(3) The Symbol is interpreted as follows: (1) The Infinite Unmanifest manifests itself in the Elemental Soul; (2) the Elemental Soul takes upon itself the outward form of Mineral Substance; (3) The Mineral Soul evolves from itself the Plant Soul; (4) the Plant Soul evolves from itself the Animal Soul; (5) the Animal Soul evolves from itself the Human Soul; (6) the Human Soul unfolds into the Soul of the Demi-Gods; (7) the Soul of the Demi-Gods unfolds into the Soul of the Gods; and finally, the Soul of the Gods once more is resolved into Pure Spirit, which is represented by the blank space at the centre of the symbol. This statement will be more clearly apprehended by those who have carefully studied the preceding chapters conveying instruction concerning the Seven Planes of Consciousness, and much of the information contained in those chapters is to be taken into consideration in the study of the present chapter.

(2) Said on a column of green Felspar, on which this Chapter has been written, and which is put on the neck of the deceased

(5) It falls into the forest, and no part Is chosen for it; but where Fortune hurls it, There like a grain of spelt it germinates. It springs a sapling, and a forest tree; The Harpies, feeding then upon its leaves, Do pain create, and for the pain an outlet. Like others for our spoils shall we return; But not that any one may them revest, For 'tis not just to have what one casts off. Here we shall drag them, and along the dismal Forest our bodies shall suspended be, Each to the thorn of his molested shade." We were attentive still unto the trunk, Thinking that more it yet might wish to tell us, When by a tumult we were overtaken, In the same way as he is who perceives The boar and chase approaching to his stand, Who hears the crashing of the beasts and branches; And two behold! upon our left-hand side, Naked and scratched, fleeing so furiously, That of the forest, every fan they broke. He who was in advance: "Now help, Death, help!" And the other one, who seemed to lag too much, Was shouting: "Lano, were not so alert

(3) And turning to the pole which he had dragged, He drew it close beneath the widowed bough, And what was of it unto it left bound. In the same manner as our trees (when downward Falls the great light, with that together mingled Which after the celestial Lasca shines) Begin to swell, and then renew themselves, Each one with its own colour, ere the Sun Harness his steeds beneath another star: Less than of rose and more than violet A hue disclosing, was renewed the tree That had erewhile its boughs so desolate. I never heard, nor here below is sung, The hymn which afterward that people sang, Nor did I bear the melody throughout. Had I the power to paint how fell asleep Those eyes compassionless, of Syrinx hearing, Those eyes to which more watching cost so dear, Even as a painter who from model paints I would portray how I was lulled asleep; He may, who well can picture drowsihood. Therefore I pass to what time I awoke, And say a splendour rent from me the veil Of slumber, and a calling: "Rise, what dost thou?"

(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).

(4) The Book of Successful Contemplation (Ying Kuan Ching) says: The sun sinks in the Great Water and magic pictures of trees in rows arise. The setting of the sun means that in Chaos (in the world before phenomena, that is, the intelligible world), a foundation is laid: that is the condition free of opposites {wu chi). Highest good is like water, pure and spotless. It is the ruler of the Great Polarity, the god who is revealed in the sign for that which greatly disturbs, Chin (19). Chen is also symbolized by wood, wherefore the image of trees in rows appears. A sevenfold row of trees means the light of the seven body-openings (or heart-openings). In the norlii-west is the direction of the creative. When it moves on one place farther, the abysmal is there. The sim which sinks into the Great Water is the image for the creative and abysmal. The abysmal is the direction of midnight (mouse, Tzu% north). At the winter solstice the thunder (Chin) is in the middle of the Earth quite hidden and covered up. Only when the sign Chin is reached, does the Light-pole come over the earth again. That is the picture representing the row of trees. The rest can be correspondingly inferred.

(3) Thou hast at length arrived at Purgatory; See there the cliff that closes it around; See there the entrance, where it seems disjoined. Whilom at dawn, which doth precede the day, When inwardly thy spirit was asleep Upon the flowers that deck the land below, There came a Lady and said: 'I am Lucia; Let me take this one up, who is asleep; So will I make his journey easier for him.' Sordello and the other noble shapes Remained; she took thee, and, as day grew bright, Upward she came, and I upon her footsteps. She laid thee here; and first her beauteous eyes That open entrance pointed out to me; Then she and sleep together went away." In guise of one whose doubts are reassured, And who to confidence his fear doth change, After the truth has been discovered to him, So did I change; and when without disquiet My Leader saw me, up along the cliff He moved, and I behind him, tow'rd the height. Reader, thou seest well how I exalt My theme, and therefore if with greater art I fortify it, marvel not thereat.

(263) 337 To say: The two reed-floats of heaven are placed for R`, that he may ferry over therewith to the horizon. 337 The two reed-floats of heaven are placed for Harachte that Harachte may ferry over therewith to R`. 337 The two reed-floats of heaven are placed for N. that he may ferry over therewith to the horizon, to R`. 337 The two reed-floats of heaven are placed for N. that he may ferry over therewith to Harachte, to R`. 338 It is good for N. (to be) with his ka; N. lives with his ka. 338 His b-loin-cloth is on him; his Horus-weapon is on his arm; his sceptre is in his hands. 339 He makes himself serviceable to those who have passed on. 339 They bring to him those four spirits, the eldest, the first of the wearers of side-locks, 339 who stand on the eastern side of the sky and lean upon their d`m-sceptres, 340 that they may speak the good name of N. to R` 340 and proclaim N. to Nb-k.w, 340 so that the entrance of N. may be greeted (or protected). The Marshes of Reeds were filled (with water), 340 so that N. might ferry over the Winding Watercourse. 341 N. will certainly ferry over to the eastern side of the horizon; 341 N. will certainly ferry over to the eastern side of heaven. 341 His sister is Sothis; his mother is the Dw.t (morning star).

(4) The branches either stand as the symbol of the first food, or they are that the multitude may know that fruits spring and grow universally, remaining a very long time; but that the duration of life allotted to themselves is brief. And it is on this account that they will have it that the branches are given; and perhaps also that they may know, that as these, on the other hand, are burned, so also they themselves speedily leave this life, and will become fuel for fire.

(11) Now the love always breaketh through the house of death, and generateth holy, heavenly twigs in the great tree; which twigs stand in the light. For they spring up through the shell or skin of darkness, as the twigs do through the shell or bark of the tree, and are one life with God.

(5) The rods signify the kingly and directing faculty, making all things straight. The spears and the battle-axes denote the dividing of things unlike, and the sharp and energetic and drastic operation of the discriminating powers. The geometrical and technical articles denote the founding, and building, and completing, and whatever else belongs to the elevating and guiding forethought for the subordinate Orders. But sometimes the implements assigned to the holy Angels are the symbols of God's judgments to ourselves; some, representing His correcting instruction or avenging righteousness, others, freedom from peril, or end of education, or resumption of former well-being, or addition of other gifts, small or great, sensible or intelligible. Nor would a discriminating mind, in any case whatever, have any difficulty in properly adapting things visible to things invisible.

(666) 1931-1(Nt. J�quier, XXIX 761). To say: O N. [pass?] the great lake (?), even this, to the spirits, 1931-2 (Nt. 762). this water (n) to the dead. 1931-3 (Nt. 762). Guard thyself against these its people, whose house (home) is that bush, 1931a (Nt. 762). the heavenly (?) d.t, in its name of "Dt.t," 1931b (Nt. 762). where they take not thy hand to that house (home) of the bush. 1932 (Nt. 763). He, he is a pyramid, he protects; 1932 + 1 (Nt. 763). he is the east, he is thy protector, he protects; a father, thy east, he is the Easterner. 1933a (Nt. 763). Go to D.w-'ib, brother of Seker, whom he loves; 1933b (Nt. 764). he will make a way for thee with them, 1933b + 1 (Nt. 764). where thou mayest eat bread with them, 1933b + 2 (Nt. 764). where thou mayest row the wd with them, 1933b + 3 (Nt. 764). where the sky trembles for thee, the earth quakes for thee, 1933b + 4 (Nt. 764-765). and the imperishable stars come to thee. 1934a (Nt. 763). And so, behold, he seized thy hand (at) the Nb-k.wfeast, at (in) the Marsh of Reeds (or, at inundation time?), 1934b (Nt. 765). (while thou) sittest upon thy firm throne, 1934c (Nt. 765). and judgest with the Two Enneads.

(31) In this tone riseth up the power of all the six spirits, and becometh a palpable body, to speak after an angelical manner, and subsisteth in the power of the other six spirits, and in the light; and this is the body of nature, wherein all heavenly creatures, ideas, figures and sprouts or vegetations are imaged or fashioned. The Holy Gates.

(3) There is a serpent on the brow of that hill, five hundred cubits in length, three cubits of his forepart are pierced with swords

(36) The Truth in Symbols There are certain truths which cannot be well expressed in words, but which may be at least partially expressed in symbols. To those who feel a desire to penetrate rather more deeply into the Mystery of. the Three Higher Planes of Consciousness, we call attention to the symbol accompanying this particular chapter of this book. There is a wealth of knowledge and important information hidden in this symbol, undiscoverable to the many but at least partially discoverable by the few. To the Few, we offer the following suggestions concerning this Symbol.

(233) 237 To say: The serpent which came forth from the earth is fallen; the flame which came forth from Nun is fallen. 237 Fall; glide away.

(1) should not have been placed among those of the Book of the Dead, it belongs to another book similar to the , the book engraved on the walls of the royal tombs. It describes gods and genii of the bounds in the Tuat who confer certain blessings on the deceased; such as this: “those who lift up their faces towards the sky at the prow of the boat of Rā, grant that Osiris N. may see Rā when he rises.” A vignette gives the appearance of the god or genius spoken of. Every one of them is followed by this sentence: “for the libation of a vase has been made on earth by Osiris N. who is (now) the lord of abundance, and goes round the garden of Hotepit.”

(5) And lo! at one who was upon our side There darted forth a serpent, which transfixed him There where the neck is knotted to the shoulders. Nor 'O' so quickly e'er, nor 'I' was written, As he took fire, and burned; and ashes wholly Behoved it that in falling he became. And when he on the ground was thus destroyed, The ashes drew together, and of themselves Into himself they instantly returned. Even thus by the great sages 'tis confessed The phoenix dies, and then is born again, When it approaches its five-hundredth year; On herb or grain it feeds not in its life, But only on tears of incense and amomum, And nard and myrrh are its last winding-sheet. And as he is who falls, and knows not how, By force of demons who to earth down drag him, Or other oppilation that binds man, When he arises and around him looks, Wholly bewildered by the mighty anguish Which he has suffered, and in looking sighs; Such was that sinner after he had risen. Justice of God! O how severe it is, That blows like these in vengeance poureth down!

(17) Differently, the stones might be the various phases of salvation; some occupying the upper, some the lower parts of the entire body saved. The three hundred and sixty bells, suspended from the robe, is the space of a year, "the acceptable year of the Lord," proclaiming and resounding the stupendous manifestation of the Saviour. Further, the broad gold mitre indicates the regal power of the Lord, "since the Head of the Church" is the Savour. The mitre that is on it [i.e., the head] is, then, a sign of most princely rule; and otherwise we have heard it said, "The Head of Christ is the God and Father of our Lord Jesus Christ." Moreover, there was the breastplate, comprising the ephod, which is the symbol of work, and the oracle logion; and this indicated the Word logos by which it was framed, and is the symbol of heaven, made by the Word, and subjected to Christ, the Head of all things, inasmuch as it moves in the same way, and in a like manner. The luminous emerald stones, therefore, in the ephod, signify the sun and moon, the helpers of nature. The shoulder, I take it, is the commencement of the hand.

(2) It has been thought well to publish with this translation the Vignettes from the great Papyrus La of Leyden, representing a , the Rising; and b , the Setting Sun. ( See plates