An Abramelin Ramble
With Visits to Roadside Attractions Along the Way
The Abramelin book says: "to discover any magic" and shows this grid of letters. That's nice, but rank superstition. There's this
little thing full of letters in the book. What the hell do you do with it? I suppose you draw it on paper and jump around screeching a while, burn
incense on it and stick it in your pocket or something. That's not particularly helpful. Since the book claims to be Qabalistic, try to figure
these squares out as Hebrew words or roots. Hebrew spelling is more flexible than modern English spelling, and chances are the original author was
playing with word roots rather than true words a lot of the time. The top line is HORAH, in English. There are a lot of ways for transliterating from
English to Hebrew. Also, Hebrew is written right to left, opposite to English. When transliterating between the English and Hebrew alphabets, Those
first two letters, "HO" can be transliterated into H eh-Vau, the definite article, "The". "RAH" is one of many words
which mean a "Mother", "Woman". This first line can mean: "The Mother". The second line "OSOMA" can be
transliterated as, Vau-Shin-Vau-Mem-Aleph. Make guesses at the letters and look in the lexicon for words that make sense. "VaShem" ---
"Shem" means "name", especially "divine" or "holy name". Next, take the middle line: "ROTOR". There
are a couple of words vaguely like that in Hebrew. One of them means "to shape" and another means "to enclose" or "to fence
about". Try an educated guess: "trembling enclosures". Now, consider the second line from the bottom "AMOSO" --
Aleph-Mem-Vau-Shin-Aleph, transliterating English into Hebrew. That line probably refers to "night"; there's a Hebrew word similar to
this spelling. Hebrew is flexible because it has so many short words. You will find almost any three letter combination if you fish a bit. Finally, the
bottom line "HAROH" is very close to a Hebrew word meaning "to increase" or to "wax" as the moon does, "to grow
more". What do we have here? If you treat this square as though it's badly spelled Hebrew or Hebrew that's altered to make nice
symmetrical patterns, you can get: "The Mother names the trembling enclosures of the night's increase". That didn't come out in the
first draft, but it got that way with a little effort. What does it mean, "the Mother"? The Abramelin book has the traditional four major
"demon" princes but also includes one more section just for Kore. Kore is Diana. That's a goddess. Interesting. So "the Mother"
might refer to Kore. "... names the trembling enclosures of the night's increase". This goddess tells you about those mysteries of the
night that become strong. It sounds like a poetical reference to the idea of Magick. That's why it's "to discover magic." It's a
little prayer or affirmation made into a pattern. They're all like that.
This one's "to obtain the friendship of some particular person." Some letters are easy. "L" is always the letter Lamed. "A" may be Aleph; chances are it is, but it may not mean anything. "I" is most likely Yod; so is "Y". With a little experience, it's not too hard to figure it out. Taking some liberties with secondary words, this square yields: "Divine Maid, beautiful of breath, grant us the lordly pearl. Protect us from harm. We exclaim at Thy Holy Breath." It looks like praying to some goddess and asking her not to give you bad breath. You have to think, this was done in the 14th century. People didn't take too many baths. They sure didn't have tooth paste. Most couldn't even afford salt for mouth wash. When somebody in that age opened his mouth, you knew what he ate ten years ago. It was quite important to be relatively attractive to people, even if it was only to do business with them. If people couldn't stand being near you down wind when you talked, you had a serious economic problem. There's a certain amount of common sense to that square. Another person could pick up another Hebrew lexicon or some other approach and get an entirely different result for this square. The results of such work are products of meditation, not true translation of the squares. With meditation, somebody else would get something different and both versions would be absolutely correct. With translation, there would be a more narrow objective constraint on accuracy. The process of doing this is intoxicating. If you keep at it, you always get something interesting. Those who devote themselves to the symbolism of the Hebrew letters can see the letters and their combinations as sacred things, as magical things. To a student of Qabalah, study of this kind actually consecrates the talisman automatically.
Check symmetrical squares and the ones that are asymmetrical. Experiment by completing ones that are incomplete in the book. Finally, try making some of your own, using the mental states acquired through meditation. Sit down with a blank grid and think: "that's an 'A', that's a 'G'..." If you work at it, you can get way out there. Start by writing down what you want the square to do. Although it's not described as part of the Abramelin system, you can then decide on the size of the square by the system of the Olympic seals, where 3 is for Saturn, 4 is for Jupiter, 5 for Mars, 6 for the Sun, 7 for Venus, 8 for Mercury, and 9 for the Moon. Make a square of that many on a side, depending on whether the question is more appropriate to Venus or the Sun or whatever planet. For the Moon, you will need a lot of language, since lunar squares are nine on a side.
One of my students knew somebody who had gotten into magic and hurt himself. That called for a new square "To heal one afflicted in the pursuit
of Magic". I went home, decided the appropriate size for the square, did my meditations and drew out a grid. I stared at the empty spaces until I
could see what letters had to be where. Then I wrote them down. Testing was then required. Treat new squares with English letters written at random as
though they are squares from the Abramelin book. Go back to the Hebrew lexicon and decode as before. Here is the new square "To heal one afflicted
in the pursuit of Magic".
The first line is an acceptable Hebrew spelling of a word meaning "good" or "beautiful" (HB:Tet-Heh-Vau-Bet). There is an extra vowel letter in it, but that's alright in the manner of Hebrew spelling. The next line is a over-lap between two words: "Hol" (Heh-Lamed), which means "bright" and the next three letters, using one of them twice, mean "a gathering together". That line can mean "Bright Covenant". For the next row: (Yod-Bet-Lamed-Heh) Tough one. Try every sequential combination to see if Hebrew can be found that makes sense. Yod-Bet can mean "wealth". Bet-Lamed can be "Bal", which means "Lord". "Lah" is the negative, "without". So: "wealth, Lord, without". That could mean either that you are dead broke or you aren't going to loose your money; one or the other. Try the positive, but that isn't necessarily the best meaning. For the bottom line: Bet-Vau-Heh-Taw. By the same methods, combining those letters in order and using some of them more than once, you can get "Enter the shining light". Altogether: "Beauty in the bright covenant, wealth of the Lord fails not, enter the shining light." That's a bit euphemistic. Beneath the surface you have a second meaning. Instead of interpreting "wealth of the Lord fails not", consider that the wealth does fail. This then is a prescription. "To heal one afflicted in the pursuit of magic," tell the person that everything that he got into is fundamentally a thing of beauty. He doesn't have to fear loss of things. He must look again into the beauty so that all will be wealth. There is another way of reading the square to the effect that the person was a dead drunk and that was why he was in such bad shape (if the Bet's are taken as Resh's, this meaning would emerge). When you come up with these things on your own, it's weird that they mean anything. It's doubly weird that the meaning relates in a fashion to what you intended. Previous familiarity with Hebrew can create a sort of virtual lexicon in the back of one's mind that will choose meaningful patterns of letters for these squares without conscious intervention. That may be how these things were developed in the first place.
This method of analysis is only one way of approaching the material in the back of the Abramelin book. If you happen to be into the mysticism of the Hebrew letters, you can use it. If not, not. These squares are supposed to be a test, but it is presumed that you are studying something like Qabalah. If you are studying something else, you'll have to test yourself another way. Many of the squares in the back of the "Book of the Sacred Magic of Abramelin the Mage" are incomplete. It's like a school work-book. The incomplete squares are there to meditate upon and complete. You are told what they are supposed to do. You will probably find that the results of completing and studying the squares will not be quite the same as the descriptions, but you are not the person who originally came up with them. The new ones that you get will have a different quality, related to your experience in the world.
The first step in the Abramelin working is to find a place to do the working. Next, you need a method of divination. You can use Tarot cards, astrology, or anything like that. The Abramelin book mentions white river sand. That's a tip-off. The form of divination that this particular author used was geomancy. More than that, it was probably a bit like foxmancy. Foxmancy is a practice of divination used in Africa. You put little bits of food in circles traced in sand or dirt. Each circle has one of the 16 geomantic symbols in it (vertical figures composed of four lines of dots, one or two dots per line). You are supposed to look for the prints left by a fox the next day, after the fox has had a chance to come by and check out the food during the night. Where the fox stepped, that's what you've got. For modern apartment dwellers, roachmancy would be workable, but probably a little too talkative. Older apartments dwellers may also wish to consider ratmancy. There are other methods of getting and using the geomantic symbols. You will find them written up in a number of books: "A Rectification of the Oracle of the Yoruba" by Judith Gleason, Crowley's "Liber Gaias" (Liber XCVI) or "Handbook of Geomancy" in the "Equinox". The geomantic signs are related to Astrology and have names like "Vir" for "Man", "Puela" for "Girl" and so forth. There are elaborate ways of working the oracle. One method of obtaining the geomantic symbols is to take a stick, supposed to be a camel switch about five to eight feet long, thin and whip-like. People often don't understand the principle and just pick up a short stick or even a pencil <<Note: Sometimes a pen is used, like that used by a lawyer, apparently to check the pending verdict in the William Kennedy-Smith sexual battery trial in Florida some years after this presentation. Anyone watching CNN as the end of the trial was televised could see one of the lawyers for the defense tapping a pen on a piece of paper rapidly in lines. He counted the taps and made notes -- that's classic Western Geomancy! He probably picked it up in a Yale fraternity. There are tables of interpretation for this type of Geomancy which concentrate on trials and imprisonment.>>. It should be a camel switch because such a stick is long enough to vibrate. You can get it going in a rhythm that continues after you have stopped shaking your hand. It won't quit when you do. Get a long, slender switch vibrating up and down, bring it near the ground and move it along. Count the number of times it hits the ground before you lift it up again. This trick is intended to prevent unconscious manipulation of the number of strikes and "cheating" the divination. If the switch strikes an odd number of times, that's one dot. If makes an even number of strikes, that's two dots. Do this four times for each geomantic sign you need to make a complete divination. Crowley apparently thought that you just hit the ground until you felt like stopping. If you do that with direct hand motion, you don't have the element of independence that a vibrating switch would have. That's alright. He learned it in England. There aren't too many camels in England. There's another sort of Geomancy where you take a sand table and just go crazy in there with your hands. It's like finger-paints, only with sand. Smash it, bash it, kick it about. When you are done, you look at it. "Looks like a frog", whatever. Cloudmancy works too: "Looks like a man eating a fish". Plastermancy -- use the sort of plaster walls that have a complex texture, not the modern type with the little pimples all over but the kind that looks like somebody skipped the trowel every so often. If you can find old fashioned linoleum, do linoleum-mancy, (they don't sell proper linoleum for floors anymore, try to find really nifty looking linoleum with a random pattern. It doesn't matter what method you use, as long as you have some way of doing divination. You are going to need it. Lintmancy, TV-snowmancy, there is nothing so degrading that you can't use it for divination. Recall that the official way of doing divination in the Roman State, required of certain elected officials, was augury, reading fresh bird guts. The famous Cicero, who wrote all those essays and was too noble for Caesar to execute, was the official auger of the City of Rome. Cicero's principal job was to stick his hand up a bird's ass, pull it out and say "it's gonna rain tomorrow." Me, I'll take Tarot! Divination is intended to give you information that isn't just from you talking to yourself. There are levels that aren't verbal. Those are the ways you can reach this Knowledge and Conversation most quickly. Verbal consciousness is tied up in social conceits and beliefs fostered in childhood. You need a method of divination, like one of the ways described, to get to the next thing.
It's good to have unusual garments. Something comfortable, not too distracting --robes are traditional. As long as you aren't into expensive cloth and things that form-fit, a robe is cheap and easy to make. If you are into good looking robes, you probably don't need them for this. The basic idea is to have some kind of clothing; it doesn't have to be robes. You can decorate and embroider a pair of pants and a coat to match. Those will do just as well. You can also use ready-made things. Perhaps a Japanese robe.
In this culture it's helpful to occupy your mind. We have so much going on to distract us that we have to keep the thing busy. You can always try standard things like Zen meditations. You might feel better. You might have an experience. If you are going to take yourself apart and put yourself back together, you will have to have a substantial battery of these things. Zen meditations can do that, but they are a lot more than they seem. For example, the sound of one hand clapping isn't accomplished by snapping the out- stretched fingers of your right hand to your right palm. That's just a joke to frustrate a Zen master. The sound of one hand clapping is symbolized by holding the right hand vertically before the body, parallel to center line and palm to left. Combine that with the sudden sense of sound where there is no sound. Each separate Koan will produce another thing that can't really be described in words. You must discover these meanings within yourself. There are systems of koans. Koans are brief verses of apparent paradox, either by internal contradiction or irrelevancy to context. Koans are intended to produce conceptual stress for resolution by sudden insight. If you have a book that says: "Try this one", you are being entertained. A teacher can tell you which one to do next and say: "Ok, you've got that one. Move on." You can try Alan Watts' books: "The Spirit of Zen and The Way of Zen. You need a system because you are doing something more than one little thing. Most of these little meditations are sold for a buck as entertainment. Some of them are better than that. In this culture you need such things. In some cultures it is sufficient to have chants and koan-style meditations. The problem with those is the need for a teacher. With the Abramelin approach, you are the starting teacher; and you are seeking the ultimate teacher, called the Holy Guardian Angel, or the Higher Self, &c. You can do this sort of thing here with a human teacher or a book, but the chances of it working are less than in some other places. This culture is full of yammerings and "belief that you know things". In many other cultures, family can be a major problem. In this culture, family tends not to be quite what it is elsewhere. Here, family is often as not people you pick deliberately and have a hard time finding. In other cultures family is what you were born into. You have no choice, and you are not leaving. That goes for whom you marry too; and, oh yes, you are going to marry. The names of your kids were figured out 30 generations before you came along. In such an environment, you need to get away before you can do much, but you still need things that are familiar to you. In the West, intellectual things may be very much more familiar than human things.
Consider the ancient map carved on a rock in the Camonica valley in the Alps, one of the earliest maps known. Now you can drop a buck at a gas station and pick up a map, all the while complaining that they used to be free. In those days, the idea of shaping a picture of something that you can never see but only walk was quite an outstanding leap in ideas. That principle has been used in a lot of cultures. Some of them go hog wild and make giant shapes, like Von Daniken tried to sell to people as landing fields for space ships. Why would anybody do that? The Cerne Abbas Giant is a thing like that in England. It's an enormous figure of a man with a club and a prodigious hard-on carved in the chalk on a hillside in Dorset. In South America you find some giant figures laid out in desolate places, but this thing was definitely maintained for 1500 years or more. Every few years somebody had to go over it and re-cut the sod to keep the exposed chalk outline visible. People thought it was some Celtic relic. Then somebody took an infrared photo from an aircraft and realized that the arm holding a club originally also had a rug-like drape. Evidently that part had been abandoned over the centuries while the main figure was re-cut and renewed. The drape positively identifies the figure as Hercules, with club and lion skin. A bunch of home-sick Romans carved it there, and it's been kept up ever since. It must have impressed people. The Giant can be seen poorly from the ground, but some of these great figures are only visible from the air. Such figures are examples of order. It can be a valuable initiatory exercise to trace ancient mysteries "on the ground" while formulating an image in the mind, comprehending in toto what the "eyes" can see only in part.
The method I chose to organize my own work was the 231 gates. They comprise all the combinations of pairs of Hebrew letters. You can systematically arrange them. I meditated on each of them twice in a standard pattern. That was done at 6AM and 6PM for a month or two. Then I had a one day break and resumed. Finally, I got to the point that it didn't matter how long the break took. An example: the thirteenth pair of Hebrew letters is HB:Aleph-Nun. I wrote down their numerical working-out. You add fifty for Nun, one for Aleph, normally not using the final values of the letters, to end up with 51. You can reduce that to 6. That's 6 on the Tree of Life for Tipheret. Also, the Hebrew letter Vau is 6. Aleph in the Golden Dawn system corresponds to the Fool in Tarot and Nun to Death. That's two Tarot trumps from the two Hebrew letters. If you look up in the Sepher Yetzirah, 777 or Paul Foster Case's little book, Highlights of the Tarot, you can find other stuff. Aleph and Nun have their name spellings, which can yield other numbers and correspondences. Those names mean "Ox" and "Fish". Tipheret means "beauty". That gives you two or three words for meditation. You can take the astrological correspondences: Air for Aleph, Scorpio for Nun and Sun for Tipheret. There are directions in space associated with the letters: Aleph is a vertical central line above to below. Nun is the direction to the Southwest. That may seem strange, so try sitting down and imagining a line straight down through the middle of your body. Then imagine another line paralleling that first one to the Southwest. Just think about it. It's very abstract, no conditions, no complications, not a lot of stray associations. It's a simple and pure meditation. There are traditional things associated with the letters. Aleph is sometimes thought of as the Breath of Life, Spirit, Ruach. Nun sometimes has the qualities of change and motion associated with it. These are interpretations that are given to those letters. You can say "Life moves", "Life changes" -- that's Aleph and Nun. The main thing is to have a system that yields a lot of compound subjects for meditation. Each individual subject fans out into many other subjects, some very abstract and some very simple. There are other things that are associated with these letters, e.g. "Intelligences", somewhat later than the old Sepher Yetzirah, but associated with the letters and Sephirot. In one variation of that tradition, Aleph is called the "Fiery" or "Scintillating Intelligence", Nun the "Imaginative Intelligence".
Meditate on that: thinking that is fiery or scintillating, thinking that's imaginative and brings out new things. Paul Case liked to associate the 12-tone scale of the piano keyboard with Hebrew letters. If you are into Music you can play E- natural against G-natural for Aleph and Nun to meditate on that sound combination. The Golden Dawn had four colors for each. If you are artistic, you can meditate on those colors. If you are not presently musical or artistic, here's a reason to explore those interests. All Hebrew letters are classified into several groups. Aleph is called a Mother Letter. Nun is the sixth Single Letter. There are properties and traditions that apply to them. The Mother Letters are the primal sounds. The Single Letters are compounded of those sounds. The Double Letters are variations on those sounds. Here is a primal thing giving an issue, Aleph a Mother Letter and Nun a Single Letter. Look up these Hebrew letter pairs in a dictionary or lexicon. It turns out that there are a lot of two-letter words in Hebrew. Aleph and Nun can go either frontwards or backwards. Once you have words to play with, you can figure out what they mean.
Sit down. Take every one of these combinations of correspondences and write down the result of thinking or meditating about them. Do that even if it doesn't make sense. Examples for Aleph-Nun: "The Ox falls past the Sun. The Ox is stuck tight in the spinning rounds of the Fish who chases his tail." Well, you've obviously got to do something more than just saying "Ox", "Sun" and "Fish". Taking the elemental and astrological: "Air blows past the sun. The maddened bull rushes into the nest of scorpions (scorpio)". Play with these things. This is the first pass. A nice thing about the 231 gates; there are two ways of organizing them. You can hit each gate twice without having to do it all in the same succession. The first pass runs through Aleph-Bet, Aleph-Gemel, Aleph-Dalet, Aleph-Heh, Aleph-Vau, and so on. The next time it's Bet-Aleph, Bet-Gemel, and so on. Each time that you start with another letter, repeat as many of the previous gates as there have been letters before that current one. The second time around, instead of just lining them up and checking them out with simple meditation, sit and try to do automatic writing. After meditating once on a particular pair of letters, mechanical comparisons of correspondences won't be necessary. Just get into it. In the case of Aleph-Bet, there are 21 meditations before you hit it again as Bet-Aleph. Write down the feelings and thoughts: Nun-Aleph -- "The son of the sun enters the world but to die and to rise again. You Oh Lord," &c., &c. Eventually this will evolve out into something more, one way of working with the Abramelin system.
Some scraps of travel notes and we are done
In order to make use of any system, you have to learn the system and get it working. The 231 Gates of the Yetzirah is the system I've used. I extended that working considerably, just by taking more time as it became possible. The present one I am meditating on is Shin-Bet or Bet-Shin. Crowley took his Abramelin meditation system from the work of John Dee. There are a series of Calls, organized and progressively difficult. Crowley was able, after a couple of failures, to make a go of that. He tried it in Scotland with the Golden Dawn "Shin of Shin" ritual, and it petered out. He tried it in Mexico and only got a little way. He went into the Arabian desert, paraded Victor Neuburg around in fancy dress and got side-tracked briefly, but he managed to accomplish the thing, as any can see in "Vision and Voice".
The main thing that you need in this world is to learn how to use what you already have. It works that way in meditation as well. If you take an old
system and don't pay too much attention to an old teacher, then you might develop a light of truth in that old system that no one ever knew before.
That's new. Or perhaps, something of it was forgotten, and rediscovering the forgotten part is what you need to do. In this work, it is necessary
that everything be new. Yet, the pattern will always be old. That is not a contradiction. Everything that you do from the pattern is new to you. By
using a preexisting pattern, something old in that sense, you don't have to start from scratch. If you want to make a drawing, you get a piece of
paper. You can make the paper yourself, an entertaining thing that one might like to try; but that is not the best way to make a drawing. It's the
same here. You need a paper, a piece of paper to write yourself upon. That "paper" should be an existing system. If you originate that system
yourself, it may or may not work; but you will be certainly wasting a lot of precious time. You will also likely end up with an experience that you
can't explain to anybody. The biggest problem for people who get deeply into these things, as I have found and seen, is that they get so far
removed that they can't communicate their experiences to others. Such folk get very very lonely and seem very very strange. Why stand on the
sea-shore and reach as high as you can? Why not stand on a mountain top and reach higher? The mountain top is there already. You don't have to make
your own mountain of sand. That's the principle.
There are various rituals and things to get into. Consider John Dee's original version of the Enochian Squares. That's a magical procedure worked out in Elizabethan times. He even called it "Enochian" from the legendary Book of Enoch.
If you can get situated in a little hut in the wilds, you have it made. But if you can't find a lovely sylvan setting out of a Chinese or Japanese dream, you are just going to have to lump it with a corner of your apartment.
Crowley had a bit of a sense of humor. Consider the Abramelin square printed in the "Equinox" just in front of his article on Geomancy. That one is titled "To undo Magic". Also, there is a similar square placed just behind the title page of "The Goetia", a portion of the "Lesser Key of Solomon". It's another one of the Abramelin squares to undo magic. Tasteless trick, I call it.
If you get into some method of art, by all means incorporate it into this. Embroidery of magical squares is perfectly workable.
You will get pretty pictures if you can meditate enough. They don't mean anything? Maybe they do. In the 231 gates method, it is common to draw
elaborate diagrams or mandalas, such as a combination of all of the other letters placed between the two Hebrew letters, e.g. Tzaddi and Hay. Every
other letter is there, so in a sense this shows all the things that pass between the gates of Tzaddi and Hay, between the Star and the Emperor Trump.
Such talismans and power drawings proliferate with this method.
LITTER ON THE FLOOR
|R||O||T||A||S||of the cycle|
To know all things Past and Future in general.
|M||I||L||O||N||a night's lodging or rest|
|I||R||A||G||O||to alarm, terrify tremble|
|L||A||M||A||L||"to God" a name of Solomon|
|O||G||A||R||I||to cry, chatter|
|N||O||L||I||M||the soiled ones|
In a place of rest, tremble before the God of Solomon and strangely utter concerning mortal things.
To know things past regarding Enemies.
|S||O||F||O||S||Samekh-Vau-Pehfinal||to be fulfilled|
|E||D||O||B||O||Dalet-Vau-Bet Bet-Ayin-Vau||pine away; prayer|
|M||E||S||O||K||Mem-Samekh Ayin-Qof-Chet||pining; oppression|
Take an oracle about servants who were sent away; about the purpose of death bringing prayers that make the miserable more miserable.
Discover one who serves harm and thievery; weaken away concealment.
To cause any spirit to appear, and take ... the form of a Bird.
(In Hebrew, English direction)
|Aleph||Mem||Aleph||Dalet||Aleph||in a garment|
Diary of the square: While finishing this, a call from M-A. She was sitting at a resort, by a pool. A sudden gust of wind and the large umbrella sheltering a table by her chair was caught up. She rose from her seat and took a couple of steps. The aluminum shaft of the umbrella struck down into the chair she had just vacated, piercing the back at the level her heart would have been, had she not left the spot.
To be beloved by a Woman:
(In Hebrew, English direction)
The beloved shines forth her living breath as the burning scent of cinnamon bark. She is shy and white as the moon. Behold the tree of striving penetrate the whiteness deeply. Sing out in strength at fulfillment.
From Yod-Dalet-Yod-Dalet-Heh, Zain-Resh-Chet, Resh-Vau-Chet, Dalet-Lamed-Qof, Qof-Dalet-Heh, Yod-Resh-Heh, Dalet-Vau-Qof, Dalet-Qof-Lamed, Chet-Vau-Resh, Chet-Resh-Zain, Heh-Dalet-Dalet, Dalet-Yod.
New Square: To send away afflictions that come from pets.
(In Hebrew, English direction)
Live each day in the Sun. Join in kinship with the Sea. Abandon sadness and noise --speak the sign. A blooming shoot, divine adornment. A mist conceals the sickness. Shout joyfully, in the World delight at plenty. Bring this sign to the noise amid sounds of beauty. All kinds of falsehood flee the friend. A gift deals with smell by the sign of the Most High.
(In Hebrew, English direction)
|Aleph||Mem||Vau||Shin||Vau||of the night's|
To Discover any Magic, [To be done on red satin with green grid, letters in black; attached in yellow.]
Upon the plane a thousand teachers. Each is true. Each says all the others lie. Each teaches a tale of unraveled thread. Each speaks of warp and woof. Each casts a net to catch souls. Each tells truth with lies.
Find a faith. Stand firm in it. Be baptized with water and with fire. Affirm the opposite of the faith. Then you shall baptized with piety and apostasy.
Seek ever the opposite in every thought. Only through negation may truth flow. Set two legs upon the ground. Raise two arms to heaven. Thus you burrow and fly.
A child sits in the temple. Learned men ask patronizing questions.
How old are you?
How young are you?
Who is your father?
Who are you?
Who am I not?
Whence did you come?
Where I am going.
What do you know of the Law?
Only what I Will to Know.
The doctors of the place are confused. They cry aloud: "Who has taught such devilish lies to a child? Who has schooled such insolence?"
The child, thinking the questioning still proceeding, points to an empty room behind a veil and says: "He taught me!"
Since the shedding of blood in the sanctuary is forbidden, the elders tell the child that he is holy and that he should depart. This seems the only course.
The child walks out of the temple and journeys back to his village. His home is poor. He enters an empty room after lifting a bit of cloth which serves as a door.
The priests of the temple go on worshiping outside their Holy of Hollies. The Child dwells in His.