(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

(2) Thou'lt see me come unto thy darling tree, And crown myself thereafter with those leaves Of which the theme and thou shall make me worthy. So seldom, Father, do we gather them For triumph or of Caesar or of Poet, (The fault and shame of human inclinations,) That the Peneian foliage should bring forth Joy to the joyous Delphic deity, When any one it makes to thirst for it. A little spark is followed by great flame; Perchance with better voices after me Shall prayer be made that Cyrrha may respond! To mortal men by passages diverse Uprises the world's lamp; but by that one Which circles four uniteth with three crosses, With better course and with a better star Conjoined it issues, and the mundane wax Tempers and stamps more after its own fashion. Almost that passage had made morning there And evening here, and there was wholly white That hemisphere, and black the other part, When Beatrice towards the left-hand side I saw turned round, and gazing at the sun; Never did eagle fasten so upon it!

(16) Now the high priest's robe is the symbol of the world of sense. The seven planets are represented by the five stones and the two carbuncles, for Saturn and the Moon. The former is southern, and moist, and earthy, and heavy; the latter aerial, whence she is called by some Artemis, as if Aerotomos (cutting the air); and the air is cloudy. And cooperating as they did in the production of things here below, those that by Divine Providence are set over the planets are rightly represented as placed on the breast and shoulders; and by them was the work of creation, the first week. And the breast is the seat of the heart and soul.

(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.

(1) O Uræus! I am the Flame which shineth, and which openeth out eternity, the column of Tenpua [ otherwise said —the column on which are blossoming plants

(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) Certain chapters having reference to the Heart were written upon gems [45] and served as amulets, the 26th upon Lapis-lazuli, the 27th upon green Felspar, the 30th upon Serpentine, and the foregoing chapter upon Carnelian

(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) 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

(3) The text here translated is taken from a papyrus at Leyden

(24) The Tincture is the pleasant Sweetness and Softness in a fragrant Herb and Flower, and the Spirit thereof is bitter and harsh, and if the Tincture were not, the Herb would get neither Blossom nor Smell; it gives to all Essences Virtue to grow. It is also in Metals and Stones; it makes that the Silver and Gold grow, and without it [the Tincture,] there is nothing in this World could grow. Among all the Children in Nature, [it only] is a Virgin, and has never generated any Thing out of itself; neither can it generate, and yet it makes that all Things impregnate. It is the most hidden Thing, and also the most manifest; it is a Friend of God, and a Play-fellow of Virtue; it suffers itself to be detained by nothing, and yet it is in all Things; but if any Thing be done to it against the Right of Nature, then it flies [away] and that very easily: It stands not fast, and yet it continues immoveable; it continues in no Kind of Decaying of any Thing; all the while that it stands in the Root of Nature, not altered nor destroyed, so long it continues. It lays no Burden upon any Thing, but it eases the Burden in all Things; it makes that all Things rejoice, and yet it generates no shouting i Noise; but the Voice comes out of the Essences, and becomes loud in the Spirit.

(249) 264 To say: O ye two contestants, announce now to the honourable one in this his name: 264 N. is this ssss-plant which springs from the earth. 264 The hand of N. is cleansed by him who has prepared his throne. 265 N. it is who is at the nose of the powerful Great One. 265 N. comes out of the Isle of Flame, 265 (after) he, N., had set truth therein in the place of error. 265 N. it is who is the guardian of laundry, who protects the uraeusserpents, 265 in the night of the great flood, which proceeds from the Great. 266 N. appears as Nefertem, as the flower of the lotus at the nose of R`; 266 as he comes forth from the horizon every day, the gods purify themselves, when they see him.

(27) Thus I must tell you; the Heaven is a Sower, and God gives him Seed, and the Elements are the Ground into which the Seed is sown; now the Heaven has the Constellation, and receives also the Seed of God, and sows all together one among another; now the Essences of the Stars receive the Seed in the Ground, and qualify [or are united] with it, and carry themselves along in the Herb, till a Seed also be in the Herb.

(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.”

(3) "Child, copy the contents of the book on turquoise steles. Child, it is fitting to copy this book on turquoise steles in hieroglyphic characters, for mind itself has become the supervisor of these things. So I command that this discourse be carved into stone and that you put it in my sanctuary. Eight guards watch over it with . . . the sun: the males on the right have faces of frogs, and the females on the left have faces of cats. Put a square milkstone at the base of the turquoise tablets, and copy the name on the azure stone tablet in hieroglyphic characters. Child, you must do this when I am in Virgo, and the sun is in the first half of the day, and fifteen degrees have passed by me."

(9) For the holy Element continually longs, [or groans] through the four Elements, to be released from the Vanity of the four Elements; in like Manner also the Qualifying [or Influence] of the grim [Constellations or] Stars [labours;] and therefore it drives Man to seek such wonderful Forms [or Ways,] that the eternal Wonders of God might be manifested, which (in the Breaking of the World) shall stand all (in the P Figure) in the Shadow.

(25) It is concerning plants that every single kind with a drop of water on a twig (teh) they should hold four finger-breadths in front of the fire; Most of all it is the lotos (kûnâr) they speak of.

(4) And I beheld the flamelets onward go, Leaving behind themselves the air depicted, And they of trailing pennons had the semblance, So that it overhead remained distinct With sevenfold lists, all of them of the colours Whence the sun's bow is made, and Delia's girdle. These standards to the rearward longer were Than was my sight; and, as it seemed to me, Ten paces were the outermost apart. Under so fair a heaven as I describe The four and twenty Elders, two by two, Came on incoronate with flower-de-luce. They all of them were singing: "Blessed thou Among the daughters of Adam art, and blessed For evermore shall be thy loveliness." After the flowers and other tender grasses In front of me upon the other margin Were disencumbered of that race elect, Even as in heaven star followeth after star, There came close after them four animals, Incoronate each one with verdant leaf. Plumed with six wings was every one of them, The plumage full of eyes; the eyes of Argus If they were living would be such as these.

(13) Lo, to thee I pour as a libation the sparkling gleam of Bromius."He signifies, as I think, the soul's first milk-like nutriment of the four-and-twenty elements, after which solidified milk comes as food. And last, he teaches of the blood of the vine of the Word, the sparkling wine, the perfecting gladness of instruction. And Drops is the operating Word, which, beginning with elementary training, and advancing to the growth of the man, inflames and illumines man up to the measure of maturity. The third is said to be a writing copy for children -marptes, sfigx klwy, zxnkqhdos. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for maryai is to grasp. And the harmony of the world is meant by the Sphinx; and zunkqhdon means difficulty; and klwys means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by " the curved rods" (keraisi) is meant "ploughs;"and by the warp (sthmosi), the furrows; and the woof (mitos) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the "parts" (moirai) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them "white-robed," as being parts of the light?

(2) And the sun's face, uprising, overshadowed So that by tempering influence of vapours For a long interval the eye sustained it; Thus in the bosom of a cloud of flowers Which from those hands angelical ascended, And downward fell again inside and out, Over her snow-white veil with olive cinct Appeared a lady under a green mantle, Vested in colour of the living flame. And my own spirit, that already now So long a time had been, that in her presence Trembling with awe it had not stood abashed, Without more knowledge having by mine eyes, Through occult virtue that from her proceeded Of ancient love the mighty influence felt. As soon as on my vision smote the power Sublime, that had already pierced me through Ere from my boyhood I had yet come forth, To the left hand I turned with that reliance With which the little child runs to his mother, When he has fear, or when he is afflicted, To say unto Virgilius: "Not a drachm Of blood remains in me, that does not tremble; I know the traces of the ancient flame."