Commentary to the 27th Æthyr:
1.
2. Possibly the traditional green of the huntress.
3. The Colour of
4. The Green of
5. For
7. Diana Trivia is thus described. She is the High Priestess, and the Lady of Heaven. She is the Virgin Goddess of Pure Love; and she is Hecate, the waning Moon, presiding over Witchcraft. (See Macbeth, etc.)
8.
9. The Jackals of Atu XVIII.
10.
11. For
12. I.e., the coefficients of the Circle and the Square be commensurable. “When” means “Through what mode of resolution?” - “On what plane?”
13.
14. The Angel of
15.
16. I.e., I assume the God-form of Horus, Sol in the Womb of the Nightsky blue of Binah, who is the Mother of all the Stars and thus is potent against Hecate.
17. The hounds that follow Hecate. The jackals of Atu XVIII.
Ode To Hecate ︎︎︎
18. The Lunar Language. Translation: “Ye hounds! Ho! Ho! Tally-ho! scent the poison of the path - Here! There! Bark! Sweep round! There goes the quarry down the glade of mossy rock. The foremost has caught him! Tally ho! Tally ho! Tally ho! Pull him down! Tally-ho, boys! Wind the mort! Tally ho! Tally ho! The hunt is ended!” ULU = “Hail” plus “come” = very nearly “Ahoy!”
19. The Witches Cauldron.
20. Ultra- violet of
21.
22. All this paragraph refers to Atu XIV, Sagittarius; for she is now in her huntress form. Hense the alchemical and rainbow symbolism.
23. She appeals to Binah, the highest form of Luna.
24. This is the use to which BABALON puts the Blood of the Masters of the Temple (see 12th Æthyr) to vivify the Rose of Universal Creation, i.e., the Attainment of the Master of the Temple fills the World with Life and Beauty. Hecate does not understand this, or else she regards it as hostile to her own Formula.
25. 🜄 of
26. She can produce nothing but images of herself.
27. Pearls - the Masters of the Temple secreted by Binah round the specks of dust which They have become.
28. A veil or mask of Khephra (in Atu XVIII). [The MS appears to give “awful dragon” rather than “cruel dragon.”]
29. All Hecate can see of the Great Work of 8°=3□ is the Black Brotherhood, i.e., the failure of that Work.
30. Sagittarius (Atu XIV) again. the phenomena are the experiences of the attained Master of the Temple.
31. The attainment has destroyed the conditions of physical manifestation.
32. Olive - Water in Malkuth (Queen Scale) (also Water in Emperor Scale). Silver is Luna in Queen Scale.
33. Hecate now aspires to Binah, accepts the Formula of Love (“kisses”), surrenders her nature (“Fall back,” etc.), and so finds the Word.
34.
Again, the operation of the Cauldron (above) is described by the five consonants of this Word.
[The MS accents the word thus: “Makhashănah.”]
35. [The 1952 first edition, Gerald J. Yorke’s transcription of a MS note from The Equinox I(5), and the TS, give different versions of the phrase divisions of the translations. All appear to be corrupted; the probable divisions (based on the MS) are given here:]
UOHULU:
Hither, o Holy one,
ARPAZNA:
whose burden pulls at thy spine
BINUF LA LA LA:
Ho! Ho! Ho! The two-headed God (Janus)
ARANA:
ploughs thy back,
SOBANA:
sows habitations upon thy back,
FONUSA:
thou many-phallused queen of princely loves
SAD:
which are all sodomies
NEDIEZO LO:
so that the holy ones laugh
LAHARA EN:
and shake with laughter
NOM:
while the lords of mischief spend upon thee
TUTULU:
(this word cannot be translated; see ‘Liber VII’)
MAHARNA:
down bounces from thy back
OBOLO:
the merry mad foetus-faces, an emission
ARARNAY:
gather ye sun-roses, sun-roses gather ye from the split backside of the Virgin (Earth).
36. The Word of the Master has gone forth into every part of the world. Therefore it is always possible to call Him forth to one’s assistance by the proper use of the above Formula.
37. Symbols of Binah.
38. Many of the Visions end in some way unconnected with the substance of the Æthyr. One must not look for coherence in such places. They are merely episodes on the return journey, useful to break the shock. Analogy: one might see a cab accident while returning to one’s house from the theatre. This spectacle need have no connection with either the play or one’s home life.