(33) The fifteenth numbered major trump is called Le Diable, the Devil, and portrays a creature resembling Pan with the horns of a ram or deer, the arms and body of a man, and the legs and feet of a goat or dragon. The figure stands upon a cubic stone, to a ring in the front of which are chained two satyrs. For a scepter this so-called demon carries a lighted torch or candle. The entire figure is symbolic of the magic powers of the astral light, or universal mirror, in which the divine forces are reflected in an inverted, or infernal, state. The demon is winged like a bar, showing that it pertains to the nocturnal, or shadow inferior sphere. The animal natures of man, in the form of a male and a female elemental, are chained to its footstool. The torch is the false light which guides unillumined souls to their own undoing. In the pseudo-Egyptian Tarot appears Typhon--a winged creature composed of a hog, a man, a bat, a crocodile, and a hippopotamus--standing in the midst of its own destructiveness and holding aloft the firebrand of the incendiary. Typhon is created by man's own misdeeds, which, turning upon their maker, destroy him.

(28) The twelfth chapter treats of a great wonder appearing in the heavens: a woman clothed with the sun, the moon under her feet, and upon her head a crown of twelve stars. This woman represents the constellation of Virgo and also the Egyptian Isis, who, about to be delivered of her son Horus, is attacked by Typhon, the latter attempting to destroy the child predestined by the gods to slay the

(35) The fifteenth to eighteenth chapters inclusive contain an account of seven angels (the Pleiades) who pour their vials upon the earth. The contents of their vials (the loosened energy of the Cosmic Bull) are called the seven last plagues. Here also is introduced a symbolic figure, termed "the harlot of Babylon, "which is described as a woman seated upon a scarlet-colored beast having seven heads and ten horns. The woman was arrayed in purple and scarlet and bedecked with gold, precious stones, and pearls, having in her hand a golden cup full of abominations. This figure may be an effort (probably interpolated) to vilify Cybele, or Artemis, the Great Mother goddess of antiquity. Because the pagans venerated the Mater Deorum through symbols appropriate to the feminine generative principle they were accused by the early Christians of worshiping a courtesan. As nearly all the ancient Mysteries included a test of the neophyte's moral character, the temptress (the animal soul) is here portrayed as a pagan goddess.

(20) Raguel, one of the holy angels who †takes vengeance on† the world of the luminaries.

(18) O nobly-born on the Fourteenth Day, the Four Female Door-Keepers, also issuing from within thine own brain, will come to shine upon thee. Again recognize. From the east [quarter] of thy brain will come to shine the White Tiger-Headed Goad-Holding Goddess, bearing a blood-filled skull-bowl in her left [hand]; from the south, the Yellow Sow-Headed Noose-Holding Goddess; from the west, the Red Lion-Headed Iron-Chain-Holding Goddess; and from the north, the Green Serpent-Headed Bell- Holding Goddess. Thus, issue the Four Female Door-Keepers also from within thine own brain and come to shine upon thee; as tutelary deities, recognize them.

(18) O nobly-born, from the north [will dawn] the Blue Wolf-Headed Wind-Goddess, waving a pennant in the hand; and the Red Ibex-Headed Woman-Goddess, holding a pointed stake in the hand; and the Black Sow-Headed Sow-Goddess, holding a noose of fangs in the hand; and the Red Crow-Headed Thunderbolt-Goddess, holding an infant corpse in the hand; and the Greenish-Black Elephant-Headed Big-Nosed Goddess, holding in the hand a big corpse and drinking blood from a skull; and the Blue Serpent-Headed Water-Goddess, holding in the hand a serpent noose: [these], the Six Yoginis of the North, issuing from within [the northern quarter of] thine own brain, will come to shine upon thee; fear that not.

(20) Raphael, one of the holy angels, who is over the spirits of men.

(15) The seven stars carried by this immense Being in his right hand are the Governors of the world; the flaming sword issuing from his mouth is the Creative Fiat, or Word of Power, by which the illusion of material permanence is slain. Here also is represented, in all his symbolic splendor, the hierophant of the Phrygian Mysteries, his various insignia emblematic of his divine attributes. Seven priests bearing lamps are his attendants and the stars carried in his hand are the seven schools of the Mysteries whose power he administers. As one born again out of spiritual darkness, into perfect wisdom, this archimagus is made to say: "I am he that liveth, and was dead; and, behold, I am alive forever more, Amen; and have the keys of hell and of death."

(14) Yet, if one do not recognize them, the obscurations of evil deeds being too great, and flee from them through terror and awe, then, on the Tenth Day, the blood-drinking [deities] of the [Precious]-Gem Order will come to receive one. Thereupon the setting-face-to-face is, calling the deceased by name, thus: O nobly- born, listen. On the Tenth Day, the blood-drinking [deity] of the [Precious] -Gem Order named Ratna-Heruka, yellow of colour; [having] three faces, six hands, four feet firmly postured; the right [face] white, the left, red, the central darkish yellow; enhaloed in flames; in the first of the six hands holding a gem, in the middle [one], a trident-staff, in the last [one], a baton; in the first of the left [hands], a bell, in the middle [one], a skull-bowl, in the last [one], a trident-staff; his body embraced by the Mother Ratna-Krotishaurima, her right [hand] clinging to his neck, her left offering to his mouth a red shell [filled with blood], will issue from the southern quarter of thy brain and come to shine upon thee. Fear not. Be not terrified. Be not awed. Know them to be the embodiment of thine own intellect. [They] being thine own tutelary deity, be not terrified. In reality [they are] the Father-Mother

(20) Uriel, one of the holy angels, who is over the world and over Tartarus.

(20) Saraqâêl, one of the holy angels, who is set over the spirits, who sin in the spirit.

(21) Apuleius describes her as follows: "In the first place, then, her most copious and long hairs, being gradually intorted, and promiscuously scattered on her divine neck, were softly defluous. A multiform crown, consisting of various flowers, bound the sublime summit of her head. And in the middle of the crown, just on her forehead, there was a smooth orb resembling a mirror, or rather a white refulgent light, which indicated that she was the moon. Vipers rising up after the manner of furrows, environed the crown on the right hand and on the left, and Cerealian ears of corn were also extended from above. Her garment was of many colours, and woven from the finest flax, and was at one time lucid with a white splendour, at another yellow from the flower of crocus, and at another flaming with a rosy redness. But that which most excessively dazzled my sight, was a very black robe, fulgid with a dark splendour, and which, spreading round and passing under her right side, and ascending to her left shoulder, there rose protuberant like the center of a shield, the dependent part of the robe falling in many folds, and having small knots of fringe, gracefully flowing in its extremities. Glittering stars were dispersed through the embroidered border of the robe, and through the whole of its surface: and the full moon, shining in the middle of the stars, breathed forth flaming fires. Nevertheless, a crown, wholly consisting of flowers and fruits of every kind, adhered with indivisible connexion to the border of that conspicuous robe, in all its undulating motions. What she carried in her hands also consisted of things of a very different nature. For her right hand, indeed, bore a brazen rattle [sistrum] through the narrow lamina of which bent like a belt, certain rods passing, produced a sharp triple sound, through the vibrating motion of her arm. An oblong vessel, in the shape of a boat, depended from her left hand, on the handle of which, in that part in which it was conspicuous, an asp raised its erect head and largely swelling neck. And shoes woven from the leaves of the victorious palm tree covered her immortal feet."

(39) As time passed on the historical Orpheus became hopelessly confounded with the doctrine he represented and eventually became the symbol of the Greek school of the ancient wisdom. Thus Orpheus was declared to be the son of Apollo, the divine and perfect truth, and Calliope, the Muse of harmony and rhythm. In other words, Orpheus is the secret doctrine (Apollo) revealed through music (Calliope). Eurydice is humanity dead from the sting of the serpent of false knowledge and imprisoned in the underworld of ignorance. In this allegory Orpheus signifies theology, which wins her from the king of the dead but fails to accomplish her resurrection because it falsely estimates and mistrusts the innate understanding within the human soul. The Ciconian women who tore Orpheus limb from limb symbolize the various contending theological factions which destroy the body of Truth. They cannot accomplish this, however, until their discordant cries drown out the harmony drawn by Orpheus from his magic lyre. The head of Orpheus signifies the esoteric doctrines of his cult. These doctrines continue to live and speak even after his body (the cult) has been destroyed. The lyre is the secret teaching of Orpheus; the seven strings are the seven divine truths which are the keys to universal knowledge. The differing accounts of his death represent the various means used to destroy the secret teachings: wisdom can die in many ways at the same time. The allegory of Orpheus incarnating in the white swan merely signifies that the spiritual truths he promulgated will continue and will be taught by the illumined initiates of all future ages. The swan is the symbol of the initiates of the Mysteries; it is a symbol also of the divine power which is the progenitor of the world.

(10) To the west of that Circle, the Knowledge-Holding Deity of the Great Symbol, red of colour, smiling and radiant, embraced by the Red DdkinT, the [Divine] Mother, [he] holding a crescent knife and a skull [filled] with blood, dancing and making the mudra of fascination, [with his right hand held] aloft, will come to shine.

(2) Naked of me short while the flesh had been, Before within that wall she made me enter, To bring a spirit from the circle of Judas; That is the lowest region and the darkest, And farthest from the heaven which circles all. Well know I the way; therefore be reassured. This fen, which a prodigious stench exhales, Encompasses about the city dolent, Where now we cannot enter without anger." And more he said, but not in mind I have it; Because mine eye had altogether drawn me Tow'rds the high tower with the red-flaming summit, Where in a moment saw I swift uprisen The three infernal Furies stained with blood, Who had the limbs of women and their mien, And with the greenest hydras were begirt; Small serpents and cerastes were their tresses, Wherewith their horrid temples were entwined. And he who well the handmaids of the Queen Of everlasting lamentation knew, Said unto me: "Behold the fierce Erinnys. This is Megaera, on the left-hand side; She who is weeping on the right, Alecto; Tisiphone is between;" and then was silent.

(20) Remiel, one of the holy angels, whom God set over those who rise.

(20) Gabriel, one of the holy angels, who is over Paradise and the serpents and the Cherubim.

(42) The Egyptian devil, Typhon, was often symbolized by the Set monster whose identity is obscure. It has a queer snoutlike nose and pointed ears, and may have been a conventional hyena. The Set monster lived in the sand storms and wandered about the world promulgating evil. The Egyptians related the howling of the desert winds with the moaning cry of the hyena. Thus when in the depths of the night the hyena sent forth its doleful wail it sounded like the last despairing cry of a lost soul in the clutches of Typhon. Among the duties of this evil creature was that of protecting the Egyptian dead against: grave robbers.

(10) To the south of that Circle, the Knowledge-Holding Deity called [He] Having Power Over Duration of Life, yellow in colour, smiling and radiant, embraced by the Yellow DdkinT, the [Divine] Mother, [he] holding a crescent knife and a skull [filled] with blood, dancing and making the mudra of fascination, [with his right hand held] aloft, will come to shine.

(28) In this figure the pagan naturalists represent all the vital powers of the three kingdoms and families of sublunary nature-mineral, plant, and animal (man considered as an animal). At one of her ears was the moon and at the other the sun, to indicate that these two were the agent and patient, or father and mother principles of all natural objects; and that Isis, or Nature, makes use of these two luminaries to communicate her powers to the whole empire of animals, vegetables, and minerals. On the back of her neck were the characters of the planets and the signs of the zodiac which assisted the planets in their functions. This signified that the heavenly influences directed the destinies of the principles and sperms of all things, because they were the governors of all sublunary bodies, which they transformed into little worlds made in the image of the greater universe.