(31) The thirteenth chapter describes a great beast which rose out of the sea, having seven heads and ten horns. Faber sees in this amphibious monster the Demiurgus, or Creator of the world, rising out of the Ocean of Chaos. While most interpreters of the Apocalypse consider the various beasts described therein as typical of evil agencies, this viewpoint is the inevitable result of unfamiliarity with the ancient doctrines from which the symbolism of the book is derived. Astronomically, the great monster rising out of the sea is the constellation of Cetus (the whale). Because religious ascetics looked upon the universe itself as an evil and ensnaring fabrication, they also came to regard its very Creator as a weaver of delusions. Thus the great sea monster (the world) and its Maker (the Demiurgus), whose strength is derived from the Dragon of Cosmic Power, came to be personified as a beast of horror and destruction, seeking to swallow up the immortal part: of human nature. The seven heads of the monster represent the seven stars (spirits) composing the constellation of the Great Dipper, called by the Hindus Rishis, or Cosmic Creative Spirits. The ten horns Faber relates to the ten primordial patriarchs. These may also denote the ancient zodiac of ten signs.

(24) The Dragon again revealed its form to Hermes, and for a long time the two looked steadfastly one upon the other, eye to eye, so that Hermes trembled before the gaze of Poimandres. At the Word of the Dragon the heavens opened and the innumerable Light Powers were revealed, soaring through Cosmos on pinions of streaming fire. Hermes beheld the spirits of the stars, the celestials controlling the universe, and all those Powers which shine with the radiance of the One Fire--the glory of the Sovereign Mind. Hermes realized that the sight which he beheld was revealed to him only because Poimandres had spoken a Word. The Word was Reason, and by the Reason of the Word invisible things were made manifest. Divine Mind--the Dragon--continued its discourse:

(7) The first were horned like oxen; but the four Had but a single horn upon the forehead; A monster such had never yet been seen! Firm as a rock upon a mountain high, Seated upon it, there appeared to me A shameless whore, with eyes swift glancing round, And, as if not to have her taken from him, Upright beside her I beheld a giant; And ever and anon they kissed each other. But because she her wanton, roving eye Turned upon me, her angry paramour Did scourge her from her head unto her feet. Then full of jealousy, and fierce with wrath, He loosed the monster, and across the forest Dragged it so far, he made of that alone A shield unto the whore and the strange beast.

(72) And I saw six portals in which the sun rises, and six portals in which the sun sets and the moon rises and sets in these portals, and the leaders of the stars and those whom they lead: six in the east and six in the west, and all following each other in accurately corresponding order: also many windows to the right and left of these portals.

(16) Leaf 5. In the upper panel it is declared that the sun-bird battles with the earth-serpent, who, tearing out his own entrails, gives them to the bird. The spirit is vivified and Lazarus with joy is raised from the dead. Above the bird is written: "This is the sun in the form of a bird," and above the dragon "This is the dragon devouring the bird. The first operation." The panel of text at the lower left reads in substance: "When our sperm (quicksilver) is mixed with the mother of elements (earth), the action is called coitus. The detention by the earth of a bit of quicksilver is called conception. The earth grows and multiplies and the operation is called impregnation. When earth is whitened with water and made of uniform color and appearance, it is called birth and the King is born out of fire." The text at lower right was deliberately mutilated to conceal a too evident secret.

(41) "The fourth and fifth leaves therefore, were without any writing, all full of fair figures enlightened, or as it were enlightened, for the work was very exquisite. First he painted a young man with wings at his ancles, having in his hand a Caducean rod, writhen about with two serpents, wherewith he struck upon a helmet which covered his head. He seemed to my small judgment, to be the God Mercury of the pagans: against him there came running and flying with open wings, a great old man, who upon his head had an hour glass fastened, and in his hand a book (or syrhe) like death, with the which, in terrible and furious manner, he would have cut off the feet of Mercury. On the other side of the fourth leaf, he painted a fair flower on the top of a very high mountain which was sore shaken with the North wind; it had the foot blue, the flowers white and red, the leaves shining like fine gold: and round about it the dragons and griffons of the North made their nests and abode.

(88) And as I was beholding in the vision, lo, one of those four who had come forth stoned (them) from heaven, and gathered and took all the great stars whose privy members were like those of horses, and bound them all hand and foot, and cast them in an abyss of the earth.

(39) In the allegory of the four horsemen--according to the mysteries of philosophy--is set forth the condition of man during the stages of his existence. In his first and spiritual state he is crowed. As he descend into the realm of experience he carries the sword. Reaching physical expression--which is his least spiritual state--he carries the scales, and by the "philosophic death" is released again into the highest spheres. In the ancient Roman games the chariot of the sun was drawn by four horses of different colors and the horsemen of the Apocalypse may be interpreted to represent the solar energy riding upon the four elements which serve as media for its expression.

(1) After I cease to be upon the earth and withdraw up to my rest, a great, evil error will come upon the world, and many evils in accordance with the number of the forms of nature. Evil times will come. And when the era of nature is approaching destruction, darkness will come upon the earth. The number will be small. And a demon will come up from the power who has a likeness of fire. He will divide the heaven, and he will rest in the depth of the east. For the whole world will quake. And the deceived world will be thrown into confusion. Many places will be flooded because of envy of the winds and the demons who have a name that is senseless: Phorbea, Chloerga. They are the ones who govern the world with their teaching. And they lead astray many hearts because of their disorder and their unchastity. Many places will be sprinkled with blood. And five races by themselves will eat their sons. The regions of the south will receive the word of the light. But they who are from the error of the world and from the east. . . . A demon will come forth from the belly of the serpent. He was in hiding in a desolate place. He will perform many wonders. Many will loathe him. A wind will come forth from his mouth with a female likeness. Her name will be called Abalphe. He will reign over the world from the east to the west.

(15) [paragraph continues] Planetary. In the middle we see above, the Sun, marked Ops, and below it is a Solomon's Seal, above a cross; a double triangle Hexapla, one light and one dark triangle superposed, the whole forming a sort of complex symbol of Venus. To the Ibimorphos he gives the three dark planets, Venus, Mercury, and Mars placed around a dark triangle erect, denoting Fire. To the Nephthæan triad he gives three light planets, Saturn, Luna, and Jupiter, around a light inverted triangle which denotes Water. There is a necessary connection between water, female power, passive principle, Binah, and Sephirotic Mother, and Bride. (See the Kabbalah by Mathers.) Note the ancient signs for the planets were all composed of a Cross, Solar Disc and Crescent: Venus is a cross below a Sun disc, Mercury, a disc With a crescent above and cross below, Saturn is a Cross whose lowest point touches the apex of the crescent; Jupiter is a Crescent whose lowest point touches the left hand end of a cross: all these are deep mysteries. Note that Levi in his original plate transposed Serapis and Hecate, but not the Apis noir and Apis blanc, perhaps because of the head of Bes being associated by him with Hecate. Note that having referred the 12 simple letters to the lower, the 7 double must correspond to the central region of the planets, and then the great triad A.M.S. the mother letters representing Air, Water, and Fire remain to be pictured, around S the Central Iynx, or Yod, by the Ophionian Triad the two Serpents and the Leonine Sphynx. Levi's word OPS in the centre is the Latin Ops, Terra, genius of the Earth; and the Greek Ops, Rhea, or Kubele (Cybele) often drawn as a goddess seated in a chariot drawn by lions; she is crowned with turrets, and holds a Key." (See The Isiac Tablet.)

(47) The Egyptian Demon, Typhon, was symbolized as part crocodile and part: hog because these animals are gross and earthy in both appearance and temperament. Since the world began, living things have feared the darkness; those few creatures who use it as a shield for their maneuvers were usually connected with the Spirit of Evil. Consequently cats, bats, toads, and owls are associated with witchcraft. In certain parts of Europe it is still believed that at night black magicians assume the bodies of wolves and roam around destroying. From this notion originated the stories of the werewolves. Serpents, because they lived in the earth, were associated with the Spirit of Darkness. As the battle between Good and Evil centers around the use of the generative forces of Nature, winged serpents represent the regeneration of the animal nature of man or those Great Ones in whom this regeneration is complete. Among the Egyptians the sun's rays are often shown ending in human hands. Masons will find a connection between these hands and the well-known Paw of the Lion which raises all things to life with its grip.

(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."

(36) depiction of the Sun Man who is the scapegoat of the world and upon whom are cast the sins of the twelve houses (tribes) of the celestial universe. Truth is the Divine Lamb worshiped throughout pagandom and slain for the sins of the world, and since the dawn of time the Savior Gods of all religions have been personifications of this Truth. The Golden Fleece sought by Jason and his Argonauts is the Celestial Lamb--the spiritual and intellectual sun. The secret doctrine is also typified by the Golden Fleece--the wool of the Divine Life, the rays of the Sun of Truth. Suidas declares the Golden Fleece to have been in reality a book, written upon skin, which contained the formulæ for the production of gold by means of chemistry. The Mysteries were institutions erected for the transmutation of base ignorance into precious illumination. The dragon of ignorance was the terrible creature set to guard the Golden Fleece, and represents the darkness of the old year which battles with the sun at the time of its equinoctial passage.

(132) The Disk (of the Sun) is borne in the Starless realm above the Inerratic Sphere; and hence he is not in the midst of the Planets; but of the Three Worlds, according to the telestic Hypothesis.

(56) A more profound interpretation is found in the correspondences between the twelve figures in the upper panel and the twelve in the lower. This furnishes a key to one of the most arcane of ancient secrets--the relationship existing between the two great zodiacs the fixed and the movable. The fixed zodiac is described as an immense dodecahedron, its twelve surfaces representing the outermost walls of abstract space. From each surface of this dodecahedron a great spiritual power, radiating inward, becomes embodied as one of the hierarchies of the movable zodiac, which is a band of circumambulating so-called fixed stars. Within this movable zodiac are posited the various planetary and elemental bodies. The relation of these two zodiacs to the subzodiacal spheres has a correlation in the respiratory system of the human body. The great fixed zodiac may be said to represent the atmosphere, the movable zodiac the lungs, and the subzodiacal worlds the body. The spiritual atmosphere containing the vivifying energies of the twelve divine powers of the great fixed zodiac is inhaled by the cosmic lungs--the movable zodiac--and distributed by them through the constitution of the twelve holy animals which are the parts and members of the material universe. The functional cycle is completed when the poisonous effluvia of the lower worlds collected by the movable zodiac are exhaled into the great fixed zodiac, there to be purified by being passed through the divine natures of its twelve eternal hierarchies.

(13) As to the beginning of the poem, the two first lines refer entirely to the activity of the Golden Flower. The two next lines are concerned with the mutual interpenetration of sun and moon. The sixth month is the adhering (Li) fire. The white snow that lies, is the true darkness of polarity in the middle of the fire sign, that is about to turn into the receptive. The third watch is the abysmal (K'ari) water. The sun's disk is the one polar line in the sign for water, which is about to turn into the creative. In this is contained the way to take the sign for the abysmal and the way to reverse the sign for the adhering (ire Li). The following two lines have to do with the activity of the pole of the Great Wain, the rise and fall of the whole release of polarity. Water is the sign of the abysmal; the eye is the wind of softness (Sun). The light of the eyes illumines the house of the abysmal, and controls there the seed of the great Light. " In Heaven " means the house of the creative (ChHen).

(25) The planets, with many demons, dashed against the celestial sphere, and they mixed the constellations; and the whole creation was as disfigured as though fire disfigured every place and smoke arose over it.

(27) When the seventh seal was broken there was silence for the space of half an hour. Then came forth seven angels and to each was given a trumpet. When the seven angels sounded their trumpets--intoned the seven-lettered Name of the Logos--great catastrophes ensued. A star, which was called Wormwood, fell from heaven, thereby signifying that the secret doctrine of the ancients had been given to men who had profaned it and caused the wisdom of God to become a destructive agency. And another star--symbolizing the false light of human reason as distinguished from the divine reason of the initiate--fell from heaven and to it (materialistic reason) was given the key to the bottomless pit (Nature), which it opened, causing all manner of evil creatures to issue forth. And there came also a mighty angel who was clothed in a cloud, whose face was as the sun and his feet and legs as pillars of fire, and one foot was upon the waters and the other upon the land (the Hermetic Anthropos). This celestial being gave St. John a little book, bidding him eat it, which the seer did. The book is representative of the secret doctrine--that spiritual food which is the nourishment of the spirit. And St. John, being "in the spirit," ate his fill of the wisdom of God and the hunger of his soul was appeased.

(5) "Nature, which had been disturbed, immediately arose from the idle waters. For her ascent was shameful. And nature took to herself the power of fire. She became strong because of the light of the spirit that was in nature. Her likeness appeared in the water in the form of a frightful beast with many faces, which is crooked below. A light went down to chaos filled with mist and dust, in order to harm nature. And the light of astonishment in the middle region came to it after he cast off the burden of the darkness. He rejoiced when the spirit arose. For he looked from the clouds down at the dark waters upon the light that was in the depths of nature.

(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.