Ok hieroglyph experts, I've got a question regarding the names of the Resh deities mentioned on the front of the stele. The following line supposedly contains the names "Ra, Atum, Kephra and Ahathoor" in that order. I've highlighted Ahathoor in red, Atum in green and Kephra in blue. My question is which glyphs form the name Ra? None of the glyphs on that line look like the example ones I've seen online and I'm wondering what I'm missing.
I've thought maybe the circle and line to the right of those three, but that doesn't seem right.
Do the methods of art control our ability to create? We find ways to express experience before we find the ability to want to express that experience. How shall the desire for an experience come before the experience it self? This is the ultimate answer to that question of the necessity of imagining free will.
How can the will for something come before the something itself? All happens as it happens, remember that the going forth at each moment is itself the word, even in our recollection is the word going forth.
The might of the Word in its silence. The silence going forth as the word the word begins in its way of its going the word finds peace, a new equilibrium is established the word at its lowest the word of in its appearance of death, the word of in its appearance of rebirth through expression on a lower plane. The word thundering forth as the creator, the word being struck down in its false glory, the word seeing the true glory, balance in chaos the word stumbling according to these new rules, working through darkness, the word finding the unity in the system, the unveiling of the grand plan, The word becoming one with that unity, the word in completion, created and one with the art.
A quote related to conversations I've been having recently:
In his address to the Women's Conference in 1996 (see The Magical Link, Fall 1997 e.v.), the Patriarch Hymenaeus Beta described the Gnostic Mass as a "celebration of the sexual polarities and their cosmic and natural interplay" from a male perspective, having been written by a man. With regard to the list of Saints, he said, "It is a list of the small handful of men and man-gods who, in the opinion of the author of the Mass, understood the divinity of woman. [...] Someday, perhaps not soon, but who knows, a woman adept of the Sovereign Sanctuary will manifest the genius to compose a Mass in which the female takes the more active role, and the male the more passive (as with siva and sakti in Hinduism) -- in which the Deacon, speaking for the Priestess, can claim communion with the women in history that have perceived the divinity of man."
Now what does the word phusis say? It says what emerges from itself (for example the emergence, the blossoming, of a rose), the unfolding that opens itself up, the coming-into-appearance in such unfolding, and holding itself and persisting in appearance – in short, the emerging-abiding-sway.
Phusis is Being itself, by virtue of which beings first become and remain observable.
Phusis means the emerging sway, and the enduring over which it thoroughly holds sway. This emerging, abiding sway includes both “becoming” as well as “Being” in the narrower sense of fixed continuity. Phusis is the event of standing forth, arising from the concealed and thus enabling the concealed to take its stand for the first time.
- Martin Heidegger, Introduction to Metaphysics
1310 = Anthropos (Man) Phusis (Being) Logos Aionos (Word of the Aeon)
And I saw from the sea Therion arise, having ten horns and seven heads and upon his horns ten crowns and upon his heads names of blasphemy. - REV 13:1
Here is wisdom. Let him that hath understanding calculate the number of Therion: for it is the number of a man (anthropos); and his number is six hundred sixty six. - REV 13:18
Lift up thyself! for there is none like unto thee among men or among Gods! Lift up thyself, o my prophet, thy stature shall surpass the stars. They shall worship thy name, foursquare, mystic, wonderful, the number of the man; and the name of thy house 418. - AL 2:78.
I am in a secret fourfold word, the blasphemy against all gods of men. - AL 3:49
And this is the mystery that I declare unto thee: that from the Crown itself spring the three great delusions; Aleph is madness, and Beth is falsehood, and Gimel is glamour. And these three be greater than all, for they are beyond the words that I speak unto thee; how much more therefore are they beyond the words that thou transmittest unto men.
- LIBER 418, 3rd Aethyr
These three be looked at as the first three rabbai who entered paradis. Also Crowley compares them to the first three sections of the Supreme ritual. From the view of a person who has attained the fourth part of the vision, the these are the view points of the first three sections.
1. A, to call out to summon god to the finite place is maddness, for he is everywhere and nowhere. 2. B, to give name to the god, to make it known is falsehood, for who can give god a name? 3. G, to be god alone invoking man is but glamour, a momentary pleasing falsehood. 4. R, to attain to the true realization that all is one and has came into being by the word and is true in its falsehood and all is one, 131.
Happy New Year! Performed the Supreme Ritual tonight with my sweetheart and two recent minervals and about 20 or so other participants. The ritual was very good and there was very good company. Here is the preamble I used instead of Crowley's original.
There is a song hidden in the being of the universe.
It is like unto a small dot, lost in the stream of continuous bright shapes which crowd the world wherein the godhead resides. According to the relative sensory perception in possession of the godhead, this dot appears as nothing more than a momentary oddity in the relative grand scheme of things. This is, of course, assuming the godhead even chances upon its visage.
Silent and stationary does it sit, is it waiting? No, it is not waiting, yet there it sits.
Its presence is a song, a song whereof each note is silent, manifesting as a thick darkness in which it pervades and lurks. Occulted by the whirling double powers known as love and will, hidden from the godhead, enveloped by the light and darkness thrown from these flames polarity. The song waits beyond these.
It is still and apart The things that are, the things that are not, of these it has no part.
It moves in the midst and is all, From the formless shadows of being, the slow hollows of existence, To the brightest, most intense moments of experience. Yet it is none of these, Where will it be found?
The things of time, the things in the mind, the things of sense, where are these when the song rings loud in the ears? Where are these when this silence has aroused the soul?
The Tripod, upon which the priestess sat who delivered the oracles, stood in the innermost sanctuary of the Temple*, called το αντρον, 941 (the cave), αδυτον, 825 (adytum), or μυχος, 1,310 (recess). [...] The third number is the numerical equivalent of Tetragrammaton, and anthropos (a man).
The Canon, William Stirling p. 310
* The Temple of Apollo at Delphi
Of course Stirling is using colel as TETRAGRAMMATON = τετραγραμματον = 1311, one more than 1310. A weak connection of tetragrammaton, meaning fourfold name or word, to our four fold Bornogo at the center of liber loagaeth. Though a very useful connection to mychos.
Original sin is very much a part of thelema, though its character is much different from that of Original sin of the christians.
"The word of sin is restriction."
In our unity with Nuit, we were and will be in the ultimate state of ecstasy, one with the very essence of existence. In this unity there is no form or distinction of any kind, just pure ecstasy, of which even our strongest joys seem sorrow.
To step out of this primordial pool onto the dry land of manifestation, we must take on form and become subject to the laws of nature. We must take on restriction to our natural state. This is the original sin, which can only be absolved by death.
I:58. I give unimaginable joys on earth: certainty, not faith, while in life, upon death; peace unutterable, rest, ecstasy; nor do I demand aught in sacrifice.
66. Write, & find ecstasy in writing! Work, & be our bed in working! Thrill with the joy of life & death! Ah! thy death shall be lovely: whososeeth it shall be glad. Thy death shall be the seal of the promise of our age long love. Come! lift up thine heart & rejoice! We are one; we are none.
II:72. Strive ever to more! and if thou art truly mine -- and doubt it not, an if thou art ever joyous! -- death is the crown of all. II:73. Ah! Ah! Death! Death! thou shalt long for death. Death is forbidden, o man, unto thee. II:74. The length of thy longing shall be the strength of its glory. He that lives long & desires death much is ever the King among the Kings.