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ALEISTER CROWLEY LIBER 777

t knee, pours from a vase in her right hand silver waters into a river, by which grow roses, the haunts of coloured butterfiles. with her left hand she pours golden waters over her head, which are lost in her long hair. her attitude suggests the swastika. above flashes a great star of seven rays. notes 40 line 29. below, a path leads between two towers, guarded by jackals, from the sea, wherein a scarab us marcheth landwards. line 30. below is a wall, in front of which, in a fairy ring, two children wantonly and shamelessly embrace. line 31. an angel blowing a trumpet, adorned with a golden banner bearing a white cross. below a fair youth rises from a sacrophagus in the attitude of the god shu supporting the firmament. on his left a fair woman, her arms giving the sign of water an inverted

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

huit, pasht, sekhet,:vishnu (nara-singh avatar: mau, sekhmet: 20 :isis (as virgin :the gopi girls, the lord of: yoga: 21 :amoun-ra :brahma, indra: 22 :ma :yama :23 :tum athph auramoth (as water):soma (apas: asar (as hanged man: hekar, isis: 24 :merti goddesses, typhon :kundalini: apep, khephra: 25.:vishnu (horse-avatar: 26 :khem (set :lingam, yoni: 27 :horus: 28 :ahephi, aroueris: 29 :khephra (as scarab in tarot :vishnu (matsya avatar: trump: 30 :ra and many others :surya (as sun :31 :thoum-aesh-neith, mau, ka :agni (tejas) yama (as god of: beshunt, horus, tarpesheth: last judgment: 32 :sebek, mako :brahama :32 "bis :satem, ahapshi, nephthys:(prithivi: ameshet :31 "bis :asar:(akasa: 310& 311 table i: xxxiv: xxxv :key scale: some greek gods: some roman gods: 0 :pan: 1 :zeus, iacchus :jupite

ALEISTER CROWLEY EQUINOX EQ I 3 3

ister confines of a forest, splashed by the wanton foot of a young gnome. yet like a wildfire through the trees at nightfall do i divine the distant glimmer of thine eye. 13. o woe unto me, my god, woe unto me; for all my life sinks as the western sun that struggles in the strangling arms of night, flecked over with the starry foam of her kisses. yet in the very midnight of my soul do i hold as a scarab the signet of thy name. o glory be unto thee through all time and through all space: glory, and glory upon glory, everlastingly. amen, and amen, and amen. 47 the chapter known as pisces the twelvefold bewilderment of god and the unity thereof i adore thee by the twelve bewilderments and by the unity thereof. 1. o what art thou, o god my god, thou snow-browed storm that art whirled up in clo

ALICE BAILEY THE LABOURS OF HERCULES

and capricorn, called the gates of the sun. through cancer, or the 'gate of man, the soul descends upon earth (to unite with the body, which is its spiritual death. through capricorn, the 'gate [86] of the gods, it reascends to heaven (e. valentia straiton, the celestial ship of the north vol. ii, p. 206. in the zodiac of denderah, the sign cancer is represented by a beetle, called in egypt, the scarab. the word "scarab" means "only begotten; it stands, therefore, for birth into incarnation, or, in relation to the aspirant, for the new birth. the month of june, in ancient egypt was called "meore, which again means rebirth, and thus both the sign and the name hold steadily before us the thought of the taking of form and of coming in physical incarnation. in an ancient zodiac in india, date

cancer is a sign of hiding, of retreat behind that which has been constructed. it is not a striking constellation. it is interesting to note that there is no hebrew word for "crab. it was regarded as unclean and not mentioned. so is the material form regarded from the standpoint of spirit, and esotericists tell us that the physical body is not a principle (the substitution of the egyptian sacred scarab for the crab seems a recognition of the quality of cancer in its higher aspects when the native is an aspirant or disciple, for we go round the zodiac many times) there are eighty-three stars in this sign, the brightest of which is of the third- 52- the labours of hercules magnitude, and in the very center of the constellation there is a cluster of stars; praesepe, the manger [88] called by

BUDGE E

h over the hidden ways of ra, in the horizon [come] in peace, in peace, o ra of the beautiful p. 87 click to view the kingdom of seker. p. 88 p. 89 [paragraph continues] ament. in the middle of the scene we see that the ground rises (see p. 103) and forms a kind of hollow mound, the highest point of which terminates in the head of a woman, which faces to the right; immediately above her head is a scarab which is in the act of descending, but only one half of its body is visible. concerning the beetle it is said "behold khepera who, immediately the [boat of ra] is towed to the top of this circle, unites himself to the roads of the tuat; when this god standeth on the head of the goddess he speaketh words to seker every day" the short lines of text just above the mound read "the majesty of th

mmediately in front of the god anp-heni is an object which looks like a chamber with a rounded roof; but whatever it may be, it is filled with sand, and from the fact that the sign of "night" or "darkness" appears at the top, we may conclude that it represents p. 106 some form of the dark underworld of seker. to each side of it a hawk clings by his claws, and from the lower part of it emerges the scarab, which has already been mentioned (see p. 103. 9. a huge serpent, the two heads facing the object described under no. 8. of him it is said "he liveth by ra every day, he travelleth over every place of maat in the tuat, and it is he who setteth himself in opposition to the scarab" to this serpent ra saith "hail, thou serpent ter, whom i myself have fashioned, open thou to me thy folds, open

. p. 133 the text which refers to these reads "the majesty of this great god saith unto these gods--o ye gods who dwell in the tuat, and who are in the following of the lord of the beings who are in the tuat, who stand up and sit down in nu, who dwell in your field, o ye gods who p. 134 send forth light, and who make to stand up your bodies, and o ye goddesses who sit down in the following of the scarab in the place where are his bodies in the tuat, o ye who live on your, whose hearts live on their food, who send forth light in the darkness which surroundeth you, who have the mastery over your red crowns, who partake in content of the offerings made to you, let them travel in my following, let my soul be with me, let me rest (or, unite myself) to my bodies, and let me pass by you in peace

DEMONIC BIBLE

ir knowledge or previous commitment. michael aquino, claiming to be in contact with satan (in the ancient egyptian form of set, wrote the book of the coming forth by night in which he declared the start of the aeon of set, a succession to the aeon of horus. the word of the aeon was xeper, an egyptian word which means to become or to come into being. the egyptian god xepera was associated with the scarab beetle and was the god of expansion of consciousness. michael aquino claimed to be the second beast from the book of the revelation of jesus to st. john the apostle and the spiritual son of aleister crowley described in the book of the law. in contrast to the church of satan s professed atheism, the temple of set embraced the literal existence of set, not as a christian devil, but as an anc

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

k, and he sometimes holds in his hands emblems of power, sovereignty, and rule.[3] another form of ptah was ptah-seker-ausar wherein the creator of the world, the sun, and osiris as the god of the dead, were represented. a large number of fa ence figures of this triune god are found in graves, and specimens exist in all museums. he is represented as a dwarf standing upon a crocodile, and having a scarab us upon his head; the scarab is the emblem of the new life into which the deceased is about to break, the crocodile is the emblem of the darkness of death which has been overcome. according to some the element of ptah in the triad is the personification of the period of incubation which follows [1. naville, todtenbuch, bd. i, bl. 34, ll. 4, 5. 2. lanzone: op. cit, tavv. 87-91. 3. lanzone, o

the land of manu[4] receiveth thee with content, and the goddess maat[5] embraceth thee at the two seasons. may he give splendour, and power, and triumph, and (5) a coming-forth [i.e, resurrection] as a living soul to see horus of the two horizons[6] to the [1. the numbers in parentheses indicate the lines of the papyrus. 2. the god khepera is usually represented with a beetle for a head; and the scarab, or beetle, was sacred to him. the name means "to become, to turn, to roll" and the abstract noun kheperu may be rendered by "becomings" or "evolutions" the god was self-created, and was the father of all the other gods; men and women sprang from the tears which fell from his eyes; and the animal and vegetable worlds owed their existence to him. khepera is a phase of tmu, the night-sun, at

men-kau-ra,[1] the king of the north and of the south, triumphant, by the royal son heru-tata-f[2] who found it while he was journeying to inspect the temples"[3] the scarabs which are found in the mummies, or lying upon the breast just above the position of the heart, form an interesting section of every large egyptian collection. in the british museum series every important type of the funereal scarab is represented. they are made of green basalt, green granite (nos. 7894 and 15,497, white limestone (nos. 7917, 7927, 15,508, light green marble (no. 7905, black stone (nos. 7907, 7909, 7913, blue paste (nos. 7904, 14,549, blue glass (no. 22,872, and purple, blue, or green glazed fa ence (nos. 7868, 7869. they vary in size from 5 inches to 2 inches in length. on the hard stone examples the

in length. on the hard stone examples the text of the chapter of the heart, more or less complete, is usually cut on the base plate iv. http//www.sacred-texts.com/egy/ebod/ebod16.htm (3 of 4 [8/10/2001 11:25:24 am] in outline; but it is sometimes traced in red ink (no. 7915, or in gold (no. 15,518. incuse hieroglyphics are sometimes filled with gold (no. 7881. the name of the person with whom the scarab was buried usually precedes the text of the chapter of the heart; but in many instances blank spaces are found left without insertion of the name--a proof that i, these amulets were bought ready-made. the base however is often quite plan (nos. 7965, 7966, or figures of osiris, isis, and nephthys occupy the place of the usual inscription (nos. 15,500, 15,507. the backs of scarabs are general

nephthys occupy the place of the usual inscription (nos. 15,500, 15,507. the backs of scarabs are generally quite plain, but we find examples inscribed with figures of the boat of the sun osiris, with flail and crook the bennu bird, and the u'tat (no. 7883, ra and osiris (no. 15,507, and the bennu bird with the inscription neteri ab en ra "the mighty heart of ra (no. 7878. a finehard, green stone scarab of the greek or roman period has upon the back the figures of four greek deities (no. 7966. in rare instances, the beetles have a human face (nos. 7876, 15,516) or head (no. 7999. carefully made scarabs have usually a band of gold across and down the back where the wings join: an example of the late period (no. 7977) has the whole of the back gilded. the scarab was set in a gold oval ring

7876, 15,516) or head (no. 7999. carefully made scarabs have usually a band of gold across and down the back where the wings join: an example of the late period (no. 7977) has the whole of the back gilded. the scarab was set in a gold oval ring, at one end of which was a smaller ring for suspension from the neck or for attachment to the bandages of the mummy (no. 15,504. the green glazed fa ence scarab of thothmes iii (no. 18,190) was suspended by a gold chain from a bronze torque. a thick gold wire to fit the neck is attached to no. 24,401. the base of the scarab is sometimes in the form of a heart (nos. 7917, 7925. a remarkable example of this variety is no. 7925, in which are [1. the fifth king of the ivth dynasty. 2. this prince is said to have been a very learned man, whose speech wa

ee wiedemann, aeg. geschichte, p. 191. 3. for the hieroglyphic text, see pp. 13-15. this rubric was published by birch, aeg. zeitschrift, p. 54; and by rosellini, breve notizia interno un frammento di papiro funebre egizio essistente nel ducale museo di parma; parma, 1839, 8vo] p. 263 the emblems of "life "stability" and "protection" engraved on the upper part of the base. across the back of this scarab is;[1] on the right wing# and on the left#[2. a highly polished, fine green basalt scarab with human face (no. 7876) is set in a gold base, upon the face and edges of which are cut part of the chapter of the heart. at a period subsequent to the xxiind dynasty inscribed funereal scarabs in marble, paste, etc, were set in pylon-shaped pectorals made of egyptian porcelain, glazed blue, green

and edges of which are cut part of the chapter of the heart. at a period subsequent to the xxiind dynasty inscribed funereal scarabs in marble, paste, etc, were set in pylon-shaped pectorals made of egyptian porcelain, glazed blue, green, or yellow, which were sewed to the mummy bandages over the heart. on such pectorals the boat of the sun is either traced in colours or worked in relief, and the scarab is placed so as to appear to be carried in the boat; on the left stands isis, and on the right nephthys (nos. 7857, 7864, 7866. next: plates v. and vi. plate iv. http//www.sacred-texts.com/egy/ebod/ebod16.htm (4 of 4 [8/10/2001 11:25:24 am] sacred texts egypt index previous next plates v. and vi. vignettes: the funereal procession to the tomb; running the length of the two plates. in the ce

ished by lepsius (bl. 15) the deceased holds a heart to his left side and addresses a human-headed hawk emblematic of the soul] plate xv. http//www.sacred-texts.com/egy/ebod/ebod22.htm (2 of 6 [8/10/2001 11:28:11 am] p. 308 coloured beads, the clasp of which is in the shape of a pylon or gateway, and to which is attached a pectoral bearing a representation of the boat of the sun, wherein is set a scarab, emblematic of the sun.[1] text [chapter xxvii (1) chapter of giving a heart unto osiris ani (2) in the underworld [ani saith "may my heart be with me in the house of hearts.[2] may my heart be with me, and may it rest in [me, or i shall not eat of the cakes of osiris on the eastern[3] side of the lake of flowers,[4 (3 [neither shall i have] a boat wherein to go down the nile, and another w

ceased is being weighed against his own heart; an ape "thoth, lord of the balance" seated on a pedestal, holds the tongue of the balance. in british museum papyrus no. 9964 the deceased is also weighed against his own heart, but at the same time a figure of himself is also watching the process. in the papyrus of sutimes a square weight lies in each pan of the scales. other vignettes have simply a scarab, or the deceased addressing his heart, which rests on a standard. see naville, todtenbuch, bd. i, bl. 43. 2. a class of divine beings. 3. the chapter as here given is incomplete; the missing words are "pleasant for us, pleasant is the hearing, and there is gladness of heart at the weighing of words. let not lies be spoken against me near the god, in the presence of the great god, the lord o

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

s discovered on the mummy related to magical potency. these were frequently the possession of the ka or double, necessary to its comfort in a future existence. the small crowns, scepters, and emblems of osiris, usually done in glazed earthenware or pottery, were placed beside the dead person. this ensured that he could wear them when he became one with the god osiris, and consequently a king. the scarab, made in the likeness of a scarabaeus beetle, symbolized resurrection. the dad symbolized the human skeleton, and, possibly, the dead and dismembered osiris. this was thought to have an influence on the restoration of the deceased. the uza, or eye, signified the health necessary to the dead person s soul. the so-called palettes, originally thought to be used for the mixing of paint, are now

GRERALD SCHUELER AN ADVANCED GUIDE TO ENOCHIAN MAGICK

graa contains references to the sun within it. this reflects the occult maxim that every truth contains its opposite within it. another view of the square of ror will show spirit (d) within equal areas of air (0) and water (r. this suggests the c reat i ve eme r gence of consci ousne s s f rom i t s unconscious source. this scenario is symbolized in nature by the rising sun, and in magick by the scarab or beetleheaded god of the egyptians, khepera. further reflection on this square will yield additional solar correspondences. as an exercise, you should meditate on all of the magick squares in this manual. 258 magical operations of the vrelp now the grade of a magister teacheth the mystery of sorrow, and the grade of a magus the mystery of change, and the grade of ipsissimus the mystery of

HANDBOOK OF EGYPTIAN MYTHOLOGY

not try to impose their own religion on egypt, and they were willing to honor egyptian deities. the innovative reliefs in the temple of hibis in the western desert were mainly carved under darius i, one of the persian kings who made up the twenty-seventh dynasty (see figure 33. the reliefs include some very unusual forms of deities. these forms and the epithets used in the captions, such as atum scarab who appeared at the first time, help to define the deities mythological roles.76 it was during the first period of persian rule that the greek historian herodotus of helicarnassus (c. 484 420 bce) seems to have visited egypt. book two of his historia is a description of the geography, history, customs, and marvels of egypt. some classicists and egyptologists think that herodotus made up his

imhotep in the desert near memphis and a nearby temple, the asklepion, became places of pilgrimage for sick people and childless couples. hippocrates, the founder of greek medicine, is said to have been inspired by books kept in the temple of imhotep at memphis. priests of imhotep were consulted about the meaning of dreams. imhotep was said to appear to dreamers as a shining human figure or as a scarab. in a story inscribed on a ptolemaic stela, it is not clear whether it is imhotep himself or a priest of imhotep who interprets king djoser s dream of seven fat and seven thin cattle and discovers the origins of the nile. imhotep remained a popular deity in the roman period. a surviving fragment from a story cycle has imhotep use magic to defeat an assyrian queen. his association with archi

magic. in the great goddesses of egypt. norman, ok: 1999, 155 202. r. e. wit. isis in the graeco-roman world. ithaca, ny: 1971. primary sources: pt 482, 535; ct 74, 148; bd 15, 151; amenmose stela; h&s; true name; hmp; pbm 9997+ 1039; pj; magical statue texts; metternich stela; isis hymns; triumph of horus; lamentations; i&o iusaas iusaas was a female counterpart of atum, shown as a woman with a scarab on her head. see also atum; hand of atum khentamentiu (khentamenti) khentamentiu was the foremost of the westerners, a funerary god who came to be regarded as an aspect of osiris. khenty-khety khenty-khety was a creator deity who came to be regarded as a form of horus. khepri (khepry, khopri) the dawn manifestation of the sun god; usually shown as a scarab beetle, khepri was one of the four

od; usually shown as a scarab beetle, khepri was one of the four main forms of the sun god, ra. his name derives from the ancient egyptian word kheper meaning to become or to be transformed. kheperu were changes or transformations, and khepri was the one who transformed or created himself. khepri appears as an irridescent beetle, a beetle-headed hawk, or a beetleheaded man seated on a throne. the scarab beetle s habit of pushing a large ball of dung was transformed into the image of a giant beetle pushing the sun and other celestial bodies across the sky. young beetles hatch out of buried dung balls and fly off. their apparently miraculous emergence from the ground may have given rise to the idea of khepri as a self-generated deity. as early as the pyramid texts, khepri is given as one of

ch as child into adult or old person into corpse. khepri could help the final transformation from mummy to akh (transfigured spirit. in the book of the dead, khepri is invoked to overcome the intense fear of putrefaction. the deceased declares that his corpse will not decay because i am khepri. my body parts will continue to exist. this promise of a permanently renewable life after death made the scarab form of khepri the most popular of all egyptian symbols. millions of scarabs were made as amulets over a period of 2,500 years. khepri had no temples of his own, but giant stone scarabs were set up in some temple complexes. the famous example by the sacred lake at karnak is close to an underground chapel that represented the duat (the underworld. in a very secret ritual, the cult image of a

at decorate new kingdom royal tombs link the fate of deceased kings and all the dead with the voyage of the sun (see the solar cycle under cyclical time in mythical time lines. just as morning light wakes sleepers in life, the passing sun god reanimated the mummies of the virtuous dead and his own mysterious nocturnal forms. in the underworld, ra himself was mainly shown as a ram-headed man, or a scarab within a solar disk, in the cabin of the solar barque (see figure 38. this central figure is sometimes labeled as the flesh of ra. for much of the voyage the sun god is as passive as the corpse of osiris while a huge array of other deities protect and defend him. the forceful power of the sun is concentrated in the goddess known as the eye of ra, who often guards the prow of the solar barqu

of ra. for much of the voyage the sun god is as passive as the corpse of osiris while a huge array of other deities protect and defend him. the forceful power of the sun is concentrated in the goddess known as the eye of ra, who often guards the prow of the solar barque. much solar mythology was expressed by images rather than narratives. the solar cycle could be summarized by showing khepri (the scarab beetle, ra-horakhty (a falcon-headed man, and ra-atum (a mature man wearing the double crown) together in the solar barque. khepri was the self-generating sun of dawn. ra-horakhty (ra-horus of the double horizon) was the triumphant sun who rose in the east as ruler. ra-atum was the weary setting sun whose death was an essential part of the cycle of renewal. the sun god could also be depicte

of a tomb under or inside a pyramid and two temples for the cult of the dead ruler. pyramid texts royal funerary texts inscribed inside pyramids of the late old kingdom and the first intermediate period. royal titulary the long sequence of names and titles adopted by an egyptian king at the start of his reign. 230 handbook of egyptian mythology sarcophagus an outer coffin, usually made of stone. scarab a seal or amulet shaped like a dung beetle; a symbol of the perpetual renewal of life. scribe an official capable of reading and writing one or more of the ancient egyptian scripts. sed festival see heb sed. serekh a rectangular hieroglyph symbolizing the palace as the domain of horus. some royal names were written inside a serekh instead of a cartouche. sistrum a rattle used in temple ritu

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

world. it will be sufficient to say that mystically, in its theological, gnostic allusion, it is the grandest device and most stupendous hint that armory ever saw; and those who are qualified to apprehend our hidden meaning will perhaps read correctly and perceive our end by the time that they have terminated this strange section of our history of rosicnicianism for to it it refers particularly. scarab ei, lucifera( light-bringers, luce, fleur-de- lis, lily, lucia, lucy, lux, lu+)x. the luce is the old-fashioned name for the pike or jack a fish famous for the profuse generation of a certain insect, as some fishermen know full well. this once (incredible as it may seem) formed an object of worship, for the sake of the inexpressibly sublime things which it symbolised. although so mean in it

born in the mysterious month of the propitiation, or the mystical astrological and astronomical escaped month of the zodiac; and the stone is the philosopher s stone. the lisses of france. 43 learned papers on the fleur-de-lis. in the early armorial bearings of the frankish kings, the lilies are represented as insects, sembed (seeded, or spotted, on the blue field. these are, in their origin, the scarab ei of the orientals; they were dignified by the egyptians as the emblems of the enlightened. if the reader examines carefully the sculpture in the british museum representing the mithraic sacrifice of the bull, with its mystic accompaniments (no. 14, grand central saloon, he will perceive the scarab uis, or crab, playing a peculiar part in the particulars of the grand rite so strangely typi

obvious contradictions: consider the lilies of the field, how they grow; they toil not, neither do they spin* now, in regard to this part of the text, what does the judicious speculator think of the following rosicrucian gloss, or explanation? lilia non laborant (like bees; neque nent, neither do they spin (like spiders. now of the lisses, as we shall elect to call them. they toil not like bees (scarab i; neither do they spin like spiders (arachnid. to be wise is to be enlightened. lux is the logos by whom all things were made; and the logos is rasit r.s.t: r.s.t= 6oo; and lux makes lucis; then lx, x= 666. again, l= 50, w v= 6, c s= 300, y i= 10, c s= 300= 666. the fleur-de-lis is the lotus (water-rose, the flower* the full quotation is the following: consider the lilies of the field, how

the figure in the assyrian standard has a fleur-de-lis; at p. 340, fig. 245, the bronze resembles a fleur-de-lis; at p. 350, fig. 254, an egyptian example of the god nilus, as on the thrones of pharaoh- necho, exhibits the fleur-de-lis. vert, or green, and azure, or blue (feminine tinctures, are the colours on which respectively the golden bees, or the silver lisses, are emblazoned. the egyptian scarab i are frequently cut in stone, generally in green-coloured basalt, the scarab us. 45 or verdantique. some have hieroglyphics on them, which are more rare; others are quite plain. in the tombs of thebes, belzoni found scarab ei with human heads. there is hardly any symbolical figure which recurs so often in egyptian sculpture or painting as the scarab us, or beetle, and perhaps scarcely any

e sense of all those referred to in other parts of this work. they were raised in the early religions, as the objects of a universal worship. all antiquaries know of what object the phallus stands as the symbolical representation. it needs not to be more particular here. the fleur-de-lis is a sacred symbol, descending from the chald ans, adopted by the egyptians, who converted it into the deified scarab the emblem of the moon-god; and it is perpetuated in that mystically magnificent badge of france, the female lily, or lis. all the proofs of this lie concealed in our genealogy of the fleur-de-lis (p. 40, pp. 182, 183, et seq; also post, and the flowers-de- luce, or the fleurs de-lis, passim. it means generation, or the vaunt realised of the turkish soldan, donec totum impleat orbem. the pr

stic sophia, or achamoth, and as such is the undoubted source of our conventional representation of truth (montfaucon, pi. clxi) reverse, figure 312, which represents harpocrates seated upon the lotus, springing from a double lamp, formed of two phalli united at the base. above his head is his title abraxas, and over that is the name iao. in the field are the seven planets. the sacred animals the scarab, ibis, asp, goat, crocodile, vulture, emblems of so many deities (viz. phre, thoth, isis, merides, bebys, neith) the principal in the egyptian mythology, arranged by threes, form a frame to the design. neatly engraved on a large, bright loadstone (the gnostics, p. 211. origin of the tricolor. theory of sacramental mysticism, adapted from the speculations of the sophists or gnostics. blue (b

bourbon. gaulois. sigma. obeliscus: mystic figure. red. baal bel osiris phoebus-apollo (in manifestation) aphrodite (sexless in this sense) theproducingpower (agent) therefore white, with the lilies, or creature- forms, in white, or the light. or green (charlemagne, emperor, or c sar, or kaisar of the west, with the golden, or bees, in lieu of the lisses, or lilies. napoleon the first and third. scarab us of egypt. lucifera. morningstar. scarabs red therefore the oriflamme (or fire of gold) is red and from this original, the red of the gauls and the red of englandis derived red is the national colour of the welsh as witness the red dragon) ofwales,&c. rouge- dragon therefore the lis, or creature-forms in the deep, or blue. white. synthesis of the colours, or light (green,when living, inor

pyramid fig. 47. tower or tor. recognised as the winged bull, and also as the winged lion of st. mark. fig. 48. tower. fig. 49. tower of babel. the lion, bull, eagle, man, are the symbols of the evangelists; the man, or angel, standing for babylonian mythic tors. 209 st. matthew, the lion for st. mark, the bull for st. luke, and the eagle for st. john. in these strange fig. 50. pyramid. fig. 51. scarab us. fig. 52. egyptian colossus. aspects the evangelists figured in many ancient churches, and on most fonts. these representative forms are also fig. 53. pyramid. fig. 54. egyptian seated figure (british museum. said to have been the four cherubim of the ark of the hebrews. hermetically they signify the four elements, 210 the rosicrucians. or the four corners or angle-points of the lesser o

ic myth. the grasshopper, dragon, arrow, and fox, as weathercocks, have undoubtedly a remote reference to the same idea of symbolising the prince of the powers of the air. the form of the pointed arch reached the orientals as we see in their temples in the shape of the phrythe prince of the powers ofthe air. 247 gian and median bonnet (lascelles, 1820. in these strange curves we have mingling the scarab, scorpion, s, or. cocks crow at day-dawn. weathercocks turn to the wind, and invite the meteoric or elementary influences, the powers of the air. the question as to the mystic side of all this is very interesting and curious. the fields of the air were supposed by the rosicrudans to be filled with spirits. tons les lamas portent la mitre, on bonnet conique, qui tait l embleme du soleil. le

, in the quadriga, or four-horsed chariot. the gnostic abraxas. 271 fig. 240: abraxas brandishing his whip, as if chasing away the evil genii. on his shield, the titles if. iaw. neat work. green jasper (the gnostics, p. 201. the ur on or winged solar disc, or egg, from which issue, on reversed sides, the two emblematical asps, has fig. 239. fig. 240. certain characteristics which ally it with the scarab us. both ur on and scarab us are symbols continual on the fronts of the egyptian temples, and they are principally placed over the portals: they are talismans or charms. fig. 241. jacinth: gnostic gem. fig. 242. mithraic sacrifice: gnostic. fig. 248: osiris, or the old man; a terminal figure. at the foot, the celestial globe and masonic pentagon, or solomon's seal. the field is occupied by

LEWIS JAMES SATANISM TODAY AN ENCYCLOPEDIA OF RELIGION FOLKLORE AND POPULAR CULTURE

atholics utilize figurines and pictures of certain saints in a similar manner. the ancient egyptians used eye amulets to protect good health. they also used the udjat eye on pottery, rings, and other amulets to ward off the forces of darkness. the udjat eye was the characteristic stylization of the eye of the youthful egyptian sun god horus. the udjat eye was placed on rings in ancient egypt. the scarab beetle symbolized resurrection after death and protection against evil magic. mummies wore a heart scarab as an amulet on their breasts. seals and jeweled charms in the form of scarabs protected wearers against evil. the hebrews, as early as 2200 b.c, wore crescent moons to ward off the evil eye and attached bells to their clothing to ward off evil spirits. in ancient rome (753 b.c. a.d. 47

LIBER 777

raath. 21 amoun-ra amoun-ra apu-t the left ear 22 ma maat. 23 tum, ptah, auramoth (as c, asar (as hanged man, hekar, isis[[hathor] i#qhourey as 24 24 merti goddesses, typhon, apep, khephra hammemit sekhet the belly and back 25 nephthys arwueri. 26 khem (set) set as 10, for u means eye 27 horus menqu khenti-khas the right nostril 28 ahepi, aroueris nuit the lords of kereba the reins 29 khephra (as scarab in tarot trump) anubi 30 ra and many others ra hathor the right eye 31 thoum-aesh-neith, mau, kabeshunt, horus, tarpesheth. mau [serqet the teeth] as 6. 32 sebek, mako see note* apu-t the right ear 32 bis satem, ahapshi, nephthys, ameshet \yyj \yla the bones. as 16 31 bis asar. table of correspondences 8 xxii. small selection of hindu deities. xxiii* the forty buddhist meditations. 0 aum no

t knee, pours from a vase in her right hand silver waters into a river, by which grow roses, the haunts of coloured butterfiles. with her left hand she pours golden waters over her head, which are lost in her long hair. her attitude suggests the swastika. above flashes a great star of seven rays. notes 40 line 29. below, a path leads between two towers, guarded by jackals, from the sea, wherein a scarab us marcheth landwards. line 30. below is a wall, in front of which, in a fairy ring, two children wantonly and shamelessly embrace. line 31. an angel blowing a trumpet, adorned with a golden banner bearing a white cross. below a fair youth rises from a sacrophagus in the attitude of the god shu supporting the firmament. on his left a fair woman, her arms giving the sign of water an inverted

LIBER ARCANORUM

y great. 15. then the lord khem arose, he who is holy among the highest, and set up his crowned staff for to redeem the universe. 16. he smote the towers of wailing; he brake them in pieces in the fire of his anger, so that he alone did escape from the ruin thereof. 17. transformed, the holy virgin appeared as a fluidic fire, making her beauty into a thunderbolt. 18. by her spells she invoked the scarab, the lord kheph- ra, so that the waters were cloven and the illusion of the powers was destroyed. 19. then the sun did appear unclouded, and the mouth of asi was on the mouth of asar. 20. then also the pyramid was builded so that the initiation might be complete. 21. and in the heart of the sphinx danced the lord adonai, in his garlands of roses and pearls making glad the concourse of thing

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

al chiram--cleopatra's needle and masons' marks. 77 the pythagorean theory of music and color pythagoras and the diatonic scale--therapeutic music--the music of the spheres--the use of color in symbolism--the colors of the spectrum and the musical scale--zodiacal and planetary colors. 81 fishes, insects, animals, reptiles, and birds jonah and the whale--the fish the symbol of christ--the egyptian scarab--jupiter's fly- the serpent of wisdom--the sacred crocodile. 85 fishes, insects, animals, reptiles, and birds, part ii the dove, the yonic emblem--the self-renewing phoenix--the great seal of the united states of america--bast, the cat goddess of the ptolemies--apis, the sacred bull--the monoceros, or unicorn. 89 flowers, plants, fruits, and trees the flower, a phallic symbol--the lotus blo

nt us thy peace' therefore, the lamb of god is a title given to the sun, who is said to be reborn every year in the northern hemisphere in the sign of the ram, although, due to the existing discrepancy between the signs of the zodiac and the actual star groups, it actually rises in the sign of pisces. the summer solstice is regarded as occurring in cancer (the crab, which the egyptians called the scarab--a beetle of the family lamellicornes, the head of the insect kingdom, and sacred to the egyptians as the symbol of eternal life. it is evident that the constellation of the crab is represented by this peculiar creature because the sun, after passing through this house, proceeds to walk backwards, or descend the zodiacal arc. cancer is the symbol of generation, for it is the house of the mo

lsive, creatures were used whose rough exteriors concealed magnificent organisms. kenealy, in his notes on the book of enoch, observes "why the caterpillar was a symbol of the messiah is evident; because, under a lowly, creeping, and wholly terrestrial aspect, he conceals the beautiful butterfly-form, with its radiant wings, emulating in its varied colors the rainbow, the serpent, the salmon, the scarab, the peacock, and the dying dolphin. insects in 1609 henry khunrath's amphitheatrum sapienti tern was published. eliphas levi declared that within its pages are concealed all the great secrets of magical philosophy. a remarkable plate in this work shows the hermetic sciences being attacked by the bigoted and ignorant pedagogues of the seventeenth century. in order to express his complete co

africa and asia obscured the sun and destroyed every green thing, were considered fit emblems of passion, disease, hate, and strife; for these emotions destroy all that is good in the soul of man and leave a barren desert behind them. in the folklore of various nations, certain insects are given special significance, but the ones which have received world-wide veneration and consideration ate the scarab, the king of the insect kingdom; the scorpion, the great betrayer; the butterfly, the emblem of metamorphosis; and the bee, the symbol of industry. the egyptian scarab is one of the most remarkable symbolic figures ever conceived by the mind of man. it was evolved by the erudition of the priestcraft from a simple insect which, because of its peculiar habits and appearance, properly symboliz

markable symbolic figures ever conceived by the mind of man. it was evolved by the erudition of the priestcraft from a simple insect which, because of its peculiar habits and appearance, properly symbolized the strength of the body, the resurrection of the soul, and the eternal and incomprehensible creator in his aspect as lord of the sun. e. a. wallis budge says, in effect, of the worship of the scarab by the egyptians "yet another view held in primitive times was that the sky was a vast meadow over which a huge beetle crawled, pushing the disk of the sun before him. this beetle was the sky-god, and, arguing from the example of the beetle (scarab us sacer, which was observed to roll along with its hind legs a ball that was believed to contain its eggs, the early egyptians thought that the

d, and, arguing from the example of the beetle (scarab us sacer, which was observed to roll along with its hind legs a ball that was believed to contain its eggs, the early egyptians thought that the ball of the sky-god contained his egg and that the sun was his offspring. thanks, however, to the investigations of the eminent entomologist, monsieur j. h. fabre, we now know that the ball which the scarab us sacer rolls along contains not its eggs, but dung that is to serve as food for its egg, which it lays in a carefully prepared place" initiates of the egyptian mysteries were sometimes called scarabs; again, lions and panthers. the scarab was the emissary of the sun, symbolizing light, truth, and regeneration. stone scarabs, called heart scarabs, about three inches long, were placed in th

the heart cavity of the dead when that organ was removed to be embalmed separately as part of the process of mummifying. some maintain that the stone beetles were merely wrapped in the winding cloths at the time of preparing the body for eternal preservation. the following passage concerning this appears in the great egyptian book of initiation, the book of the dead "and behold, thou shalt make a scarab of green stone, which shalt be placed in the breast of a man, and it shall perform for him 'the opening of the mouth" the funeral rites of many nations bear a striking resemblance to the initiatory ceremonies of their mysteries. ra, the god of the sun, had three important aspects. as the creator of the universe he was symbolized by the head of a scarab and was called khepera, which signifie

of the mortal span. the mummy cases of the egyptian dead were nearly always ornamented with scarabs. usually one of these beetles, with outspread wings, was painted on the mummy case directly over the breast of the dead. the finding of such great numbers of small stone scarabs indicates that they were a favorite article of adornment among the egyptians. because of its relationship to the sun, the scarab symbolized the divine part of man's nature. the fact that its beautiful wings were concealed under its glossy shell typified the winged soul of man hidden within its earthly sheath. the egyptian soldiers were given the scarab as their special symbol because the ancients believed that these creatures were all of the male sex and consequently appropriate emblems of virility, strength, and cou

n's nature. the fact that its beautiful wings were concealed under its glossy shell typified the winged soul of man hidden within its earthly sheath. the egyptian soldiers were given the scarab as their special symbol because the ancients believed that these creatures were all of the male sex and consequently appropriate emblems of virility, strength, and courage. plutarch noted the fact that the scarab rolled its peculiar ball of dung backwards, while the insect itself faced the opposite direction. this made it an especially fitting symbol for the sun, because this orb (according to egyptian astronomy) was rolling from west to east, although apparently moving in the opposite direction. an egyptian allegory states that the sunrise is caused by the scarab unfolding click to enlarge the mant

man head and ears, blue eyes, a tail ending in a series of spikes and stings, thorny and scorpionlike, and a voice which sounded like the blare of trumpets. this synthetic quadruped ambled into medi val works on natural history, but, though seriously considered, had never been seen, because it inhabited inaccessible regions and consequently was difficult to locate. click to enlarge royal egyptian scarab. from hall's catalogue of egyptian scarabs, etc, in the british museum. the flat under side of a scarab usually bears an inscription relating to the dynasty during which it was cut. these scarabs were sometimes used as seals. some were cut from ordinary or precious stones; others were made of clay, baked and glazed. occasionally the stone scarabs were also glazed. the majority of the small

dynasty during which it was cut. these scarabs were sometimes used as seals. some were cut from ordinary or precious stones; others were made of clay, baked and glazed. occasionally the stone scarabs were also glazed. the majority of the small scarabs are pierced as though originally used as beads. some are so hard that they will cut glass. in the picture above, a shows top and side views of the scarab, and b and b the under surface with the name of men-ka-ra within the central cartouche. p. 87 its wings, which stretch out as glorious colors on each side of its body--the solar globe--and that when it folds its wings under its dark shell at sunset, night follows. khepera, the scarab-headed aspect of ra, is often symbolized riding through the sea of the sky in a wonderful ship called the bo

al history of king hiram (rather chiram. the chaldeans, egyptians, and hebrews in what concerns chiram have taken their knowledge from one and the same fountain; homerus, who relates this history in a different manner, followed that original, and virgil followed click to enlarge the key to alchemy according to the egyptians. from kircher's oedipus gyptiacus. the priests of egypt not only used the scarab as a symbol of regeneration but also discovered in its habits many analogies to the secret process whereby base metals could be transmuted into gold. they saw in the egg of the scarab the seed of the metals, and the above figure shows the path of this seed through the various planetary bodies until, finally reaching the center, it is perfected and then returns again to its source. the words

secret process whereby base metals could be transmuted into gold. they saw in the egg of the scarab the seed of the metals, and the above figure shows the path of this seed through the various planetary bodies until, finally reaching the center, it is perfected and then returns again to its source. the words in the mall spiral at the top read "the spiral progress of the mundane spirit" after the scarab has wound its way around the spiral to the center of the lower part of the figure, it returns to the upper world along the path bearing the words "return of the spirit to the center of unity" p. 158 [paragraph continues] homerus, as hesiodus took the subject for his theogony likewise from thence, which ovidius took afterwards for a pattern for his metamorphosis. the knowledge of nature's se

MORALS AND DOGMA

ruggled for utterance in words, as they viewed the great circle of phenomena--birth, life, death, or decomposition, and new life out of death and rottenness--to them the greatest of mysteries. remember, while you study their symbols, that they had a profounder sense of these wonders than we have. to them the transformations of the worm were a greater wonder than the stars; and hence the poor dumb scarab us or beetle was sacred to them. thus their faiths are condensed into symbols or expanded into allegories, which they understood, but were not always able to explain in language; for there are thoughts and ideas which no language ever spoken by man has words to express [illustration] xxv. knight of the brazen serpent. this degree is both philosophical and moral. while it teaches the necessi

his distribution of the signs also came many mythological emblems and fables; as also many came from the places of exaltation of the planets. diana of ephesus, the moon wore the image of a crab on her bosom, because in that sign was the moon's domicile; and lions bore up the throne of horus, the egyptian apollo, the sun personified, for a like reason: while the egyptians consecrated the tauriform scarab sus to the moon, because she had her place of exaltation in taurus; and for the same reason mercury is said to have presented isis with a helmet like a bull's head. a further division of the zodiac was of each sign into three parts of 10 each, called decans, or, in the whole zodiac, 36 parts, among which the seven planets were apportioned anew, each planet having an equal number of decans

to express. and it may be doubted whether we have succeeded either in communicating, or in forming in our own minds, any more distinct and definite and true and adequate idea of the deity, with all our metaphysical conceits and logical subtleties, than the rude ancients did, who endeavored to symbolize and so to express his attributes, by the fire, the light, the sun and stars, the lotus and the scarab us; all of them types of what, except by types, more or less sufficient, could not be expressed at all. the primitive man recognized the divine presence under a variety of appearances, without losing his faith in this unity and supremacy. the invisible god, manifested and on one of his many sides visible, did not cease to be god to him. he recognized him in the evening breeze of eden, in th

PHILIP NEIL MYTHS LEGENDS EXPLAINED

en, the stars (often shown as decoration on her clothing, infuriated her father shu, who cursed her so that she would never again give birth in any month of the year. but nut gambled with thoth, the moon god and reckoner of time, and won from him five extra days outside the 12 lunar months of 30 days each. in these days she gave birth to her children osiris, blind horus, seth, isis, and nephthys. scarab beetle the winged scarab beetle of re is shown joined with the mummified body of osiris, which rises from the fertile earth. this motif symbolizes the resurrection of osiris and the daily rebirth of re. tending the earth men plow the earth and sow seed. as re makes his daily journey across the sky (center, the warmth of the sun will make the crops grow another symbol of osiris resurrection

was not, to be. the benu bird was depicted as a gigantic heron; the greeks later called it the phoenix, recognizing that the bird was really an aspect of the sun god, re. at the great temple of amun at karnak, a duck was released across the waters of the sacred lake each morning in imitation of the benu bird. re, the sun god 14 re, the sun god r e, the sun god, took three main forms: khepri, the scarab beetle, who was the rising sun; re, the sun s disc, who was the midday sun; and atum, an old man leaning on a stick, who was the setting sun. each evening, as the sun reached the westernmost peak of mount manu, the sky goddess, nut (see p. 13, swallowed it, whereupon the sun god journeyed perilously through a netherworld in his night barque (boat. here, he was assailed by demons led by the

when apophis would be lying in wait once more. if apophis were ever to vanquish re, the sun would not rise. this daily cycle of death and rebirth came to symbolize the life cycle of humankind, who hoped after death to find a new birth. from the middle kingdom, the visible sun god re was complemented by an invisible divinity, amun, the hidden one, who as amun-re was worshiped as the king of gods. scarab beetle the scarabeus, or dungbeetle, is the symbol of re in his role as khepri, the rising sun. rolling along a ball of dung, the scarab beetle is a symbol of the sun itself. it was also a symbol of self-generation and rebirth, because of the way the young appear from the ball of dung. into the underworld here, the sky goddess nut raises osiris, the son of geb and nut and ruler of the under

deceased in the afterlife. copies were made for most wealthy individuals and buried with them. a typical, and essential, spell is for not dying again in the realm of the dead. papyrus of anhay c. 1250 bce this papyrus is part of a book of the dead written for anhay, a priestess of amun-re, king of the gods. nun, the god of the primeval waters (see p. 12, holds up the barque of sun, upon which the scarab beetle, another symbol of the sun, is shown pushing the sun disc, as a scarab rolls a dung ball. the egyptians believed that a dead person, armed with the right spells, could counter the terrors of the underworld, duat, and live a new life in the field of reeds. all the elements that made up the living person had to be preserved and resurrected not just the physical body and the two parts o

RUBY TABLET OF SET

ry suffering. in a broader, more general sense, i apply the term to the setian philosophy (whose patron is the oldest semblance of the prince of darkness known to us, the egyptian set, brother of the sun god horus, and symbolic of the night and the lunar principle 4, the first principle of which is the egyptian hieroglyph xeper 5, which means "become" or "come into being" and is symbolized by the scarab beetle. the setian philosophy espoused by the temple of set is highly eclectic and highly existential. for this reason, the sacred and mythical animals associated with the neters 6 are interpreted in a highly metaphorical and allegorical manner. perhaps it is also important to note the distinction between esoteric and exoteric interpretations of philosophical and magical imagery. in other w

portant step in learning to concentrate? 67. how would you interpret the symbolic representations of pan? 68. what do the letters o.t.o. and a.a. mean, and what are they? 69. who and what is choronzon? 70. what is wilson's "faculty x" 71. what is the "awakened state" 72. who were the nine unknown men, and what were their functions? 73. explain what you can of the symbolism of the ancient egyptian scarab? 74. how would you define the ka? the ba? 75. what are the seven "inexorable" powers, and what do they mean? 76. what do you think are the differences (if any) between neters, magickal names, and telesmic images? 77. explain the "khu" and the "khabs" as discussed in the book of the law. 78. what is meant by a "black brother" 79. what similarities can be noted between azazel and set? 80. exp

usly absent from the book of coming forth by night, which is ultimately an appeal and a challenge for the enhancement of conscious life. north solstice the book of coming forth by night was written during the night of the north solstice (june 21-22) 1975 (the year x of the age of satan, according to the church of satan. here the year is given the hieroglyphic name xeper, symbolized by xepera, the scarab beetle who represents the principle of the sun's "immortality" via its transition through the darkness towards another dawn. the equinox has succumbed to my solstice, and i, set, am revealed in my majesty. the apparent reference is to the north solstice, as explained above. there may be a second implication: aleister crowley identified the events surrounding the inception of the aon of horu

nd his word is indulgence. the formula of the age of satan was an expansion of this word: indulgence instead of abstinence.64 i am therefore the tenth, appearing in the year x, and it has been my task and curse65 to utter the word xeper. this is the egyptian hieroglyphic term for "to become/to be/to come into being, and it was personified by the god xepera (kheph-ra. this god was portrayed as the scarab beetle, symbolizing self-generation and the dawn. summarily the word xeper refers to the transformation and evolution of the will from a human to a divine state of being- by deliberate, conscious, individual force of mind. the formula of the aon of set is xxx= xepera xeper xeperu "i have come into being and created that which has come into being" footnotes 1. ed note: ruby tablet item v2-a1

lack flame grows brighter within xem-set. xem-set travels alone in his barque on a sea of emptiness. only he and his barque and the papyrus, the book of knowing the way, in his hand have form. there is no guide, only a description of his goal. the pentagram in his heart manifests his will to reach the end of his path. an an is seen on the bow of his barque, the life he sees, and at the stern is a scarab, his remembrance of his coming into being by the word xeper and the will of set. when xem- set has passed by the gods and goddesses of light, and has rejected them, the end of his path is complete and the gates open to the last panel of the stele. we again find set seated on its throne, khem, and xem-set, but their roles and positions have changed. xem-set turns toward set and shuns khem. h

ould have either evolved or mutated. but with this we enter a nebulous area of infinite possibilities which i wouldn't touch with ten feet worth of tcham scepter. again, what is set? we have mentioned some of what he is and some of what he is not. those have not given a neat and concise definition to the question. classification: v2- a47- 1 author: james lewis ii date: september, xiv publication: scarab wings i.3, set-amentet pylon revised: july 27, xxvi html revision: oct. 14, 1998 ce subject: set reading list: perhaps we can look at it in this way: what that which is set is, is a personal concept in that being's subjective and objective interactions with each initiate. this takes nothing away from his actual state of being, but rather adds to his reality as a distinct, living, aware inte

he draws his stamina from, and builds his temple on. the magician plants the seeds of possibility in the earth, from it he draws energy to make his will manifest. it can be made from red or black clay, wood, or from iron. it should have the symbols of set carved or painted on it. staff: this was the uas-septre and represented the power of the pharaoh. it was shaped in the form of the set animal. scarab: symbol of the khepra beetle. it represented self-creation and is therefore a good symbol for set. the khepra beetle was also a desert animal, the domain of set "i have soared as the primeval one soars: i have become kephri. i have grown as the plants grow, i am the fruit of every god. ring: it is a symbol of eternity. generally it was closed with a knot. in the shape of a serpent it repres

us void. arm me with the sceptre of tcham, that i might dismay all challengers, defy all constraints, and obliterate all that is moved to appear against me. through the power of that art which is mine to command, i call upon the universe to bear witness to these changes i now evoke by the might of this doom i pronounce. classification: v2- b55.ri- 2 author: william d. pridgen ii- the order of the scarab date: october, xxvii publication: mendes cronicles (ba-neb-tett pylon, south solstice, xxvii html revision: dec 17, 1998 ce subject: xeper reading list [drink from the grail] call to the elements o mighty sekhmet, goddess of vengeance, fire of life, come forth from the watchtower of fire, in the southern quadrant of the universe, guide and protect this sacred order. o mighty shu, god of the

ld khem" exists no more, the ka (spirit) of knum has adopted this human "i-am. you may ask, in the face of my apparent absolutism "how do you know that within you is this knum? maybe it's indigestion or left-over anxiety" my answer to this seems to vary, as xeper is never predictable or easily explainable. classification: v2- b6n.17- 1 author: paul s. uriaz, jr. ii date: january, xiv publication: scarab wings i.1, set-amentet pylon html revision: dec 19, 1998 ce subject: neters reading list: but i will say this: within every setian magician is a place where resides a vista of past peoples, places, and things. set looks within ourselves to "see" what our past is saying, and guides us into present situations that taste so everlastingly of the past and future, to get a feeling of timelessness

date: summer, xiv html revision: dec. 18, 1998 ce subject: tarot reading list: set: an unpleasant truth is often discouraging. especially to those who do not understand that all of these arts are forever intertwined within and throughout the tarot. before we briefly examine the geometry of the pentagram let us look closely at its symbolism: ptah: an encircled pentagram being pushed, or held, by a scarab. all of these symbols are familiar to me. set: and their meanings? ptah: the pentagram is representative of the preference of change and activity over stasis and preservation. the pentagram being encircled, but not touching the circle, indicates the separation of you from the great order, and the elect from the realm of man. the pentagram also provides a method of computing the numerical va

: the pentagram is representative of the preference of change and activity over stasis and preservation. the pentagram being encircled, but not touching the circle, indicates the separation of you from the great order, and the elect from the realm of man. the pentagram also provides a method of computing the numerical value of phi, so that those who can, will learn the secret of phi.(1) the black scarab is the hieroglyphic representation of the word of the aeon. set: the pentagram is also representative of the fact that a black magician must turn upside down many of the ideas and concepts he may have cherished before he became. the scarab is shown moving the pentagram just as my word and will move the aeon. inasmuch as the aeon is my creation, the manifest will, the aspect of khephera is n

of the universe may stand. therefore i give new life to khensu, who is the son of amen the hidden one, and mut, who is the moon-god and who is irresistible; and of whom it was said "i am the lord of every kind of strength" in your company, o set, i am khensu. proclamation hail, set, my friend and companion. classification: v2- c22.1- 1 author: robert h. moffatt iii date: january, xiv publication: scarab wings i.1, set-amentet pylon html revision: dec. 18, 1998 ce subject: neters reading list: classification: v2- c22.1- 2 author: constance l.m. moffatt ii date: may xiv publication: scarab wings i.2 html revision: dec. 18, 1998 ce subject: shetat reading list: i, shetat i am! from the gentle side of bast i am created. lo, though i seek the warmth of the sun, i am a fierce creature of the nig

knum (on his xeper day) i come to you across the sands of time, from the sacred realm of magic whence time has no meaning; to share in the time-less meaning of this, your day. i touch the ageless intelligence alive within the sinews of the temple's crown, your brain and know again the majesty of the magician. classification: v4- c81- 10 author: ricco a. zappitelli iii date: may, xiv publication: scarab wings i.2, set-amentet pylon reading list: i experience the understanding and compassion that beats within the temple's naos, your heart and am again in the presence of maat. i view the magnificence of the black flame of set that dwells within you, transforming the temple in man and perfecting self through being. and do rejoice, for it is good! may you flourish and continue to xeper. thoth

lack birthday party. revel in the night. open your senses to set. love, a necessary evil "love consists in the constant beaming forth of a favorable atmosphere. the love of aman for a woman is like an attempt at transmigration, at going beyond ourselves. it inspires migratory tendencies in us- ortega y. gasset classification: v2- c82- 1 author: paul s. uriaz, jr. ii date: january, xiv publication scarab wings, i.1, set-amentet pylon html revision: dec 14, 1997 ce subject: love; evil reading list: 18a "the problem of evil is the problem of liberty. the dwelling place of freedom is the abyss of darkness and nothingness and yet apart from freedom everything is without meaning. it is the source of evil as well as good. thus the fact of evil does not imply that all is meaningless; on the contra

its impact upon. it is the spark of life when all has gone cold. it is the child of struggle in a fleeting world. it has many faces/ names. it must be held on to, no matter what the cost is. it is the reality of set's love and what it creates. hopefully it is you as you accept yourself as a hope. averne's search classification: v4- c82- 2 author: paul s. uriaz, jr. ii date: may, xiv publication: scarab wings, i.2, set-amentet pylon reading list: classification: v2- c82.lhp- 1 author: robertt w. neilly iii date: december 19, xv html revision: dec 10, 1998 ce for seventeen of your common years we have watched this one. from the moment of her inception into the corporal form, we have sensed an innate potential for that which is known as the black magic. in rare instances, she herself has rea

rm of heru-khuti at midday during his (i.e: the sun's) greatest heat. see note 7 below, reference khepera flying during the heat of the day [ref. crowle (12, no. 7 "behdet(?hadit" 7. khepera (xepera) was a form of the rising sun, the matter that was at the point of passing from one state into another, and the third form of ra, the sun-god. the name is based on the xeper beetle- the dung beetle or scarab. the scarab beetle is in the family scarabaidae, being the genus scarabaeus, and the species sacer. the worship of it predates that of ra, just as does the worship of set and harwer (i.e: horus the elder. it was associated with the sun because it flies during the hottest part of the day, and because the dung ball which contains its eggs (thus containing potential life, as does the sun) is r

SATANIC BIBLE

, equivalent of babylonian ishtar azazel (hebrew) taught man to make weapons of war, introduced cosmetics baalberith- canaanite lord of the covenant who was later made a devil balaam- hebrew devil of avarice and greed baphomet- worshipped by the templars as symbolic of satan bast- egyptian goddess of pleasure represented by the cat beelzebub (hebrew) lord of the flies, taken from symbolism of the scarab behemoth- hebrew personification of satan in the form of an elephant beherit- syriac name for satan bil- celtic god of hell chemosh- national god of moabites, later a devil cimeries- rides a black horse and rules africa coyote- american indian devil dagon- philistine avenging devil of the sea damballa- voodoo serpent god demogorgon- greek name of the devil, it is said should not be known to

SIR WALLIS BUDGE EGYPTIAN MAGIC

ome very rare. in the subsequent period the animal forms disappear, and their place is taken by plaques of schist, rectangular in shape, upon which are inscribed, in rough outline, figures of animals, etc. the theory that these objects were intended as whetstones, or as slabs upon which to rub down paint, will not hold, for the reasons which m. j. de morgan has given. moreover, in the green stone scarab which was laid upon the breast of the deceased in dynastic times, we probably have a survival of the green schist amulet of predynastic times in egypt, both as regards the object with which it was made and the material. but the custom of writing hekau, or words of power, upon papyrus is almost as old as that of writing them upon stone, and we see from the inscription on the walls of the cor

dant or supplement to the lxivth chapter, which professed to give the substance of all the "chapters of coming forth by day" in a single chapter. in the rubric to the longer version of the chapter, given in the same papyrus, 3 chapter xxxb is connected with herutataf, the son of khufu (cheops, a man famed for wisdom, and it is there ordered that the words of it be recited over a hard, green stone scarab, which shall be laid in the breast of the deceased where the heart would ordinarily be; this amulet would then perform for him the "opening of the p. 34 mouth" 1 for the words of the chapter would be indeed "words of power" from reciting the words of the chapter over a scarab to engraving them upon it was but a step, and this step was taken as early as the ivth dynasty. the text is as follo

d truth. from certain papyri it seems as if the above words should, properly, p. 35 be said by the deceased when he is being weighed against his own heart, a conception which is quite different from that of the judgment of the heart before the gods. the scribe nebsent being weighed in a balance against his heart in the presence of osiris (from the papyrus of nebseni, sheet 4) 2. the amulet of the scarab, from what has been said above it will be seen that the amulet of the heart, which was connected with the most important and most popular of the chapters for protecting the heart, was directed to be made in the form of the scarab at a very early date. we can trace the ideas which the egyptians held about this insect as far back as the time of the building of the pyramids, 1 and there is no

ife, another must be put in its place. but a stone heart, whether made of lapis-lazuli or carnelian, is only a stone heart after all, and even though by means of prayers properly recited it prevents the physical heart from being carried off by "those who plunder hearts" it possesses nothing of itself which can be turned to account in giving new life and being to the body on which it lies. but the scarab or beetle itself possesses remarkable powers, and if a figure of the scarab be made, and the proper words of power be written upon it, not only protection of the dead physical heart, but also new life and existence will be given to him to whose body it is attached. moreover, the scarab was the type and symbol of the god khepera, the invisible power of creation which propelled the sun across

e the ability to distinguish their own balls, as they will seize upon those belonging to another, in the case of their having lost their own; indeed, it is said that several of them occasionally assist in rolling the same ball. the males as well as the females assist in rolling the pellets. they fly during the hottest part of the day. 1 among the ancients several curious views were held about the scarab, whether of the type scarabaus sacer or the ateuchus agyptiorium, 2 and alian, porphyry, p. 38 and horapollo declared that no female scarab existed. the last named writer stated that the scarab denoted "only begotten" because it was a creature self-produced, being unconceived by a female. he goes on to say that, having made a ball of dung, the beetle rolls it from east to west, and having d

that the scarab denoted "only begotten" because it was a creature self-produced, being unconceived by a female. he goes on to say that, having made a ball of dung, the beetle rolls it from east to west, and having dug a hole, he buries it in it for eight and twenty days; on the twenty-ninth day he opens the ball, and throws it into the water, and from it the scarabai come forth. the fact that the scarab flies during the hottest part of the day made the insect to be identified with the sun, and the ball of eggs to be compared to the sun itself. the unseen power of god, made manifest under the form of the god khepera, caused the sun to roll across the sky, and the act of rolling gave to the scarab its name kheper, i.e "he who rolls" the sun contained the germs of all life, and as the insect'

" the sun contained the germs of all life, and as the insect's ball contained the germs of the young scarabs it was identified also with the sun as a creature which produced life in a special way. now, the god khepera also represented inert but living matter, which was about to begin a course of existence, and at a very early period he was considered to be a god of the resurrection; and since the scarab was identified with him that insect became at once the symbol of the god and the type of the resurrection. but the dead human body, from one aspect, contained the germ of life, that is to say, the germ of the spiritual body, which was called into being p. 39 by means of the prayers that were recited and the ceremonies that were performed on the day of the funeral; from this point of view th

d the germ of life, that is to say, the germ of the spiritual body, which was called into being p. 39 by means of the prayers that were recited and the ceremonies that were performed on the day of the funeral; from this point of view the insect's egg ball and the dead body were identical. now, as the insect had given potential life to its eggs in the ball, so, it was thought, would a model of the scarab, itself the symbol of the god khepera, also give potential life to the dead body upon which it was placed, always provided that the proper "words of power" were first said over it or written upon it. the idea of "life" appears to have attached itself to the scarab from time immemorial in egypt and the eastern sudan, for to this day the insect is dried, pounded, and mixed with water, and the

f large families. in ancient days when a man wished to drive away the effects of every kind of sorcery and incantations he might do so by cutting off the head and wings of a large beetle, which he boiled and laid in oil. the head and wings were then warmed up and steeped in the oil of the apnent serpent, and when they had been once more boiled the man was to drink the mixture. 1 the amulet of the scarab has been found in egypt in untold thousands, and the varieties are exceedingly numerous. they are made of green basalt, green p. 40 granite, limestone, green marble, blue paste, blue glass, purple, blue and green glazed porcelain, etc; and the words of power are usually cut in outline on the base. in rare instances, the scarab has a human face or head, and sometimes the backs are inscribed

ly cut in outline on the base. in rare instances, the scarab has a human face or head, and sometimes the backs are inscribed with figures of the boat of ra, of the bennu bird "the soul of ra" and of the eye of horus. the green stone scarabs are often set in gold, and have a band of gold across and the scribe ani holding a necklace with pectoral, on which is a figure of the boat of ra containing a scarab, or beetle, in the presence of anubis, the god of the dead (from the papyrus of ani, plate 15) down the back where the wings join; sometimes the whole back is gilded, and sometimes the base is covered with a plate of gold upon which the words of power have been stamped or engraved. occasionally the base of the scarab is made in the form of a heart, a fact which proves the closeness of the r

ad (from the papyrus of ani, plate 15) down the back where the wings join; sometimes the whole back is gilded, and sometimes the base is covered with a plate of gold upon which the words of power have been stamped or engraved. occasionally the base of the scarab is made in the form of a heart, a fact which proves the closeness of the relationship which existed between the amulets of the heart and scarab. in late times, that is to say about b.c. 1200, p. 41 large funeral scarabs were set in pylon-shaped pectorals, made of porcelain of various colours, upon which the boat of the sun was either traced in colours or worked in relief, and the scarab is placed so as to appear to be carried in the boat; on the left stands isis and on the right nephthys. 1 the oldest green stone funeral scarab kno

arabs with the bodies of the dead became recognized, the habit of wearing them as ornaments by the living came into fashion, and as a result scarabs of almost every sort and kind may be found by the thousand in many collections, and it is probable that the number of varieties of them was only limited by the ability of those who manufactured them in ancient days to invent new sorts. the use of the scarab amulet passed into western asia and into several countries which lay on the mediterranean, and those who wore it seem to have attached to it much the same idea as its early inventors, the p. 42 egyptians. from a greek magical papyrus translated by goodwin 1 we may see that certain solemn ceremonies were performed over a scarab before it was worn, even in the period of the rule of the greeks

ased" 29:2 literally "pericardium" 31:1 see chapters of coming forth by day (translation, p. 119. 32:1 i.e, the deceased who was identified with osiris, the god and judge of the dead. 32:2 i.e, thoth. 33:1 the bennu bird is usually identified with the phoenix. 33:2 brit. mus, no. 10,477, sheet 13. 33:3 see sheet 21. 34:1 see chapter vi (magical ceremonies. 35:1 king teta is said to "live like the scarab (teta, line 89; and in it is said "pepi is the son of the scarab which is born in hetepet under the hair of the northern iusaas (pepi, line 422. 37:1 see j. o. westwood, introduction to the modern classification of insects, london, 1839, vol. i. p. 204 ff. 37:2 see my mummy, p. 233. 39:1 see joachim, das alteste buch uber heilkunde, berlin, 1800, p. 160. 41:1 have given a summary of the chi

n it is said "pepi is the son of the scarab which is born in hetepet under the hair of the northern iusaas (pepi, line 422. 37:1 see j. o. westwood, introduction to the modern classification of insects, london, 1839, vol. i. p. 204 ff. 37:2 see my mummy, p. 233. 39:1 see joachim, das alteste buch uber heilkunde, berlin, 1800, p. 160. 41:1 have given a summary of the chief varieties of the funeral scarab in my papyrus of ani, london, 1895, p. 262. 42:1 fragment of a graco-egyptian work upon magic (publications of the cambridge antiquarian society, 1852. 50:1 i.e, the deceased, who is identified with the god osiris. 52:1 unas, line 579. 52:2 line 192 f. 54:1 compare "give thou to pepi these two fingers which thou hast given to nefert, the daughter of the great god, as messengers from heaven

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

re was established in the first centuries b.c.e, however, amulets had a long history of being worn for luck and protection. egyptians considered amulets necessary for protection of the living and the dead. an amulet with a heart on it was often placed with the dead to help represent them in judgment about their fate in the afterlife. likenesses of scarabs (a kind of beetle) were also prominent. a scarab encloses an egg in mud or dung and rolls it along to a spot where it can be warm and safe. egyptians considered this a metaphor for the journey of the sun each day. the scarab amulet became a common emblem for regeneration and was placed with the dead. sumerians, who inhabited mesopotamia (present-day iraq) and were contemporaries of the egyptians, had amulets inscribed with images of anima

, the koran (muslims, and the avestar (zoroastrians) believed by the faithful to t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d objects of mystery and power 169 ancient amulets of the middle east ancient assyrians, egyptians, babylonians, arabs, and hebrews placed great importance in amulets. frog.protected fertility. ankh.everlasting life. udjat.health. scarab.resurrection after death some of the egyptian amulets are massive.a stone beetle at karnak measures five feet long by three feet wide and weighs more than two tons. source: gamulets history h [online] http//www.paralumun.com/amulet. htm. november 11, 2002. bring good luck and to ward off evil. a favorite contemporary muslim amulet consists of a square-inch miniature of the koran enclosed in

THE TAROT OF C C ZAIN

y a skeleton reaping human heads, hands and feet. on the blade of the scythe wielded by time is a serpent and a scarabeus, and back of all is seen a rainbow. the progression of the scythe in its work is the emblem of the perpetual destruction and rebirth of all forms of being in the domain of time. the serpent on the scythe represents the virile energy that has carried the soul, symbolized by the scarab, in its pilgrimage of births and deaths through the mineral kingdom, the vegetable kingdom and the animal kingdom up to the estate of man. the skeleton mowing human heads, hands and feet signifies that the thoughts, works and understanding of man eventually pass from the earth. but the rainbow promises a new life of thought, effort and knowledge in a superior realm. the alchemist--arcanum x

ual flora of the soul. this ensemble personifies the fact that when the sexes are truly wed, and the triple laws of harmony are obeyed, that their lives are a constant round of happiness and joy, even amid adversities and privation. the sarcophagus--arcanum xx. in divination, arcanum xx may be read as an awakening or resurrection. arcanum xx is figured by a sarcophagus on whose side is pictured a scarab. above this tomb a genie sounds a trumpet, whereupon it opens and a man, woman and child rise from it, still dressed in their winding sheets. the sarcophagus is the tomb through which man ascents to a higher life. the scarab is symbol of the immortality of the soul. the genie blowing the trumpet is the call to ascend to higher spheres. a man, woman and child arise together to indicate that

WORKING CEPHALOEDIUM VERSION 1

ose mouth uttereth his father. and zain spelt fully is 67, the number of binah the all-mother. ayin is moreover the devil of lust, the goat of mendes, pan, baphomet; and spelt fully ayin is the erection and le aping and extension of the phallus; yod is the spermatoon, the solitary boy her mes, the virgin; while nun is the eagle of sexual ecstasy, the serpent of life through death, the scorpion or scarab of kephra, the womb which transmutes thro ugh corruption, the semen or fluid vehicle of the spirit, the elixir of magick, the blood, wine, and poison in the chalice. and yod repeating that god, and pr ophesying the vau that follows it, ends with daleth the letter of venus, the do or of the palace of love. then vau reproduceth itself in its spelling, as it is written``all is ever as it was'

WORKING CEPHALOEDIUM VERSION 2

whose mouth uttereth his father. and zain spelt fully is 67, the number of binah the all-mother. ayin is moreover the devil of lust, the goat of mendes, pan, baphomet; and spelt fully ayin is the erection and leaping and extension of the phallus; yod is the spermatoon, the solitary boy hermes, the virgin; while nun is the eagle of sexual ecstasy, the serpent of life through death, the scorpion or scarab of kephra, the womb which transmutes through corruption, the semen or fluid vehicle of the spirit, the elixir of magick, the blood, wine, and poison in the chalice. and yod repeating that god, and prophesying the vau that follows it, ends with daleth the letter of venus, the door of the palace of love. then vau reproduceth itself in its spelling, as it is written``all is ever as it was' in

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

lso of the dead body which is about to burst forth into a new life in a glorified form. he is depicted in the form of a man having a beetle for a head, and this insect was his type and emblem among ancient nations, because it was believed to be self-begotten and self-produced; to this notion we owe the myriads of beetles or [1. lanzone, op. cit, p. 244. 2. lanzone, op. cit, tav. 336, no. 3] p. cx scarabs which are found in tombs of all ages in egypt, and also in the greek islands and settlements in the mediterranean, and in phoenicia, syria, and elsewhere. the seat of the god khepera was in the boat of the sun, and the pictures which present us with this fact[1] only illustrate an idea which is as old, at least, as the pyramid of unas, for in this monument it is said of the king- ap-f em a

placed on a stand, or a beetle, or a heart to which are attached the antenn of a beetle. in certain papyri this chapter is followed by a rubric"[this chapter is] to be said over a scarab[2] of green stone encircled with smu metal, and [having] a ring of silver, which is to be placed upon the neck of the dead. this chapter was found in khemennu.[3 [1# 2. chapter xxxa. is never found inscribed upon scarabs. 3. i.e, hermopolis magna, the metropolis of un, the 15th nome of upper egypt, the city called# by the copts, and eshm n n# by the arabs. it was the abode of the "eight (xemennu) great primeval gods, and of thoth, the scribe of the gods (see meyer and d michen, geschichte des alten agyptens, p. 185] p. 262 written upon a slab of steel of the south, in the writing of the god himself, under

my heart, i have gotten the mastery over my two hands and arms, i have gotten the mastery over my feet, and i have gained the power to do whatsoever my ka pleaseth (9) my soul shall not be shut off from my body at the gates of the underworld; but i shall enter in peace, and i shall come forth in peace [1. a very fine set of examples of blue, green, and yellow glazed fa ence pectorals inlaid with scarabs is exhibited in the fourth egyptian room. 2. i.e, the judgment hall of osiris, in which hearts were weighed. 3. var "west" 4. on the word# see brugsch, w rterbuch (suppl, p. 1289, and stern, glossarium, p. 19, col. 2, where the various kinds of this sweet-smelling plant are enumerated. 5 var "may my two hands open [my] mouth in the earth: naville, todtenbuch, bd. 11, bl. 90. 6. i.e, the he

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

lantine, 1974. erman, adolf. life in ancient egypt. london, 1894. reprint, new york: dover, 1971. ghalioungui, paul. the house of life: magic and medical sciences in ancient egypt. rev. ed, new york: wittenborn, 1975. hornung, erik. conceptions of god in ancient egypt: the one and the many. ithaca, n.y: cornell university press, 1982. knight, alfred e. amentet: an account of the gods, amulets and scarabs of the ancient egyptians. london: longmans, green, 1915. massey, gerald. ancient egypt, the light of the world. 2 vols. london, 1907. reprint, new york: samuel weiser, 1974. rosicrucian society. rosicrucian egyptian museum, 2000. http//www.rosicrucian.org. june 26, 2000. seiss, joseph. the great pyramid: a miracle in stone. blauvelt, n.y: multimedia (steiner books, 1972. spence, lewis. mys

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

egard to masonic insignia. we will explain fully, later in our book, of these interesting sexual images, set up for adoration so strangely; and from the meaning of which we foolishly but determinedly avert. we now propose to deduce a very original and a very elaborate genealogy, or descent, of the famous arms of france, the fleurs-de-lis, lucifera lisses, luces, lu40 the rosicrucians. cies, bees, scarabs, scara-bees, or imperial bees of charlemagne, and of napoleon the first and napoleon the third, from a very extraordinary and (we will, in the fullest assurance, add) the most unexpected point of view. the real beginning of these inexpressibly sublime arms (or this badge, although in itself, and apart from its purpose, it is the most refined, but mysteriously grand, in the world, contradic

fish famous for the profuse generation of a certain insect, as some fishermen know full well. this once (incredible as it may seem) formed an object of worship, for the sake of the inexpressibly sublime things which it symbolised. although so mean in itself, and although so far off, this implied the beginning of all sublunary things. the bees of charlemagne, the bees of the empire in france, are scarabs, or figures of the same affinity as the bourbon lilies. they deduce from a common ancestor. now, the colour heraldic on which they are always emblazoned is azure, or blue which is the colour of the sea, which is salt. in an anagram it may be expressed as c. following on this allusion, we may say that ventre-saintgris! is a very ancient french barbarous expletive, or oath. literally (which

SIR WALLIS BUDGE EGYPTIAN MAGIC

is in the british museum (no. 29,224; it was found at kurna near thebes and belongs to the period of the xith dynasty, about b.c. 2600. the name of the man for whom it was made (he appears to have been an official of the temple of amen) was traced on it in light coloured paint which was afterwards varnished; there are no "words of power" on this interesting object. when once the custom of burying scarabs with the bodies of the dead became recognized, the habit of wearing them as ornaments by the living came into fashion, and as a result scarabs of almost every sort and kind may be found by the thousand in many collections, and it is probable that the number of varieties of them was only limited by the ability of those who manufactured them in ancient days to invent new sorts. the use of th

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