of creation. About his arms is a scroll, in dicative of the Word
which is alike his essence and his message. But the Sign of the Enterer is also
the Sign of Benediction and of Consecration; thus his action in this card is the
Celebration of the Hermetic Marriage. Behind him are the figures of Eve, Lilith
and Cupid. This symbolism has been incorporated in order to preserve in some
measure the original form of the card, and to show its derivation, its heirship,
its continuity with the past.
On the quiver of Cupid is inscribed the word
Thelema, which is the Word of the Law. (See Liber AL, chap. I, verse 39.)
His
shafts are quanta of Will. It is thus shown that this fundamental formula of
magical working, analysis and synthesis, persists through the Aeons.
One may now consider the Hermetic Marriage itself.
This part of the Card has been simplified froni “the Chymical Marriage of
Christian Rosenkreutz”, a masterpiece too lengthy and diffuse to quote usefully
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in this place. But the essence of the analysis is the continuous see-saw of
contradictory ideas. It is a glyph of duality. The Royal persons concerned are
the Black or Moorish King with a golden crown, and the White Queen with a
silver crown. He is accompanied by the Red Lion, and she by the White Eagle.
p.83
These are symbols of the male and female principles in Nature; they are
therefore equally, in various stages of manifestation, Sun and Moon, Fire and
Water, Air and Earth. In chemistry they appear as acid and alkali, or (more
deeply) metals and non-metals, taking those words in their widest philosophical
sense to include hydrogen on the one hand and oxygen on the other. In this
aspect, the hooded figure represents the Protean element of carbon, the seed
of all organic life.
The symbolism of male and female is carried on still further by the weapons of
the King and Queen; he bears the Sacred Lance, and she the Holy Grail; their
other hands are joined, as consenting to the Marriage. Their weapons are
supported by twin children, whose positions are counterchanged; for the white
child not only holds the Cup, but carries roses, while the black child, holding
his father’s Lance, carries also the club, an equivalent symbol. At the bottom of
the whole is the result of the Marriage in primitive and panto morphic form; it
is the winged Orphic egg. This egg represents the essence of all that life which
comes under this formula of male and female. It carries on the symbolism of
the Serpents with which the King’s robe is embroidered, and of the Bees which
adorn the mantle of the Queen.
The egg is grey, mingling white and black; thus
it siguifies the co-operation of the three Supernals of the Tree of Life. The
colour of the Serpent is purple, Mercury in the scale of the Queen. It is the
influence of that God manifested in Nature, whereas the wings are tinged with
crimson, the colour (in the King scale) of Binah the great Mother. In this symbol
is therefore a complete glyph of the equilibrium necessary to begin the Great
Work. But, as to the final mystery, that is left unsolved. Perfect is the plan to
produce life, but the nature of this life is concealed. It is capable of taking any
possible form; but what form? That is dependent upon the in fluences
attendant on gestation.
The figure in the air presents some difficulty. The traditional interpretation of
the figure is that he is Cupid; and it is not at first clear what Cupid has to do
with Gemini. No light is thrown upon this point by consideration of the position
of the path upon the Tree of Life, for Gemini leads from Binah to Tiphareth.
There accordingly arises the whole question of Cupid. Roman gods usually
p.84
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represent a more material aspect of the Greek gods from whom they are
derived; in this case, Eros. Eros is the son of Aphrodite, and tradition varies as
to whether his father was Ares, Zeus or Hermes—that is, Mars, Jupiter or
Mercury. His appearance in this card suggests that Hermes is the true sire; and
this view is confirmed by the fact that it is not altogether easy to distinguish
him from the child Mercury, for they have in common wantonness)
irresponsibility, and the love of playing tricks. But in this image are peculiar
char acteristics. He carries a bow and arrows in a golden quiver. (He is
sometimes represented with a torch.)
He has golden wings, and is blindfolded.
From this, it may appear that he represents the in telligent (and, at the same
time, unconscious) will of the soul to unite itself with all and sundry, as has
been explained in the general formula with regard to the agony of separateness.
No very special importance is attached to Cupid in alchemical figures. Yet, in
one sense, he is the source of all action; the libido to express Zero as Two.
From another point of view, he may be regarded as the intellectual aspect of
the influence of Binah upon Tiphareth, for (in one tradition) the title of the
card is “The Children of the Voice, the Oracle of the Mighty Gods”. From this
point of view, he is a symbol of inspiration, descending upon the hooded figure,
who is, in this instance, a prophet operating the conjunction of the King and
Queen.
His arrow represents the spiritual intelli gence necessary in alchemical
operations, rather than the mere hunger to perform them. On the other hand,
the arrow is peculiarly a symbol of direction, and it is, therefore, proper to put
the word “Thelema” in Greek letters on the quiver. It is also to be observed that
the opposite card, Sagittarius, means the Bearer of the Arrow, or Archer, a
figure who does not appear in any form in Atu XIV. These two cards are so
complementary that they cannot be studied separately, for full interpretation.
Eros is the son of Aphrodite, and tradition varies as
to whether his father was Ares, Zeus or Hermes—that is, Mars, Jupiter or
Mercury. His appearance in this card suggests that Hermes is the true sire; and
this view is confirmed by the fact that it is not altogether easy to distinguish
him from the child Mercury, for they have in common wantonness)
irresponsibility, and the love of playing tricks. But in this image are peculiar
char acteristics. He carries a bow and arrows in a golden quiver. (He is
sometimes represented with a torch.) He has golden wings, and is blindfolded.
From this, it may appear that he represents the in telligent (and, at the same
time, unconscious) will of the soul to unite itself with all and sundry, as has
been explained in the general formula with regard to the agony of separateness.
No very special importance is attached to Cupid in alchemical figures. Yet, in
one sense, he is the source of all action; the libido to express Zero as Two.
From another point of view, he may be regarded as the intellectual aspect of
the influence of Binah upon Tiphareth, for (in one tradition) the title of the
card is “The Children of the Voice, the Oracle of the Mighty Gods”. From this
point of view, he is a symbol of inspiration, descending upon the hooded figure,
who is, in this instance, a prophet operating the conjunction of the King and
Queen. His arrow represents the spiritual intelli gence necessary in alchemical
operations, rather than the mere hunger to perform them. On the other hand,
the arrow is peculiarly a symbol of direction, and it is, therefore, proper to put
the word “Thelema” in Greek letters on the quiver. It is also to be observed that
the opposite card, Sagittarius, means the Bearer of the Arrow, or Archer, a
figure who does not appear in any form in Atu XIV. These two cards are so
complementary that they cannot be studied separately, for full interpretation