(1) Whence also the Egyptians did not entrust the mysteries they possessed to all and sundry, and did not divulge the knowledge of divine things to the profane; but only to those destined to ascend the throne, and those of the priests that were judged the worthiest, from their nurture, culture, and birth. Similar, then, to the Hebrew enigmas in respect to concealment, are those of the Egyptians also. Of the Egyptians, some show the sun on a ship, others on a crocodile. And they signify hereby, that the sun, making a passage through the delicious and moist air, generates time; which is symbolized by the crocodile in some other sacerdotal account. Further, at Diospolis in Egypt, on the temple called Pylon, there was figured a boy as the symbol of production, and an old man as that of decay. A hawk, on the other hand, was the symbol of God, as a fish of hate; and, according to a different symbolism, the crocodile; of impudence. The whole symbol, then, when put together, appears to teach this: "Oh ye who are born and die, God hates impudence."

(2) This Chapter taken also from London 9900, is a mere abridgment of lines 30-34 in Chapter 17. It refers probably to an eclipse. The Eye, the moon is pierced or wounded by Rā, which causes the goddess to be furious. Then, according to Chapter 17, “Thoth calms her troubled state (Brugsch), and brings her whole and sound without any defect.” This is called to appease the goddess

(7) And the disk of the sun was a great dragon whose tail was in his mouth and who reached to seven powers of the Left and whom four powers in the form of white horses drew. And the base of the moon had the type of a ship which a male and a female dragon steered and two white bulls drew. The figure of a babe was on the stern of the moon who guided the dragons who robbed the light from the rulers. And on its prow was a cat's face. And the whole world and the mountains and the seas fled together to the west to the left.

(3) On the mythological tree in heaven which produces both wind and water, that is the rain-cloud, see my Egyptian Mythology, particularly with reference to Mist and Cloud , in Trans. Soc. Bibl. Arch. , Vol. VIII

(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).