The Vision and the Voice

«I AM in a vast crystal cube in the form of the Great God Harpocrates. This cube is surrounded by a sphere. About me are four archangels in black robes,» — abre el 30.º Æthyr, TEX, y el vidente describe en primera persona el escenario de la visión: se ve a sí mismo como el dios Harpócrates dentro de un cubo de cristal envuelto en una esfera, con cuatro arcángeles alrededor. La visión no empieza por una doctrina sino por una posición del que mira.

«In the North is a book on whose back and front are A.M.B.Z. in Enochian characters. Within it is written: I AM, the surrounding of the four.» — en TEX el vidente lee el libro del norte, rotulado con cuatro letras enoquianas, y transcribe lo que dice dentro: la voz del libro se nombra a sí misma como aquello que rodea a los cuatro arcángeles.

«Lift up your heads, O Houses of Eternity: for my Father goeth forth to judge the World. One Light, let it become a thousand, and one sword ten thousand, that no man hide him from my Father's eye in the Day of Judgment of my God. Let the Gods hide themselves: let the Angels be troubled and flee away: for the Eye of My Father is open, and the Book of the Æons is fallen.» — la voz del libro del norte, en TEX, anuncia el juicio en clave apocalíptica y declara caído el Libro de los Æones: la multiplicación de la luz y de la espada sirve para que nadie escape a la mirada del Padre.

«My Father shall not hear their Noise: His ears are closed:» — sigue la voz de TEX: al Padre que sale a juzgar lo declara sordo y con los ojos cubiertos de nubes, de modo que el clamor de los juzgados no cuenta.

«The End! the End! the End: For the Eye of Shiva He hath opened:» — la voz de TEX cifra el fin con un nombre que no es bíblico sino indio: el ojo de Shiva abierto deja el universo desnudo. La glosa deja el término sin resolver porque el texto no lo explica.

«Within: “It is Written, Thou shalt not tempt the Lord Thy God.”» — el vidente de TEX lee el libro rojo del arcángel del este y transcribe una sola línea, que es una cita de escritura dentro de la visión: la voz de la visión habla citando.

«I turned me to the South: and read therein: Seal up the Book! Speak not that which thou seest and reveal it unto none:» — en TEX el vidente se vuelve al sur y lee la orden de sellar: el libro manda no hablar de lo visto porque, dice, no hay oído formado para oírlo ni lengua que pueda decirlo. La prohibición de revelar está dentro de la obra que revela.

«O Lord God, blessed, blessed, blessed be Thou for ever!» — la voz de TEX pasa del anuncio del juicio a la doxología, y empareja sombra con luz: la bendición la dice la misma boca que acaba de mandar sellar el libro.

«The First Voice Speaketh and saith: Cursed, cursed be the Earth, for her iniquity is great.» — abre el 29.º Æthyr, RII, y el ángel-águila que ocupa el cielo transmite la primera voz: la maldición sobre la Tierra por su iniquidad, seguida de la petición de que la misericordia se pierda en el abismo.

«Let us not see it! Cover we our eyes, lest we see the End of Man.» — en RII la voz cambia a plural y se tapa los ojos: quien habla se niega a mirar el fin del hombre. Es la reacción ante el anuncio, no el anuncio.

«Close we our ears, lest we hear the cry of Woman.» — sigue la misma voz plural de RII, que ahora se tapa los oídos ante el llanto de la mujer.

«Let none speak of it: let none write it: I, I am troubled, my eyes are moist with dews of terror:» — el vidente de RII se incorpora a esa voz en primera persona y declara su propio temblor: la prohibición de hablar y de escribir se repite aquí desde el que ve, no desde el ángel.

«He cried: I have conquered! Let the Sons of Earth keep silence; for my Name is become as That of Death!» — en RII el león herido y perplejo del sur proclama su victoria y a la vez equipara su nombre con el de la muerte: el texto pone la conquista y la muerte en la misma boca.

«When will men learn the Mysteries of Creation? How much more those of the Dissolution (and the Pang of Fire)?» — el león de RII cierra con dos preguntas y ordena los misterios por dificultad: los de la disolución están por encima de los de la creación.

«The work of the Moon is done! Motion is ended for ever!» — el toro de RII declara terminada la obra de la Luna y detenido el movimiento, y añade que le cortaron las alas al águila sin quitarle a él la fuerza de los hombros.

«I heard a Great Voice from above crying: Thou liest! For the Volatile hath indeed fixed itself; but it hath arisen above thy sight.» — en RII una voz de lo alto contradice al toro y le dice que miente, con vocabulario de alquimia: lo volátil sí se fijó, pero se levantó por encima de su vista. El desacuerdo queda dentro de la visión, sin arbitrar.

«He spake saying: I have judged! It is the end: the gate of the beginning.» — en RII el jinete del norte, con azote y balanza, enuncia el juicio como bisagra: el fin es la puerta del comienzo, y manda mirar abajo para ver un mundo nuevo.

«And there came a Voice from the Abyss, saying: “Thou seest the Current of Destiny! Canst thou change one atom in its path? I am Destiny. Dost thou think to control me? for who can move my course?”» — en RII la voz del abismo se nombra Destino y desafía al vidente a cambiar un átomo de su curso: el determinismo lo enuncia una de las voces de la visión, no el vidente.

«And a great mingled cry arose: “No! no! no! All is changed; all is confounded; naught is ordered: the white is stained with blood: the black is kissed of the Christ! Return! Return! It is a new chaos that thou findest here: chaos for thee: for us it is the skeleton of a New Truth!”» — en RII un clamor mezclado responde a la catástrofe negando el orden y volviendo del revés los colores; y el mismo caos que para el vidente es caos, para los que hablan es el esqueleto de una verdad nueva.

«Light is consumed as a child in the Womb of its Mother to develop itself anew.» — en RII, ya al final, la voz contesta a la conjuración del vidente con una fórmula de consunción y renacimiento: la luz se gasta como un hijo en el vientre para desarrollarse de nuevo, a costa de dolor y de oscuridad.

«He extendeth his arms in the arms of his Mother and the Light becometh fivefold.» — la misma voz de RII cierra la fórmula con la crucifixión del hijo dentro de la madre y la luz vuelta quíntuple; el pasaje lleva llamada de nota al pie.

«Then I returned within my body, giving glory unto the Lord of Light and of the Darkness.» — el vidente cierra RII declarando el regreso al cuerpo y la glorificación conjunta del señor de la luz y de la oscuridad.

«I was shewn an extremely brilliant D in the Character of the Passing of the River, in an egg of white light.» — acotación del vidente en RII, entre paréntesis y fuera de la visión: al dormirse se le muestra una letra en la escritura del Paso del Río dentro de un huevo de luz, y la toma por presagio.

«It is to be remarked that the last three æthyrs have ten angels attributed to them, and they therefore represent the ten Sephiroth.» — en la nota inicial sobre los treinta Æthyrs, la voz que escribe da la clave cabalística del sistema: los tres últimos Æthyrs llevan diez ángeles y por eso valen por las diez sefirot.

«Yet these ten form but one, a Malkuth-pendant to the next three, and so on, each set being, as it were, absorbed in the higher.» — la misma nota encaja los conjuntos uno dentro de otro: los diez valen por un solo Malkuth colgado de los tres siguientes, y cada grupo queda absorbido en el superior.

«And he cries: O man, who art thou that wouldst penetrate the Mystery? for it is hidden unto the End of Time.» — abre el 28.º Æthyr, BAG, y el ángel de rostro negro y ojos sin pupila desafía al vidente: el misterio está oculto hasta el fin del tiempo.

«And I answer him: Time is not, save in the darkness of Her womb by whom evil came.» — el vidente responde al ángel de BAG negando la premisa: el tiempo no existe salvo en la oscuridad del vientre de aquella por quien vino el mal.

«He spake: It is finished! My mother hath unveiled herself! My sister hath violated herself! The life of things hath» — en RII el toro blanco del oeste declara acabada la obra en términos de develamiento: la madre se ha desvelado y la hermana se ha violado a sí misma. El tramo se corta en el cambio de plana, y sigue en la siguiente con *disclosed its Mystery*.

«And now the wheel breaks away, and I see him as he is. His garment is black beneath the opal veils, but it is lined with white, and he has the shining belly of a fish, and enormous wings of black and white feathers, and innumerable little legs and claws like a centipede, and a long tail like a scorpion.» — en BAG cae la rueda que velaba al ángel y el vidente lo describe sin velo: vientre de pez, alas de plumas blancas y negras, patas de ciempiés y cola de escorpión. La descripción precede a cualquier doctrina.

«O thou who hast broken down the veil, knowest thou not that who cometh where I am must be scarred by many sorrows?» — el ángel de BAG advierte al vidente que quien llega hasta donde él está sale marcado por muchos dolores; el vidente contesta negando también el dolor, con la misma fórmula con que negó el tiempo.

«I pierce the Mystery of his breast, and therein is a jewel.» — el vidente de BAG atraviesa el pecho del ángel y halla dentro un zafiro del tamaño de un huevo de avestruz, grabado con un sigilo y con caracteres que declara no poder leer.

«Hail unto thee who knowest not thy right eye from thy left; for in the æon of my Father there is but one light.» — el ángel de BAG saluda al que no distingue derecha de izquierda y describe el eón de su Padre por lo que allí se anula: una sola luz. La serie sigue con la nariz y el oído.

«Hail unto thee who knowest not thy right nostril from thy left; for in the æon of my Father there is neither life nor death.» — segundo término de la misma serie del ángel de BAG: en el eón del Padre no hay vida ni muerte.

«Hail unto thee who knowest not thy right ear from thy left; for in the æon of my Father there is neither sound nor silence.» — tercer término de la serie del ángel de BAG: tampoco hay sonido ni silencio. Los tres saludos dicen el eón por pares de opuestos suprimidos.

«Whoso hath power to break open this sapphire stone shall find therein four elephants having tusks of mother-of-pearl, and upon whose backs are castles, those castles which ye call the watch-towers of the Universe.» — el ángel de BAG promete lo que hay dentro del zafiro y lo empalma con el sistema enoquiano: cuatro elefantes con castillos a la espalda, que son las torres de guardia del universo.

«O man, that must ever be opening, when wilt thou learn to seal up the mysteries of the creation? to fold thyself over thyself as a rose in the embrace of night? But thou must play the wanton to the sun, and the wind must tear thy petals from thee, and the bee must rob thee of thy honey, and thou must fall into the dusk of things.» — el ángel de BAG reprocha al hombre su apertura y le propone lo contrario: sellar los misterios y plegarse sobre sí como una rosa. El precio de abrirse lo dice con la imagen del viento y la abeja.

«Verily the light is hidden, therefore he who hideth himself is like unto the light; but thou openest thyself; thou art like unto the darkness that bindeth the belly of the great goddess.» — el ángel de BAG cierra la reprensión con la regla que la sostiene: quien se esconde se parece a la luz, y quien se abre a la oscuridad. La frase lleva llamada de nota.

«In the light of the cry of LOE, this passage seems to mean almost precisely the opposite of its apparent meaning.» — nota al pie sobre ese mismo pasaje de BAG: el comentador lee el lugar a la luz del 12.º Æthyr, LOE, y dice que allí significa casi exactamente lo contrario de lo que aparenta. La nota enmienda la lectura sin tocar el texto.

«Now the angel putteth back the sapphire stone into his breast; and I spake unto him and said, I will fight with thee and overcome thee, except thou expound unto me the word of the abyss.» — en BAG el vidente amenaza al ángel con combatirlo si no le expone la palabra del abismo: la información se arranca por desafío, no se recibe.

«And he said: Discipline is sorrowful and ploughing is laborious and age is weariness. Thou shalt be vexed by dispersion. But now, if the sun arise, fold thou thine arms; then shall God smite thee into a pillar of salt. Look not so deeply into words and letters; for this Mystery hath been hidden by the Alchemists. Compose the sevenfold into a fourfold regimen; and when thou hast understood thou mayest make symbols;» — el ángel guardián de BAG contesta con una regla de método: no escrutar demasiado letras y palabras, porque los alquimistas escondieron ahí el misterio, y componer lo séptuple en un régimen cuádruple antes de fabricar símbolos.

«but there are many things that are not in my power, who am but the warden of the 28th Æthyr.» — el ángel de BAG declara el límite de su propia autoridad: es solo el guardián del 28.º Æthyr, y hay cosas fuera de su poder. El límite queda dentro de la misma respuesta.

«Now my name thou shalt obtain in this wise. Of the three angels of the Æthyr, thou shalt write the names from right to left and from left to right and from right to left, and these are the holy letters: The first 1, the fifth 2, the sixth 3, the eleventh 4, the seventh 5, the twelfth 6, the seventeenth 7.» — el ángel de BAG entrega su nombre como procedimiento y no como palabra: escribir los nombres de los tres ángeles del Æthyr alternando la dirección y tomar siete letras por su posición.

«but the angels of the 30th Æthyr are indeed four, and they have none above them; wherefore dispersion and disorder.» — el ángel de BAG explica la dispersión del 30.º Æthyr por aritmética del sistema: allí los ángeles son cuatro y no tienen ninguno por encima.

«Had he not been destroyed he had not come hither, for I am not save in the darkness in the womb of Her by whom came evil into the world.» — el vidente responde a la voz que manda cerrar el velo y destruir al que rompió el sello: sostiene que la destrucción era condición de su llegada.

«And this darkness swallows everything up, and the angel is gone from the stone; and there is no light therein, save only the light of the Rose and of the Cross.» — cierre de BAG: la oscuridad se lo traga todo, el ángel se va de la piedra y solo queda la luz de la Rosa y de la Cruz.

«And she cries: Lonely am I and cold in the wilderness of the stars. For I am the queen of all them that dwell in Heaven, and the queen of all them that are pure upon earth, and the queen of all the sorcerers of hell.» — abre el 27.º Æthyr, ZAA, y el ángel resulta ser una mujer con la luna por cimera: se proclama reina de los del cielo, de los puros de la tierra y de los hechiceros del infierno a la vez.

«I am the daughter of Nuit, the lady of the stars. And I am the Bride of them that are vowed unto loneliness. And I am the mother of the Dog Cerberus. One person am I, and three gods.» — la diosa de ZAA se genealogiza y se cuenta: hija de Nuit, novia de los votados a la soledad, madre del Can Cerbero, y una sola persona que son tres dioses.

«And thou who hast blasphemed me shalt suffer knowing me. For I am cold as thou art cold, and burn with thy fire.» — la diosa de ZAA no castiga la blasfemia con daño sino con conocimiento, y funda la reciprocidad en la identidad: es fría como el que la blasfema y arde con su mismo fuego.

«my form is the form of a man with the head of a golden hawk.» — acotación del vidente en ZAA sobre sí mismo: mientras los rayos lo golpean se ve encerrado en un huevo azul violeta y con forma de hombre de cabeza de halcón dorado.

«O Mother, wilt thou never have compassion on the children of earth? Was it not enough that the Rose should be red with the blood of thine heart, and that its petals should be by 7 and by 7?» — la diosa de ZAA interpela a su Madre y protesta por la insuficiencia del sacrificio: la Rosa roja con la sangre del corazón y sus pétalos por siete y por siete no bastaron.

«I can see nothing and hear nothing for the tears, though she keeps on praying.» — acotación del vidente en ZAA: el llanto de la diosa llena la piedra de lunas y lo deja sin ver ni oír, aunque ella siga orando. El registro consigna el fallo de la percepción, no lo disimula.

«And there is a perfume which I cannot describe; it is like nothing that one can describe, but the suggestion is like lignum aloes.» — el vidente de ZAA declara el límite de su propia descripción: el perfume no se parece a nada describible, y solo lo aproxima por sugerencia con el lignum aloes.

«I am alone. I am lost, because I am all and in all; and my veil is woven of the green earth and the web of stars.» — la voz del ángel de ZAA se aleja diciendo su soledad como consecuencia de su extensión: está perdida porque es todo y está en todo, y su velo lo tejen la tierra verde y la red de estrellas.

«It is not possible that one should come to ZAA.» — la voz de ZAA niega el acceso al propio Æthyr que el vidente acaba de recorrer: la negativa se imprime dentro del registro de la visión que la contradice.

«The word, the word of the æon is MAKHASHANAH.» — la voz de ZAA entrega la palabra del eón, y a continuación una fórmula que manda decir al revés para llamar su carga a la aparición.

«for I who am the Virgin goddess am the pregnant goddess, and I have cast down my burden even unto the borders of the universe. They that blaspheme me are stoned, and my veil is fallen about me even unto the end of time.» — la voz de ZAA se declara virgen y preñada a la vez, dice haber echado su carga hasta los bordes del universo, y cierra con el apedreamiento de los que la blasfeman.

«And though he is black (his face and his wings and his robe and his armour are all black), yet is he so bright that I cannot look upon him.» — abre el 26.º Æthyr, DES, y el vidente describe la paradoja del ángel: todo en él es negro y aun así brilla tanto que no puede mirarlo.

«Burnt out are your eyes, for that ye have seen me in my majesty. And broken are the drum-heads of your ears, because my name is as two mountains of fornication, the breasts of a strange woman; and my Father is not in them.» — el ángel negro de DES declara quemados los ojos y rotos los tímpanos de quienes lo percibieron, y nombra su propio nombre con una imagen de fornicación de la que dice que su Padre está ausente.

«Is not He one, one and alone, in whom the brightness of your countenance is as 1,728 petals of fire.» — el ángel de DES cifra por número el resplandor de los increpados: mil setecientos veintiocho pétalos de fuego, frente al Uno solo.

«Also he spake the curse, folding his wings across and crying: Is not the son the enemy of his father? And hath not the daughter stolen the warmth of the bed of her mother? therefore is the great curse irrevocable.» — el ángel de DES funda la maldición irrevocable en dos preguntas de parentesco: el hijo enemigo del padre y la hija que robó el calor del lecho de la madre.

«Therefore there is neither wisdom nor understanding nor knowledge in this house, that hangeth upon the edge of hell.» — consecuencia que saca el ángel de DES: en esa casa colgada del borde del infierno no hay sabiduría ni entendimiento ni conocimiento, que son los nombres de las tres sefirot superiores.

«He shall be brayed in a mortar and the powder thereof cast to the winds, that the birds of the air may eat thereof and die; and he shall be dissolved in strong acid and the elixir poured into the sea, that the fishes of the sea may breathe thereof and die. And he shall be mingled with dung and spread upon the earth, so that the herbs of the earth may feed thereof and die; and he shall be burnt utterly with fire, and the ashes thereof shall calcine the children of flame, that even in hell may be found an overflowing lamentation.» — el ángel de DES detalla la maldición de quien lo adore en cuatro operaciones sucesivas —mortero, ácido, estiércol y fuego—, cada una con la muerte de los que se alimenten del residuo.

«And he cries: Woe! woe! woe! Yea, woe unto the world! For there is no sin, and there is no salvation.» — en DES el huevo de oro se rompe y sale un águila dorada que abre con un ay tres veces repetido y con la negación conjunta del pecado y de la salvación.

«Ye are all blinded by my glory; and though ye treasure in your heart the sacred word that is the last lever of the key to the little door beyond the abyss, yet ye gloss and comment thereupon; for the light itself is but illusion. Truth itself is but illusion. Yea, these be the great illusions beyond life and space and time.» — el águila de DES declara ilusión no solo la luz sino la verdad misma, y reprocha que se glose la palabra sagrada que es la última palanca de la llave de la puertecilla más allá del abismo.

«Back, back from the face of the accursed one, who am I; back into the night of my father, into the silence; for all that ye deem right is left, forward is backward, upward is downward.» — el águila de DES invierte los ejes de orientación como fórmula de su propio reino: lo que se tiene por derecha es izquierda, lo adelante es atrás y lo alto es bajo.

«I am the great god adored of the holy ones. Yet am I the accursed one, child of the elements and not their father.» — el águila de DES se dice a la vez el gran dios adorado de los santos y el maldito, e invierte la genealogía: hijo de los elementos y no su padre.

«Woe, woe unto me! These are they that hear not prayer. It is I that have heard all prayer alway, and there is none to answer me.» — el águila de DES formula su desamparo por simetría: él ha oído siempre toda oración y no hay nadie que le responda.

«And there comes a voice: It is the dawn of the æon. The æons of cursing are passed away. Force and fire, strength and sight, these are for the servants of the Star and the Snake.» — cierra DES con la aparición de Nuit, el disco alado y el altar de Ra-Hoor-Khuit como en la Estela de la Revelación, y una voz que declara pasados los eones de maldición.

«And the Angel says: Blow, all ye trumpets, for I will loose my hands from the mouth of the lion, and his roaring shall enkindle the worlds.» — abre el 25.º Æthyr, VTI, donde un ángel con ánfora tiene cerrada la boca del león que se tragó a otros dos ángeles, y anuncia que la soltará.

«And he roareth in an unknown tongue. But this is the interpretation thereof: Let the stars be burnt up in the fire of my nostrils! Let all the gods and the archangels and the angels and the spirits that are on the earth, and above the earth, and below the earth, that are in all the heavens and in all the hells, let them be as motes dancing in the beam of mine eye!» — el león de VTI ruge en lengua desconocida y el vidente da solo la interpretación: dioses, arcángeles, ángeles y espíritus quedan reducidos a motas en el rayo de su ojo.

«I am he that swalloweth up death and victory. I have slain the crownèd goat, and drunk up the great sea. Like the ash of dried leaves the worlds are blown before me. Thou hast passed by me, and thou hast not known me. Woe unto thee, that I have not devoured thee altogether!» — el león de VTI se declara devorador de la muerte y de la victoria, dice haber matado al macho cabrío coronado y bebido el gran mar, y lamenta no haber devorado del todo al vidente.

«On my head is the crown, 419 rays far-darting. And my body is the body of the Snake, and my soul is the soul of the Crowned Child.» — el león de VTI se describe por cifra y por composición: corona de cuatrocientos diecinueve rayos, cuerpo de Serpiente y alma del Niño Coronado.

«Who is the Beast? Am not I one more than he? In his hand is a sword that is a book. In his hand is a spear that is a cup of fornication. Upon his mouth is set the great and terrible seal.» — el león de VTI se compara con la Bestia y se pone en uno por encima, y describe los atributos de aquella por pares contradictorios: una espada que es un libro y una lanza que es una copa de fornicación.

«Each of my teeth is a letter of the reverberating name. My tongue is a pillar of fire, and from the glands of my mouth arise four pillars of water. TAOTZEM is the name by which I am blasphemed. My name thou shalt not know, lest thou pronounce it and pass by.» — el león de VTI reparte el nombre reverberante entre sus dientes, entrega el nombre con que se le blasfema y retiene el propio, para que el vidente no lo pronuncie y pase de largo.

«All this time heavy blows have been raining upon me from invisible angels, so that I am weighed down as with a burden greater than the world. I am altogether crushed. Great millstones are hurled out of heaven upon me. I am trying to crawl to the lion, and the ground is covered with sharp knives. I cut myself at every inch.» — acotación del vidente en VTI sobre lo que le ocurre al cuerpo mientras ve: golpes de ángeles invisibles, muelas de molino arrojadas del cielo y suelo cubierto de cuchillos.

«And the voice said: Thy fear is known; thine ignorance is known; thy weakness is known; but thou art nothing in this matter. Shall the grain which is cast into the earth by the hand of the sower debate within itself, saying, am I oats or barley? Bondslave of the curse, we give nothing, we take all.» — la voz de VTI contesta al vidente que se declara criatura de tierra a la que quieren hacer nadar: reconoce su miedo y su ignorancia y los declara irrelevantes, con el símil del grano que no debate si es avena o cebada. El troceo parte *Bond-slave* al final del renglón y el extractor lo devuelve unido, *Bondslave*: la restitución es lectura propuesta y no está dentro de las comillas.

«(There were two voices in all this Cry, one behind the other—or, one was the speech, and the other the meaning. And the voice that was the speech was simply a roaring, one tremendous noise, like a mixture of thunder and water-falls and wild beasts and bands and artillery. And yet it was articulate, though I cannot tell you what a single word was. But the meaning of the voice—the second voice—was quite silent, and put the ideas directly into the brain of the Seer, as if by touch. It is not certain whether the millstones and the sword-strokes that rained upon him were not these very sounds and ideas.)» — acotación técnica del vidente al cerrar VTI: distingue dos voces, una que era el habla —un rugido articulado pero indescifrable— y otra que era el sentido y entraba callada en el cerebro, y no descarta que los golpes fueran esas mismas ideas.

«An angel comes forward into the stone like a warrior clad in chain-armour. Upon his head are plumes of gray, spread out like the fan of a peacock. About his feet a great army of scorpions and dogs, lions, elephants, and many other wild beasts. He stretches forth his arms to heaven and cries; In the crackling of the lightning, in the rolling of the thunder, in the clashing of the swords and the hurling of the arrows: be thy name exalted!» — abre el 24.º Æthyr, NIA, con un ángel en cota de malla rodeado de escorpiones y fieras, que exalta el nombre en el crujir del relámpago y el chocar de las espadas.

«And a voice proceeds from the rose: Come away! Our chariot is drawn by doves. Of mother-of-pearl and ivory is our chariot and the reins thereof are the heart-strings of men. Every moment that we fly shall cover an æon. And every place on which we rest shall be a young universe rejoicing in its strength; the meadows thereof shall be covered with flowers. There shall we rest but a night, and in the morning we shall flee away, comforted.» — la voz que sale de la rosa azul en NIA convoca al viaje en un carro tirado por palomas cuyas riendas son las fibras del corazón de los hombres, y mide el vuelo por eones.

«There is a scroll over the top, saying: Ecclesia abhorret a sanguine; and there is» — acotación del vidente en DES: sobre la sangre del águila herida aparece un rótulo en latín. El tramo se corta en el cambio de plana; sigue en la siguiente con otro rótulo *in a language of which I do not know the sounds*, del que solo da el sentido.

«another scroll below it in a language of which I do not know the sounds. The meaning is, Not as they have understood.» — continuación de esa acotación de DES, ya en la plana siguiente: el vidente declara no conocer los sonidos de la lengua del segundo rótulo y da solo el significado.

«Come away! The price of the journey is little, though its name be death. Thou shalt die to all that thou fearest and hopest and hatest and lovest and thinkest and art. Yea! thou shalt die, even as thou must die. For all that thou hast, thou hast not; all that thou art, thou art not!» — la voz escondida de NIA tasa el viaje: el precio es poco aunque se llame muerte, y enumera todo aquello a lo que hay que morir —temor, esperanza, odio, amor, pensamiento y ser.

«And the voice answered and said unto me: Hearing is of the spirit alone. Thou art a partaker of the five-fold mystery. Thou must roll up the ten divine ones like a scroll, and fashion therefrom a star. Yet must thou blot out the star in the heart of Hadit.» — la voz de NIA responde a la pregunta del vidente por qué está oculta: el oír es solo del espíritu, y le manda enrollar las diez divinas como un rollo para hacer de ellas una estrella y luego borrarla en el corazón de Hadit.

«Mighty are the stars; mighty is the sun; mighty is the moon; mighty is the voice of the ever-living one, and the echoes of his whisper are the thunders of the dissolution of the worlds. But my silence is mightier than they.» — la voz de NIA ordena las potencias en escala ascendente y las corona con lo que no suena: su silencio es más fuerte que todas ellas.

«Close up the worlds like unto a weary house; close up the book of the recorder, and let the veil swallow up the shrine, for I am arisen, O my fair one, and there is no more need of all these things.» — la voz de NIA manda cerrar los mundos, cerrar el libro del registrador y dejar que el velo se trague el santuario, porque ya no hacen falta una vez que ella ha surgido.

«If once I put thee apart from me, it was the joy of play. Is not the ebb and flowing of the tide a music of the sea?» — la voz de NIA explica la separación como juego y la compara con el flujo y reflujo de la marea, que es música del mar.

«mount unto Nuit our mother and be lost! Let being be emptied in the infinite abyss! For by me only shalt thou mount; thou hast none other wings than mine.» — cierre de la convocatoria de NIA: subir hasta Nuit y perderse, vaciando el ser en el abismo infinito, y solo con las alas de la que habla.

«One of them is: Sub umbra alarum tuarum Adonai quies et felicitas. And another: Summum bonum, vera sapientia, magnanima vita, sub noctis nocte sunt. And another is: Vera medicina est vinum mortis. And another is: Libertas evangelii per jugum legis ob gloriam dei intactam ad vacuum nequaquam tendit. And another is: Sub aquâ lex terrarum. And another is: Mens edax rerum, cor umbra rerum; intelligentia via summa. And another is: Summa via lucis: per Hephaestum undas regas. And another is: Vir introit tumulum regis, invenit oleum lucis.» — en NIA las serpientes de llama azul toman forma de sentencias latinas, que el vidente transcribe una por una sin traducirlas.

«And all round the whole of these things are the letters TARO; but the light is so dreadful that I cannot read the words. I am going to try again. All these serpents are collected together very thickly at the edges of the wheel, because there are an innumerable number of sentences. One is: tres annos regimen oraculi. And another is: terribilis ardet rex }wylo. And another is: Ter amb (amp?) (can't see it) rosam oleo (?). And another is: Tribus annulis regna olisbon. And the marvel is that with those four letters you can get a complete set of rules for doing everything, both for white magic and black.» — el vidente de NIA declara que las sentencias giran alrededor de las cuatro letras TARO y que con ellas se obtiene un juego completo de reglas para todo, tanto de magia blanca como negra; también declara que la luz le impide leerlas.

«And now I see the heart of the rose again. I see the face of him that is the heart of the rose, and in the glory of that face I am ended. My eyes are fixed upon his eyes; my being is sucked up through my eyes into those eyes. And I see through those eyes, and lo! the universe, like whirling sparks of gold, blown like a tempest. I seem to swell out again into him. My consciousness fills the whole Æthyr. I hear the cry NIA, ringing again and again from within me. It sounds like infinite music, and behind the sound is the meaning of the Æthyr. Again there are no words.» — el vidente de NIA describe la identificación con lo visto: mirado por los ojos del que es el corazón de la rosa, su consciencia llena el Æthyr y oye el grito NIA sonando desde dentro de sí.

«For if the great work were accomplished and all the Æthyrs were caught up into one, then would the vision fail; then would the voice be still.» — el vidente enuncia en NIA la condición que sostiene la obra entera: si la gran obra se cumpliera y los Æthyrs se recogieran en uno, fallaría la visión y callaría la voz.

«Behold the mystery of toil, O thou who art taken in the toils of mystery. For I who trample the earth thereby make whirlpools in the air; be comforted, therefore, for though I be black, in the roof of my mouth is the sign of the Beetle. Bent are the backs of my brethren, yet shall they gore the lion with their horns. Have I not the wings of the eagle, and the face of the man?» — abre el 23.º Æthyr, TOR, y el toro negro se presenta con un juego de palabras entre el trabajo y la trampa, y reclama para sí el signo del Escarabajo, las alas del águila y el rostro del hombre.

«And he sayeth: The spade of the husbandman is the sceptre of the king. All the heavens beneath me, they serve me. They are my fields and my gardens and my orchards and my pastures.» — el toro alado de TOR equipara la azada del labrador con el cetro del rey, y declara suyos los cielos como campos y huertos.

«Thou art an egg of blackness, and a worm of poison. But thou hast formulated thy father, and made fertile thy mother.» — la doxología de TOR alaba por los atributos venenosos: huevo de negrura y gusano de ponzoña, basilisco y cocatriz, y a la vez el que formuló a su padre y fecundó a su madre.

«Also, though I be planted so firmly upon the earth, yet is my blood wine and my breath fire of madness. With these wings, though they be but little, I lift myself above the crown of the yod, and being without fins I yet swim in the inviolate fountain.» — el toro de TOR dice su contradicción como atributo: plantado firmemente en la tierra y a la vez con sangre de vino y aliento de locura, con alas pequeñas que lo levantan sobre la corona del yod y sin aletas nadando en la fuente inviolada.

«At the end of labour is the power of labour. And in my stability is concentrated eternal change.» — el toro de TOR formula su propia estabilidad como cambio concentrado, y no como lo contrario del cambio.

«For the whirlings of the universe are but the course of the blood in my heart. And the unspeakable variety thereof is but my divers hairs, and plumes, and gems in my tall crown. The change which ye lament is the life of my rejoicing, and the sorrow that blackeneth your hearts is the myriad deaths by which I am renewed. And the instability which maketh ye to fear, is the little waverings of balance by which I am assured.» — el toro de TOR reinterpreta como suyo lo que al que mira le duele: el cambio que se lamenta es su vida, las muertes por las que se renueva, y la inestabilidad que da miedo son las pequeñas oscilaciones de su balanza.

«These are intended to show symbolically that the Bull is the same as the Eagle.» — nota al pie sobre las dos mujeres que se funden en TOR: el comentador les asigna la función de mostrar simbólicamente que el Toro y el Águila son lo mismo.

«And he cries: All my strength and stability are turned to the use of flight. For though my wings are of fine gold, yet my heart is the heart of a scorpion.» — el águila coronada de TOR invierte lo que dijo el toro: toda su fuerza y estabilidad vuelta vuelo, con alas de oro fino y corazón de escorpión.

«All my unity is dissolved; I live in the tips of my feathers. That which I think to be myself is but infinite number.» — el águila de TOR declara disuelta su unidad y se dice número infinito, no persona.

«Glory unto the Rose and the Cross, for the Cross is extended unto the uttermost end beyond space and time and being and knowledge and delight! Glory unto the Rose that is the minute point of its center! Even as we say; glory unto the Rose that is Nuit the circumference of all, and glory unto the Cross that is the heart of the Rose!» — el águila de TOR reparte la doxología entre la Cruz extendida hasta más allá del espacio y del tiempo y la Rosa que es su punto mínimo, y luego identifica la Rosa con Nuit como circunferencia de todo.

«Therefore do I cry aloud, and my scream is the treble as the bellowing of the bull is the bass. Peace in the highest and peace in the lowest and peace in the midst thereof! Peace in the eight quarters, peace in the ten points of the Pentagram! Peace in the twelve rays of the seal of Solomon, and peace in the four and thirty whirlings of the hammer of Thor!» — el águila de TOR ordena la paz por cifras de los símbolos —ocho cuartos, diez puntas del pentagrama, doce rayos del sello de Salomón, treinta y cuatro giros del martillo de Thor— y pone su grito como tiple contra el bramido del toro como bajo.

«and I perceive that each letter of the tablet is composed of forty-nine other letters, in a language which looks like that of Honorius; but when I would read, the letter that I look at becomes indistinct at once.» — abre el 22.º Æthyr, LIN, con la tabla de cuarenta y nueve casillas: el vidente ve que cada letra se compone de otras cuarenta y nueve en una lengua que compara con la de Honorio, y declara que al intentar leerla se le borra.

«I cannot tell you how wonderful the music is, but it is so wonderful that one only lives in one’s ears; one cannot see anything any more.» — acotación del vidente en LIN sobre el límite de los sentidos: la flauta de los siete metales santos lo deja viviendo solo en los oídos, sin poder ver.

«(I can't describe these things at all. Dew doesn't represent what I mean in the least. For instance, these drops of dew are enormous globes, shining like the full moon, only perfectly transparent, as well as perfectly luminous.)» — acotación del vidente en LIN, entre paréntesis, que declara fallida su propia palabra: el rocío que ha escrito no representa lo que quiere decir.

«And now he shows the tablet again, and he says: As there are 49 letters in the tablet, so are there 49 kinds of cosmos in every thought of God. And there are 49 interpretations of every cosmos, and each interpretation is manifested in 49 ways. Thus also are the calls 49, but to each call there are 49 visions. And each vision» — el ángel de LIN despliega el sistema por potencias de cuarenta y nueve: cuarenta y nueve clases de cosmos en cada pensamiento de Dios, otras tantas interpretaciones de cada cosmos y otras tantas maneras de manifestarse cada una. El tramo se corta en el cambio de plana y sigue con *is composed of 49 elements*.

«is composed of 49 elements, except in the 10th Æthyr, that is accursèd, and that hath 42.» — continuación de esa cuenta de LIN, ya en la plana siguiente: la excepción del sistema es el 10.º Æthyr, que se declara maldito y lleva cuarenta y dos elementos en vez de cuarenta y nueve.

«All the seven senses are transmuted into one sense, and that sense is dissolved in itself . . . (Here occurs Samadhi.) . . . Let me speak, O God; let me declare it . . . all. It is useless; my heart faints, my breath stops. There is no link between me and P» — el vidente de LIN registra el punto en que la experiencia excede a la palabra, y lo consigna con una acotación entre paréntesis en vez de describirlo: declara roto el enlace consigo mismo y se retira.

«My arms were out in the form of a cross, and that Cross was extended, blazing with light into infinity. I myself am the minutest point in it. This is the birth of form.» — el vidente de LIN encadena tres nacimientos: la cruz extendida al infinito con él por punto mínimo es el nacimiento de la forma.

«I am encircled by an immense sphere of many-coloured bands; it seems it is the sphere of the Sephiroth projected in the three dimensions. This is the birth of death.» — segundo de los tres de LIN: la esfera de las sefirot proyectada en tres dimensiones es el nacimiento de la muerte.

«Now in the centre within me is a glowing sun. That is the birth of hell.» — tercero de los tres de LIN: el sol encendido en el centro de sí es el nacimiento del infierno.

«It is the letter I in this Æthyr that gives this vision, and L is its purity, and N is its energy.» — el vidente de LIN reparte la visión entre las letras del sistema enoquiano: la I la da, la L es su pureza y la N su energía.

«Now everything is confused, for I invoked the Mind, that is disruption. Every Adept who beholds this vision is corrupted» — el vidente de LIN adjudica la confusión a un acto propio: invocó la Mente, que es disrupción. El tramo se corta en el cambio de plana y sigue con *by mind*.

«by mind. Yet it is by virtue of mind that he endures it, and passes on, if so be that he pass on. Yet there is nothing higher than this, for it is perfectly balanced in itself.» — continuación en la plana siguiente: en LIN la mente es a la vez lo que corrompe al adepto que ve y lo que le permite resistirlo y pasar adelante, si pasa.

«I cannot read a word of the holy Table, for the letters of the Table are all wrong. They are only the shadows of shadows.» — el vidente de LIN declara ilegible la Tabla santa y dice por qué: sus letras están todas mal, y son sombras de sombras.

«The true word for light hath seven letters. They are the same as ARARITA, transmuted.» — el vidente de LIN cifra la palabra verdadera de la luz en siete letras y la empareja con un nombre cabalístico transmutado.

«There is a voice in this Æthyr, but it cannot be spoken. The only way one can represent it is as a ceaseless thundering of the word Amen. It is not a repetition of Amen, because there is no time. It is one Amen continuous.» — el vidente de LIN describe la voz que no se puede decir: la única representación posible es un tronar incesante de la palabra Amén, que no es repetición porque allí no hay tiempo.

«Shall mine eye fade before thy glory? I am the eye. That is why the eye is seventy. You can never understand why, except in this vision.» — el vidente de LIN empareja el ojo con la cifra setenta y declara que el porqué solo se entiende dentro de la visión, no fuera.

«and I am lying in the Pastos of our Father Christian Rosenkreutz, beneath the Table in the Vault of seven sides.» — el vidente de LIN sitúa el cierre de la visión en el escenario rosacruz: tendido en el Pastos bajo la Tabla, dentro de la Bóveda de siete lados.

«The voice of the Crowned Child, the Speech of the Babe that is hidden in the egg of blue. (Before me is the flaming Rosy Cross.) I have opened mine eye, and the universe is dissolved before me, for force is mine upper eye-lid and matter is my lower eye-lid. I gaze into the seven spaces, and there is naught.» — habla en LIN el Niño Coronado y describe su propio ver por una anatomía del párpado: la fuerza es el superior y la materia el inferior, y al abrir el ojo el universo se disuelve.

«I have gone forth to war, and I have slain him that sat upon the sea, crowned with the winds. I put forth my power and he was broken. I withdrew my power and he was ground into fine dust.» — el Niño Coronado de LIN narra su guerra y la victoria sobre el que estaba sentado sobre el mar coronado de vientos, en dos tiempos: al desplegar su poder lo quebró y al retirarlo lo molió.

«And now the table comes rushing back. It covers the whole stone, but this time it pushes me before it, and a terrible voice cries: Begone! Thou hast profaned the mystery; thou hast eaten of the shew-bread; thou hast spilt the consecrated wine!» — en LIN la Tabla expulsa al vidente y una voz terrible le imputa la profanación con imágenes de sacrilegio ritual: haber comido el pan de la proposición y derramado el vino consagrado.

«For though thou art joined to the inmost mystery of the heaven, thou must accomplish the sevenfold task of the earth, even as thou sawest the Angels from the greatest unto the least. And of all this shalt thou take back with thee but a little part, for the sense shall be darkened, and the shrine re-veiled.» — la voz que expulsa en LIN le impone al vidente la tarea séptuple de la tierra pese a estar unido al misterio del cielo, y le anuncia que de todo aquello se llevará solo una parte pequeña.

«Yet know this for thy reproof, and for the stirring up of discontent in them whose swords are of lath, that in every word of this vision is concealed the key of many mysteries, even of being, and of knowledge, and of bliss; of will, of courage, of wisdom, and of silence, and of that which, being all these, is greater than all these.» — la misma voz de LIN declara que en cada palabra de la visión se esconde la clave de muchos misterios, y lo dice a la vez como reproche al vidente y como provocación a los de espada de listón.

«With that, I suddenly see the world as it is, and I am very sorrowful.» — cierre de LIN en boca del vidente: ver el mundo como es lo deja muy triste. La frase está al final de la visión, no dentro de ella.

«(Note.—You do not come back in any way dazed; it is like going from one room into another. Regained normal consciousness completely and immediately.)» — nota del registro tras LIN, en segunda persona y sobre el método: no se vuelve aturdido, y el paso es como ir de un cuarto a otro. El troceo parte la palabra en *con- sciousness* al final del renglón.

«A mighty wind rolls through all the Æthyr; there is a sense of absolute emptiness; no colour, no form, no substance. Only now and then there seem as it were, the shadows of great angels, swept along. No sound; there is something very remorseless about the wind, passionless, that is very terrible. In a way, it is nerveshaking. It seems as if something kept on trying to open behind the wind, and just as it is about to open, the effort is exhausted. The wind is not cold or hot; there is no sense of any kind connected with it. One does not even feel it, for one is standing in front of it.» — abre el 21.º Æthyr, ASP, y el vidente describe un viento sin color ni forma ni sustancia, del que subraya que no se siente porque uno está de pie delante de él. El troceo parte *nerve-shaking* al final del renglón y el extractor lo devuelve unido, *nerveshaking*: la restitución es lectura propuesta y no está dentro de las comillas.

«He is trying to make me understand by putting tastes in my mouth, very rapidly one after the other. Salt, honey, sugar, assafoetida, bitumen, honey again, some taste that I don't know at all; garlic, something very bitter like nux vomica, another taste, still more bitter; lemon, cloves, rose-leaves, honey again; the juice of some plant, like a dandelion, I think; honey again, salt, a taste something like phosphorus, honey, laurel, a very unpleasant taste which I don't know, coffee, then a burning taste, then a sour taste that I don't know. All these tastes issue from his eyes; he signals them.» — en ASP el que está en el trono se hace entender por sabores, y el vidente los transcribe en su orden sin interpretarlos: sal, miel, azúcar, asafétida, betún, y varios que declara no reconocer.

«I told him that I could not understand his taste-language, so instead he set up a humming very much like a big electric plant with dynamos going.» — el vidente de ASP declara el fracaso de esa lengua de sabores, y el del trono la cambia por un zumbido que compara con una planta eléctrica.

«I am he who was before the beginning, and in my desolation I cried aloud, saying, let me behold my countenance in the concave of the abyss. And I beheld, and lo! in the darkness of the abyss my countenance was black, and empty, and distorted, that was (once) invisible and pure.» — en ASP habla por fin el invisible del trono y cuenta su propio origen: pidió ver su rostro en lo cóncavo del abismo y lo halló negro, vacío y distorsionado.

«Then I closed mine eye, that I might not behold it, and for this was it fixed. Now it is written that one glance of mine eye shall destroy it. And mine eye I dare not open, because of the foulness of the vision.» — el del trono de ASP explica por qué mantiene cerrado el ojo cuya sola mirada destruiría aquel rostro, y por qué mira en cambio con los otros dos a lo largo del eón.

«(He was behind the table for a very long time. O.V.)» — acotación del escriba dentro del registro de LIN, firmada con sus iniciales: es el otro que asiste la operación y mide desde fuera el tiempo que el vidente pasó ausente.

«Behold! where are now the darkness and the terror and the lamentation? For ye are born into the new Æon; ye shall not» — el Niño Coronado de LIN declara nacidos a los que oyen en el eón nuevo. El tramo se corta en el cambio de plana y sigue con *suffer death*.

«suffer death. Bind up your girdles of gold! Wreathe yourselves with garlands of my unfading flowers! In the nights we will dance together, and in the morning we will go forth to war; for, as my Father liveth that was dead, so do I live and shall never die.» — continuación en la plana siguiente: el Niño Coronado de LIN reparte el tiempo entre danza de noche y guerra de mañana, y funda su propia vida perpetua en la del Padre que vivía estando muerto.

«Is there not one of all my adepts that shall come unto me, and cut off mine eyelids, that I may behold and destroy?» — el del trono de ASP pide a sus adeptos lo contrario de lo que se pide a un dios: que alguien venga a cortarle los párpados para poder mirar y destruir.

«Now I take a dagger, and, searching out his third eye, seek to cut off the eye-lids, but they are of adamant. And the edge of the dagger is turned.» — el vidente de ASP intenta ejecutar esa petición con una daga y fracasa: los párpados son de adamante y el filo se mella.

«So it hath been ever: so must it ever be! Though thou hast the strength of five bulls, thou shalt not avail in this.» — la voz de ASP declara ese fracaso como perpetuo y no como accidente: ni con la fuerza de cinco toros se logra.

«But the dagger of penance thou shalt temper seven times, afflicting the seven courses of thy soul. And thou shalt sharpen its edge seven times by the seven ordeals.» — el del trono de ASP contesta que no sabe quién lo logrará, y prescribe en su lugar un método: templar siete veces la daga de la penitencia afligiendo los siete cursos del alma.

«(One keeps on looking round to try to find something else because of the terror of it. But nothing changes at all. Nothing but the empty throne, and the eyes, and the avenue of pillars!)» — acotación del vidente en ASP sobre su propia reacción: busca alrededor otra cosa por terror, y nada cambia.

«He speaks; I cannot hear a word; something about the Book of the Law. The answer is written in the Book of the Law, or something of that sort.» — en ASP el vidente declara no oír la respuesta y remite lo que alcanza a captar al Libro de la Ley. Es un registro de la falla de la percepción, no una doctrina.

«From me pour down the fires of life and increase continually upon the earth. From me flow down the rivers of water and oil and wine. From me cometh forth the wind that beareth the seed of trees and flowers and fruits and all herbs upon its bosom. From me cometh forth the earth in her unspeakable variety. Yea! all cometh from me, naught cometh to me. Therefore am I lonely and horrible upon this unprofitable throne. Only those who accept nothing from me can bring anything to me.» — el del trono de ASP describe su posición como pura emanación sin retorno —fuegos, ríos, viento, tierra—, y de ahí deduce su soledad y la condición que la rompería: solo pueden traerle algo los que no aceptan nada de él.

«And I say to him: It was written that his name is Silence, but thou speakest continually. And he answers: Nay, the muttering that thou hearest is not my voice. It is the voice of the ape.» — el vidente de ASP le objeta la contradicción entre el nombre Silencio y el hablar continuo, y la respuesta desplaza la voz: el mascullar no es suya, es la voz del mono.

«(When I say that he answers, it means that it is the same voice. The being on the throne has not uttered a word.)» — acotación del vidente en ASP que deshace su propio verbo: el que responde es siempre la misma voz, y el del trono no ha dicho una palabra.

«I say: O thou ape that speakest for Him whose name is Silence, how shall I know that thou speakest truly His thought? And the muttering continues: Nor speaketh He nor thinketh, so that which I say is true, because I lie in speaking His thoughts.» — en ASP el mono contesta a la pregunta por su fiabilidad con una paradoja: como Aquel ni habla ni piensa, lo que el mono dice es verdad precisamente porque miente al decir Sus pensamientos.

«I find that I was wrong in suggesting that a Master of the Temple had a right to enter the temple of a Magus or an Ipsissimus. On the contrary, the rule that holds below, holds also above. The higher you go, the greater is the distance from one grade to another.» — el vidente de ASP enmienda por escrito una afirmación suya anterior sobre los grados: la regla de abajo vale también arriba, y cuanto más alto, mayor la distancia entre un grado y el siguiente.

«Go thou forth into the world, O thrice and four times blessed who hast gazed upon the horror of the loneliness of The First. No man shall look upon his face and live. And thou hast seen his eyes, and understood his heart, for the voice of the ape is the pulse of his heart and the labouring of his breast.» — el ángel que rescata al vidente en ASP le declara el sentido de lo visto: nadie mira el rostro del Primero y vive, pero él ha visto sus ojos y entendido su corazón, porque la voz del mono es el pulso de ese corazón.

«Go, therefore, and rejoice, for thou art the prophet of the Æon arising, wherein He is not. Give thou praise unto thy lady Nuit, and unto her lord Hadit, that are for thee and thy bride, and the winners of the ordeal X.» — el ángel de ASP le adjudica al vidente el oficio de profeta del eón que surge, y describe ese eón por una ausencia: aquel en que el del trono no está.

«This night I took the shew-stone to my breast to sleep, and immediately a Dhyana arose of the sun, seen more clearly afterwards as the Star. Exceeding was its brilliance.» — nota al pie al cierre de ASP, en primera persona: quien anota dice haber dormido con la piedra en el pecho y haber tenido enseguida un dhyana del sol, visto después con más claridad como la Estrella.

«This one wheel is forty-nine wheels, set at different angles, so that they compose a sphere; each wheel has forty-nine spokes, and has forty-nine concentric tyres at equal distances from the centre. And wherever the rays from any two wheels meet, there is a blinding flash of glory.» — abre el 20.º Æthyr, KHR, y el vidente describe la rueda con la misma aritmética de cuarenta y nueve del Æthyr 22.º: cuarenta y nueve ruedas en ángulos distintos que componen una esfera, con otros tantos radios y llantas cada una.

«It seems that the hand is spinning the wheel merely for pleasure, it would be better to say amusement.» — el vidente de KHR subraya lo que falta en la visión: pese a la magnitud, no hay seriedad ni solemnidad, y la mano gira la rueda por diversión.

«A voice comes: For he is a jocund and a ruddy god, and his laughter is the vibration of all that exists, and the earthquakes of the soul.» — la voz de KHR dice lo mismo: el dios es jocundo y rubicundo, y su risa es la vibración de cuanto existe.

«Now I see the figures on the wheel, which have been interpreted as the sworded Sphinx, Hermanubis and Typhon. And that is wrong.» — el vidente de KHR objeta la interpretación recibida de las figuras de la rueda del tarot y dice que es errónea; en su lugar ve el Cordero y el Estandarte, un lobo y un cuervo. El troceo parte la palabra en *inter- preted* al final del renglón.

«It speaks: I am the greatest of the deceivers, for my purity and innocence shall seduce the pure and innocent, who but for me should come to the centre of the wheel. The wolf betrayeth only the greedy and the treacherous; the raven betrayeth only the melancholy and the dishonest. But I am he of whom it is written: He shall deceive the very elect.» — en KHR habla el Cordero y el Estandarte y se declara el mayor de los engañadores por su misma pureza: el lobo solo traiciona a los codiciosos y el cuervo a los melancólicos, mientras que él engañaría a los mismos elegidos.

«For in the beginning the Father of all called forth lying spirits that they might sift the creatures of the earth in three sieves, according to the three impure souls. And he chose the wolf for the lust of the flesh, and the raven for the lust of the mind; but me did he choose above all to simulate the pure prompting of the soul.» — el Cordero de KHR da la genealogía de los tres: el Padre de todos llamó espíritus de mentira para cribar a las criaturas por las tres almas impuras, el lobo para la carne, el cuervo para la mente y él para simular el impulso puro del alma.

«Therefore is my flag white, because I have left nothing upon the earth alive. I have feasted myself on the blood of the saints, but I am not suspected of men to be their enemy, for my fleece is white and warm, and my teeth are not the teeth of one that teareth flesh;» — el Cordero de KHR explica el color de su estandarte por el resultado de su obra, y su impunidad por su aspecto: vellón blanco y cálido, ojos mansos y dientes que no desgarran.

«(His attribution is salt; the wolf mercury, and the raven sulphur.)» — acotación que empareja las tres figuras de KHR con los tres principios de la alquimia: sal el cordero, mercurio el lobo y azufre el cuervo.

«I am caught up into the wheel. I am one with the wheel. I am greater than the wheel. In the midst of a myriad lightnings I stand, and I behold his face.» — el vidente de KHR describe la identificación por grados: arrebatado a la rueda, uno con ella y mayor que ella, hasta ver el rostro.

«I who speak to you, see what I tell you; but I, who see him, cannot communicate it to me, who speak to you.» — el vidente de KHR consigna la confusión de personas que le impide transmitir lo visto: el que ve y el que habla no son el mismo, y no se comunican.

«If one could gaze upon the sun at noon, that might be like the substance of him. But the light is without heat. It is the vision of Ut in the Upanishads. And from this vision have come all the legends of Bacchus and Krishna and Adonis.» — el vidente de KHR compara lo visto con el sol de mediodía pero sin calor, lo identifica con una visión de las Upanishads y hace derivar de ahí las leyendas de Baco, Krishna y Adonis.

«And now it is the dance of Shiva. I lie beneath his feet, his saint, his victim. My form is the form of the God Phtah, in my essence, but the form of the god Seb in my form. And this is the reason of existence, that in this dance which is delight, there must needs be both the god and the adept.» — el vidente de KHR se pone bajo los pies de Shiva como santo y como víctima, y de esa danza deduce la razón de que haya existencia: hacen falta el dios y el adepto.

«And I said to him: O thou that art the first countenance before time; thou of whom it is written that “He, God, is one; He is the eternal one, without equal, son or companion. Nothing shall stand before His face”; all we have heard of thine infinite» — el vidente de ASP interpela al invisible del trono citando lo que está escrito de él. El tramo se corta en el cambio de plana y sigue con *glory and holiness*.

«glory and holiness, of thy beauty and majesty, and behold! there is nothing but this abomination of desolation.» — continuación en la plana siguiente: el vidente de ASP pone la gloria, la santidad, la hermosura y la majestad anunciadas frente a lo que en efecto ve.

«because I cannot give the sign. I have given all the signs I know and am entitled to, and I have tried to give the sign that I know and am not entitled to, but have not the necessary appurtenance; and even if I had, it would be useless; for there are two more signs necessary.» — continuación en la plana siguiente: el vidente de ASP declara haber dado todos los signos a que tiene derecho y aun el que no le corresponde, y que aun así faltarían dos.

«and the eyes of him that sitteth upon the throne are no more visible. I seek to go up close to the throne, and I am pushed back,» — cierre de ASP: se apagan las campanas, el zumbido y el silencio uno tras otro, los ojos del que está en el trono dejan de verse, y al vidente que intenta acercarse lo empujan atrás. El tramo se corta en el cambio de plana y la razón sigue en la siguiente.

«This vision is not perfect. I am only in the outer court of the vision, because I have undertaken it in the service of the Holy One, and must retain sense and speech. No recorded vision is perfect, of high visions, for the seer must keep either his physical organs or his memory in working order. And neither is capable. There is no bridge.» — el vidente de KHR enuncia el límite estructural de todo el volumen: ninguna visión registrada es perfecta, porque el que ve tiene que conservar en orden o los órganos físicos o la memoria, y ninguna de las dos cosas alcanza.

«One can only be conscious of one thing at a time, and as the consciousness moves nearer to the vision, it loses control of the physical and mental. Even so, the body and the mind must be very perfect before anything can be done, or the» — sigue el mismo pasaje de KHR: a medida que la consciencia se acerca a la visión pierde el control de lo físico y de lo mental. El tramo se corta en el hueco de las dos láminas del alfabeto enoquiano, y continúa en la plana 41.

«Worship in the body the things of the body; worship in the mind the things of the mind; worship in the spirit the things of the spirit.» — abre el 19.º Æthyr, POP, y el vidente lee una inscripción en un alfabeto cuyas letras son dagas: la regla reparte el culto por plano, cuerpo con cuerpo, mente con mente y espíritu con espíritu.

«(This holy alphabet must be written by sinners, that is, by those who are impure.) “Impure” means those whose every thought is followed by another thought, or who confuse the higher with the lower, the substance with the shadow. Every Æthyr is truth, though it be but a shadow, for the shadow of a man is not the shadow of an ape.» — el registro de POP define lo impuro no por moral sino por confusión: impuro es aquel a quien un pensamiento le sigue a otro, o que confunde lo alto con lo bajo. Y sostiene que todo Æthyr es verdad aunque sea sombra.

«(Note.—All this has come to me without voice, without vision, without thought.)» — acotación del vidente en POP sobre el canal por el que le llega lo anterior: sin voz, sin visión y sin pensamiento.

«(The shew-stone is pressed upon my forehead and causes intense pain; as I go on from Æthyr to Æthyr, it seems more difficult to open the Æthyr.)» — acotación del vidente en POP sobre el coste material de la práctica: la piedra le hace daño en la frente y cada Æthyr sucesivo cuesta más abrir.

«It is not given to flesh and blood to unveil the mysteries of the Æthyr, for therein are the chariots of fire. and the tumult of the horsemen; whoso entereth here may never look on life again with equal eyes.» — en POP el viejo que sale por la puertecilla, comparado con el Ermitaño del tarot, le niega la entrada al vidente y da la razón: quien entra no vuelve a mirar la vida con los mismos ojos. El vidente insiste.

«No; that is all wrong, for this is not a battle between two forces, but a mélée in which each warrior fights for himself against all the others. I cannot see one who has even one ally. And the least fortunate, who fall soonest, are those in the chariots. For as soon as they are engaged in fighting, their own charioteers stab them in the back.» — el vidente de POP enmienda su propia descripción de la batalla: no son dos bandos sino una pelea de todos contra todos, y los peor parados son los de los carros, porque sus propios aurigas los apuñalan por la espalda.

«And in the midst of the battlefield there is a great tree, like a chinar-tree. Yet it bears fruits. And now all the warriors are dead, and they are the ripe fruits that are fallen—the ground is covered with them.» — en POP los guerreros muertos son los frutos maduros caídos del árbol del centro del campo, y una risa al oído derecho del vidente lo nombra árbol de la vida.

«The letters I.H.S. mean In Homini Salus and Instar Hominis Summus, and Imago Hominis deuS. And there are many, many other meanings, but they all imply this one thing; that nothing is of any importance but man; there is no hope or help but in man.» — el registro de POP lee el monograma cristiano con tres desarrollos latinos propios y saca de todos ellos la misma consecuencia: nada importa sino el hombre, y no hay esperanza ni ayuda fuera del hombre.

«And she says: Sweet are my kisses, O wayfarer that wanderest from star to star. Sweet are my kisses, O householder that weariest within four walls. Thou art pent within thy brain, and my shaft pierceth it, and thou art free.» — el ángel de POP describe su oficio como liberación por herida: el hombre está encerrado en su cerebro y la saeta de ella lo atraviesa.

«For though I am the Angel of the fourteenth key, I am also the Angel of the eighth key. And from the love of these two have I come, who am the warden of Popé and the servant of them that dwell therein.» — el ángel de POP se declara nacido del amor de dos arcanos, el catorce y el ocho, y por eso guardián de ese Æthyr y sierva de los que lo habitan.

«I am the Angel of the moon. I am the veiled one that sitteth between the pillars veiled with a shining veil, and on my lap is the open Book of the mysteries of the ineffable light. I am the aspiration unto the higher; I am the love of the unknown. I am the blind ache within the heart of man. I am the minister of the sacrament of pain. I swing the censer of worship, and I sprinkle the waters of purification. I am the daughter of the house of the invisible. I am the Priestess of the Silver Star.» — el ángel de POP se enumera a sí misma en una serie de oficios que van del anhelo y el amor de lo desconocido al ministerio del sacramento del dolor, y cierra nombrándose Sacerdotisa de la Estrella de Plata.

«And I look down upon the open Book of the mysteries, and it is open at the page on which is the Holy Table with the twelve squares in the midst. It radiates a blaze of light, too dazzling to make out the characters, and a voice says: Non haec piscis omnium.» — en POP el Libro abierto muestra la Tabla Santa de las doce casillas, ilegible por el resplandor, y una voz pronuncia una sentencia latina sobre ella.

«is only connected with Christianity because it was a hieroglyph of syphilis, which the Romans supposed to have been brought from Syria; and it seems to have been confounded with leprosy, which also they thought was caused by fish-eating.» — el registro de POP objeta la lectura recibida del símbolo griego del pez y propone otra: que su vínculo con el cristianismo viene de haber sido jeroglífico de una enfermedad que los romanos creían traída de Siria.

«As to the Holy Table itself, I cannot see it for the blaze of light; but I am given to understand that it appears in another Æthyr, of which it forms practically the whole content. And I am bidden to study the Holy Table very intently so as to be able to concentrate on it when it appears.» — el vidente de POP declara no poder ver la Tabla Santa por el resplandor y recibe la instrucción de estudiarla, porque volverá a aparecer en otro Æthyr como contenido casi único.

«I have grown greater, so that I am as great as the Angel. And we are standing, as if crucified, face to face, our hands and lips and breasts and knees and feet together, and her eyes pierce into my eyes like whirling shafts of steel, so that I fall backwards headlong through the Æthyr—and there is a sudden and tremendous shout, absolutely stunning, cold and brutal: Osiris was a black god!» — cierre de POP: el vidente y el ángel quedan frente a frente como crucificados, y de la caída sale un grito que el registro transcribe como sentencia sobre un dios.

«The Doctrine implied is that one must not be the child, but the Mother.» — nota al pie del comentador a ese grito de POP: le adjudica una doctrina implícita sobre qué papel tomar, el de la Madre y no el del hijo.

«A Voice comes before any vision: Accursed are they who enter herein if they have nails, for they shall be pierced therewith; or if they have thorns, for they shall be crowned withal; or if they have whips, for with whips they shall be scourged: or if they bear wine, for their wine shall be turned to bitterness; or if they have a spear, for with a spear shall they be pierced unto the heart. And the nails are desires, of which there are three; the desire of light, the desire of life, the desire of love.» — abre el 18.º Æthyr, ZEN, y la voz previa a toda visión maldice al que entra con clavos, espinas, látigos, vino o lanza, y luego traduce los clavos: son tres deseos, el de la luz, el de la vida y el de el amor.

«(And the thorns are thoughts, and the whips are regrets, and the wine is ease, or perhaps unsteadiness, especially in ecstasy, and the spear is attachment.)» — acotación del registro de ZEN que completa la traducción de los instrumentos de la pasión: espinas por pensamientos, látigos por arrepentimientos, vino por comodidad y lanza por apego.

«And an angel cometh forth, and saith: Be wary, for if thou change so much as the style of a letter, the holy word is blasphemed. But enter into the mountain of the Caverns, for that this (how much more then that Calvary which mocks it, as his ape mocks Thoth?) is but the empty shell of the mystery of ZEN.» — el ángel de ZEN prohíbe alterar hasta el trazo de una letra y descalifica la escena de la crucifixión que acaba de verse como cáscara vacía del misterio, y de paso al Calvario como remedo de ella.

«Verily, I say unto thee, many are the adepts that have looked upon the back parts of my father, and cried, “our eyes fail before the glory of thy countenance.”» — el ángel de ZEN mide lo alcanzado por los adeptos: muchos han mirado solo las partes traseras de su padre y aun así se les han desfallecido los ojos.

«And behold! whirling columns of fiery light, seventy-two. Upon them is supported a mountain of pure crystal. The mountain is a cone, the angle of the apex being sixty degrees. And within the crystal is a pyramid of ruby, like unto the Great Pyramid of Gizeh.» — el ángel de ZEN rasga el velo y el vidente describe la arquitectura que aparece por cifras exactas: setenta y dos columnas, un cono de cristal de sesenta grados en el vértice y dentro una pirámide de rubí.

«I am entered in by the little door thereof, and I am come into the chamber of the king, which is fashioned like unto the vault of the adepts, or rather it is fitting to say that the vault of the adepts is a vile imitation of it.» — el vidente de ZEN invierte la relación entre el modelo y la copia: la bóveda de los adeptos es imitación vil de la cámara del rey, y no al revés.

«Light streams from every side upon the pastos. This light is that blue of Horus which we know, but being refined it is brilliance. For the light of Horus only appears blue because of the imperfection of our eyes.» — el vidente de ZEN adjudica a un defecto del ojo el color del que había hablado: la luz de Horus solo parece azul por la imperfección de la vista.

«(But shut me the window up, hide me from the sun. Oh, shut the window!)» — petición del vidente al cerrar KHR, dicha desde dentro del trance y dirigida a los que lo asisten en el cuarto; la nota al pie de esa misma plana la contesta en tres palabras y va firmada con las iniciales del escriba, la única nota del volumen que no es del comentador.

«Blessed art thou who hast beheld Sebek my Lord in his glory. Many are the» — el ángel de POP bendice al vidente por haber contemplado a Sebek en su gloria. El tramo se corta en el cambio de plana y sigue con *champions of life*.

«champions of life, but all are unhorsed by the lance of death. Many are the children of the light, but their eyes shall all be put out by the Mother Darkness. Many are the servants of love, but love (that is not quenched by aught but love) shall be put out, as the child taketh the wick of a taper between his thumb and finger, by the god that sitteth alone.» — continuación en la plana siguiente: el ángel de POP ordena tres derrotas paralelas —los campeones de la vida descabalgados por la lanza de la muerte, los hijos de la luz cegados por la Madre Tiniebla y los siervos del amor apagados por el dios que está solo—, y apaga el amor con el gesto del niño que pellizca la mecha.

«which with the roof and the floor and the chamber itself makes seven. So also is the pastos seven, for that which is within is like unto that which is without. And there is no furniture, and there are no symbols.» — el vidente de ZEN cuenta los siete de la cámara del rey: la cuenta da siete —cuatro lados, techo, suelo y la cámara misma—, el pastos es siete por la misma razón, y el vidente subraya que allí no hay mobiliario ni símbolos.

«But though the light pours from the pastos, yet the pastos remains perfectly dark, so that it is invisible. It hath no form: only, at a certain point in the chamber, the light is beaten back.» — el vidente de ZEN describe la paradoja del pastos: aunque la luz mana de él, él mismo permanece oscuro e invisible, y solo se delata en el punto de la cámara donde la luz es rechazada.

«I lie prostate upon the ground before this mystery. Its splendour is impossible to describe. I can only say that its splendour is so great that my heart stops with the terror and the wonder and the rapture of it. I am almost mad. A million insane images chase each other through my brain.» — el vidente de ZEN registra el efecto en sí mismo: el corazón se le para de terror, de asombro y de arrobo, y se declara casi loco. El troceo imprime *prostate* por prostrate.

«A voice comes: (it is my own voice—I did not know it). “When thou shalt know me, O thou empty God, my little flame shall utterly expire in thy great N.O.X.”» — en ZEN el vidente descubre que la voz que habla es la suya propia y no la reconocía; lo que esa voz dice es la extinción de la llama pequeña en la gran noche del dios vacío, y el registro anota que no hubo respuesta.

«(20 minutes. O.V.). . . . And now, after so long a while, the Angel* lifts me, and takes me from the room,» — medida del escriba dentro del registro de ZEN, con sus iniciales: mide en minutos el silencio del vidente. La nota al pie de esa plana observa que no se había mencionado ángel alguno.

«another Angel like a fair youth in shining garments, who makes me partake of the sacraments; bread, that is labour; and fire, that is wit; and a rose, that is sin; and wine, that is death.» — en ZEN un segundo ángel administra al vidente cuatro sacramentos y el texto glosa cada uno: el pan es trabajo, el fuego ingenio, la rosa pecado y el vino muerte.

«And this is the manner prescribed: Let there be a room furnished as for the ritual of passing through the Tuat. And let the aspirant be clad in the robes of, and let him bear the insignia of his grade. And at the least he shall be a neophyte.» — el ángel de ZEN pasa de la visión a la rúbrica y prescribe el modo: un cuarto amueblado como para el ritual del paso por el Tuat y un aspirante con las vestiduras y las insignias de su grado, neófito por lo menos.

«Three days and three nights shall he have been in the tomb, vigilant and fasting, for he shall sleep no longer than three hours at any one time, and he shall drink pure water, and eat little sweet cakes consecrated unto the moon, and fruits, and the eggs of the duck, or of the goose, or of the plover. And he shall be shut in, so that no man may break in upon his meditation. But in the last twelve hours he shall neither eat nor sleep.» — la rúbrica de ZEN detalla el ayuno preparatorio con su materia exacta: agua pura, tortitas dulces consagradas a la luna, frutas y huevos de pato, de ganso o de chorlito, y sueño en tramos de no más de tres horas.

«Then shall he break his fast, eating rich food, and drinking sweet wines, and wines that foam; and he shall banish the elements and the planets and the signs and the sephiroth; and then shall he take the holy table that he hath made for his altar, and he shall take the call of the Æthyr of which he will partake, which he hath written in the angelic character, or in the character of the holy alphabet that is revealed in Popé, upon a fair sheet of virgin vellum; and therewith shall he conjure the Æthyr, chanting the call. And in the lamp that is hung above the altar shall he burn the call that he hath written.» — la rúbrica de ZEN describe la operación: romper el ayuno con comida rica y vinos espumosos, desterrar elementos, planetas, signos y sefirot, escribir la llamada del Æthyr en carácter angélico o en el alfabeto de dagas revelado en el Æthyr 19.º, y quemarla en la lámpara.

«And concerning the ink with which he shall write; for the first Æthyr let it be gold, for the second scarlet, for the third violet, for the fourth emerald, for the fifth silver, for the sixth sapphire, for the seventh orange, for the eighth indigo, for the ninth gray, for the tenth black, for the eleventh maroon, for the twelfth russet, for the thirteenth green-gray, for the fourteenth amber, for the fifteenth olive, for the sixteenth pale blue, for the seventeenth crimson, for the eighteenth bright yellow, for the nineteenth crimson adorned with silver, for the twentieth mauve,» — la rúbrica de ZEN asigna un color de tinta a cada uno de los treinta Æthyrs, del oro para el primero al negro para el décimo. El tramo se corta en el cambio de plana y la lista continúa en la siguiente.

«for the twenty-first pale green, for the twenty-second rosemadder, for the twenty-third violet cobalt, for the twenty-fourth beetle-brown, blue-brown colour, for the twenty-fifth a cold dark gray, for the twenty-sixth white flecked with red, blue, and yellow; the edges of the letters shall be green, for the twentyseventh angry clouds of ruddy brown, for the twenty-eighth indigo, for the twenty-ninth bluish-green, for the thirtieth mixed colours.» — continuación de la lista de tintas de ZEN en la plana siguiente, hasta el trigésimo, al que asigna colores mezclados. El troceo parte *rose-madder* y *twenty-seventh* al final del renglón y el extractor los devuelve unidos, *rosemadder* y *twentyseventh*: la restitución es lectura propuesta y no está dentro de las comillas.

«And let him beware, after he hath been permitted to partake of this mystery, that he await the completion of the 91st hour of his retirement, before he open the door of the place of his retirement; lest he contaminate his glory with uncleanness, and lest they that behold him be smitten by his glory unto death.» — la rúbrica de ZEN cierra con una cuarentena de noventa y una horas antes de abrir la puerta del retiro, y da dos razones: no contaminar la gloria propia y no fulminar a los que la vean.

«For this is a holy mystery, and he that did first attain to reveal the alphabet thereof, perceived not one ten-thousandth part of the fringe that is upon its vesture.» — el ángel de ZEN sitúa al primero que reveló el alfabeto del misterio: no percibió ni la diezmilésima parte del fleco de su vestidura.

«And let there be praise and blessing unspeakable unto him that sitteth upon the Holy Throne, for he casteth down mercies as a spendthrift that scattereth gold. And he hath shut up judgment and hidden it away as a miser that hoardeth coins of little worth.» — el ángel de ZEN describe el reparto entre misericordia y juicio por dos figuras de dinero: el que está en el Trono Santo derrama misericordias como manirroto y guarda el juicio como avaro que atesora monedas de poco valor.

«Into the stone there first cometh the head of a dragon, and then the Angel Madimi. She is not the mere elemental that one would suppose from the account of Casaubon. I enquire why her form is different.» — abre el 17.º Æthyr, TAN, con el ángel Madimi; el vidente objeta la descripción heredada y sostiene que no es el mero elemental que se supondría por el relato de Casaubon.

«She says: Since all things are God, in all things thou seest just so much of God as thy capacity affordeth thee. But behold! Thou must pierce deeply into this Æthyr before true images appear. For TAN is that which transformeth judgment into justice. BAL is the sword, and TAN the balances.» — Madimi contesta en TAN con una regla de proporción entre el que ve y lo visto —se ve tanto de Dios como da la capacidad propia— y empareja los dos Æthyrs por sus instrumentos, la espada y la balanza.

«A pair of balances appears in the stone, and on the bar of the balance is written: Motion about a point is iniquity.» — en TAN el vidente lee una sentencia escrita en el brazo de la balanza, que define la iniquidad por un movimiento geométrico.

«And behind the balances is a plume, luminous, azure. And somehow connected with the plume, but I cannot divine how, are these words: Breath is iniquity. (That is, any wind must stir the feather of truth.)» — en TAN una segunda sentencia va ligada a la pluma azul, y la acotación la explica: todo viento tiene que mover la pluma de la verdad.

«And behind the plume is a shining filament of quartz, suspended vertically from the abyss to the abyss. And in the midst is a winged disk of some extremely delicate, translucent substance, on which is written in the “dagger” alphabet: Torsion is iniquity. (This means, that the Rashith Ha-Gilgalim is the first appearance of evil.)» — tercera sentencia de la serie de TAN, escrita en el alfabeto de dagas sobre un disco alado, con su acotación: la torsión es iniquidad porque el primer torbellino es la primera aparición del mal.

«And he cries: Woe unto the Second, whom all nations of men call the First. Woe unto the First, whom all grades of Adepts call the First. Woe unto me, for I, even as they, have worshipped him.» — el ángel de diamante negro de TAN reparte el ay entre el Segundo a quien las naciones llaman Primero y el Primero a quien los adeptos llaman Primero, y se incluye a sí mismo entre los que lo adoraron.

«But she is whose paps are the galaxies, and he that never shall be known, in them is no motion. For the infinite Without filleth all and moveth not, and the infinite Within goeth indeed; but it is no odds, else were the space-marks confounded.» — el ángel de TAN sitúa la quietud en los dos extremos, la de los pechos que son galaxias y la del que nunca será conocido, y distingue el Fuera infinito que llena y no se mueve del Dentro infinito que va.

«And a voice cometh, as it were the music of the ripples of the surface of the sphere: Truth is delight. (This means that the Truth of the universe is delight.)» — la voz de TAN reduce la serie a una identidad de tres palabras, y la acotación la extiende al universo entero.

«And he sayeth: Justice is the equity that ye have made for yourselves between truth and falsehood. But in Truth there is nothing of this, for there is only Truth. Your falsehood is but a little falser than your truth. Yet by your truth shall ye come to Truth. Your truth is your troth with Adonai the Beloved one.» — el ángel de plata de TAN separa la justicia humana de la Verdad: la justicia es la equidad fabricada entre verdad y falsedad, y la falsedad propia es solo un poco más falsa que la verdad propia.

«And the Chymical Marriage of the Alchemists beginneth with a Weighing, and he that is not found wanting hath within him one spark of fire, so dense and so intense that it cannot be moved, through all the winds of heaven should clamour against it, and all the waters of the abyss surge against it, and all the multitude of the earths heap themselves upon it to smother it. Nay, it shall not be moved.» — el ángel de plata de TAN hace empezar el Matrimonio Químico de los alquimistas por una pesada, y describe lo que el aprobado lleva dentro: una chispa tan densa que ni los vientos del cielo ni las aguas del abismo la mueven.

«And this is the fire of which it is written: “Hear thou the voice of fire!” And the voice of fire is the second chapter of the Book of the Law, that is revealed unto him that is a score and half a score and three that are scores, and six, by Aiwass, that is his guardian, the mighty Angel that extendeth from the first unto the last, and maketh known the mysteries that are beyond.» — el ángel de plata de TAN identifica esa voz del fuego con el segundo capítulo del Libro de la Ley, revelado por Aiwass al que se designa solo por una suma de veintenas y decenas.

«And the method and the form of invocation whereby a man shall attain to the knowledge and conversation of his Holy Guardian Angel shall be given unto thee in the proper place, and seeing that the word is deadlier than lightning, do thou meditate straitly thereupon, solitary, in a place where is no living thing visible, but only the light of the sun. And thy head shall be bare.» — el ángel de TAN aplaza la fórmula para obtener el Conocimiento y la Conversación del Ángel Guardián y prescribe entre tanto la meditación: a solas, donde no se vea nada vivo salvo la luz del sol, y con la cabeza descubierta.

«This I performed in a sort of cave upon the ridge of a great mountain in the Desert near Bou-Sâada at 12-3 p.m. on December 2.» — nota al pie a esa prescripción de TAN, en primera persona y con fecha, hora y lugar: quien anota dice haberla ejecutado en una cueva de la cresta de una montaña del desierto cerca de Bou-Sâada.

«Thus mayest thou become fitted to receive this, the holiest of the Mysteries. And it is the holiest of the Mysteries because it is the Next Step.» — el ángel de TAN funda la jerarquía de los misterios en la proximidad y no en la altura: aquél es el más santo porque es el paso siguiente.

«No angel has been mentioned. The Seer was lost to being.» — nota al pie del comentador en ZEN: señala que el texto introduce un ángel que no se había mencionado, y lo explica diciendo que el vidente estaba perdido para el ser.

«And I see that the green of Libra is made up of the yellow of air and the blue of» — el vidente de TAN descompone el color de Libra en aire y agua. El tramo se corta en el cambio de plana y sigue con *water, swords and cups, judgment and mercy*.

«water, swords and cups, judgment and mercy. And this word TAN meaneth mercy. And the feather of Maat is blue because the truth of justice is mercy.» — continuación en la plana siguiente: el vidente de TAN empareja los dos colores con espadas y copas, juicio y misericordia, y de ahí saca que TAN significa misericordia y que la pluma de Maat es azul porque la verdad de la justicia es misericordia.

«(The sense of this passage seems to be, that the holiness of a thing implies its personal relation with one, just as one cannot blaspheme an unknown god, because one does not know what to say to annoy him. And this explains the perfect inefficiency of those who try to insult the saints; the most violent attacks are very often merely clumsy compliments.)» — acotación del registro en TAN que hace depender la santidad de una relación personal: no se puede blasfemar a un dios desconocido porque no se sabe qué decirle para molestarlo, y de ahí que los ataques a los santos sean cumplidos torpes.

«And a great voice cries: Behold the Queen of Heaven, how she hath woven her robes from the loom of justice. For as that straight path of the Arrow cleaving the Rainbow became righteousness in her that sitteth in the hall of double truth, so at last is she exalted unto the throne of the High Priestess, the Priestess of the Silver Star, wherein also is thine Angel made manifest.» — en TAN la gran voz sitúa a la Reina del Cielo por una ruta: la senda recta de la Flecha hendiendo el Arco Iris se hizo justicia en la que se sienta en la sala de la doble verdad, y de ahí es exaltada al trono de la Suma Sacerdotisa.

«And this is the mystery of the camel that is ten days in the desert, and is not athirst, because he hath within him that water which is the dew distilled from the the night of Nuit.» — la voz de TAN explica al camello que pasa diez días en el desierto sin sed porque lleva dentro el rocío destilado de la noche de Nuit. El troceo imprime dos veces el artículo, *from the the night*.

«Thus am I crowned with the triangle that is about the eye, and therefore is my number three. And in me there is no imperfection, because through me descendeth the influence of TARO. And that is also the number of Aiwass the mighty Angel, the Minister of Silence.» — la voz de TAN da su propio número por gematría y lo hace coincidir con el de Aiwass, a quien llama Ministro del Silencio.

«so he who hath known me, though but from afar, is marked out and chosen among men, and he shall never turn back or turn aside, for he hath made the link that is not to be broken, nay, not by the malice of the Four Great Princes of evil of the world, nor by Chorozon, that mighty Devil, nor by the wrath of God, nor by the affliction and feebleness of the soul.» — la voz de TAN promete que el enlace del que la conoció aunque sea de lejos no lo rompen ni los Cuatro Grandes Príncipes del mal ni el demonio del abismo ni la ira de Dios. El troceo imprime aquí el nombre del demonio como *Chorozon*, no como Choronzon.

«Now, therefore, I send forth a shaft of my light, even as a ladder let down from the heaven upon the earth, and by this black cross of Themis that I hold before thine eyes, do I swear unto thee that the path shall be open henceforth for evermore.» — la voz de TAN jura por la cruz negra de Temis que la senda queda abierta para siempre, y compara su rayo con una escalera bajada del cielo a la tierra.

«And she is singing a chant of praise: Glory unto him that hath taken upon himself the image of toil. For by his labour is my labour accomplished. For I, being a woman, lust ever to mate myself with some beast. And this is the salvation of the world, that always I am deceived by some god, and that my child is the guardian of the labyrinth that hath two-and-seventy paths.» — abre el 16.º Æthyr, LEA, y la virgen coronada que cabalga el toro canta su propia condición: se declara siempre engañada por algún dios y llama salvación del mundo a ese engaño, con su hijo por guardián del laberinto de setenta y dos sendas.

«Now at last he appears in the gloom. He is a mighty King, with crown and orb and sceptre, and his robes are of purple and gold. And he casts down the orb and sceptre to the earth, and he tears off his crown, and throws it on the ground, and tramples it. And he tears out his hair, that is of ruddy gold tinged with silver, and he plucks at his beard, and cries with a terrible voice: Woe unto me that am cast down from my place» — en LEA el Ángel del Æthyr aparece como un Rey que se destrona a sí mismo: arroja orbe y cetro, pisotea la corona y se mesa el cabello. El tramo se corta en el cambio de plana.

«new Æon. For the ten palaces are broken, and the ten kings are carried away into bondage, and they are set to fight as the gladiators in the circus of him that hath laid his hand upon eleven. For the ancient tower is shattered by the Lord of the Flame and the Lightning. And they that walk upon their hands shall build the holy place. Blessed are they who have turned the Eye of Hoor unto the zenith, for they shall be filled with the vigour of the goat.» — el Rey destronado de LEA describe el cambio de eón como derribo: rotos los diez palacios, los diez reyes en cautiverio y la torre antigua hecha pedazos por el Señor de la Llama y del Relámpago.

«All that was ordered and stable is shaken. The Æon of Wonders is come. Like locusts shall they gather themselves together, the servants of the Star and of the Snake, and they shall eat up everything that is upon the earth. For why? Because the Lord of Righteousness delighteth in them. The prophets shall prophesy monstrous things, and the wizards shall perform monstrous things. The sorceress shall be desired of all men, and the enchanter shall rule the earth.» — el Rey de LEA enumera lo que trae el eón nuevo en su propia clave, la del que pierde: profetas y magos haciendo cosas monstruosas, la hechicera deseada por todos y el encantador gobernando la tierra.

«Blessing unto the name of the Beast, for he hath let loose a mighty flood of fire from his manhood, and from his womanhood hath he let loose a mighty flood of water. Every thought of his mind is as a tempest that uprooteth the great trees of the earth, and shaketh the mountains thereof. And the throne of his spirit is a mighty throne of madness and desolation, so that they that look upon it shall cry: Behold the abomination!» — el Rey de LEA bendice el nombre de la Bestia con atributos de los dos sexos a la vez y describe el trono de su espíritu como trono de locura y de desolación.

«Then will I gather together my chariots and my horsemen and my ships of war. By sea and land shall my armies and my navies encompass it, and I will encamp round about it, and besiege it, and by the flame thereof shall I be utterly devoured. Many lying spirits have I sent into the world that my Æon might be established, and they shall be all overthrown.» — el Rey de LEA anuncia su propia derrota antes de librarla: sitiará el trono de rubí y será devorado por su llama, y los espíritus de mentira que envió al mundo serán todos derribados.

«Great is the Beast that cometh forth like a lion, the servant of the Star and of the Snake. He is the Eternal one; He is the Almighty one. Blessed are they upon whom he shall look with favour, for nothing shall stand before his face.» — el Rey de LEA alaba a la Bestia con una fórmula simétrica que no distingue favor de burla: nada resiste su cara en ninguno de los dos casos. El tramo cruza el cambio de plana y se ancla en la primera mitad.

«And every mystery that hath not been revealed from the foundation of the world he shall reveal unto his chosen. And they shall have power over every spirit of the Ether; and of the earth and under the earth; on dry land and in the water; of whirling air and of rushing fire. And they shall have power over all the inhabitants of the earth, and every scourge of God shall be subdued beneath their feet. The angels shall come unto them and walk with them, and the great gods of heaven shall be their guests.» — el Rey de LEA describe lo que los elegidos de la Bestia tendrán: todo misterio revelado y poder sobre los espíritus del éter, de la tierra, del agua, del aire y del fuego.

«But I must sit apart, with dust upon my head, discrowned and desolate. I must lurk in forbidden corners of the earth. I must plot secretly in the by-ways of great cities, in the fog, and in marshes of the rivers of pestilence. And all my cunning shall not serve me. And all my undertakings shall be brought to naught. And all the ministers of the Beast shall catch me and tear out my tongue with pincers of red-hot iron, and they shall brand my forehead with the word of derision, and they shall shave my head, and pluck out my beard, and make a show of me.» — el Rey de LEA describe su propio destino en el eón nuevo: acechar en rincones prohibidos, conspirar en las callejas de las grandes ciudades, y ser apresado y exhibido por los ministros de la Bestia.

«And the spirit of prophecy shall come upon me despite me ever and anon, as even now upon my heart and upon my throat; and upon my tongue seared with strong acid are the words: Vim patior. For so must I give glory to him that hath supplanted me, that hath cast me down into the dust. I have hated him, and with hate my bones are rotten. I would have spat upon him, and my spittle hath befouled my beard. I have taken up the sword against him, and I am fallen upon it, and mine entrails are about my feet.» — el Rey de LEA declara que el espíritu de profecía lo posee contra su voluntad y lo obliga a dar gloria al que lo suplantó, y cifra su odio impotente en tres imágenes que se vuelven contra él.

«Who shall strive with his might? Hath he not the sword and the spear of the Warrior Lord of the Sun? Who shall contend with him? Who shall lift himself up against him? For the latchet of his sandal is more than the helmet of the Most High. Who shall reach up to him in supplication, save those that he shall set upon his shoulders?» — el Rey de LEA mide la distancia con la Bestia por una hipérbole: la correa de su sandalia vale más que el yelmo del Altísimo.

«Would God that my tongue were torn out by the roots, and my throat cut across, and my heart torn out and given to the vultures, before I say this that I must say: Blessing and Worship to the Prophet of the Lovely Star!» — el Rey de LEA cierra bendiciendo al Profeta de la Estrella Encantadora, y dice antes que preferiría estar mutilado a tener que decirlo.

«And dimly dawning in this unutterable gloom, far, far above, is the face that is the face of a man and of a woman, and upon the brow is a circle, and upon the breast is a circle, and in the palm of the right hand is a circle. Gigantic is his stature, and he hath the Uraeus crown, and the leopard's skin, and the flaming orange apron of a god. And invisibly about him is Nuit, and in his heart is Hadit, and between his feet is the great god Ra Hoor Khuit.» — en LEA aparece una figura de rostro a la vez de hombre y de mujer, con la corona de Uraeus y el delantal de un dios, y con las tres deidades del eón nuevo repartidas por el cuerpo: Nuit alrededor, Hadit en el corazón y Ra Hoor Khuit entre los pies.

«Yet is he silent; and that which is understood between him and me shall not be revealed in this place. And the mystery shall be revealed to whosoever shall say, with ecstasy of worship in his heart, with a clear mind, and a passionate body: It is the voice of a god, and not of a man.» — el vidente de LEA declara que hay algo entendido entre esa figura y él que no revelará en ese lugar, y pone la condición para que el misterio se revele a otro.

«And she smiles upon me with infinite brilliance, so that the whole Æthyr flushes warm, and she says with a subtle sub-meaning, pointing downwards: By this, that.» — la virgen de LEA vuelve escoltada por los Ángeles de la Tabla Séptuple y da una fórmula de tres palabras señalando hacia abajo, que el registro declara dicha con un submentido.

«And I took her hand and kissed it, and I say to her: Am I not nearly purged of the iniquity of my forefathers? With that she bends down, and kisses me on the mouth, and says: “Yet a little, and on thy left arm shalt thou carry a man-child, and give him to drink of the milk of thy breasts.» — en LEA el vidente pregunta si ya está purgado de la iniquidad de sus antepasados y la virgen contesta con un plazo y una imagen de maternidad aplicada a él.

«(These words probably mean that the Equinox of Horus is to be followed by that of Themis.)» — acotación al cierre de LEA sobre las dos palabras latinas de la cruz negra: propone que anuncian que al Equinoccio de Horus lo seguirá el de Temis, y lo dice como probabilidad.

«As the dancer whirls, she chants in a strange, slow voice, quickening as she goes: Lo! I gather up every spirit that is pure, and weave him into my vesture of flame. I lick up the lives of men, and their souls sparkle from mine eyes. I am the mighty sorceress, the lust of the spirit. And by my dancing I gather for my mother Nuit the heads of all them that are baptized in the waters of life. I am the lust of the spirit that eateth up the soul of man. I have prepared a feast for the adepts, and they that partake thereof shall see God.» — abre el 15.º Æthyr, OXO, y la danzante cuyo faldón es una columna de fuego se declara la hechicera poderosa, la lujuria del espíritu que devora el alma del hombre, y dice reunir para su madre Nuit las cabezas de los bautizados.

«Now it is clear what she has woven in her dance; it is the Crimson Rose of 49 Petals, and the Pillars are the Cross with which it is conjoined.» — el vidente de OXO identifica el tejido de la danza: la Rosa Carmesí de cuarenta y nueve pétalos, con las cuatro columnas por Cruz.

«Now it is seen that the Rose is a vast ampitheatre, with seven tiers, each tier divided into seven partitions. And they that sit in the Amphitheatre are the seven grades of the Order of the Rosy Cross.» — el vidente de OXO lee la Rosa como anfiteatro de siete gradas divididas en siete, ocupadas por los siete grados de la Orden de la Rosa Cruz. El troceo imprime *ampitheatre*.

«Yet with this assurance be not thou content; for though thou hast the wings of the Eagle, they are vain, except they be joined to» — la voz de TAN acota su propia promesa en la misma frase: las alas del Águila son vanas si no van unidas a algo. El tramo se corta en el cambio de plana y sigue con *the shoulders of the Bull*.

«Above the altar is a veiled Figure, whose name is Pan. Those in the outer tier adore him as a Man; and in the next tier they adore him as a Goat; and in the next tier they adore him as a Ram; and in the next tier they adore him as a Crab; and in the next tier they adore him as an Ibis; and in the next tier they adore him as a Golden Hawk; and in the next tier they adore him not.» — en OXO el anfiteatro de la Rosa adora a la figura velada del altar de manera distinta en cada grada, de hombre a halcón dorado, y la grada más interior no la adora en absoluto.

«The voice of him that is above the altar is silence, but the echo thereof cometh back from the walls of the circus, and is speech.» — el vidente de OXO formula la mecánica de lo que oye: la voz del que está sobre el altar es silencio, y lo que se oye es su eco devuelto por las paredes del circo.

«And this is the speech: Three and four are the days of a quarter of the moon, and on the seventh day is the sabbath, but thrice four is the Sabbath of the Adepts whereof the form is revealed in the Æthyr ZID; that is the eighth of the Aires. And the mysteries of the Table shall not be wholly revealed, nor shall they be revealed herein.» — esa voz de OXO fecha el Sabbath de los Adeptos por aritmética lunar y remite su forma al Æthyr ZID, y a la vez declara que los misterios de la Tabla no se revelarán allí.

«And now the Table is become the universe; every star is a letter of the Book of Enoch. And the Book of Enoch is drawn therefrom by an inscrutable Mystery, that is known only to the Angels and the Holy Sevenfold Table.» — en OXO la Tabla se vuelve el universo y cada estrella una letra del Libro de Enoch, cuyo procedimiento de extracción se declara conocido solo por los Ángeles y la Tabla Séptuple.

«And the first drove a dagger into my heart, and tasted the blood, and said: caqarÒj, caqarÒj, caqarÒj, caqarÒj, caqarÒj, caqarÒj. And the second Adept has been testing the muscles of my right arm and shoulder, and he says: fortis, fortis, fortis, fortis, fortis.» — en OXO los adeptos de cada grada examinan al vidente uno por uno y dictaminan con una palabra repetida; el troceo rinde el griego del primero en caracteres latinos sin sentido.

«And the fourth Adept examines my neck, and seems to approve, though he says nothing; and he hath opened the right half of my brain, and he makes some examination, and says: “Samajh, samajh, samajh.” And the fifth Adept examines the left half of my brain, and then holds up his hand in protest, and says “PLA . . .” (I cannot get the sentence, but the meaning is: In the thick darkness the seed awaiteth spring.)» — sigue el examen de OXO: el cuarto adepto abre la mitad derecha del cerebro del vidente y aprueba, el quinto examina la izquierda y protesta, y el registro no logra recoger su frase entera.

«The words ORLO, ILRO, TULE are three most secret names of God. They are Magick names, each having an interpretation of the same kind as the interpretation of I.N.R.I., and the name OIT, RLU, LRL, OOE are other names of God, that contain magical formulae, the first to invoke fire; the second, water; the third, air; and the fourth, earth.» — el registro de OXO reparte los nombres secretos de Dios sacados de la Tabla y empareja cuatro de ellos con los cuatro elementos.

«And if the Table be read diagonally, every letter, and every combination of letters, is the name of a devil. And from these are drawn the formulae of evil magick. But the holy letter I above the triad LLL dominateth the Table, and preserveth the peace of the universe.» — el registro de OXO declara que la misma Tabla leída en diagonal da nombres de demonios y las fórmulas de la magia mala, y que una sola letra sobre la tríada domina la Tabla y conserva la paz del universo.

«And herein is Choronzon brought utterly to ruin, that all his work is against his will, not only in the whole, but in every part thereof, even as a fly that» — el registro de OXO define la ruina de Choronzon por una impotencia: toda su obra va contra su propia voluntad, no solo en el conjunto sino en cada parte. El tramo se corta en el cambio de plana y sigue con *walketh upon a beryl-stone*.

«And upon a map of the stars shalt thou draw the sigil of that name; and because also some of the letters are alike, thou shalt know that the stars also have tribes and nations. The letter of a star is but the totem thereof. And the letter representeth not the whole nature of the star, but each star must be known by itself in the wisdom of him that hath the Cynocephalus in leash.» — la voz de OXO ordena trazar el sigilo del nombre sobre un mapa de estrellas, y sostiene que las estrellas tienen tribus y naciones porque algunas letras se repiten: la letra es solo el tótem de la estrella, no su naturaleza.

«And this pertaineth unto the grade of a Magus—and that is beyond thine. (All this is communicated not by voice, or by writing; and there is no form in the stone, but only the brilliance of the Table.» — la voz de OXO le declara al vidente que eso pertenece al grado de Magus y está fuera del suyo; la acotación añade que nada de aquello llegó por voz ni por escrito.

«And there cometh a voice: The fly cried unto the ox, “Beware! Strengthen thyself. Set thy feet firmly upon the earth, for it is my purpose to alight between thy shoulders, and I would not harm thee.” So also are they who wish well unto the Masters of the Pyramid. And the bee said unto the flower: “Give me of thine honey,” and the flower gave richly thereof; but the bee, though he wit it not, carried the seed of the flower into many fields of sun. So also are they that take unto themselves the Masters of the Pyramid for servants.» — la voz de OXO ilustra con dos apólogos las dos maneras de tratar a los Maestros de la Pirámide: la mosca que avisa al buey y la abeja que se lleva la semilla de la flor sin saberlo.

«Also the Rosy Cross is loosened, and the petals of the Rose are the mingled hues of sunset and of dawn; and the Cross is the Golden light of noon, and in the heart of the Rose there is the secret light that men call midnight.» — el vidente de OXO reparte las horas del día por las partes de la Rosa Cruz: los pétalos son ocaso y alba mezclados, la Cruz es la luz de mediodía y el corazón de la Rosa la luz secreta que los hombres llaman medianoche.

«And a voice: “Glory to God and thanksgiving to God, and there is no God but God. And He is exalted; He is great; and in the Sevenfold Table is His Name writ openly, and in the Twelvefold Table is His Name concealed.”» — la voz de OXO usa la fórmula islámica de la unicidad y reparte el Nombre entre las dos Tablas: escrito abiertamente en la Séptuple y oculto en la Duodécuple.

«And the voice of the angel cries: Gather up thy garments about thee,* O thou that hast entered the circle of the Sabbath; for in thy grave-clothes shouldest thou behold the resurrection.» — el ángel de OXO manda al vidente recoger sus ropas por haber entrado en el círculo del Sabbath, y la nota al pie explica que por ropas entiende el cuerpo.

«The flesh hangeth upon thee like his rags upon a beggar that is a pilgrim to the shrine of the Exalted One. Nevertheless, bear them bravely, and rejoice in the beauty thereof, for the company of the pilgrims is a glad company, and they have no care, and with song and dance and wine and fair women do they make merry. And every hostel is their place, and every maid their queen.» — el ángel de OXO compara la carne con los harapos de un mendigo peregrino, y a la vez manda llevarlos con alegría porque la compañía de los peregrinos es alegre.

«Gather up thy garments about thee, I say, for the voice of the Æthyr, that is the voice of the Æon, is ended, and thou art absorbed into the lesser night, and caught in the web of the light of thy mother in the word ARBADAHARBA.» — cierre de OXO: el ángel declara acabada la voz del Æthyr, que es la voz del Æon, y absorbido al vidente en la noche menor.

«And in the battle of the Python and the Sphinx shall the glory be to the Sphinx, but the victory to the Python.» — la voz de UTA reparte los dos resultados del combate entre los dos contendientes sin armonizarlos: la gloria para la Esfinge y la victoria para la Pitón.

«And the voice says, There is no light or knowledge or beauty or stability in the Kingdom of the Grave, whither thou goest. And the worm is crowned. All that thou wast hath he eaten up, and all that thou art is his pasture until to-morrow. And all that thou shalt be is nothing. Thou who wouldst enter the domain of the Great One of the Night of Time, this burden must thou take up. Deepen not a superficies.» — la voz de UTA describe el Reino de la Tumba por la ausencia de luz, conocimiento, hermosura y estabilidad, corona al gusano, y cierra con un precepto de geometría.

«And there is a voice: He hath drawn the black bean. And another voice answers it: Not otherwise could he plant the Rose. And the first voice: He hath drunk of the waters of death. The answer: Not otherwise could he water the Rose. And the first voice: He hath burnt himself at the Fires of life. And the answer: Not otherwise could he sun the Rose. And the first voice is so faint that I cannot hear it. But the answer is: Not otherwise could he pluck the Rose.» — en UTA dos voces alternan: una enumera las desgracias del vidente y la otra convierte cada una en condición de la Rosa —plantarla, regarla, asolearla y cortarla—. La cuarta réplica se oye sin que se oiga la frase a la que responde.

«And the Angel says: Depart! For thou must invoke me only in the darkness. Therein will I appear, and reveal unto thee the Mystery of UTA. For the Mystery thereof is great and terrible. And it shall not be spoken in sight of the sun.» — el ángel de UTA, que aparece en el signo de Apophis y Tifón, despide al vidente y pone la condición: solo en la oscuridad, y el misterio no se dirá a la vista del sol.

«His voice comes in a whisper: O thou that art master of the fifty gates of Understanding, is not my mother a black woman? O thou that art master of the Pentagram, is not the egg of spirit a black egg? Here abideth terror, and the blind ache of the Soul, and lo! even I, who am the sole light, a spark shut up, stand in the sign of Apophis and Typhon.» — el ángel de UTA, al reaparecer, interroga al vidente por la negrura de lo que él mismo domina —la madre negra de las cincuenta puertas del Entendimiento, el huevo negro del espíritu— y se declara él mismo una chispa encerrada.

«I am the snake that devoureth the spirit of man with the lust of light. I am the sightless storm in the night that wrappeth the world about with desolation. Chaos is my name, and thick darkness. Know thou that the darkness of the earth is ruddy, and the darkness of the air is grey, but the darkness of the soul is utter blackness.» — el ángel de UTA se nombra Caos y oscuridad espesa, y gradúa las oscuridades por su color: rojiza la de la tierra, gris la del aire y negrura total la del alma.

«The egg of the spirit is a basilisk egg, and the gates of the understanding are fifty, that is the sign of the Scorpion. The pillars about the neophyte are crowned with flame, and the vault of the Adepts is lighted by the Rose. And in the abyss is the eye of the hawk. But upon the great sea shall the Master of the Temple find neither star nor moon.» — el ángel de UTA gradúa las luces por escalón iniciático —los pilares del neófito coronados de llama, la bóveda de los adeptos iluminada por la Rosa— y termina en el Maestro del Templo, que sobre el gran mar no halla ni estrella ni luna.

«And I was about to answer him: “The light is within me.” But before I could frame the words, he answered me with the great word that is the Key of the Abyss.» — en UTA el vidente iba a alegar que la luz está dentro de él y el ángel se le adelanta con la palabra que es la Llave del Abismo.

«And he said: Thou hast entered the night; dost thou yet lust for day? Sorrow is my name, and affliction. I am girt about with tribulation. Here still hangs the Crucified One, and here the Mother weeps over the children that she hath not borne. Sterility is my name, and desolation. Intolerable is thine ache, and incurable thy wound.» — el ángel de UTA se nombra Dolor, aflicción, Esterilidad y desolación, y describe el sitio como aquel donde sigue colgado el Crucificado y la Madre llora a los hijos que no ha parido.

«Note that the corner letters in this table are all B» — nota al pie del comentador en OXO: observa que las letras de las esquinas de la tabla son todas la misma, y da su equivalencia enoquiana con un carácter que el troceo rinde como signo de mayor que.

«Since the examination in the amphitheatre I have been a naked spirit without garments or anything; by garments he means the body.» — nota al pie de OXO, en primera persona: quien anota declara que desde el examen del anfiteatro ha sido un espíritu desnudo, y traduce como cuerpo la palabra del ángel.

«But there is a voice saying: Behold, the Great One of the Night of Time stirreth, and with his tail he churneth up the slime,» — abre el 14.º Æthyr, UTA, tras un velo de oscuridad, con una voz que describe al Grande de la Noche del Tiempo batiendo el cieno con la cola. El troceo intercala aquí la nota al pie a media frase: el tramo se cortó antes de la llamada, y la frase sigue en la plana siguiente con *the foam thereof shall he make stars*.

«And the Angel sayeth: Behold where thine Angel hath led thee! Thou didst ask fame, power and pleasure, health and wealth and love, and strength, and length of days. Thou didst hold life with eight tentacles, like an octopus. Thou didst seek the four powers and the seven delights and the twelve emancipations and the two and twenty Privileges and the nine and forty Manifestations, and lo! thou art become as one of These. Bowed are their backs, whereon resteth the universe. Veiled are their faces, that have beheld the glory Ineffable.» — el ángel de UTA le enrostra al vidente lo que pedía antes —fama, poder, placer, salud, riqueza, amor, fuerza y largura de días— y lo contrasta con aquello en que ha quedado convertido: uno más de los Maestros encapuchados, con la espalda doblada bajo el universo.

«And the Angel sayeth: Verily is the Pyramid a Temple of Initiation. Verily also is it a tomb. Thinkest thou that there is life within the Masters of the Temple, that sit hooded, encamped upon the Sea? Verily, there is no life in them.» — el ángel de UTA declara la pirámide templo de iniciación y tumba a la vez, y niega que haya vida en los Maestros del Templo que están acampados sobre el Mar.

«Herein no forms appear, and the vision of God face to face, that is transmuted in the Athanor called dissolution, or hammered into one in the forge of meditation, is in this place but a blasphemy and a mockery.» — el ángel de UTA declara blasfemia y burla, en ese lugar, la visión de Dios cara a cara, sea la que se transmuta en el atanor de la disolución o la que se forja en la meditación.

«And the Beatific Vision is no more, and the glory of the Most High is no more. There is no more knowledge. There is no more bliss. There is no more power. There is no more beauty. For this is the Palace of Understanding: for thou art one with the Primeval things.» — el ángel de UTA describe el Palacio del Entendimiento por sucesivas supresiones: se acabaron la Visión Beatífica, la gloria, el conocimiento, la dicha, el poder y la hermosura.

«This is thy wine, who wast drunk upon the wine of Iacchus. And for bread shalt thou eat salt, O thou on the corn of Ceres that didst wax fat! For as pure being is pure nothing, so is pure wisdom pure ——,* and so is pure understanding silence, and stillness, and darkness. The eye is called seventy, and the triple Aleph whereby thou perceivest it, divideth into the number of the terrible word that is the Key of the Abyss.» — el ángel de UTA invierte el banquete —sal por pan, mirra amarga por vino— y formula la serie de los puros: el ser puro es nada pura y el entendimiento puro es silencio, quietud y oscuridad. La palabra de la sabiduría pura la deja en blanco, con llamada de nota.

«I am Hermes, that am sent from the Father to expound all things discreetly in these the last words that thou shalt hear before thou take thy seat among these, whose eyes are sealed up, and whose ears are stopped, and whose mouths are clenched, who are folded in upon themselves, the liquor of whose bodies is dried up, so that nothing remains but a little pyramid of dust.» — en UTA la voz se nombra Hermes enviado del Padre y describe a los Maestros del Templo como cuerpos sellados y desecados, de los que solo queda una pirámide de polvo.

«And that bright light of comfort, and that piercing sword of truth, and all that power and beauty that they have made of themselves, is cast from them, as it is written, “I saw Satan like lightning fall from Heaven.” And as a flaming sword is it dropt through the abyss, where the four beasts keep watch and ward. And it appeareth in the heaven of Jupiter as a morning star, or as an evening star. And the light thereof shineth even unto the earth, and bringeth hope and help to them that dwell in the darkness of thought, and drink of the poison of life.» — Hermes describe en UTA el destino de lo que los Maestros se quitan: cae por el abismo como espada llameante, aparece en el cielo de Júpiter como estrella de la mañana o de la tarde, y su luz alcanza a los que viven en la oscuridad del pensamiento.

«Fifty are the gates of understanding, and one hundred and six are the seasons thereof. And the name of every season is Death.» — cierre del discurso de Hermes en UTA: cincuenta puertas del entendimiento, ciento seis estaciones, y todas las estaciones se llaman Muerte.

«And he saith: Before his face am I come that hath the thirty-three thunders of increase in his hand. From the golden water shalt thou gather corn.» — abre el 13.º Æthyr, ZIM, sobre aguas resplandecientes cuyo sentido el vidente declara de esterilidad; el ángel que camina sobre ellas anuncia que del agua de oro se recogerá grano.

«There are two terrible black giants, wrestling in mortal hatred. And there is a little bird upon a bush, and the bird flaps its wings. Thereat the strength of the giants snaps, and they fall in heaps to the earth, as though all their bones were suddenly broken.» — en ZIM el aleteo de un pájaro pequeño basta para que se quiebre la fuerza de los dos gigantes que luchan a muerte.

«A voice comes: This water which thou seest is called the water of death. But NEMO hath filled therefrom our springs.» — en ZIM la voz nombra el agua de la visión agua de muerte y dice a la vez que de ella llenó NEMO las fuentes de los que hablan.

«And the voice answered: A dolphin’s tooth, and a ram’s horns, and the hand of a man that is hanged, and the phallus of a goat. (By this I understand that nun is explained by shin, and hé by resh, and mem by yod, and ayin by tau. NEMO is therefore called 165 = 11 × 15; and is in himself 910 = 91 Amen × 10; and 13 × 70 = The One Eye, Achad Ayin.)» — la voz de ZIM contesta a la pregunta por NEMO con cuatro emblemas, y la acotación los descifra letra por letra y saca la cuenta por gematría del nombre.

«And he saith: No man hath beheld the face of my Father. Therefore he that hath beheld it is called NEMO. And know thou that every man that is called NEMO hath a garden that he tendeth. And every garden that is and flourisheth hath been prepared from the desert by NEMO, watered with the waters that were called death.» — el ángel joven de ZIM da la definición del nombre: NEMO es el que ha visto el rostro del Padre que nadie ha visto, y todo el que se llama así tiene un jardín que cuida, hecho del desierto y regado con las aguas de muerte.

«And he saith: First for the beauty and delight thereof; and next because it is written, “And Tetragrammaton Elohim planted a garden eastward in Eden.” And lastly, because though every flower bringeth forth a maiden, yet is there one flower that shall bring forth a man-child. And his name shall be called NEMO, when he beholdeth the face of my Father. And he that tendeth the garden seeketh not to single out the flower that shall be NEMO. He doeth naught but tend the garden.» — el ángel de ZIM da tres fines del jardín y remata con el que anula el cálculo: aunque una flor dará un varón que será NEMO, el que cuida el jardín no trata de averiguar cuál, solo cuida el jardín.

«And he said: Bethink thee that NEMO hath beheld the face of my Father. In Him is only Peace.» — el ángel de ZIM enmienda al vidente que ha llamado grande a la recompensa: NEMO ha visto el rostro del Padre, y en Él solo hay Paz.

«(All this vision is most extraordinarily pleasant and peaceful, entirely without strength or ecstasy, or any positive quality, but equally free from the opposites of any of those qualities.)» — acotación del vidente en ZIM sobre el carácter de la visión: agradable y apacible, sin fuerza ni éxtasis ni ninguna cualidad positiva, y libre por igual de los contrarios de esas cualidades.

«So we enter the earth, and there is a veiled figure, in absolute darkness. Yet it is perfectly possible to see in it, so that the minutest details do not escape us. And upon the root of one flower he pours acid so that that root writhes as if in torture. And another he cuts, and the shriek is like the shriek of a mandrake, torn up by the roots. And another he chars with fire, and yet another he anoints with oil.» — en ZIM el vidente ve por debajo cómo cuida NEMO el jardín: vierte ácido sobre una raíz, corta otra, quema otra y unge otra con aceite, y el grito de la cortada se compara con el de la mandrágora.

«And the young man answered me: He shall not see the reward, he tendeth the garden.» — el ángel de ZIM enmienda por segunda vez la expectativa del vidente: el que cuida el jardín no verá la recompensa.

«And he says to me, quite disconnectedly: The man of earth is the adherent. The lover giveth his life unto the work among men. The hermit goeth solitary, and giveth only of his light unto men.» — el ángel de ZIM enuncia sin conexión aparente el reparto de los tres oficios: el hombre de tierra adhiere, el amante da su vida a la obra entre los hombres y el ermitaño va solo y da solo de su luz.

«And he says: I tell thee not. Thou tellest thyself, for thou hast pondered thereupon for many days, and hast not found light. And now that thou art called NEMO, the answer to every riddle that thou hast not found shall spring up in thy mind, unsought. Who can tell upon what day a flower shall bloom?» — el ángel de ZIM le devuelve al vidente la autoría de lo que acaba de oír y le anuncia que, llamado ya NEMO, la respuesta a cada acertijo le brotará sin buscarla.

«All these words are heard by everyone that is called NEMO. And with that doth he apply himself to understanding. And he must understand the virtue of the waters of death, and he must understand the virtue of the sun and the wind, and of the worm that turneth the earth, and the stars that roof in the garden. And he must understand the separate nature and property of every flower, or how shall he tend his garden?» — el ángel de ZIM enumera lo que NEMO tiene que entender para cuidar el jardín: la virtud de las aguas de muerte, la del sol y el viento, la del gusano que voltea la tierra y la de cada flor por separado.

«And I said to him: Concerning the Vision and the Voice, I would know if these things be of the essence of the Æthyr, or of the essence of the seer. And he answers: It is of the essence of him that is called NEMO, combined with essence of the Æthyr, for from the 1st Æthyr to the 15th Æthyr, there is no vision and no voice, save for him that is called NEMO. And he that seeketh the vision and the voice therein is led away by dog-faced demons that show no sign of truth, seducing from the Sacred Mysteries, unless his name be NEMO.» — el vidente de ZIM le pregunta al ángel si lo que ve es del Æthyr o suyo, y la respuesta reparte: es de la esencia de NEMO combinada con la del Æthyr, y del 1.º al 15.º Æthyr no hay visión ni voz salvo para el que se llama NEMO.

«And hadst thou not been fitted, thou too hadst been led away, for before the gate of the 15th Æthyr, is this written: He shall send them strong delusion, that they should believe a lie. And again it is written: The Lord hardened Pharaoh's heart. And again it is written that God tempteth man. But thou hadst the word and the sign, and thou hadst authority from thy superior, and licence. And thou hast done well in that thou didst not dare, and in that thou dost dare. For daring is not presumption.» — el ángel de ZIM apoya en tres lugares de escritura la advertencia de que a los no aptos se les manda engaño, y le reconoce al vidente la palabra, el signo, la autoridad de su superior y la licencia.

«And he said moreover: Thou dost well to keep silence, for I perceive how many questions arise in thy mind; yet already thou knowest that the answering, as the asking, must be vain. For NEMO hath all in himself. He hath come where there is no light» — el ángel de ZIM aprueba el silencio del vidente porque el preguntar y el responder serían igual de vanos, y da la razón: NEMO lo tiene todo en sí mismo. El tramo se corta en el cambio de plana y sigue con *or knowledge, only when he needeth them no more*.

«I suppose that only a Magus could have heard this word.» — nota al pie del comentador al blanco que el texto deja en UTA: supone que solo un Magus habría podido oír esa palabra.

«This time the house opens, and I see in it an old man, sitting by a table. He is blind. Yet he writeth in a great book, constantly. I see what he is» — entre los jardines que el ángel de ZIM muestra, uno tiene un viejo ciego que escribe sin parar en un libro grande. El tramo se corta en el cambio de plana y lo que escribe sigue en la siguiente.

«writing: “The words of the Book are as the leaves of the flowers in the garden. Many indeed of these my songs shall go forth as maidens, but there is one among them, which one I know not, that shall be a man-child, whose name shall be NEMO, when he hath beheld the face of the Father, and become blind.”» — continuación en la plana siguiente: lo que el viejo ciego de ZIM escribe repite la doctrina del jardín aplicada a sus propios cantos, y añade al final de la fórmula la ceguera.

«be thy garden. And concerning time and death, thou hast naught to do with these things. For though a precious stone be hidden in the sand of the desert, it shall not heed for the wind of the desert, although it be but sand. For the worker of works hath worked thereupon; and because it is clear, it is invisible; and because it is hard, it moveth not.» — el ángel de ZIM le asigna al vidente por jardín la entrega de su sabiduría al mundo, y lo desliga del tiempo y de la muerte con el símil de la piedra preciosa escondida en la arena del desierto, invisible por clara e inmóvil por dura.

«This seems to be the chariot of the Seventh Key of Tarot. But it is drawn by four sphinxes, diverse, like the four sphinxes upon the door of the vault of the adepts, counterchanged in their component parts. The chariot itself is the lunar crescent, waning. The canopy is supported by eight pillars of amber. These pillars are upright, and yet the canopy which they support is the whole vault of the night.» — abre el 12.º Æthyr, LOE, y el vidente identifica el carro con el arcano séptimo pero enmienda los detalles: lo tiran cuatro esfinges diversas, el carro mismo es la luna menguante y las ocho columnas de ámbar sostienen por dosel la bóveda entera de la noche.

«And there is a marvelous perfume in the Aire, like unto the perfume of Ra Hoor Khuit, but sublimated, as if the quintessence of that perfume alone were burnt. For it hath the richness and voluptuousness and humanity of blood, and the strength and freshness of meal, and the sweetness of honey, and the purity of olive-oil, and the holiness of that oil which is made of myrrh, and cinnamon, and galangal.» — el vidente de LOE descompone el perfume del Æthyr por lo que cada ingrediente aporta: la humanidad de la sangre, la frescura de la harina, la dulzura de la miel, la pureza del aceite de oliva y la santidad del óleo de mirra, canela y galanga.

«Glory unto the Scarlet Woman, Babalon the Mother of Abominations, that rideth upon the Beast, for she hath spilt their blood in every corner of the earth and lo! she hath mingled it in the cup of her whoredom.» — el auriga de LOE da gloria a la Mujer Escarlata, Babalon la Madre de las Abominaciones que cabalga la Bestia, y explica la copa: en ella mezcló la sangre de los santos que derramó por todos los rincones de la tierra.

«With the breath of her kisses hath she fermented it, and it hath become the wine of the Sacrament, the wine of the Sabbath; and in the Holy Assembly hath she poured it out for her worshippers, and they had become drunken thereon, so that face to face they beheld my Father. Thus are they made worthy to become partakers of the Mystery of this holy vessel, for the blood is the life.» — el auriga de LOE describe la operación como fermentación: el aliento de los besos de Babalon convierte esa sangre en el vino del Sacramento, y quien se embriaga con él ve cara a cara al Padre.

«So sitteth she from age to age, and the righteous are never weary of her kisses, and by her murders and fornications she seduceth the world. Therein is manifested the glory of my Father, who is truth.» — el auriga de LOE declara que es justamente por sus asesinatos y sus fornicaciones como Babalon seduce al mundo, y que ahí se manifiesta la gloria del Padre.

«(This wine is such that its virtue radiateth through the cup, and I reel under the intoxication of it. And every thought is destroyed by it. It abideth alone, and its name is Compassion. I understand by “Compassion,” the sacrament of suffering, partaken by the true worshippers of the Highest. And it is an ecstasy in which there is no trace of pain. Its passivity (=passion) is like the giving-up of the self to the beloved.)» — acotación del vidente en LOE que fija el sentido de una palabra: por compasión entiende el sacramento del sufrimiento, un éxtasis sin rastro de dolor cuya pasividad es la entrega de sí al amado.

«The voice continues: This is the Mystery of Babylon, the Mother of abominations, and this is the mystery of her adulteries, for she hath yielded up herself to everything that liveth, and hath become a partaker in its mystery. And because she hath made herself the servant of each, therefore is she become the mistress of all. Not as yet canst thou comprehend her glory.» — el auriga de LOE funda el señorío de Babalon en su servidumbre: por haberse entregado a todo lo que vive y hecho sierva de cada uno, es señora de todos.

«Beautiful art thou, O Babylon, and desirable, for thou hast given thyself to everything that liveth, and thy weakness hath subdued their strength. For in that union thou didst understand. Therefore art thou called Understanding, O Babylon, Lady of the Night!» — el auriga de LOE deriva de esa entrega el nombre mismo de la sefirá: porque en la unión entendió, se la llama Entendimiento.

«O Babylon, Babylon, thou mighty Mother, that ridest upon the crownèd beast, let me be drunken upon the wine of thy fornications; let thy kisses wanton me unto death, that even I, thy cup-bearer, may understand.» — el auriga de LOE se nombra a sí mismo copero de Babalon y pide para sí la embriaguez y los besos hasta la muerte, con el entender por objeto.

«And the Beast whereon she rideth is the Lord of the City of the Pyramids, that I beheld in the fourteenth Æthyr.» — el vidente de LOE identifica a la Bestia que Babalon monta con el Señor de la Ciudad de las Pirámides que vio en el 14.º Æthyr, y enlaza así las dos visiones.

«Now that is gone in the glow of the cup, and the Angel saith: Not as yet mayest thou understand the mystery of the Beast, for it pertaineth not unto the mystery of this Aire, and few that are new-born unto Understanding are capable thereof.» — el ángel de LOE aplaza el misterio de la Bestia por no pertenecer a ese Æthyr y por la escasez de los recién nacidos al Entendimiento que serían capaces de él. El troceo parte *new-born* al final del renglón.

«And the Angel sayeth: Blessed are the saints, that their blood is mingled in the cup, and can never be separate any more. For Babylon the Beautiful, the Mother of abomina-tions, hath sworn by her holy cteis, whereof every point is a pang, that she will not rest from her adulteries until the blood of everything that liveth is gathered therein, and the wine thereof laid up and matured and consecrated, and worthy to gladden the heart of my Father.» — el ángel de LOE declara el término del trabajo de Babalon: no descansará de sus adulterios hasta que la sangre de todo lo que vive esté recogida, madurada y consagrada. El troceo imprime *abomina-tions* partido a media línea.

«For my Father is weary with the stress of eld, and cometh not to her bed. Yet shall this perfect wine be the quintessence, and the elixir, and by the draught thereof shall he renew his youth; and so shall it be eternally, as age by age the worlds do dissolve and change, and the universe unfoldeth itself as a Rose, and shutteth itself up as the Cross that is bent into the cube.» — el ángel de LOE da la función de ese vino: el Padre está cansado de vejez y no va al lecho de ella, y con el elixir renovará su juventud, eón tras eón, mientras el universo se abre como Rosa y se cierra como Cruz plegada en cubo.

«And this is the meaning of the Supper of the Passover, the spilling of the blood of the Lamb being a ritual of the Dark Brothers, for they have sealed up the Pylon with blood, lest the Angel of Death should enter therein. Thus do they shut themselves off from the company of the saints. Thus do they keep themselves from compassion and from under-standing. Accursed are they, for they shut up their blood in their heart.» — el ángel de LOE lee la Pascua al revés de como se lee: el derramamiento de la sangre del Cordero es rito de los Hermanos Oscuros, que sellaron el Pilono con sangre para que no entrara el Ángel de la Muerte y así se apartaron de los santos. El troceo parte *under-standing*.

«They keep themselves from the kisses of my Mother Babylon, and in their lonely fortresses they pray to the false moon. And they bind themselves together with an oath, and with a great curse. And of their malice they conspire together, and they have power, and mastery, and in their cauldrons do they brew the harsh wine of delusion, mingled with the poison of their selfishness.» — el ángel de LOE describe a los Hermanos Oscuros por sus prácticas: oran a la luna falsa en fortalezas solitarias, se ligan por juramento y maldición, y cuecen el vino áspero del engaño.

«Thus they make war upon the Holy One, sending forth their delusion upon men, and upon everything that liveth. So that their false compassion is called compassion, and their false understanding is called understanding, for this is their most potent spell.» — el ángel de LOE señala en qué consiste el hechizo más potente de los Hermanos Oscuros: que su compasión falsa se llame compasión y su entendimiento falso se llame entendimiento.

«Yet of their own poison do they perish, and in their lonely fortresses shall they be eaten up by Time that hath cheated them to serve him, and by the mighty devil Choronzon, their master, whose name is the Second Death, for the blood that they have sprinkled on their Pylon, that is a bar against the Angel Death, is the key by which he entereth in.» — el ángel de LOE cierra con la vuelta del arma contra quien la usa: la sangre rociada sobre el Pilono, puesta como tranca contra el Ángel de la Muerte, es la llave con que él entra.

«(I think the trouble with these people was, that they wanted to substitute the blood of someone else for their own blood, because they wanted to keep their personalities.)» — nota al pie del comentador a ese pasaje de LOE: adjudica a los Hermanos Oscuros el propósito de sustituir la sangre propia por la ajena para conservar su personalidad.

«because there is no power that may endure, save only the power that descendeth in this my chariot from Babylon, the city of the Fifty Gates, the Gate of the God On [}ulabab]. Moreover is On the Key of the Vault that is 120.» — el ángel de LOE hace descender todo poder duradero de Babalon, la ciudad de las Cincuenta Puertas, y cifra la Puerta del dios On como llave de la Bóveda.

«But this is a mystery utterly beyond thine understanding. For Wisdom is the Man, and Understanding the Woman, and not until thou hast perfectly understood canst thou begin to be wise.» — el ángel de LOE ordena Sabiduría y Entendimiento por sexo y por secuencia: sin haber entendido perfectamente no se empieza a ser sabio.

«But I reveal unto thee a mystery of the Æthyrs, that not only are they bound up with the Sephiroth, but also with the Paths. Now, the plane of the Æthyrs interpenetrateth and surroundeth the universe wherein the Sephiroth are estab-lished, and therefore is the order of the Æthyrs not the order of the Tree of Life. And only in a few places do they coincide. But the knowledge of the Æthyrs is deeper than the knowledge of the Sephiroth, for that in the Æthyrs is the knowledge of the Æons, and of Qelhma. And to each shall it be given according to his capacity.» — el ángel de LOE revela la relación entre los dos sistemas: los Æthyrs se ligan no solo con las sefirot sino con las sendas, su plano rodea al universo donde las sefirot están asentadas, y por eso su orden no es el del Árbol de la Vida. El troceo parte *estab-lished*.

«(He has been saying certain secret things to the unconscious mind of the seer, of a personal nature.)» — acotación del vidente en LOE sobre lo que no transcribe: hubo cosas secretas dichas a su mente inconsciente, de carácter personal.

«And there come six little children out of the floor of the chariot, and in their hands is a veil so fine and transparent that it is hardly visible. Yet, when they put it over the Cup, the Angel bowing his head reverently, the light of the Cup goes out entirely. And as the light of the Cup vanishes, it is like a swift sunset in the whole Aire, for it was from the light of that Cup alone that it was lighted.» — cierre de LOE: seis niños cubren la Copa con un velo apenas visible y con eso se apaga la luz de todo el Æthyr, porque solo de esa Copa venía.

«Now in all that host there is no motion. Yet they are not resting upon their arms, but tense and vigilant. And between them and me is the God Shu, whom before I did not see, because his force filleth the whole Æthyr. And indeed he is not visible in his form. Nor does he come to the seer through any of the senses; he is understood, rather than expressed.» — el vidente de IKH declara que el dios Shu no le llega por ningún sentido ni tiene forma visible, sino que se entiende antes que expresarse, y que no lo veía porque su fuerza llena el Æthyr entero.

«This is that which is written, “O my God, in one last rapture let me attain to the union with the many.” For she is Love, and» — el auriga de LOE cita lo escrito para dar la fórmula de Babalon, la unión con los muchos. El tramo se corta en el cambio de plana y sigue con *her love is one*.

«her love is one, and she hath divided the one love into infinite loves, and each love is one, and equal to The One, and therefore is she passed “from the assembly and the law and the enlightenment unto the anarchy of solitude and darkness. For ever thus must she veil the brilliance of Her Self.”» — continuación en la plana siguiente: el amor único de Babalon dividido en amores infinitos, cada uno igual al Uno, y por eso su paso de la asamblea y la ley a la anarquía de la soledad y la oscuridad.

«And this is the comedy of Pan, that is played at night in the thick forest. And this is the mystery of Dionysus Zagreus, that is celebrated upon the holy mountain of Kithairon. And this is the» — el ángel de LOE identifica ese misterio con la comedia de Pan y con el misterio de Dionisos Zagreo en el Citerón. El tramo se corta en el cambio de plana y sigue con *secret of the brothers of the Rosy Cross*.

«secret of the brothers of the Rosy Cross; and this is the heart of the ritual that is accomplished in the Vault of the Adepts that is hidden in the Mountain of the Caverns, even the Holy Mountain Abiegnus.» — continuación en la plana siguiente: el ángel de LOE lo identifica también con el corazón del ritual de la Bóveda de los Adeptos escondida en la Montaña de las Cavernas.

«And it is rolled up; and behind it there appeareth a great Host of Angels. Their backs are turned towards me, but I can see how tremendous are their arms, which are swords and spears. They have wings upon their helmets and their heels: they are clad in complete armour, and the least of their swords is like the breaking forth of a tremendous storm of lightning. The least of their spears is like a great water-spout. On their shields are the eyes of Tetragrammaton, winged with flame,—white, red, black, yellow and blue. On their flanks are vast squadrons of elephants, and behind them is their meteor-artillery. They that sit upon the elephants are armed with the thunderbolt of Zeus.» — abre el 11.º Æthyr, IKH, con un ejército de ángeles de espaldas: escudos con los ojos de Tetragrámaton alados de llama, escuadrones de elefantes y artillería de meteoros. El tramo entero se releyó en el crudo por haber disparado la guarda anticosido al incluir el encabezado del Æthyr.

«Behold, a mighty guard against the terror of things, the fastness of the Most High, the legions of eternal vigilance; these are they that keep watch and ward day and night throughout the æons.» — el capitán de IKH nombra a la guardia eterna fortaleza del Altísimo y legiones de vigilancia eterna, que velan día y noche a lo largo de los eones.

«not one plume of the wings of their helmets. Behold, the foundation of the Holy City, the towers and the bastions thereof!» — sigue el capitán en IKH, ya en la plana siguiente: la fuerza entera del Poderoso puesta en la guardia sin que se mueva una pluma de sus yelmos, y esa guardia es el cimiento de la Ciudad Santa.

«Behold how worshipful is the wisdom of the Master, that he hath set his stability in the all-wandering Air and in the changeful Moon. In the purple flashes of lightning hath He written the word Eternity, and in the wings of the swallow hath He appointed rest.» — el capitán de IKH alaba la sabiduría del Maestro por la paradoja de su elección: puso la estabilidad en el Aire errante y en la Luna cambiante, y el descanso en las alas de la golondrina.

«By three and by three and by three hath He made firm the foundation against the earthquake that is three. For in the number nine is the changefulness of the numbers brought to naught. For with whatsoever number thou wilt cover it, it appeareth unchanged.» — el capitán de IKH funda la firmeza en la aritmética del nueve: con cualquier número que se lo cubra, aparece sin cambio.

«These things are spoken unto him that understandeth, that is a breastplate unto the elephants, or a corselet unto the angels, or a scale upon the towers of iron; yet is this mighty host set only for a defense, and whoso passeth beyond their lines hath no help in them.» — el capitán de IKH declara el límite de esa guardia: está puesta solo para defensa, y a quien pasa más allá de sus líneas no le sirve de nada.

«Yet must he that understandeth go forth unto the outermost Abyss, and there must he speak with him that is set above the four-fold terror, the Princes of Evil, even with Choronzon, the mighty devil that inhabiteth the outermost Abyss. And none may speak with him, or understand him, but the servants of Babylon, that understand, and they that are without understanding, his servants.» — el capitán de IKH impone al que entiende salir al Abismo exterior y hablar con Choronzon, y reparte a los que pueden entenderlo entre los siervos de Babalon y los que, sin entendimiento, son siervos de él.

«Behold! it entereth not into the heart, nor into the mind of man to conceive this matter; for the sickness of the body is death, and the sickness of the heart is despair, and the sick-ness of the mind is madness. But in the outermost Abyss is sickness of the aspiration, and sickness of the will, and sickness of the essence of all, and there is neither word nor thought wherein the image of its image is reflected.» — el capitán de IKH gradúa las enfermedades por su asiento —muerte la del cuerpo, desesperación la del corazón, locura la de la mente— y sitúa en el Abismo exterior las de la aspiración, la voluntad y la esencia, para las que no hay palabra ni pensamiento. El troceo parte *sick-ness*.

«And whoso passeth into the outermost Abyss, except he be of them that understand, holdeth out his hands, and boweth his neck,» — el capitán de IKH describe lo que le espera al que pasa al Abismo sin ser de los que entienden: tiende las manos y dobla el cuello. El tramo se corta en el cambio de plana y sigue con *unto the chains of Choronzon*.

«unto the chains of Choronzon. And as a devil he walketh about the earth, immortal, and he blasteth the flowers of the earth, and he corrupteth the fresh air, and he maketh poisonous the water; and the fire that is the friend of man, and the pledge of his aspiration, seeing that it mounteth ever upward as a pyramid, and seeing that man stole it in a hollow tube from Heaven, even that fire he turneth unto ruin, and madness, and fever, and destruction. And thou, that art an heap of dry dust in the city of the pyramids, must understand these things.» — continuación en la plana siguiente: el encadenado a Choronzon anda por la tierra como demonio, marchita las flores, corrompe el aire y el agua, y vuelve ruina el fuego que el hombre robó del cielo en un tubo hueco.

«And now a thing happens, which is unfortunately sheer nonsense; for the Æthyr that is the foundation of the universe was attacked by the Outermost Abyss, and the only way that I can express it is by saying that the universe was shaken. But the universe was not shaken. And that is the exact truth; so that the rational mind which is interpreting these spiritual things is offended; but, being trained to obey, it setteth down that which it doth not understand. For the rational mind indeed reasoneth, but never attaineth unto Understanding; but the Seer is of them that understand.» — acotación del vidente en IKH que conserva la contradicción en vez de resolverla: el universo fue sacudido y el universo no fue sacudido; la mente racional se ofende y anota lo que no entiende porque está adiestrada para obedecer.

«Full title of Jesod is Tzedeq Jesod Olahm, “The Righteous is the Foundation of the World.”» — nota al pie del comentador en IKH: da el título completo de la sefirá y su traducción.

«Beware, therefore, O thou who art appointed to understand the secret of the Outermost Abyss, for in every Abyss thou must assume the mask and form of the Angel thereof. Hadst thou a name, thou wert irrevocably lost. Search, therefore, if there be yet one drop of blood that is not gathered into the cup of Babylon the Beautiful, for in that little pile of dust, if there could be one drop of blood, it should be utterly corrupt; it should breed scorpions and vipers, and the cat of slime.» — el ángel de IKH da la regla para el Abismo y su condición: en cada Abismo hay que asumir la máscara y la forma de su Ángel, y tener nombre sería perderse sin remedio.

«And I said unto the Angel: Is there not one appointed as a warden? And he said: Eloi, Eloi, lama sabacthani. Such an ecstasy of anguish racks me that I cannot give it voice, yet I know it is but as the anguish of Gethsemane.» — cierre de IKH: a la pregunta del vidente por si hay algún guardián puesto, el ángel responde con la palabra de la cruz, y el vidente declara la angustia que le produce y la compara con la de Getsemaní.

«This Æthyr being accursèd, and the seer forewarned, he taketh these precautions for the scribe. First let the scribe be seated in the centre of the circle in the desert sand, and let the circle be fortified by the Holy Names of God—Tetragrammaton and Shaddai El Chai and Ararita.» — abre el 10.º Æthyr, ZAX, y el texto pasa de la visión a la rúbrica de protección: por estar maldito el Æthyr, el escriba va sentado en el centro de un círculo trazado en la arena y fortificado con tres nombres de Dios.

«And let him be furnished with the Magick Dagger, and let him strike fearlessly at anything that may seek to break through the circle, were it the appearance of the Seer himself. And if the Demon pass out of the triangle, let him threaten him with the Dagger, and command him to return. And let him beware lest he himself lean beyond the circle. And since he reverenceth the Person of the Seer as his Teacher, let the Seer bind him with a great Oath to do this.» — la rúbrica de ZAX prevé el caso extremo y lo nombra: el escriba debe herir con la daga cualquier cosa que intente entrar al círculo, aunque tenga la apariencia del propio vidente, y por eso el vidente lo ata con juramento.

«Now, then, the Seer being entered within the triangle, let him take the Victims and cut their throats, pouring the blood within the Triangle, and being most heedful that not one drop fall without the Triangle; or else Choronzon should be able to manifest in the universe.» — la rúbrica de ZAX hace entrar al vidente dentro del triángulo y no dentro del círculo, y advierte que una sola gota de sangre fuera del triángulo dejaría a Choronzon manifestarse en el universo.

«There is no being in the outermost Abyss, but constant forms come forth from the nothingness of it. Then the Devil of the Æthyr, that mighty devil Choronzon, crieth aloud, Zazas, Zazas, Nasatanada Zasas. I am the Master of Form, and from me all forms proceed.» — abre el cuerpo de ZAX: en el Abismo exterior no hay ser y de su nada salen formas constantes, y el demonio Choronzon se declara Maestro de la Forma y origen de todas.

«I am I. I have shut myself up from the spendthrifts, my gold is safe in my treasure-chamber, and I have made every living thing my concubine, and none shall touch them, save only I. And yet I am scorched, even while I shiver in the wind. He hateth me and tormenteth me. He would have stolen me from myself, but I shut myself up and mock at him, even while he plagueth me.» — Choronzon se describe en ZAX por su clausura: encerrado sobre sí, con oro a salvo y todo lo viviente por concubina, y a la vez abrasado y tiritando, atormentado por Aquel que quiso robárselo a sí mismo.

«From me come leprosy and pox and plague and cancer and cholera and the falling sickness. Ah! I will reach up to the knees of the Most High, and tear his phallus with my teeth, and I will bray his testicles in a mortar, and make poison thereof, to slay the sons of men.» — Choronzon se adjudica en ZAX las enfermedades una por una y anuncia lo que hará con el falo del Altísimo, con verbos de mutilación y de veneno.

«(Here the Spirit stimulated the voice of Frater P., which also appeared to come from his station and not from the triangle.)» — acotación del escriba en ZAX, la primera del combate: el espíritu imita la voz del vidente y la hace venir de su puesto y no del triángulo, que es justamente la trampa que el juramento anticipó.

«(The Frater was seated in a secret place covered completely by a black robe, in the position called the “Thunderbolt.” He did not move or speak during the ceremony.)» — acotación del escriba en ZAX que fija el dato material contra el que se mide la trampa: el vidente estuvo tapado por completo por una túnica negra, sin moverse ni hablar durante la ceremonia.

«Next the Scribe was hallucinated, believing that before him was a beautiful courtesan whom previously he had loved in Paris. Now, she wooed him with soft words and glances, but he knew these things for delusions of the devil, and he would not leave the circle.» — acotación del escriba en ZAX sobre sí mismo, en tercera persona: se vio ante una cortesana que había amado en París, reconoció la delusión y no salió del círculo.

«(Here Choronzon attempts to seduce the Scribe by appealing to his pride. But the Scribe refused to be tempted, and commanded the demon to continue with the Æthyr. There was again a short delay.)» — acotación del escriba en ZAX que nombra la maniobra mientras ocurre: el intento de seducción apela a su orgullo, y él lo rechaza y manda al demonio seguir con el Æthyr.

«Choronzon hath no form, because he is the maker of all form; and so rapidly he changeth from one to the other as he may best think fit to seduce those whom he hateth, the servants of the Most High. Thus taketh he the form of a beautiful woman, or of a wise and holy man, or of a serpent that writheth upon the earth ready to sting.» — Choronzon explica en ZAX por qué no tiene forma: como es el hacedor de toda forma, cambia de una a otra según convenga para seducir a los siervos del Altísimo, y toma la de una mujer hermosa, la de un hombre sabio y santo o la de una serpiente.

«And, because he is himself, therefore he is no self; the terror of darkness, and the blindness of night, and the deafness of the adder, and the tastelessness of stale and stagnant water, and the black fire of hatred, and the udders of the Cat of slime; not one thing, but many things.» — Choronzon formula en ZAX su propia identidad como negación: por ser él mismo no es ningún sí mismo, y se enumera por privaciones sensoriales —el terror de la oscuridad, la sordera del áspid, la insipidez del agua estancada.

«Give unto me, I pray thee, one drop of water from the pure springs of Paradise, that I may quench my thirst. (The Scribe refused.)» — en ZAX Choronzon pide agua al escriba desde el tormento, y la acotación registra la negativa en cuatro palabras.

«Behold, He hath established His mercy and His might, and unto His might is added victory, and unto his Mercy is added splendour. And all these things hath He ordered in beauty, and He hath set them firmly upon the Eternal Rock, and therefrom He hath suspended His kingdom as one pearl that is set in a jewel of threescore pearls and twelve.» — el ángel de IKH describe el orden de las sefirot como un montaje de joyería: misericordia y poder asentados, victoria añadida al poder y esplendor a la misericordia, y el reino colgado como una perla engastada en una joya de setenta y dos.

«And He hath garnished it with the Four Holy Living Creatures for Guardians, and He hath graven therein the seal of righteousness,* and He hath burnished it with the fire of His Angel, and the blush of His loveliness informeth it, and with delight and with wit hath He made it merry at the heart, and the core thereof is the Secret of His being, and therein is His name Generation.» — sigue el ángel de IKH: la joya guarnecida con las Cuatro Criaturas Vivientes por guardianes, grabada con el sello de la justicia y bruñida con el fuego de Su Ángel, y su núcleo es el Secreto de Su ser.

«I.S.V.D., Jesod, = 80, the number of pé, the letter of Mars.» — segunda nota al pie del comentador en IKH, marcada con daga: hace la cuenta por gematría del nombre de la sefirá y la empareja con la letra de Marte.

«inscribed the name of Choronzon, and about it let him write ANAPHAXETON—ANAPHANETON—PRIMEUMATON, and in the angles MI-CA-EL: and at each angle the Seer shall slay a pigeon, and having done this, let him retire to a secret place, where is neither sight nor hearing, and sit within his black robe, secretly invoking the Æthyr. And let the Scribe perform the Banishing Rituals of the Pentagram and Hexagram, and let him call upon the Holy Names of God, and say the Exorcism of Honorius, and let him beseech protection and help of the Most High.» — la rúbrica de ZAX manda invocar al demonio dentro de un triángulo, cuyo dispositivo detalla: el nombre de Choronzon inscrito en el triángulo, tres nombres en su contorno y uno repartido por los ángulos, una paloma degollada en cada ángulo, y los destierros por pentagrama y hexagrama y el Exorcismo de Honorio a cargo del escriba.

«I, Omnia Vincam, a Probationer of A∴ A∴, hereby solemnly promise upon my magical honour, and swear by Adonai the angel that guardeth me, that I will defend this magic circle of Art with thoughts and words and deeds. I promise to threaten with the Dagger and command back into the triangle the spirit incontinent, if he should strive to escape from it; and to strike with a Dagger at anything that may seek to enter this Circle, were it in appearance» — el juramento del escriba de ZAX, escrito en primera persona y firmado con su lema de Probacionista y no con su nombre: promete amenazar con la daga y herir a cualquier cosa que busque entrar al círculo. El tramo se corta en el cambio de plana y sigue con *the body of the Seer himself*.

«the body of the Seer himself. And I will be exceeding wary, armed against force and cunning; and I will preserve with my life the inviolability of this Circle, Amen. And I summon my Holy Guardian Angel to witness this mine oath, the which if I break, may I perish, forsaken of Him.» — continuación del juramento de ZAX en la plana siguiente: la cosa que podría querer entrar al círculo es el cuerpo del propio vidente, y el escriba pone por testigo a su Ángel Guardián y se maldice si lo rompe.

«They have called me the God of laughter, and I laugh when I will slay. And they have thought that I could not smile, but I smile upon whom I would seduce. O inviolable one, that canst not be tempted. If thou canst command me by the power of the Most High, know that I did indeed tempt thee, and it repenteth me. I bow myself humbly before the great and terrible names» — Choronzon cambia de registro en ZAX y se humilla: dice reír cuando va a matar y sonreír a quien quiere seducir, y confiesa al escriba que lo tentó y que se arrepiente.

«But thy name is mercy, and I cry aloud for pardon. Let me come and put my head beneath thy feet, that I may serve thee. For if thou commandest me to obedience in the Holy names, I cannot swerve therefrom, for their first whispering is greater than the noise of all my temptests. Bid me therefore come unto thee upon my hands and knees that I may adore thee, and partake of thy forgiveness. Is not thy mercy infinite?» — sigue Choronzon en ZAX pidiendo perdón y ofreciendo poner la cabeza bajo los pies del escriba, y declara que el primer susurro de los Nombres Santos es mayor que el ruido de todas sus tempestades. El troceo imprime *temptests*.

«(This last was spoken from the triangle in the natural voice of the Frater, which Choronzon again simulated. But he did not succeed in taking the Frater's form—which was absurd! The Scribe resisted the appeal to his pity, and conjured the demon to proceed by the names of the Most High. Choronzon attempted also to seduce the faithfulness of the Scribe. A long colloquy ensued. The Scribe cursed him by the Holy Names of God, and the power of the Pentagram.)» — acotación del escriba en ZAX: el demonio vuelve a imitar la voz del vidente sin lograr tomar su forma, y el escriba resiste la apelación a su piedad y lo conjura por los nombres del Altísimo.

«I feed upon the names of the Most High. I churn them in my jaws, and I void them from my fundament. I fear not the power of the Pentagram, for I am the Master of the Triangle.» — Choronzon declara en ZAX que se alimenta de los nombres del Altísimo y no teme al pentagrama porque es el Maestro del Triángulo, y cifra su nombre en trescientos treinta y tres.

«Be vigilant, therefore, for I warn thee that I am about to deceive thee. I shall say words that thou wilt take to be the cry of the Æthyr, and thou wilt write them down, thinking them to be great secrets of Magick power, and they will be only my jesting with thee.» — Choronzon anuncia en ZAX la trampa que va a tender, con el detalle de cómo funcionará: dirá palabras que el escriba tomará por el grito del Æthyr y anotará como secretos de poder mágico.

«I know the name of the Angel of thee and thy brother P. . . ., and all thy dealings with him are but a cloak for thy filthy sorceries.» — Choronzon contesta en ZAX a la invocación del Ángel Guardián reinterpretando la relación entera como pantalla de brujería.

«Thou canst tell me naught that I know not, for in me is all Knowledge: Knowledge is my name. Is not the head of the great Serpent arisen into Knowledge?» — Choronzon se nombra en ZAX Conocimiento y lo apoya en el lugar del Árbol donde la cabeza de la Serpiente sube a esa sefirá.

«Know thou that there is no Cry in the tenth Æthyr like unto the other Cries, for Choronzon is Dispersion, and cannot fix his» — Choronzon explica en ZAX por qué ese Æthyr no tiene grito como los demás: él es Dispersión y no puede fijar la mente en una sola cosa. El tramo se corta en el cambio de plana y sigue con *mind upon any one thing*.

«mind upon any one thing for any length of time. Thou canst master him in argument, O talkative one; thou wast commanded, wast thou not, to talk to Choronzon? He sought not to enter the circle, or to leave the triangle, yet thou didst prate of all these things.» — continuación en la plana siguiente: Choronzon le echa en cara al escriba haber hablado de más, y le recuerda que él no intentó entrar al círculo ni salir del triángulo.

«Thinkest thou, O fool, that there is any anger and any pain that I am not, or any hell but this my spirit?» — Choronzon contesta en ZAX a la amenaza de ira, dolor e infierno identificándose con las tres cosas.

«Images, images, images, all without control, all without reason. The malice of Choronzon is not the malice of a being; it is the quality of malice, because he that boasteth himself “I am I,” hath in truth no self, and these are they that are fallen under my power, the slaves of the Blind One that boasted himself to be the Enlightened One. For there is no centre, nay, nothing but Dispersion.» — Choronzon define en ZAX su malicia como cualidad y no como propiedad de un ser, y de ahí saca que el que se jacta de ser un yo no tiene ningún sí mismo y ya está bajo su poder.

«O thou that hast written two-and-thirty books of Wisdom, and art more stupid than an owl, by thine own talk is thy vigilance wearied, and by my talk art thou befooled and tricked, O thou that sayest that thou shalt endure. Knowest thou how nigh thou art to destruction? For thou that art the Scribe hast not the understanding* that alone availeth against Choronzon. And wert thou not protected by the Holy Names of God and the circle, I would rush upon thee and tear thee.» — Choronzon se dirige en ZAX al escriba y le dice que su propia locuacidad le ha cansado la vigilancia; el texto lo acusa de haber escrito treinta y dos libros de Sabiduría y de ser más estúpido que una lechuza.

«Originally, for “understanding” was written “power.” Choronzon was always using some word that did not represent his thought, because there is no proper link between his thought and speech. Note that he never seems able to distinguish between the Frater and the Scribe, and addresses first one, then the other, in the same sentence.» — nota al pie del comentador en ZAX, la más larga del volumen: registra la enmienda de una palabra del manuscrito, adjudica a Choronzon el usar palabras que no representan su pensamiento por falta de enlace entre pensamiento y habla, y señala que nunca distingue al vidente del escriba y se dirige a los dos en la misma frase.

«For know that I am proud and revengeful and lascivious, and I prate even as thou. For even as I walked among the Sons of God, I heard it said that P. . . . could both will and know, and might learn at length to dare, but that to keep silence he should never learn. O thou that art so ready to speak, so slow to watch, thou art delivered over unto my power for this.» — Choronzon dice en ZAX haber oído entre los Hijos de Dios que el vidente podría llegar a querer, a saber y a osar, pero nunca a callar, y hace de esa locuacidad el título de su poder sobre el escriba.

«I behold the beauty of the earth in her desolation, and greater far is mine, who sought to be my naked self. Knowest thou that in my soul is utmost fear? And such is my force and my cunning, that a hundred times have I been ready to leap, and for fear have missed. And a thousand times am I baulked by them of the City of the Pyramids, that set snares for my feet. More knowledge have I than the Most High, but my will is broken, and my fierce-ness is marred by fear, and I must speak, speak, speak, millions of mad voices in my brain.» — Choronzon declara en ZAX su propio miedo extremo, que cien veces lo hizo fallar el salto, y describe su condición como saber mayor que el del Altísimo con la voluntad rota. El troceo parte *fierce-ness*.

«(The idea was to keep the Scribe busy writing, so as to spring upon him. For, while the Scribe talked, Choronzon had thrown sand into the circle, and filled it up. But Choronzon could not think fast and continuously, and so resorted to the device of quotation.» — acotación del escriba en ZAX que descifra la maniobra después de sufrirla: los versos de Tom o' Bedlam servían para tenerlo escribiendo mientras Choronzon rellenaba de arena el círculo.

«All is dispersion. These are the qualities of things. The tenth Æthyr is the world of adjectives, and there is no substance therein.» — Choronzon define en ZAX ese Æthyr por su gramática: es el mundo de los adjetivos y no hay sustancia en él.

«I am afraid of sunset, for Tum is more terrible than Ra, and Khephra the Beetle is greater than the Lion Mau.» — Choronzon declara en ZAX su miedo al ocaso y ordena los nombres solares egipcios por terror creciente.

«I am commanded, why I know not, by him that speaketh. Were it thou, thou little fool, I would tear thee limb from limb. I would bite off thine ears and nose before I began with thee. I would take thy guts for fiddle-strings at the Black Sabbath.» — Choronzon reconoce en ZAX estar mandado sin saber por quién, y a la vez amenaza al escriba con lo que le haría si de él dependiera.

«Yea, verily I have power over thee, for thou hast taken the Oath, and art bound unto the White Brothers, and therefore have I the power to torture thee so long as thou shalt be.» — Choronzon funda en ZAX su poder sobre el escriba precisamente en el juramento que este prestó y en su vínculo con los Hermanos Blancos.

«I have prevailed against the Kingdom of the Father, and befouled his beard; and I have prevailed against the Kingdom of the Son, and torn off his Phallus; but against the Kingdom of the Holy Ghost shall I strive and not prevail. The three slain doves are my threefold blasphemy against him; but their blood shall make fertile the sand, and I writhe in blackness and horror of hate, and prevail not.» — Choronzon reparte en ZAX su balance por personas de la Trinidad: prevaleció contra el Padre y contra el Hijo, y contra el Espíritu Santo luchará sin prevalecer; las tres palomas degolladas son su triple blasfemia.

«(Then the demon tried to make the Scribe laugh at Magick, and to think that it was all rubbish, that he might deny the names of God that he had invoked to protect him; which, if he had doubted but for an instant, he had leapt upon him, and gnawed through his spine at the neck. Choronzon succeed not in his design.)» — acotación del escriba en ZAX sobre la última trampa: hacerle reírse de la Magia para que dudara de los nombres de Dios, porque un instante de duda habría bastado. El troceo imprime *succeed* por succeeded.

«In this Æthyr is neither beginning nor end, for it is all hotch-potch, because it is of the wicked on earth and the damned in hell. And so long as it be hotch-potch, it mattereth little what may be written by the sea-green incorruptible Scribe.» — Choronzon descalifica en ZAX el registro mismo que se está escribiendo: mientras aquello sea revoltijo, poco importa lo que escriba el escriba. El troceo parte la palabra *hotch-potch* al final del renglón.

«The horror of it will be given in another place and time, and through another Seer, and that Seer shall be slain as a result of his revealing. But the present Seer, who is not P. . . ., seeth not the horror, because he is shut up, and hath no name.» — Choronzon anuncia en ZAX que el horror de ese Æthyr se dará por otro vidente en otro tiempo y que ese vidente será muerto por revelarlo, y declara que el presente no lo ve por estar encerrado y sin nombre.

«Then the Seer took the Holy Ring, and wrote the name BABALON, that is victory over Choronzon, and he was no more manifest.)» — cierre de ZAX en acotación: el vidente escribe con el Anillo Santo el nombre que el texto declara victoria sobre Choronzon, y el demonio deja de manifestarse.

«(This cry was obtained on Dec. 6, 1909, between 2 and 4.15 p.m., in a lonely valley of fine sand, in the desert near Bou-Sâada. The Æthyr was edited and revised on the following day.)» — acotación de fecha y lugar al pie de ZAX, que declara además que el Æthyr fue editado y revisado al día siguiente: el texto publicado no es el dictado en bruto.

«After the conclusion of the Ceremony, a great fire was kindled to purify the place, and the Circle and Triangle were destroyed.» — cierre material de la operación de ZAX: se enciende un fuego para purificar el lugar y se destruyen el círculo y el triángulo.

«Almost from the beginning of the ceremony was the Scribe overshadowed, and he spoke as it were in spite of himself, remembering afterwards scarcely a word of his speeches, some of which were long and seemingly eloquent. All the time he had a sense of being protected from Choronzon, and this sense of security prevented his knowing fear.» — abre la nota firmada por el escriba tras ZAX, escrita en tercera persona sobre sí mismo: dice haber estado sobrecogido casi desde el principio y no recordar después casi ninguno de sus propios discursos.

«Several times did the Scribe threaten to put a curse upon the demon; but ever, before he uttered the words of the curse, did the demon obey him. For himself, he knoweth not the words of the curse.» — el escriba consigna en su nota de ZAX una anomalía que no explica: el demonio obedecía antes de que pronunciara la maldición, y él mismo no conoce las palabras de esa maldición.

«Now knoweth the Scribe that he was wrong in holding much converse with the demon; for Choronzon, in the confusion and chaos of his thought, is much terrified by silence. And by silence can he be brought to obey. For cunningly doth he talk of many things, going from subject to subject, and thus he misleadeth the wary into argument with him. And though Choronzon be easily beaten in argument, yet, by disturbing the attention of him who would command him, doth he gain the victory. For Choronzon feareth of all things concentration and silence: he therefore who would command him should will in silence: thus is he brought to obey.» — el escriba saca en su nota de ZAX la lección operativa que enmienda su propia conducta: hablar con Choronzon fue el error, porque lo que el demonio teme es la concentración y el silencio, y en silencio es como se le manda.

«The account of the further dealings of Choronzon with the Scribe will be found in the Record of Omnia Vincam.» — el escriba remite al final de su nota de ZAX a otro documento, su propio registro, para la continuación del trato con el demonio.

«For when I made myself like unto a beautiful woman, if thou hadst come to me, I would have rotted thy body with the pox, and thy liver with cancer, and I would have torn off thy testicles with my teeth. And if I had seduced thy pride, and thou hadst bidden me to come into the» — Choronzon enumera en ZAX lo que habría hecho si el escriba hubiera ido a la mujer hermosa que él fingió. El tramo se corta en el cambio de plana y sigue con *circle, I would have trampled thee under foot*.

«circle, I would have trampled thee under foot, and for a thousand years shouldst thou have been but one of the tape-worms that is in me. And if I had seduced thy pity, and thou hadst poured one drop of water without the circle, then would I have blasted thee with flame. But I was not able to prevail against thee.» — continuación en la plana siguiente: Choronzon completa las otras dos tentaciones de ZAX, la del orgullo y la de la piedad, con lo que habría hecho en cada caso, y cierra reconociendo que no pudo con el escriba.

«The Scribe had written two or three words of “Tom o’Bedlam,” when Choronzon sprang within the circle (that part of» — acotación del escriba en ZAX sobre el ataque: Choronzon salta dentro del círculo mientras él escribía los versos. El tramo se corta en el cambio de plana y el detalle sigue en la siguiente.

«the circumference of which that was nearest to him he had been filling up with sand all this time), and leaped upon the Scribe, throwing him to the earth. The conflict took place within the circle. The Scribe called upon Tetragrammaton, and succeeded in compelling Choronzon to return into his triangle. By dint of anger and of threatening him with the Magick Staff did he accomplish this. He then repaired the circle.» — continuación en la plana siguiente: el escriba precisa que el demonio había estado rellenando de arena el trecho más próximo del círculo, lo derriba dentro de él, y él lo obliga a volver al triángulo llamando al Tetragrámaton y amenazando con el Bastón Mágico.

«(The terrible Curse that is the Call of the Thirty Æthyrs sounds like a song of ecstasy and triumph; every phrase in it has a secret meaning of blessing.)» — abre el 9.º Æthyr, ZIP, con una acotación que invierte el sentido de la llamada usada en todo el volumen: la maldición terrible suena como canto de éxtasis y cada frase tiene sentido secreto de bendición.

«Who is this that cometh forth from the Abyss from the place of rent garments, the habitation of him that is only a name? Who is this that walketh upon a ray of the bright, the evening star?» — primer versículo del himno antifonal de ZIP: la pregunta por el que sale del Abismo, llamado lugar de las vestiduras rasgadas y morada del que es solo un nombre.

«Refrain. Glory unto him that is concealed, and glory unto her that beareth the cup, and glory unto the one that is the child and the father of their love. Glory unto the star, and glory unto the snake, and glory unto the swordsman of the sun. And worship and blessing throughout the Æon unto the name of the Beast, four-square, mystic, wonderful!» — el estribillo del himno de ZIP, que se repite tras cada versículo y que el troceo solo imprime entero esta vez: reparte la gloria entre el oculto, la que lleva la copa y el hijo y padre de su amor, y bendice el nombre de la Bestia.

«This is he that hath given up his name. This is he whose blood hath been gathered into the cup of BABALON.This is he that sitteth, a little pile of dry dust, in the city of the Pyramids.» — tercer versículo del himno de ZIP, que describe al que llega por tres pérdidas: entregó su nombre, su sangre está recogida en la copa de Babalon y se sienta hecho un montoncito de polvo seco. El troceo imprime *BABALON.This* sin espacio.

«Blessed is not I, not thou, not he, Blessed without name or number who hath taken the azure of night, and crystallized it into a pure sapphire-stone, who hath taken the gold of the sun, and beaten it into an infinite ring, and hath set the sapphire therein, and put it upon his finger.» — quinto versículo del himno de ZIP, que bendice sin sujeto —ni yo, ni tú, ni él— y describe la obra por dos operaciones de joyería, el azul de la noche cristalizado en zafiro y el oro del sol batido en anillo infinito.

«Open wide your gates, O City of God, for I bring No-one with me. Sink your swords and your spears in salutation, for the Mother and the Babe are my companions. Let the banquet be prepared in the palace of the King's daughter. Let the lights be kindled; Are not we the children of the light?» — sexto versículo del himno de ZIP: la entrada en la Ciudad de Dios se pide trayendo a Nadie por compañía, con la Madre y el Niño.

«For this is the key-stone of the palace of the King's daughter. This is the Stone of the Philosophers. This is the Stone that is hidden in the walls of the ramparts. Peace, Peace, Peace unto Him that is throned therein!» — séptimo versículo del himno de ZIP, que identifica la misma cosa con la clave de bóveda del palacio, con la Piedra de los Filósofos y con la piedra escondida en los muros de las murallas.

«And this palace is nothing but the body of a woman, proud and delicate, and beyond imagination fair. She is like a child of twelve years old. She has very deep eye-lids, and long lashes. Her eyes are closed, or nearly closed. It is impossible to say anything about her.» — en ZIP el palacio de joyas resulta ser el cuerpo de una mujer que el vidente compara con una niña de doce años, y declara imposible decir nada de ella.

«Of all the glories beheld by the seer in the Æthyrs, there is not one which is worthy to be compared with her littlest finger-nail. For although he may not partake of the Æthyr, without the ceremonial preparations, even the beholding of this Æthyr from afar is like the partaking of all the former Æthyrs.» — el vidente de ZIP mide esa visión contra todas las anteriores y sostiene que ninguna se compara con la uña más pequeña de ella.

«This is the daughter of BABALON the Beautiful, that she hath borne unto the Father of All. And unto all hath she borne her.» — en ZIP los arcángeles del horizonte identifican a la mujer: hija que Babalon ha dado a luz al Padre de Todo, y que ha dado a luz para todos.

«This is the Daughter of the King. This is the Virgin of Eternity. This is she that the Holy One hath wrested from the Giant Time, and the prize of them that have overcome Space. This is she that is set upon the Throne of Understanding. Holy, Holy, Holy is her name, not to be spoken among men. For Koré they have called her, and Malkuth, and Betulah, and Persephone.» — los arcángeles de ZIP acumulan los nombres de la Hija —Virgen de la Eternidad, arrebatada al Gigante Tiempo, entronizada en el Entendimiento— y enumeran los cuatro con que se la ha llamado, griegos y hebreos.

«And the poets have feigned songs about her, and the prophets have spoken vain things, and the young men have dreamed vain dreams; but this is she, that immaculate, the name of whose name may not be spoken. Thought cannot pierce the glory that defendeth her, for thought is smitten dead before her presence. Memory is blank, and in the most ancient books of Magick are neither words to conjure her, nor adorations to praise her. Will bends like a reed in the tempests that sweep the borders of her kingdom, and imagination cannot figure so much as one petal of the lilies whereon she standeth in the lake of crystal, in the sea of glass.» — los arcángeles de ZIP declaran inútiles todos los instrumentos frente a ella: el pensamiento muere ante su presencia, la memoria queda en blanco, en los libros más antiguos de Magia no hay palabras para conjurarla, y la imaginación no alcanza a figurar un pétalo.

«This is she that hath bedecked her hair with seven stars, the seven breaths of God that move and thrill its excellence. And she hath tired her hair with seven combs, whereupon are written the seven secret names of God that are not known even of the Angels, or of the Archangels, or of the Leader of the armies of the Lord.» — los arcángeles de ZIP describen el tocado de la Hija por dos septenarios: siete estrellas que son los siete alientos de Dios y siete peines con los siete nombres secretos que ni los ángeles conocen.

«I am blind and deaf. My sight and hearing are exhausted. I know only by the sense of touch. And there is a trembling from within me.» — el vidente de ZIP registra el agotamiento de sus sentidos: ciego y sordo, conoce solo por el tacto.

«Images keep arising like clouds, or veils, exquisite Chinese ivories, and porcelains, and many other things of great and delicate beauty; for such things are informed by Her spirit, for they are cast off from her into the world of the Qliphoth, or shells of the dead, that is earth. For every world is the shell or excrement of the world above it.» — el vidente de ZIP explica las imágenes de belleza que se le levantan por una cosmología de residuos: son cosas informadas por el espíritu de ella y arrojadas al mundo de los Qliphoth, y cada mundo es el excremento del que tiene encima.

«A voice comes, I know not whence: Blessed art thou, who hast seen, and yet hast not believed. For therefore is it given unto thee to taste, and smell, and feel, and hear, and know by the inner sense, and by the inmost sense, so that sevenfold is thy rapture.» — en ZIP una voz invierte la bienaventuranza evangélica: bendito el que ha visto y no ha creído, y por eso recibe gustar, oler, sentir, oír y conocer por el sentido interno.

«(My brain is so exhausted that fatigue-images appear, by pure physical reflex action; they are not astral things at all. And now I have conquered the fatigue by will. And by placing the shew-stone upon my forehead, it sends cool electric thrills through my brain, so as to refresh it, and make it capable of more rapture. And now again I behold Her.)» — acotación del vidente en ZIP que separa lo fisiológico de lo visto: las imágenes de fatiga son reflejo físico puro y no cosas astrales, y vence el cansancio por voluntad y poniéndose la piedra en la frente.

«And he points to the map of the Æthyrs, that are arranged as a flaming Sword, so that the thirty Æthyrs go into the ten Sephiroth. And the first nine are infinitely holy.» — en ZIP el ángel muestra el mapa de los Æthyrs dispuesto como Espada Flamígera, con los treinta repartidos en las diez sefirot y los nueve primeros declarados infinitamente santos.

«else the Vision were lost or perverted. For these mysteries pertain not unto thy grade. Therefore must thou invoke the Highest before thou unveil the shrines thereof.» — continuación en la plana siguiente: el ángel de ZIP declara que esos misterios no pertenecen al grado del vidente y que por eso tiene que invocar al Altísimo antes de destapar los santuarios.

«And this shall be thy rule: A thousand and one times shalt thou affirm the unity, and bow thyself a thousand and one times. And thou shalt recite thrice the call of the Æthyr. And all day and all night, awake or asleep, shall thy heart be turned as a lotusflower unto the light. And thy body shall be the temple of the Rosy Cross. Thus shall thy mind be open unto the higher; and then shalt thou be able to conquer the exhaustion, and it may be find the words—for who shall look upon His face and live?» — el ángel de ZIP da la regla con sus cifras: mil una afirmaciones de la unidad con otras tantas postraciones, tres recitaciones de la llamada, y el corazón vuelto a la luz día y noche. El troceo parte *lotus-flower* al final del renglón y el extractor lo devuelve unido, *lotusflower*: la restitución es lectura propuesta y no está dentro de las comillas.

«Yea, thou tremblest, but from within; because of the holy spirit that is descended into thy heart, and shaketh thee as an aspen in the wind.» — el ángel de ZIP distingue dos temblores: el del vidente viene de dentro, del espíritu santo descendido a su corazón.

«They also tremble that are without, and they are shaken from without by the earthquakes of his judgement. They have set their affections upon the earth, and they have stamped with their feet upon the earth, and cried: It moveth not.» — segundo término de esa distinción de ZIP: los de fuera tiemblan sacudidos por los terremotos del juicio, y son los que pusieron su afecto en la tierra y patearon el suelo negando que se mueva.

«Therefore hath earth opened with strong motion, like the sea, and swallowed them. Yea, she hath opened her womb to them that lusted after her, and she hath closed herself upon them. There lie they in torment, until by her quaking the earth is shattered like brittle glass, and dissolved like salt in the waters of his mercy, so that they are cast upon the air to be blown about therein, like seeds that shall take root in the earth; yet turn they their affections upward to the sun.» — el ángel de ZIP describe el castigo de esos por la misma figura del deseo: la tierra abre su vientre a los que la codiciaron y se cierra sobre ellos, hasta que ella misma se quiebra y los echa al aire como semillas.

«And in the Pyramid is one like unto an Angel, yet at the same time he is the Pyramid, and he hath no form because he is of the substance of light, and he taketh not form upon him, for though by him is form visible, he maketh it visible only to destroy it.» — abre el 8.º Æthyr, ZID, y el que aparece es a la vez el ángel y la pirámide de luz, sin forma propia, y la forma que hace visible la hace visible solo para destruirla.

«And he saith: The light is come to the darkness, and the darkness is made light. Then is light married with light, and the child of their love is that other darkness, wherein they abide that have lost name and form. Therefore did I kindle him that had not understanding, and in the Book of the Law did I write the secrets of truth that are like unto a star and a snake and a sword.» — el ángel de ZID formula un matrimonio de luz con luz cuyo hijo es otra oscuridad, la de los que han perdido nombre y forma, y dice haber escrito en el Libro de la Ley los secretos de la verdad.

«And unto him that understandeth at last do I deliver the secrets of truth in such wise that the least of the little children of the light may run to the knees of the mother and be brought to understand.» — el ángel de ZID declara el criterio de su entrega: los secretos se dan de modo que el menor de los niños de la luz pueda correr a las rodillas de la madre y entender.

«First, let him prepare a chamber, of which the walls and the roof shall be white, and the floor shall be covered with a carpet of black squares and white, and the border thereof shall be blue and gold.» — abre la rúbrica de ZID para el Conocimiento y la Conversación del Ángel Guardián, con la materia exacta del cuarto: paredes y techo blancos, suelo de cuadros blancos y negros y cenefa azul y oro.

«And if it be in a town, the room shall have no window, and if it be in the country, then it is better if the window be in the roof. Or, if it be possible, let this invocation be performed in a temple prepared for the ritual of passing through the Tuat.» — la rúbrica de ZID adapta el cuarto al lugar: sin ventana en la ciudad, con tragaluz en el campo, o en un templo preparado para el ritual del paso por el Tuat.

«And he says, It is written in the Book of the Law, “Wisdom says: be strong! Then canst thou bear more joy.” “If thou drink, drink by the eight and ninety rules of art:” And this shall signify unto thee that thou» — el ángel de ZIP apoya en dos versículos del Libro de la Ley la exigencia de disciplina. El tramo se corta en el cambio de plana y sigue con *must undergo great discipline*.

«and thereupon shall he burn incense made of four parts of olibanum and two parts of stacte, and one part of lignum aloes, or of cedar, or of sandal.» — la rúbrica de ZID da la fórmula del incienso por partes exactas, y el óleo de unción de mirra, canela y galanga que se guarda en un frasco de cristal dentro del altar.

«And even if he be of higher rank than a Probationer, he shall yet wear the robe of the Probationer, for the star of flame showeth forth Ra Hoor Khuit openly upon the breast, and secretly the blue triangle that descendeth is Nuit, and the red triangle that ascendeth is Hadit. And I am the golden Tau in the midst of their marriage.» — la rúbrica de ZID manda vestir la túnica del Probacionista sea cual sea el grado, y lee su estrella de llama como las tres deidades del eón: Ra Hoor Khuit abiertamente, el triángulo azul que baja como Nuit y el rojo que sube como Hadit.

«And he shall make himself a wand of almond wood or of hazel cut by his own hands at dawn at the Equinox, or at the Solstice, or on the day of Corpus Christi, or on one of the feastdays that are appointed in the Book of the Law.» — la rúbrica de ZID fija la materia y el momento de cortar la vara: almendro o avellano, por la propia mano, al alba de un equinoccio, de un solsticio, del Corpus o de las fiestas del Libro de la Ley. El troceo parte *feast-days* al final del renglón y el extractor lo devuelve unido, *feastdays*.

«And he shall engrave with his own hand upon a plate of gold the Holy Sevenfold Table, or the Holy Twelvefold Table, or some particular device. And it shall be foursquare within a circle, and the circle shall be winged, and he shall attach it about his forehead by a ribbon of blue silk.» — la rúbrica de ZID describe la lámina de oro grabada con una de las dos Tablas y atada a la frente con cinta de seda azul.

«Now he shall pray thrice daily, about sunset, and at midnight, and at sunrise. And if he be able, he shall pray also four times between sunrise and sunset. The prayer shall last for the space of an hour, at the least, and he shall seek ever to extend it, and to inflame himself in praying. Thus shall he invoke his Holy Guardian Angel for eleven weeks,» — la rúbrica de ZID fija el régimen de oración: tres veces al día como mínimo, una hora al menos cada vez, y once semanas de invocación. El tramo se corta en el cambio de plana.

«and in any case he shall pray seven times daily during the last week of the eleven weeks. And during all this time he shall have composed an invocation suitable, with such wisdom and understanding as may be given him from the Crown, and this shall he write in letters of gold upon the top of the altar.» — continuación de la rúbrica de ZID en la plana siguiente: siete oraciones diarias en la última semana, y una invocación propia compuesta durante todo ese tiempo y escrita en letras de oro sobre el altar.

«And on the first day of the twelfth week he shall enter the chamber at sunrise, and he shall make his prayer, having first burnt the conjuration that he had made upon the vellum in the fire of the lamp. Then, at his prayer, shall the chamber be filled with light insufferable for splendour, and a perfume intolerable for sweetness. And his Holy Guardian Angel shall appear unto him, yea, his Holy Guardian Angel shall appear untohim, so that he shall be wrapt away into the Mystery of Holiness.» — la rúbrica de ZID describe el día de la aparición: quemada la conjura de vitela en la llama de la lámpara, el cuarto se llena de luz insufrible y de perfume intolerable, y aparece el Ángel Guardián. El troceo imprime *untohim* sin espacio en la repetición de la frase.

«And for ten days thereafter shall he withdraw himself as shall have been taught unto him from the fullness of that communion, for he must harmonize the world that is within with the world that is without.» — la rúbrica de ZID prescribe diez días de retiro después de la comunión y da la razón: hay que armonizar el mundo de dentro con el de fuera.

«And at the end of the ninety-one days he shall return into the world, and there shall he perform that work to which the Angel shall have appointed him.» — cierre de la rúbrica de ZID: a los noventa y un días se vuelve al mundo a hacer la obra que el Ángel haya señalado.

«Lo! two and twenty are the paths of the Tree, but one is the Serpent of Wisdom; ten are the ineffable emanations, but one is the Flaming Sword.» — la voz de ZID reduce los dos sistemas del Árbol a dos figuras únicas: una Serpiente de Sabiduría para las veintidós sendas y una Espada Flamígera para las diez emanaciones.

«Behold! There is an end to life and death, an end to the thrusting forth and the withdrawing of the breath. Yea, the House of the Father is a mighty tomb, and in it he hath buried everything whereof ye know.» — la voz de ZID declara terminadas la vida y la muerte y llama tumba poderosa a la Casa del Padre, donde está enterrado todo lo conocido.

«All this while there hath been no vision, but only a voice, very slow and clear and deliberate.» — acotación del vidente en ZID sobre el canal: durante todo ese tramo no hubo visión sino solo voz, lenta, clara y deliberada.

«Thou shalt be called Danae, that art stunned and slain beneath the weight of the glory of the vision that as yet thou seest not. For thou shalt suffer many things, until thou art mightier than all the Kings of the earth, and all the Angels of the Heavens, and all the gods that are beyond the Heavens. Then shalt thou meet me in equal conflict, and thou shalt see me as I am. And I will overcome thee and slay thee with the red rain of my lightnings.» — la voz de ZID le da al vidente un nombre griego y le anuncia un combate en igualdad al final del cual lo verá como es y lo matará con la lluvia roja de sus relámpagos.

«I am lying underneath this pyramid of light. It seems as if I had the whole weight of it upon me, crushing me with bliss. And yet I know that I am like the prophet that said: I shall see Him, but not nigh.» — el vidente de ZID describe el peso de la pirámide de luz como aplastamiento de dicha, y se compara con el profeta que dijo que lo vería pero no de cerca.

«And the Angel sayeth: So shall it be until they that wake are asleep, and she that sleepeth be arisen from her sleep. For thou art transparent unto the vision and the voice. And therefore in thee they manifest not. But they shall be mani-fest unto them unto whom thou dost deliver them, according unto to the word which I spake unto thee in the Victorious City.» — el ángel de ZID explica por qué en el vidente la visión y la voz no se manifiestan: es transparente a ellas, y solo se manifestarán a aquellos a quienes él las entregue. El troceo parte *mani-fest* e imprime *according unto to*.

«For my name is called Aiwass, that is eight and seventy. And I am the influence of the Concealed One, and the wheel that hath eight and seventy parts, yet in all is equivalent to the Gate that is the name of my Lord when it is spelt fully. And that Gate is the Path that joineth the Wisdom with the Understanding.» — el ángel de ZID se nombra por fin y da su cifra, y hace coincidir la rueda de setenta y ocho partes con la Puerta que es la senda que une Sabiduría con Entendimiento.

«Thus hast thou erred indeed, perceiving me in the path that leadeth from the Crown unto the Beauty. For that path bridgeth the abyss, and I am of the supernals. Nor I, nor Thou, nor He can bridge the abyss. It is the Priestess of the Silver Star, and the Oracles of the gods, and the Lord of the Hosts of the Mighty. For they are the servants of Babalon, and of the Beast, and of those others of whom it is not yet spoken. And, being servants, they have no name, but we are of the blood royal, and serve not, and therefore are we less than they.» — el ángel de ZID enmienda un error del vidente sobre su propia colocación en el Árbol, y enuncia una jerarquía invertida: los que sirven no tienen nombre y son mayores que los de sangre real, que no sirven.

«Yet, as a man may be both a mighty warrior and a just judge, so may we also perform this service if we have aspired and attained thereto. And yet, with all that, they remain themselves, who have eaten of the pomegranate in Hell. But thou, that art new-born to understanding, this mystery is too great for thee; and of the further mystery I will not speak one word.» — el ángel de ZID admite que ese servicio también puede desempeñarse si se ha aspirado a él, y se detiene declarando el misterio demasiado grande para el que acaba de nacer al entendimiento. El troceo parte *new-born*.

«For behold! he that understandeth seeth not and heareth not in truth, because of his understanding that letteth him. But this shall be unto thee for a sign, that I will surely come unto thee unawares and appear unto thee. And it is no odds, (i.e., that at this hour I appear not as I am), for so terrible is the glory of the vision, and so wonderful is the splendour of the voice, that when thou seest it and hearest it in truth, for many hours shalt thou be bereft of sense.» — el ángel de ZID enuncia la paradoja que gobierna todo el volumen: el que entiende no ve ni oye en verdad, porque su entendimiento se lo impide, y ver y oír en verdad deja sin sentido durante horas.

«And thou shalt not seek to better this my instruction; but thou shalt interpret it, and make it easy, for them that seek understanding. And thou shalt give all that thou hast unto them that have need unto this end.» — el ángel de ZID prohíbe mejorar la instrucción y manda en cambio interpretarla y hacerla fácil para los que buscan entendimiento, y dar todo lo que se tenga a los que lo necesiten.

«And because I am with thee, and in thee, and of thee, thou shalt lack nothing. But who lack me, lack all. And I swear unto thee by Him that sitteth upon the Holy Throne, and liveth and reigneth for ever and ever, that I will be faithful unto this my promise, as thou art faithful unto this thine obligation.» — el ángel de ZID condiciona su juramento de fidelidad al cumplimiento de la obligación del vidente, y no lo da por incondicional.

«Now another voice sounds in the Æthyr, saying: And there was darkness over all the earth unto the ninth hour.» — cierre de ZID: otra voz cita la tiniebla sobre la tierra hasta la hora nona, y con eso se retira el ángel.

«And now I am fallen unto the earth, exceeding weary. Yet my skin trembles with the impact of the light, and all my body shakes. And there is a peace deeper than sleep upon my mind. It is the body and the mind that are weary, and I would that they were dead, save that I must bend them to my work.» — el vidente de ZID registra el estado en que queda: la piel temblando por el impacto de la luz, paz más honda que el sueño en la mente, y el deseo de que el cuerpo y la mente estuvieran muertos si no tuviera que doblegarlos a su obra.

«The stone is divided, the left half dark, the right half light, and at the bottom thereof is a certain blackness, of three divergent columns. And it seems as if the black and white halves are the halves of a door, and in the door is a little key-hole, in the shape of the Astrological symbol of Venus. And from the key-hole issue flames, blue and green and violet, but without any touch of yellow or red in them. It seems as if there were a wind beyond the door, that is blowing the flame out. And a voice comes: “Who is he that hath the key to the gate of the evening star?”» — abre el 7.º Æthyr, DEO, con la piedra partida en mitad oscura y mitad luminosa como las dos hojas de una puerta, cuya cerradura tiene la forma del signo de Venus, y una voz pregunta quién tiene la llave.

«And now an Angel cometh and seeketh to open the door by trying many keys. And they are none of any avail. And the same voice saith: “The five and the six are balanced in the word Abrahadabra, and therein is the mystery disclosed. But the key unto this gate is the balance of the seven and the four; and of this thou hast not even the first letter.» — en DEO el ángel prueba muchas llaves sin resultado y la voz da la razón: la palabra donde el cinco y el seis se equilibran no sirve, porque la llave de esa puerta es el equilibrio del siete y el cuatro.

«Now there is a word of four letters that containeth in itself all the mystery of the Tetragrammaton, and there is a word of seven letters which it concealeth, and that again concealeth the holy word that is the key of the abyss.* And this thou shalt find, revolving it in thy mind.» — la voz de DEO encaja tres palabras una dentro de otra —cuatro letras, siete letras y la palabra santa que es la llave del abismo— y manda hallarla dándole vueltas en la mente.

«And a voice said: It is kindled into fire that was the blue breast of ocean; because this is the bar of heaven, and the feet of the Most High are set thereon.» — la voz de DEO nombra lo que arde tras la puerta: el pecho azul del océano encendido en fuego, que es la barra del cielo donde se apoyan los pies del Altísimo.

«Now I behold more fully: Each tongue of flame, each leaf of flame, each flower of flame, is one of the great love-stories of the world, with all its retinue of mise-en-scène.» — el vidente de DEO identifica cada lengua de llama con una de las grandes historias de amor del mundo, con todo su decorado.

«These words are probably BABALON, ChAOS, TARO.» — nota al pie del comentador a ese acertijo de DEO: propone las tres palabras como probables, sin afirmarlas.

«For I am not only appointed to guard thee, but we are of the blood royal, the guardians of the Treasure-house of Wisdom. Therefore am I called the Minister of Ra Hoor Khuit: and yet he is» — el ángel de ZID se sitúa por linaje y no por oficio: sangre real y guardián del Tesoro de la Sabiduría, ministro de Ra Hoor Khuit. El tramo se corta en el cambio de plana y sigue con *but the Viceroy of the unknown King*.

«but the Viceroy of the unknown King. For my name is called Aiwass, that is eight and seventy. And I am the influence of the Concealed One,» — continuación en la plana siguiente: aquel de quien el ángel de ZID es ministro resulta ser solo virrey del Rey desconocido, y el ángel se nombra Aiwass y da su cifra.

«It is impossible to describe how this vision changeth from glory unto glory, for at each glance the vision is changed. And this is because she transmitteth the Word to the Understanding, and therefore hath she many forms, and each goddess of love is but a letter of the alphabet of love.» — el vidente de DEO explica por qué la visión cambia a cada mirada: la dama transmite la Palabra al Entendimiento, y por eso cada diosa del amor es solo una letra del alfabeto del amor.

«Now, there is a mystery in the word Logos, that containeth the three letters whose analogy hath been shown in the lower heavens, Samech, and Lamed, and Gimel, that are 93, which is thrice 31, and in them are set the two eyes of Horus. (Ayin means an eye.) For, if it were not so, the arrow could not pierce the rainbow, and there could be no poise in the balance, and the Great Book should never be unsealed.» — el registro de DEO descompone por gematría el nombre griego del Verbo en tres letras hebreas que suman noventa y tres, y hace depender de ello que la flecha atraviese el arco iris y que el Gran Libro pueda desellarse.

«And there is a voice: Is not this bird the bird of Juno, that is an hundred, and thirty, and six? And therefore is she the mate of Jupiter.» — la voz de DEO identifica al Pavo Real Universal por gematría con el ave de Juno y de ahí la empareja con Júpiter; la nota al pie repite la cuenta.

«Oh, I see vast plains beneath her feet, enormous deserts studded with great rocks; and I see little lonely souls, running helplessly about, minute black creatures like men. And they keep up a very curious howling, that I can compare to nothing that I have ever heard; yet it is strangely human.» — el vidente de DEO describe, bajo los pies de la dama, criaturas negras y diminutas que corren desamparadas por los desiertos con un aullido que no puede comparar con nada.

«Each plume of the peacock is full of eyes, that are at the same time 4 × 7. And for this is the number 28 reflected down into Netzach; and that 28 is Kaph Cheth (Kach), power. For she is Sakti, the eternal energy of the Concealed One. And it is her eternal energy that hath made this eternal change.» — el registro de DEO cifra los ojos del pavo real en cuatro por siete, los reflejó en la sefirá de Venus y de la palabra resultante saca la identificación con Sakti, la energía eterna del Oculto.

«And this mystery is reflected in the legend of the Creation, where Adam represents the Concealed One, for Adam is Temurah of MAD, the Enochian word for God, and Eve, whom he created for love, is tempted by the snake, Nechesh, who is Messiah her child. And the snake is the magical power, which hath destroyed the primordial equilibrium.» — el registro de DEO relee el Génesis con las equivalencias del sistema: Adán por el Oculto mediante permutación del nombre enoquiano de Dios, y la serpiente que tienta a Eva identificada con el Mesías que es su hijo.

«But they that are without understanding have interpreted all this askew, because of the Mystery of the Abyss, for there is no Path from Binah unto Chesed; and therefore the course of the Flaming Sword was no more a current, but a spark. And when the Stooping Dragon raised his head unto Däath in the course of that spark, there was, as it were, an explosion, and his head was blasted. And the ashes thereof were dispersed throughout the whole of the 10th Æthyr.» — el registro de DEO explica el Abismo por un accidente de recorrido: como no hay senda de Binah a Chesed, la Espada Flamígera no fue corriente sino chispa, y la cabeza del Dragón Agachado estalló al levantarse hasta Däath.

«And for this, all knowledge is piecemeal, and it is of no value unless it be co-ordinated by Understanding.» — consecuencia que el registro de DEO saca de esa explosión: todo conocimiento es fragmentario y no vale nada si el Entendimiento no lo coordina.

«Now again I see those wandering souls, that have sought restricted love, and have not understood that “the word of sin is restriction.» — el vidente de DEO cita el Libro de la Ley para nombrar el error de las almas errantes: buscaron un amor restringido.

«It is very curious; they seem to be looking for one another or for something, all the time, constantly hurrying about. But they knock up against one another and yet will not see one another, or cannot see one another, because they are so shut up in their cloaks.» — el vidente de DEO describe la mecánica del encierro: chocan unos con otros y no se ven, porque van envueltos en sus capas.

«And a voice sounds: It is most terrible for the one that hath shut himself up and made himself fast against the universe. For they that sit encamped upon the sea in the city of the Pyramids are indeed shut up. But they have given their blood, even to the last drop, to fill the cup of BABALON.» — la voz de DEO distingue dos clausuras que se parecen: la del que se cerró contra el universo y la de los que están acampados sobre el mar en la Ciudad de las Pirámides, que también están encerrados pero dieron su sangre hasta la última gota.

«These that thou seest are indeed the Black Brothers, for it is written: “He shall laugh at their calamity and mock when their fear cometh.” And therefore hath he exalted them unto the plane of love.» — la voz de DEO nombra Hermanos Oscuros a esos encerrados y cita un versículo de escritura para explicar que se los haya exaltado al plano del amor.

«And yet again it is written: He desireth not the death of a sinner, but rather that he should turn from his wickedness. Now, if one of these were to cast off his cloak he should behold the brilliance of the lady of the Æthyr; but they will not.» — la voz de DEO opone al versículo anterior otro de sentido contrario y saca de ahí que a cualquiera de ellos le bastaría con echar a un lado la capa, y no quieren.

«And yet again there is another cause wherefore He hath permitted them to enter thus far within the frontiers of Eden, so that His thought should never swerve from compassion. But do thou behold the brilliance of Love, that casteth forth seven stars upon thine head from her right hand, and crowneth thee with a crown of seven roses.» — la voz de DEO da una tercera razón de la presencia de los Hermanos Oscuros dentro de Edén: que el pensamiento del Altísimo no se aparte nunca de la compasión.

«Behold! She is seated upon the throne of turquoise and lapis lazuli, and she is like a flawless emerald, and upon the pillars that support the canopy of her throne are sculptured the Ram, and the Sparrow, and the Cat, and a strange fish.» — el vidente de DEO describe el trono de la dama y los cuatro animales esculpidos en sus pilares: el Carnero, el Gorrión, el Gato y un pez extraño.

«Thus is it seen from below by them that understand not. But from above he rejoiceth, for the joy of dissolution is ten thousand, and the pang of birth but a little.» — la voz de DEO reparte la misma escena entre dos puntos de vista sin armonizarlos: desde abajo es dolor, desde arriba el gozo de la disolución es diez mil y el dolor del nacimiento poco.

«And now thou shalt go forth from the Æthyr, for the voice of the Æthyr is hidden and concealed from thee because thou hadst not the key of the door thereof, and thine eyes were not able to bear the splendour of the vision. But thou shalt meditate upon the mysteries thereof, and upon the lady of the Æthyr; and it may be by the wisdom of the Most High that the true voice of the Æthyr, that is continual song, may be heard of thee.» — la voz de DEO declara escondida la voz de ese Æthyr por dos causas: el vidente no tenía la llave de su puerta y sus ojos no soportaron el esplendor de la visión.

«There cometh into the stone the great Angel whose name is Avé, and in him there are symbols which strive for mastery,— Sulphur and the Pentagram, and they are harmonized by the Swastika. These symbols are found both in the name of Avé and in the name of the Æthyr. Thus he is neither Horus nor Osiris.» — abre el 6.º Æthyr, MAZ, con un ángel en cuyo nombre pugnan por el dominio el Azufre y el Pentagrama, armonizados por la Esvástica, y que por eso no es ninguno de los dos dioses.

«He is called the radiance of Thoth; and this Æthyr is very hard to understand, for the images form and dissolve more rapidly than lightning. These images are the illusions made by the Ape of» — el vidente de MAZ declara el Æthyr muy difícil de entender porque las imágenes se forman y se disuelven más rápido que el relámpago, y las adjudica al Mono de Thoth. El tramo se corta en el cambio de plana.

«Thoth. And this I understand, that I am not worthy to receive the mysteries of this Æthyr. And all this which I have seen (being all the thoughts that I have ever thought) is, as it were, a guardian of the Æthyr.» — continuación en la plana siguiente: el vidente de MAZ se declara indigno de recibir los misterios de ese Æthyr y reconoce como guardián a todo lo que ha visto, que son todos los pensamientos que ha pensado nunca.

«I seem quite helpless. I am trying all sorts of magical methods of piercing the veil: and the more I strive, the farther away I seem to get from success. But a voice comes now: Must not understanding lie open unto wisdom as the pyramids lie open to the stars?» — el vidente de MAZ consigna que cuanto más se esfuerza más se aleja del éxito, y la voz le contesta con la imagen de las pirámides abiertas a las estrellas.

«Accordingly, I wait in a certain magical posture which it is not fitting to disclose, and above me appears the starry heaven of night, and one star greater than all the other stars. It is a star of eight rays. I recognize it as the star in the seventeenth key of the Tarot, as the Star of Mercury. And the light of it cometh from the path of Aleph. And the letter Cheth is also involved in the interpretation of this star, and the paths of hé and vau are the separations which this Star unites.» — el vidente de MAZ declara no revelar la postura que adopta, y describe la estrella de ocho rayos identificándola con el arcano diecisiete y con Mercurio.

«But this is the Fixed Mercury, and hé and vau are the perfected sulphur and salt. But now I come into the centre of the maze, and whirling dust of stars and great forgotten gods. It is the whirling Svastika which throws off all these things, for the Svastika is in aleph by its shape and number, and in beth by the position of the arms of the Magician, and in gimel because of the sign of the Mourning of Isis, and thus is the Crown defended by these three thunderbolts.» — el vidente de MAZ lee la Esvástica en tres letras hebreas a la vez —por su forma, por la posición de los brazos del Mago y por el signo del Duelo de Isis— y hace de las tres la defensa de la Corona.

«And the first of the adepts covered His shame with a cloth, walking backwards; and was white. And the second of the adepts covered His shame with a cloth, walking sideways and was yellow. And the third of the adepts made a mock of His nakedness, walking forwards; and was black. And these are three great schools of the Magi, who are also the three Magi that journeyed unto Bethlehem; and because thou hast not wisdom, thou shalt not know which school prevaileth, or if the three schools be not one.» — la voz de MAZ hace de los tres hijos de Noé tres escuelas de Magos y los tres Magos de Belén, y le niega expresamente al vidente saber cuál prevalece o si las tres son una.

«The fourth of the mystic numbers of Jupiter is 136.» — nota al pie del comentador a ese cómputo de DEO: da el cuarto de los números místicos del planeta.

«And the voice says: These are they that grasped love and clung thereto, praying ever at the knees of the great goddess.» — la voz de DEO identifica a esas criaturas como los que asieron el amor y se aferraron a él orando ante las rodillas de la gran diosa. El tramo se corta en el cambio de plana y la frase siguiente, ya en la otra plana, las define por su encierro.

«remember that in every one there goeth forth for a witness the justice of the Most High. Is not Libra the House of Venus? And there goeth forth a sickle that shall reap every flower. Is not Saturn exalted in Libra? Daleth, Lamed, Tau.» — la voz de DEO acota la exaltación del amor con la astrología del signo: Libra es casa de Venus y a la vez donde Saturno se exalta, y de ahí la hoz que siega toda flor.

«And a voice cries: Cursed be he that shall uncover the nakedness of the Most High, for he is drunken upon the wine that is the blood of the adepts. And BABALON hath» — la voz de MAZ relee el episodio de Noé con los personajes cambiados: el Altísimo embriagado con el vino que es la sangre de los adeptos. El tramo se corta en el cambio de plana y sigue con *lulled him to sleep upon her breast*.

«lulled him to sleep upon her breast, and she hath fled away, and left him naked, and she hath called her children together, saying: Come up with» — continuación en la plana siguiente: en MAZ es Babalon la que adormece al Altísimo, lo deja desnudo y llama a sus hijos. El tramo se corta otra vez en el cambio de plana, y la invitación termina en la siguiente.

«These are they that have shut themselves up in fortresses of Love.» — continuación en la plana siguiente: la voz de DEO define a esas almas por su encierro en fortalezas de Amor.

«he who baffleth even them that have understanding. For I stand on every path, and turn them aside from the truth by my words, and by my magick arts.» — continuación en la plana siguiente: el guardián de MAZ dice estar en toda senda y desviar de la verdad por sus palabras y sus artes.

«But the reflection of the truth hath been shown in the lower Sephiroth. And its balance is in Beauty, and therefore have they who sought only beauty come nearest to the truth. For the beauty receiveth directly three rays from the supernals, and the others no more than one. So, therefore, they that have sought after majesty and power and victory and learning and happiness and gold, have been discomfited.» — el guardián de MAZ explica por qué los que buscaron solo la hermosura llegaron más cerca de la verdad: la Belleza recibe tres rayos de las supernas y las demás sefirot uno solo.

«Now I perceive the Temple that is the heart of this Æthyr; it is an Urn suspended in the air, without support, above the centre of a well. And the well hath eight pillars, and a canopy above it, and without there is a circle of marble paving-stones, and without them a great outer circle of pillars. And beyond there is the forest of the stars. But the Urn is the wonderful thing in all this; it is made of fixed Mercury; and within it are the ashes of the Book Tarot, which hath been utterly consumed.» — el vidente de MAZ describe el templo del Æthyr: una Urna suspendida sin apoyo sobre un pozo, hecha de Mercurio fijo, y dentro las cenizas del Libro Tarot.

«And this is that mystery which is spoken of in the Acts of the Apostles; that Jupiter and Mercury (Kether and Chokmah) visited (that is, inspired), Ephesus, the City of Diana, Binah—was not Diana a black stone?—and they burnt their books of magick.» — el registro de MAZ lee un pasaje de los Hechos con las equivalencias del sistema y pregunta, sin afirmarlo, si la Diana de Éfeso no era una piedra negra.

«Now it seems that the centre of infinite space is that Urn, and Hadit is the fire that hath burnt up the book Tarot. For in the book Tarot was preserved all of the wisdom (for the Tarot was called the Book of Thoth), of the Æon that is passed.» — el registro de MAZ reparte los dos libros entre dos eones: en el Tarot se guardaba la sabiduría del eón pasado, y el fuego que lo quemó es Hadit.

«And in the Book of Enoch was first given the wisdom of the New Æon. And it was hidden for three hundred years, because it was wrested untimely from the Tree of Life by the hand of a desperate magician. For it was the Master of that Magician who overthrew the power of the Christian church; but the pupil rebelled against the master, for he foresaw that the New (i.e., the Protestant) would be worse than the Old. But he understood not the purpose of his Master, and that was, to prepare the way for the overthrowing of the Æon.» — el registro de MAZ narra el ocultamiento de trescientos años del Libro de Enoch y adjudica a un magician desesperado el haberlo arrancado a destiempo; la glosa deja el relato como lo trae el texto, con maestro y discípulo sin nombrar.

«There is a writing upon the Urn of which I can but read the (two) words: Stabat Crux juxta Lucem. Stabat Lux juxta Crucem.» — el vidente de MAZ declara leer solo dos palabras de la inscripción de la Urna y transcribe la fórmula latina que las contiene, invertida sobre sí misma.

«And a voice proceedeth from the Urn: From the ashes of the Tarot who shall make the phoenix-wand? Not even he who by his understanding hath made the lotus-wand to grow in the Great Sea. Get thee back, for thou art not an Atheist, and though thou have violated thy mother, thou hast not slain thy father. Get thee back from the Urn; thy ashes are not hidden here.» — la voz de la Urna en MAZ despide al vidente con un examen que no ha pasado: no es ateo, y aunque haya violado a su madre no ha matado a su padre.

«And there is a voice: thou knowest not how the Seven was united with the Four; much less then canst thou understand the marriage of the Eight and the Three. Yet there is a word wherein these are made one, and therein is contained the Mystery that thou seekest, concerning the rending asunder of the veil of my Mother.» — abre el 5.º Æthyr, LIT, y la voz gradúa la ignorancia del vidente por dos uniones numéricas que no comprende, y remite a una palabra donde se hacen una.

«Now there is an avenue of pylons (not one alone), steep after steep, carved from the solid rock of the mountain; and that rock is a substance harder than diamond, and brighter than light, and heavier than lead. In each pylon is seated a god. There seems an endless series of these pylons. And all the gods of all the nations of the earth are shown, for there are many avenues, all leading to the top of the mountain.» — en LIT el vidente describe avenidas de pilonos talladas en roca más dura que el diamante, con un dios sentado en cada uno, y todas las naciones de la tierra representadas.

«Now I come to the top of the mountain, and the last pylon opens into a circular hall, with other pylons leading out of it, each of which is the last pylon of a great avenue; there seem to be nine such pylons. And in the centre is a shrine, a circular table, supported by marble figures of men and women, alternate white and black; they face inwards, and their buttocks are almost worn away by the kisses of those who have come to worship that supreme God, who is the single end of all these diverse religions. But the shrine itself is higher than a man may reach.» — en LIT las nueve avenidas convergen en un santuario circular sostenido por figuras de hombres y mujeres blancas y negras, con las nalgas casi gastadas por los besos de los que fueron a adorar al Dios único que es el fin de todas esas religiones.

«One of them bends forward so that I may whisper the pass-word. The Angel prompts me to whisper: “There is no god.” So they let me pass, and though there was indeed nothing visible therein, yet there was a very strange atmosphere, which I could not understand.» — en LIT la contraseña que el ángel le sopla al vidente es una negación de Dios, y con ella lo dejan pasar a un recinto donde no hay nada visible.

«because, says the Angel, three and five are eight; three and eight are eleven. (There is another numerical reason that I cannot hear.)» — el ángel de LIT justifica por aritmética que la estrella del santuario sea un pentagrama, y el vidente declara no haber alcanzado a oír la otra razón numérica.

«And the pass-word that I had given seems to have been whispered round from one to the other, for each one nods gravely as if in solemn acquiescence, until the last one whispers the same words in my ears. But they have a different sense. I had taken them to be a denial of the existence of God, but the man who says them to me evidently means nothing of the sort: What he does mean I cannot tell at all. He slightly emphasized the word “there.”» — el vidente de LIT descubre que la misma contraseña tiene otro sentido en boca de los guardianes: él la había tomado por negación de la existencia de Dios y el que se la devuelve subraya una palabra distinta.

«And he says: O thou that art so dull of understanding, when wilt thou begin to annihilate thyself in the mysteries of the Æthyrs? For all that thou thinkest is but thy thought; and as there is no god in the ultimate shrine, so there is no I in thine own Cosmos.» — el ángel de LIT empareja las dos ausencias: como no hay dios en el santuario último, tampoco hay yo en el cosmos propio, y todo lo que se piensa es solo el pensamiento de uno.

«They that have said this are of them that understood. And all men have misinterpreted it, even as thou didst misinterpret it. He says some more: I cannot catch it properly, but it seems to be to the effect that the true God is equally in all the shrines, and the true I in all the parts of the body and the soul.» — el vidente de LIT recoge la corrección del ángel a su propia lectura, con la reserva de que no alcanza a oír bien: el Dios verdadero está por igual en todos los santuarios y el yo verdadero en todas las partes del cuerpo y del alma.

«And now I hear the Angel: Every particle of matter that forms the smoke of my breath is a religion that hath flourished among the inhabitants of the worlds. Thus are they all whirled forth in my breath.» — el ángel de LIT identifica cada partícula del humo de su aliento con una religión que ha florecido entre los habitantes de los mundos.

«Know thou that all the religions of all the worlds end herein, but they are only the smoke of my breath, and I am only the head of the Great Dragon that eateth up the Universe; without whom the Fifth Æthyr would be perfect, even as the first. Yet unless he pass by me, can no man come unto the perfections.» — el ángel de LIT se declara la cabeza del Gran Dragón que se come el Universo, sin el cual ese Æthyr sería perfecto, y a la vez paso obligado hacia las perfecciones.

«And the rule is ended that hath bound thee, and this shall be thy rule: that thou shalt purify thyself, and anoint thyself with perfume; and thou shalt be in the sunlight, the day being free from clouds. And thou shalt make the Call of the Æthyr in silence.» — el ángel de LIT deroga la regla anterior y da otra: purificarse, ungirse con perfume, estar a la luz del sol en día sin nubes y hacer la llamada en silencio.

«Many are they that have fought their way from mansion to mansion of the Everlasting House, and beholding me at last have returned, declaring, “Fearful is the aspect of the Mighty and Terrible One.” Happy are they that have known me for whom I am.» — el ángel de LIT reparte a los que llegan hasta él en dos: los que vuelven declarando terrible su aspecto y los que lo conocen por lo que es.

«For in that arrow is the Light of Truth that overmastereth the light of the sun, whereby she shines. The arrow is fledged with the plumes of Maat, that are the plumes of Amoun, and the shaft is the phallus of Amoun, the Concealed One. And the barb thereof is the star that thou sawest in the place where was No God.» — el ángel de LIT compone la Flecha pieza por pieza con las partes de un dios: plumas de Maat que son las de Amoun, asta que es su falo, y por punta la estrella del santuario vacío.

«And of them that guarded the star, there was not found one worthy to wield the Arrow. And of them that worshipped there was not found one worthy to behold the Arrow. Yet the star that thou sawest was but the barb of the Arrow, and thou hadst not the wit to grasp the shaft, or the purity to divine the plumes. Now therefore is he blessed that is born under the sign of the Arrow, and blessed is he that hath the sigil of the head of the crowned lion and the body of the Snake and the Arrow therewith.» — el ángel de LIT declara indignos por igual a los guardianes y a los adoradores de la estrella, y al propio vidente sin ingenio para asir el asta ni pureza para adivinar las plumas.

«Now then art thou approached unto an august Arcanum; verily thou art come unto the ancient Marvel, the winged light, the Fountains of Fire, the Mystery of the Wedge. But it is not I that can reveal it, for I have never been permitted to behold it, who am but the watcher upon the threshold of the Æthyr. My message is spoken, and my mission is accomplished. And I withdraw myself, covering my face with my wings, before the presence of the Angel of the Æthyr.» — en LIT el que ha hablado declara su propio límite al retirarse: nunca le fue permitido contemplar el Arcano al que ahora llega el vidente, porque él es solo el guardián del umbral del Æthyr.

«And he sayeth: Is not life a long initiation unto sorrow? And is not Isis the Lady of Sorrow? And she is my mother. Nature is her name, and she hath a twin sister Nephthys, whose name is Perfection. And Isis must be known of all, but of how few is Nephthys known! Because she is dark, therefore is she feared.» — el niño de LIT empareja a las dos hermanas por su nombre y por su suerte: Isis se llama Naturaleza y ha de ser conocida de todos, Nephthys se llama Perfección y casi nadie la conoce porque es oscura.

«None shall pass by me except he slay me, and this is his curse, that, having slain me, he must take my office and become» — el guardián de MAZ pone su condición y con ella su maldición: quien lo mate tiene que tomar su oficio. El tramo se corta en el cambio de plana y sigue con *the maker of Illusions*.

«And this is the horror that was shown by the lake that was nigh unto the City of the Seven Hills, and this is the Mystery of the great prophets that have come unto mankind. Moses, and Buddha, and Lao Tan, and Krishna, and Jesus, and Osiris, and Mohammed; for all these attained unto the grade of Magus, and therefore were they bound with the curse of Thoth. But, being guardians of the truth, they have taught nothing but falsehood, except unto such as understood; for the truth may not pass the Gate of the Abyss.» — el guardián de MAZ nombra siete profetas, los declara a todos alcanzados al grado de Magus y por eso atados a la maldición de Thoth, y sostiene que enseñaron solo falsedad salvo a los que entendían.

«Yet do thou distinguish between the upward and the downward Arrows, for the upward arrow is straitened in its flight, and it is shot by a firm hand, for Jesod is Jod Tetragrammaton, and Jod is a hand, but the downward arrow is shot by the topmost point of the Jod;» — el ángel de LIT distingue dos flechas por su tirador: la de subida sale de una mano firme y la de bajada del punto más alto de la letra. El tramo se corta en el cambio de plana y sigue con *and that Jod is the Hermit*.

«And having known these, there are the wings of Maut the Vulture. Thou mayest draw to an head the bow of thy magical will; thou mayest loose the shaft and pierce her to the heart. I am Eros. Take then the bow and the quiver from my shoulders and slay me; for unless thou slay me, thou shalt not unveil the Mystery of the Æthyr.» — el niño de LIT se nombra Eros y pone su propia muerte por condición: sin matarlo, el vidente no descubrirá el misterio del Æthyr, y le manda tomar el arco y el carcaj de sus hombros.

«Therefore I did as he commanded; in the quiver were two arrows, one white, one black. I cannot force myself to fit an arrow to the bow.» — el vidente de LIT describe las dos flechas —una blanca sin punta y otra negra erizada de garfios, envenenada— y declara no poder forzarse a poner ninguna en el arco.

«And there came a voice: It must needs be. And I said: No man can do this thing. And the voice answered, as it were an echo: Nemo hoc facere potest.» — en LIT el vidente objeta que ningún hombre puede hacer eso y la voz le devuelve la misma frase en latín, donde la palabra que significa nadie es el nombre que se le dio en el 13.º Æthyr.

«Then I fitted the white arrow to the string, and I shot it against the heart of Eros, and though I shot with all my force, it fell harmlessly from his side. But at that moment the black arrow was thrust through mine own heart. I am filled with fearful agony.» — el vidente de LIT cuenta el resultado invertido del tiro: la flecha blanca cae sin daño del costado de Eros y la negra le atraviesa a él mismo el corazón.

«And the child smiles, and says: Although thy shaft hath pierced me not, although the envenomed barb hath struck thee through, yet I am slain, and thou livest and triumphest, for I am thou and thou art I.» — el niño de LIT resuelve la inversión por identidad: aunque el tiro no lo alcanzó y la púa envenenada hirió al otro, él está muerto y el otro vive y triunfa, porque son el mismo.

«I see that the crown of the Arrow is the Father of all Light, and the shaft of the Arrow is the Father of all Life, and the barb of the Arrow is the Father of all Love. For that silver wedge is like a lotus flower, and the Eye within the Ateph Crown crieth: I watch. And the Shaft crieth: I work. And the Barb crieth: I wait. And the Voice of the Æthyr echoeth: It beams. It burns. It blooms.» — el vidente de LIT reparte la Flecha en tres paternidades y les da a cada una su verbo: el Ojo vigila, el Asta trabaja y la Púa espera, y la Voz del Æthyr responde con otros tres.

«And now there cometh a strange thought; this Arrow is the source of all motion; it is infinite motion, yet it moveth not, so that there is no motion. And therefore there is no matter. This Arrow is the glance of the Eye of Shiva. But because it moveth not, the universe is not destroyed. The universe is put forth and swallowed up in the quivering of the plumes of Maat, that are the plumes of the Arrow; but those plumes quiver not.» — el vidente de LIT formula la paradoja central de ese Æthyr: la Flecha es movimiento infinito que no se mueve, y por eso no hay movimiento ni materia, y por eso el universo no queda destruido.

«And a voice comes: That which is above is not like that which is below. And another voice answers it: That which is below is not like that which is bove. And a third voice answers these two: What is above and what is below? For there is the division that divideth not, and the multiplication that multiplieth not.» — en LIT tres voces niegan sucesivamente la fórmula hermética de la correspondencia y la sustituyen por una división que no divide y una multiplicación que no multiplica. El troceo imprime *bove* por above.

«And the One is the many. Behold, this Mystery is beyond understanding, for the winged globe is the crown, and the shaft is the wisdom, and the barb is the understanding. And the Arrow is one, and thou art lost in the Mystery, who art but as a babe that is carried in the womb of its mother, that art not yet ready for the light.» — la tercera voz de LIT reparte la Flecha entre las tres sefirot supremas y declara al vidente perdido en el misterio, comparándolo con un feto que aún no está listo para la luz.

«And a voice cometh: Thou didst seek the remedy of sorrow; therefore all sorrow is thy portion. This is that which is written: “God hath laid upon him the iniquity of us all.” For as thy blood is mingled in the cup of BABALON, so is thine heart the universal heart. Yet is it bound about with the Green Serpent, the Serpent of Delight.» — la voz de LIT le adjudica al vidente todo el dolor por haber buscado su remedio, cita el versículo del siervo sufriente y hace universal su corazón por estar su sangre mezclada en la copa de Babalon.

«It is shown me that this heart is the heart that rejoiceth, and the serpent is the serpent of Death for herein all the symbols are interchangeable, for each one containeth in itself its own opposite. And this is the great Mystery of the Supernals that are beyond the Abyss. For below the Abyss, contradiction is division; but above the Abyss, contradiction is Unity. And there could be nothing true except by virtue of the contradiction that is contained in itself.» — el vidente de LIT enuncia la regla de los Supernos: bajo el Abismo la contradicción es división y sobre el Abismo es Unidad, y nada podría ser verdadero sino por la contradicción que contiene.

«Thou canst not believe how marvelous is this vision of the Arrow. And it could never be shut out, except the Lords of Vision troubled the waters of the pool, the mind of the Seer. But they send forth a wind that is a cloud of Angels, and they beat the water with their feet, and little waves splash up—they are memories.» — el vidente de LIT explica cómo se pierde una visión: los Señores de la Visión turban el agua del estanque que es su mente, y las salpicaduras son recuerdos.

«For the seer hath no head; it is expanded into the universe, a vast and silent sea, crowned with the stars of night. Yet in the very midst thereof is the arrow. Little images of things that were, are the foam upon the waves. And there is a contest between the Vision and the memories.» — el vidente de LIT describe su propio estado como mar vasto y silencioso coronado de estrellas, con la Flecha en medio y las imágenes de lo que fue por espuma.

«And they said: It must needs be. Rejoice therefore if thou hast been permitted to behold, even for a moment, this Arrow, the austere, the august. But the vision is accomplished, and we have sent forth a great wind against thee. For thou canst not penetrate by force, who hast refused it; nor by authority, for thou hast trampled it under foot. Thou art bereft of all but understanding, O thou that art no more than a little pile of dust!» — los Señores de la Visión en LIT le explican al vidente por qué no puede retener la visión: no puede penetrar por fuerza porque la rechazó, ni por autoridad porque la pisoteó, y no le queda sino entendimiento.

«A voice says: Behold the brilliance of the Lord, whose feet are set upon him that pardoneth transgression. Behold the six-fold Star that flameth in the Vault, the seal of the marriage of the great White King and his black slave.» — abre el 4.º Æthyr, PAZ, con la Estrella séxtuple leída como sello del matrimonio del Rey Blanco con su esclava negra. El troceo parte *six-fold* al final del renglón.

«And now, in the midst of the Æthyr, I beheld that god. He hath a thousand arms, and in each hand is a weapon of terrible strength. His face is more terrible than the storm, and from his eyes flash lightnings of intolerable brilliance. From his mouth run seas of blood. Upon his head is a crown of every deadly thing. Upon his forehead is the upright tau, and on either side of it are the signs of blasphemy.» — el vidente de PAZ describe al dios de los mil brazos con un arma en cada mano, mares de sangre saliendo de su boca y corona de todas las cosas mortíferas.

«They are clasped in a furious embrace, so that she is torn asunder by the terror of the god; yet so tightly clingeth she about him, that he is strangled. She hath forced back his head, and his throat is livid with the pressure of her fingers. Their joint cry is an intolerable anguish, yet it is the cry of their rapture, so that every pain, and every curse, and every bereavement, and every death of everything in the whole universe, is but one little gust of wind in that tempest-scream of ecstasy.» — el vidente de PAZ describe el abrazo como destrucción mutua —ella desgarrada por el terror del dios y él estrangulado por ella— y pone todo el dolor del universo como una ráfaga dentro de ese grito de éxtasis.

«And there cometh an interior voice, which sayeth to the seer that he hath trained his eyes well and can see much; and he hath trained his ears a little, and can hear a little; but his other senses hath he trained scarcely at all, and therefore the Æthyrs are almost silent to him on those planes. By the senses are meant the spiritual correlations of the senses, not the physical senses. But this matters little, because the Seer, so far as he is a seer, is the expression of the spirit of humanity. What is true of him is true of humanity, so that even if he had been able to receive the full Æthyrs, he could not have communicated them.» — la voz interior de PAZ audita la preparación del vidente sentido por sentido —bien los ojos, poco los oídos, casi nada los demás— y saca la consecuencia general: lo que vale para él vale para la humanidad, de la que es expresión.

«And an Angel speaks: Behold, this vision is utterly beyond thineunderstanding. Yet shalt thou endeavour to unite thyself with the dreadful marriage-bed.» — el ángel de PAZ le manda al vidente unirse al lecho nupcial pese a declarar la visión fuera de su entendimiento. El troceo imprime *thineunderstanding* sin espacio.

«So I am torn asunder, nerve from nerve and vein from vein, and more intimately—cell from cell, molecule from molecule, and atom from atom, and at the same time all crushed together. Write down that the tearing asunder is a crushing together. All the double phenomena are only two ways of looking at a single phenomenon; and the single phenomenon is Peace.» — el vidente de PAZ enuncia la regla que gobierna todo el Æthyr y manda anotarla: el desgarramiento es un aplastamiento, y los fenómenos dobles son dos maneras de mirar uno solo.

«There is no sense in my words or in my thoughts. “Faces half-formed arose.” This is the meaning of that passage; they are attempts to interpret Chaos, but Chaos is Peace. Cosmos is the War of the Rose and the Cross. That was “a half-formed face” that I said then. All images are useless.» — el vidente de PAZ declara sin sentido sus propias palabras, glosa una frase suya anterior sobre rostros a medio formar como intentos de interpretar el Caos, y opone Caos a Cosmos como Paz a guerra.

«Blackness, blackness intolerable, before the beginning of the light. This is the first verse of Genesis. Holy art thou, Chaos, Chaos, Eternity, all contradictions in terms!» — el vidente de PAZ identifica esa negrura con el primer versículo del Génesis y santifica el Caos con una fórmula que él mismo declara contradictoria en sus términos.

«O Night, that givest suck from thy paps to sorcery, and theft, and rape, and gluttony, and murder, and tyranny, and to the nameless Horror, cover us, cover us, cover us from the Rod of Destiny; for Cosmos must come, and the balance be set up where there was no need of balance, because there was no injustice, but only truth. But when the balances are equal, scale matched with scale, then will Chaos return.» — la voz de PAZ pide amparo a la Noche contra la Vara del Destino y explica la venida del Cosmos como instalación de una balanza donde no hacía falta, porque no había injusticia sino solo verdad.

«Yea, as in a looking-glass, so in thy mind, that is backed with the false metal of lying, is every symbol read averse. Lo! everything wherein thou hast trusted must confound thee, and that thou didst flee from was thy saviour.» — la voz de PAZ explica la inversión de todos los símbolos por el azogue mentiroso del espejo de la mente: aquello en que se confió confunde y aquello de que se huyó era el salvador.

«Shriek, therefore, shriek aloud; mingle the roar of the gored lion and the moan of the torn bull, and the cry of the man that is torn by the claws of the Eagle, and the scream of the Eagle that is strangled by the hands of the Man. Mingle all these in the deathshriek of the Sphinx, for the blind man hath profaned her mystery. Who is this, Oedipus, Tiresias, Erinyes? Who is this, that is blind and a seer, a fool above wisdom?» — la voz de PAZ mezcla los gritos de los cuatro animales de la Esfinge en un solo alarido y plantea el acertijo del ciego que es vidente y del necio que está por encima de la sabiduría. El troceo parte *death-shriek* al final del renglón y el extractor lo devuelve unido, *deathshriek*.

«Beneath his feet is the kingdom, and upon his head the crown. He is spirit and matter; he is peace and power; in him is Chaos and Night and Pan, and upon BABALON his concubine, that hath made him drunk upon the blood of the saints that she hath gathered in her golden cup, hath he begotten the virgin that now he doth deflower.» — la voz de PAZ compone a ese dios por pares de opuestos —espíritu y materia, paz y poder— y lo hace engendrar sobre Babalon a la virgen que ahora desflora.

«and they cry: Holy, Holy, Holy art thou, that art not shaken in the earthquakes, and in the thunders! The end of things is come upon us; the day of be-with-us is at hand! For he hath created the universe, and overthrown it, that he might take his pleasure thereupon.» — los ángeles de PAZ declaran llegado el día que llaman de estar con nosotros, y dan por razón que el dios creó el universo y lo derribó para tomar placer en ello.

«comparison. It is absolutely continuous, without breaks or beats. If there seem to be vibration therein, it is because of the imperfection of the ears of the seer.» — el vidente de PAZ adjudica a un defecto de su propio oído la vibración que percibe, porque la voz del abrazo es absolutamente continua, sin cortes ni pulsos.

«O Nox, Nox qui celas infamiam infandi nefandi, Deo solo sit laus qui dedit signum non scribendum. Laus virgini cuius» — invocación latina en PAZ, que el vidente no traduce y que el troceo imprime tal cual. El tramo se corta en el cambio de plana y termina en la siguiente con *stuprum tradit salutem*.

«Terrible and wonderful is the Mystery thereof, O thou Titan that hast climbed into the bed of Juno! Surely thou art bound unto, and broken upon, the wheel; yet hast thou uncovered the nakedness of the Holy One, and the Queen of Heaven is in travail of child, and his name shall be called Vir, and Vis, and Virus, and Virtus, and Viridis, in one name that is all these, and above all these.» — la voz de PAZ nombra al hijo de ese parto con cinco palabras latinas de la misma raíz reunidas en un solo nombre que está por encima de todas ellas.

«Desolate, desolate is the Æthyr, for thou must return unto the habitations of the Owl and the Bat, unto the Scorpions of the sand, and the blanched eyeless beetles that have neither wing nor horn. Return, blot out the vision, wipe from thy mind the memory thereof; stifle the fire with green wood; consume the Sacrament; cover the Altar; veil the Shrine; shut up the Temple and spread booths in the market place; until the appointed time come when the Holy One shall declare unto thee the Mystery of the Third Æthyr.» — la voz de PAZ manda al vidente volver y borrar la visión con una serie de operaciones de clausura ritual, hasta que se le declare el misterio del 3.er Æthyr.

«Yet be thou wake and ware, for the great Angel Hua is about thee, and overshadoweth thee, and at any moment he may come upon thee unawares. The voice of PAZ is ended.» — cierre de PAZ: la voz advierte que el gran Ángel lo cubre con su sombra y puede caerle encima en cualquier momento.

«In the centre is that minute point of light which is the true Sun, and in the circumference is the Emerald Snake. And joining them are the rays which are the plumes of Maat, and because the distance is infinite, therefore are they parallel from the circumference, although they diverge from the centre. In all this is no voice and no motion.» — abre el 3.er Æthyr, ZON, con una figura geométrica que el vidente describe por una paradoja: los rayos son paralelos desde la circunferencia porque la distancia es infinita, y divergen desde el centro.

«And yet it seems that the great Snake feedeth upon the plumes of Truth as upon itself, so that it contracteth. But ever so little as it contracteth, without it gloweth the golden rim, which is that minute point in the centre.» — el vidente de ZON describe la Serpiente Esmeralda alimentándose de las plumas de la Verdad como de sí misma, y contrayéndose; y el borde de oro que aparece fuera por esa contracción.

«It is only in the first three Æthyrs that we find the pure essence, for all the other Æthyrs are but as Malkuth to complete these three triads, as hath before been said. And this being the second reflection, therefore is it the palace of two hundred and eighty judgments.» — el registro de ZON explica la arquitectura del sistema: solo en los tres primeros Æthyrs está la esencia pura y los demás son como el Malkuth que completa esos tres tríadas.

«r, l, and n (!, g, and h), the Sun, the Balance or plumes of Maat, and the Snake. Added they make 280.» — nota al pie del comentador en ZON: da las tres letras enoquianas con sus correspondencias y hace la suma que repite la cifra del cuerpo.

«Twenty and two are the mansions of the House of my Father, but there cometh an ox that shall set his forehead against the House, and it shall fall. For all these things are the toys of the Magician and the Maker of Illusions, that barreth the Understanding from the Crown.» — la voz de ZON pone un buey que derriba con la frente la casa de las veintidós mansiones, y declara todas esas cosas juguetes del Mago y Hacedor de Ilusiones que tranca el paso del Entendimiento a la Corona.

«O thou that hast beheld the City of the Pyramids, how shouldst thou behold the House of the Juggler? For he is wisdom, and by wisdom hath he made the Worlds, and from that wisdom issue judgements 70 by 4, that are the 4 eyes of the double-headed one; that are the 4 devils, Satan, Lucifer, Leviathan, Belial, that are the great princes of the evil of the world.» — la voz de ZON reparte los juicios en setenta por cuatro y los identifica con los cuatro ojos del bicéfalo y con los cuatro demonios nombrados uno a uno.

«Moreover, there is Mary, a blasphemy against BABALON, for she hath shut herself up; and therefore is she the Queen of all those wicked devils that walk upon the earth, those that thou sawest even as little black specks that stained the Heaven of Urania. And all these are the excrement of Choronzon.» — la voz de ZON declara blasfemia contra Babalon a la virgen cristiana, y da la razón por la que el sistema opone las dos: por haberse encerrado en sí misma.

«And for this is BABALON under the power of the Magician, that she hath submitted herself unto the work; and she guardeth the Abyss. And in her is a perfect purity of that which is above; yet she is sent as the Redeemer to them that are below. For there is no other way into the Supernal Mystery but through her, and the Beast on which she rideth;» — la voz de ZON explica la sujeción de Babalon al Mago por su propia sumisión a la obra, y la declara redentora para los de abajo y camino único hacia el Misterio Supremo.

«and the Magician is set beyond her to deceive the brothers of blackness, lest they should make unto themselves a crown; for if there were two crowns, then should Ygdrasil, that ancient tree, be cast out into the Abyss, uprooted and cast down into the Outermost Abyss, and the Arcanum which is in the Adytum should be profaned; and the Ark should be touched, and the Lodge spied upon by them that are not masters, and the bread of the Sacrament should be the dung of Choronzon; and the wine of the Sacrament should be the water of Choronzon; and the incense should be dispersion; and the fire upon the Altar should be hate.» — la voz de ZON da la función del Mago engañador como defensa del sistema, y enumera lo que ocurriría si hubiera dos coronas, con la inversión de cada elemento del sacramento.

«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.» — la voz de ZON hace brotar de la Corona misma tres grandes delusiones, una por letra, y las declara más allá de las palabras que ella dice y mucho más de las que el vidente transmite.

«It is the figure of the Magus of the Taro; and in his right arm the torch of the flames blazing upwards; in his left the cup of poison, a cataract into Hell. And upon his head the evil talisman, blasphemy and blasphemy and blasphemy, in the form of a circle. That is the greatest blasphemy of all.» — el vidente de ZON describe al Mago con la antorcha y la copa de veneno y, sobre la cabeza, el talismán maligno de la blasfemia triplicada en forma de círculo.

«I.e., that the circle should be thus profaned. This evil circle is of three concentric rings.» — nota al pie del comentador en ZON: precisa en qué consiste la blasfemia del talismán y describe el círculo.

«And before him is the Table that is a Table of wickedness, the 42-fold Table. This Table is connected with the 42 Assessors of the Dead, for they are the Accursers, whom the soul must baffle; and with the 42-fold name of God, for this is the Mystery of Iniquity, that there was ever a beginning at all.» — el vidente de ZON identifica la Tabla cuarentaidosdoble del Mago con los cuarenta y dos Asesores de los Muertos y con el nombre cuarentaidosdoble de Dios, y llama Misterio de la Iniquidad al hecho de que alguna vez hubiera un comienzo.

«And this Magus casteth forth, by the might of his four weapons, veil after veil; a thousand shining colours, ripping and tearing the Æthyr, so that it is like jagged saws, or like broken teeth in the face of a young girl, or like disruption, or madness. There is a horrible grinding sound, maddening. This is the mill in which the Universal Substance, which is ether, was ground down into matter.» — el vidente de ZON describe el molino del Mago, donde la sustancia universal que es éter fue molida hasta volverse materia.

«The Seer prayeth that a cloud may come between him and the sun, so that he may shut out the terror of the vision. And he is afire; he is terribly athirst; and no help can come to him, for the shew-stone blazeth ever with the fury and the torment and the blackness, and the stench of human flesh. The bowels of little children are torn out and thrust into his mouth, and poison is dropped into his eyes. And Lilith, a black monkey crawling with filth, running with open sores, an eye torn out, eaten of worms, her teeth rotten, her nose eaten away, her mouth a putrid mass of green slime, her dugs dropping and cancerous, clings to him, kisses him.» — el vidente de ZON registra en tercera persona su propio intento de cortar la visión y la aparición de Lilith, descrita con el detalle de la enfermedad y la putrefacción.

«There is a mocking voice: Thou art become immortal. Thou wouldst look upon the face of the Magician and thou hast not beheld him because of his Magick veils.» — la voz burlona de ZON le declara al vidente la inmortalidad como castigo, y le dice que no vio el rostro del Mago por los velos mágicos de este.

«And this is her great blasphemy: that she hath taken the name of the First Æthyr, and bound it on her brow, and added thereunto the shameless yod and the tau for the sign of the Cross.» — la voz de ZON describe la blasfemia de Lilith como falsificación del nombre del 1.er Æthyr, con dos letras añadidas.

«She it is that squatteth upon the Crucifix, for the nastiness of her pleasure. So that they that worship Christ suck up her filth upon their tongues, and therefore their breaths stink.» — la voz de ZON hace de Lilith la ocupante del crucifijo y de ahí deriva el estado de los que adoran a Cristo.

«Note.—In this the gold is Kether, the blue is Chokmah, the green is Binah.» — acotación del registro en ZON que reparte los tres colores de la doncella entre las tres sefirot supremas.

«Thus she appeareth in the Æthyr, adorned with flowers and gems. It seems that she hath incarnated herself upon earth, and that she will appear manifest in a certain office in the Temple.» — el vidente de ZON declara que la doncella se ha encarnado en la tierra y aparecerá manifiesta en cierto oficio del Templo.

«The eye of His benignancy is opened; therefore veileth he thine eyes from the vision. Manfully hast thou endured; yet, hast thou been man, thou hadst not endured; and hadst thou been wholly that which thou art, thou shouldst have been caught up in the full vision that is unspeakable for Horror.» — el ángel de ZON le explica al vidente por qué le veló los ojos, y con una doble condicional: si hubiera sido hombre no habría resistido, y si hubiera sido enteramente lo que es habría quedado arrebatado en la visión plena.

«And thou shouldst have beheld the face of the Magician that thou hast not been able to behold,—of him from whom issue forth the severities that are upon Malkuth, and his name is Misericordia Dei.» — el ángel de ZON nombra al Mago del que salen las severidades sobre Malkuth con un nombre latino que dice lo contrario de lo descrito, y no armoniza la contradicción.

«And because he is the dyad, thou mayest yet understand in two ways. Of first way, the Mercy of God is that Mercy which Jehovah showed to the Amalekites; and the second way is utterly beyond thine understanding, for it is the upright, and thou knowest nothing but the averse,—until Wisdom shall inform thine Understanding, and upon the base of the Ultimate triangle arise the smooth point.» — el ángel de ZON reparte esa misericordia en dos lecturas: la que Jehová mostró a los amalecitas y otra que declara enteramente fuera del entendimiento del vidente, porque él solo conoce lo invertido.

«Veil therefore thine eyes, for that thou canst not master the Æthyr, unless thy Mystery match Its Mystery. Seal up thy mouth also, for thou canst not master the voice of the Æthyr, save only by Silence.» — el ángel de ZON condiciona el dominio del Æthyr a que el misterio propio iguale al suyo, y el de su voz al silencio.

«And thou shalt give the sign of the Mother, for BABALON is thy fortress against the iniquity of the Abyss, of the iniquity of that which bindeth her unto the Crown, and barreth her from the Crown; for not until thou art made one with CHAOS canst thou begin that last, that most terrible projection, the three-fold Regimen which alone constitutes the Great Work.» — el ángel de ZON hace de Babalon la fortaleza contra la iniquidad del Abismo y pone por condición de la Gran Obra el haberse hecho uno con el Caos.

«For all these paths* are in the course of the Flaming Sword from the side of Severity. And the other two paths are Zayin, which is a sword; and Shin, which is a tooth. These are then the five severities which are 280.» — el registro de ZON hace la cuenta de las cinco severidades sumando las sendas del lado de la Espada Flamígera, y nombra las dos restantes por su significado, espada y diente. El troceo intercala aquí la llamada de nota.

«And Satan is worshipped by men under the name of Jesus; and Lucifer is worshipped by men under the name of Brahma; and Leviathan is worshipped by men under the name of Allah; and» — la voz de ZON empareja tres de esos demonios con el nombre de una divinidad adorada por los hombres. El tramo se corta en el cambio de plana y el cuarto sigue en la siguiente.

«Belial is worshipped by men under the name of Buddha. (This is the meaning of the passage in Liber Legis, Chap. III.)» — continuación en la plana siguiente: el cuarto emparejamiento de ZON, y la acotación que remite la clave de todo el pasaje al tercer capítulo del Libro de la Ley.

«Therefore awake, and give secretly and apart the sign of the Mother, and call four times upon the name of CHAOS, that is the four-fold word that is equal to her seven-fold word. And then shalt thou purify thyself, and return into the World.» — el ángel de ZON cierra con la rúbrica de salida: el signo de la Madre dado en secreto y cuatro llamadas al nombre del Caos, cuya palabra cuádruple iguala a la palabra séptuple de ella.

«In the first place, there is again the woman riding on the bull, which is the reflection of BABALON, that rideth on The Beast. And also there is an Assyrian legend of a woman with a fish, and also there is a legend of Eve and the Serpent, for Cain was the child of Eve and the Serpent, and not of Eve and Adam; and therefore when he had slain his brother, who was the first murderer, having sacrificed living things to his demon, had Cain the mark upon his brow, which is the mark of the Beast spoken of in the Apocalypse, and is the sign of initiation.» — abre el 2.º Æthyr, ARN, y el registro reordena el Génesis: Caín hijo de Eva y la Serpiente y no de Adán, y la marca de su frente identificada con la marca de la Bestia del Apocalipsis y con el signo de la iniciación.

«The shedding of blood is necessary, for God did not hear the children of Eve until blood was shed. And that is external religion; but Cain spake not with God, nor had the mark of initiation upon his brow, so that he was shunned by all men, until he had shed blood. And this blood was the blood of his brother. This is a mystery of the sixth key of the Taro, which ought not to be called The Lovers, but The Brothers.» — el registro de ARN hace del derramamiento de sangre la condición de ser oído, llama a eso religión externa, y propone rebautizar el arcano sexto del tarot.

«In the middle of the card stands Cain; in his right hand is the Hammer of Thor with which he hath slain his brother, and it is all wet with his blood. And his left hand he holdeth open as a sign of innocence. And on his right hand is his mother Eve, around whom the serpent is entwined with his hood spread behind her head;» — el registro de ARN describe cómo debería dibujarse ese arcano: Caín en el centro con el Martillo de Thor mojado en la sangre de su hermano y la mano izquierda abierta en señal de inocencia.

«And the meaning of this part of the card is obscure, but that is the correct drawing of the Taro card; and that is the correct magical fable from which the Hebrew scribes, who were not complete Initiates, stole their legend of the Fall and the subsequent events. They joined different fables together to try and make a connected story, and they sophisticated them to suit their social and political conditions.» — el registro de ARN declara obscura una parte de la carta y a la vez correcto el dibujo, y adjudica a escribas hebreos no iniciados el haber robado de esa fábula la leyenda de la Caída.

«All this while no image hath come unto the Stone, and no voice hath been heard. I cannot get any idea of the source of what I have been saying. All I can say is, that there is a sort of dew, like mist, upon the Stone, and yet it has become hot to the touch.» — acotación del vidente en ARN que separa lo dicho de su fuente: no hubo imagen ni voz, y él mismo declara no saber de dónde salió lo que ha estado diciendo.

«All I get is that the Apocalypse was the recension of a dozen or so totally disconnected allegories, that were pieced together, and ruthlessly planed down to make them into a connected account; and that recension was re-written and edited in the interests of Christianity, because people were complaining that Christianity could show no true spiritual knowledge, or any food for the best minds: nothing but miracles, which only deceived the most ignorant, and Theology, which only suited pedants.» — el registro de ARN adjudica al Apocalipsis una historia de composición: una docena de alegorías desconectadas cosidas y cepilladas para hacer un relato seguido, y luego reescritas en interés del cristianismo.

«So a man got hold of this recension, and turned it Christian, and imitated the style of John. And this explains why the end of the world does not happen every few years, as advertised.» — el registro de ARN saca de esa historia de composición una consecuencia sobre el fracaso de las predicciones del fin del mundo.

«There is nothing whatever in the Stone but a White Rose. And a voice comes: there shall be no more red roses, for she hath crushed all the blood of all things into her cup.» — en ARN la voz declara que no habrá más rosas rojas porque ella ha exprimido en su copa la sangre de todas las cosas.

«A voice comes: When thy dust shall strew the earth whereon She walketh, then mayest thou bear the impress of Her foot. And thou thinkest to behold Her face!» — la voz de ARN mide la distancia que separa al vidente de la que busca: apenas cuando su polvo cubra el suelo que ella pisa podrá llevar la huella de su pie.

«The Stone is become of the most brilliant whiteness, and yet, in that whiteness, all the other colours are implicit. The colour of anything is but its dullness, its obstructiveness. So is it with these visions. All that they are is falsity. Every idea merely marks where the mind of the Seer was too stupid to receive the light, and therefore reflected it. Therefore, as the pure light is colourless, so is the pure soul black.» — el vidente de ARN declara falsedad todo lo que las visiones son: cada idea marca solo el punto donde su mente fue demasiada torpe para recibir la luz y por eso la reflejó.

«For with any lesser light, the mind responds, and makes for itself divers palaces. It is that which is written: “In my Father's house there are many mansions”; and if the house be destroyed, how much more the mansions that are therein!» — el ángel de ARN cita el versículo de las muchas moradas para decir lo contrario de lo que suele decirse: si la casa se destruye, más aún las moradas que hay en ella.

«And he saith: It is not in my knowledge. Yet do thou make once more in silence the Call of the Æthyr, and wait patiently upon the favour of the Angel, for He is a mighty Angel, and never yet have I heard the whisper of his wing.» — el ángel de ARN declara no saber cómo hacerse digno de ese Æthyr, y añade que nunca ha oído el susurro del ala de su Ángel.

«O ye heavens which dwell in the first Aire, and are mighty in the parts of the earth, and execute therein the judgment of the highest, to you it is said: Behold the face of your God, the beginning of comfort, whose eyes are the brightness of the heavens which provided you for the government of the earth, and her unspeakable variety, furnishing you with a power of understanding, that ye might dispose all things according to the foresight of Him that sitteth on the Holy Throne, and rose up in the beginning,» — abre la traducción de la Llamada del Æthyr que el volumen imprime en ARN con un comentario intercalado entre paréntesis: es el único lugar donde el texto da en inglés la llamada enoquiana que se usa en toda la obra.

«saying, The earth, let her be governed by her parts (this is the prostitution of BABALON to Pan), and let there be division in her (the formation of the Many from the One), that her glory may be always ecstasy and irritation of orgasm.» — el comentario intercalado en la Llamada de ARN lee cada cláusula del texto enoquiano en clave propia: el gobierno de la tierra por sus partes como prostitución de Babalon a Pan y la división como formación de lo Múltiple desde lo Uno.

«For why, it rejoiceth me concerning the Virgin and the Man. (Kelly did not understand this Call at all, and he would not believe this sentence was written so, for it seemed to contradict the rest of the Call, so he altered it.» — el comentario de la Llamada de ARN registra una enmienda ajena y la nombra: el escriba isabelino no entendió la llamada, creyó que esa frase contradecía el resto y la alteró.

«No place let it remain in one number. (“No place” is the infinite Ain . . . “Let remain in one number”; that is, let it be con-centrated in Kether.) Add and diminish until the stars be numbered. (It is a mystery of the Logos being formulated by the Qabalah, because the stars, are all letters of the Holy Alphabet, as it was said in a former Æthyr.)» — el comentario de la Llamada de ARN descifra dos cláusulas más por cábala, e identifica las estrellas con las letras del Alfabeto Santo como ya se dijo en otro Æthyr. El troceo parte *con-centrated*.

«But men thought that Aleph was the initial of ARR, cursing, when it was really the initial of AChD, unity, and AHBH, love. So that it was the most horrible and wicked blasphemy of the blackest of all the black brothers to begin Barashith with a beth, with the letter of the Magician. Yet, by this simple device, hath he created the whole illusion of sorrow.» — el comentario de la Llamada de ARN adjudica a un hermano negro el haber empezado el Génesis con la segunda letra en vez de la primera, y de ese solo recurso hace derivar toda la ilusión del dolor.

«(I want to say that while I was doing the translation of the Call of the Æthyrs, the soles of my feet were burning, as if I were on red hot steel.)» — acotación del vidente en ARN sobre el efecto corporal de traducir la Llamada: las plantas de los pies ardiendo como sobre acero al rojo.

«And now the fire has spread all over me, and parches me, and tortures me. And my sweat is bitter like poison. And all my blood is acrid in my veins, like gleet. I seem to be all festering, rotting; and the worms eating me while I am yet alive. A voice, neither in myself nor out of myself, is saying: Remember Prometheus; remember Ixion.» — el vidente de ARN describe su propio estado como putrefacción en vida y una voz que no está dentro ni fuera de él le nombra a dos castigados del mito.

«For Choronzon is as it were the shell or excrement of these three paths, and therefore is his head raised unto Daath, and therefore have the Black Brotherhood declared him to be the child of Wisdom and Understanding, who is but the bastard of the Svastika. And this is that which is written in the Holy Qabalah, concerning the Whirlpool and Leviathan, and the Great Stone.» — el ángel de ZON explica la posición de Choronzon en el Árbol: es la cáscara o excremento de las tres sendas, y los Hermanos Oscuros lo declararon hijo de Sabiduría y Entendimiento cuando es solo el bastardo de la Esvástica.

«Thus long have I talked with thee in bidding thee depart, that the memory of the Æthyr might be dulled; for hadst thou come» — el ángel de ZON declara la función de su propia verbosidad al despedirse: hablar largo para embotar el recuerdo del Æthyr. El tramo se corta en el cambio de plana y sigue con *back suddenly into thy mortal frame*.

«back suddenly into thy mortal frame, thou hadst fallen into madness or death. For the vision is not such that any may endure it.» — continuación en la plana siguiente: el ángel de ZON da la razón, que un regreso brusco al cuerpo habría traído locura o muerte, porque la visión no es tal que nadie pueda soportarla. El troceo parte *mad-ness* al final del renglón y el extractor lo devuelve unido, *madness*.

«For this is the victory of BABALON over the Magician that ensorcelled her. For as the Mother she is 3 by 52, and as the harlot she is 6 by 26; but she is also 12 by 13, and that is» — el ángel de ARN cifra por gematría la victoria de Babalon sobre el Mago en una serie de productos. El tramo se corta en el cambio de plana y sigue con *the pure unity*.

«the pure unity. Moreover she is 4 by 39, that is, victory over the power of the 4, and in 2 by 78 hath she destroyed the great Sorcerer. Thus is she the synthesis of 1 and 2 and 3 and 4, which being added are 10, therefore could she set her daughter upon her own throne, and defile her own bed with her virginity.» — continuación en la plana siguiente: el ángel de ARN concluye que Babalon es la síntesis de los cuatro primeros números, que sumados dan diez, y que por eso pudo poner a su hija en su propio trono.

«The reasonable creatures of the earth and men, let them vex and weed» — el comentario de la Llamada de ARN llega a la cláusula sobre las criaturas razonables. El tramo se corta en el cambio de plana y la lectura sigue en la siguiente.

«out one another (this is, the destruction of reason by internecine conflicts in the course of redemption). And their dwelling places, let them forget their names. (This is, the arising of Nemo.) The work of man and his pomp, let them be defaced. (That is, in the Great Work man must lose his personality.)» — continuación en la plana siguiente: el comentario de la Llamada de ARN lee la destrucción mutua de los hombres como destrucción de la razón en el curso de la redención, el olvido de los nombres como surgimiento de NEMO, y la desfiguración de la obra del hombre como pérdida de la personalidad en la Gran Obra.

«But I asked of the Angel that is at my side if the ceremony hath been duly performed. And he says: Yes, the Æthyr is present. It is thou that canst not perceive it, even as I cannot perceive it, because it is so entirely beyond thy conception that there is nothing in thy mind on to which it can cast a symbol, even as the emptiness of space is not heated by the fire of the sun. And so pure is the light that it preventeth the formation of images, and therefore have men called it darkness.» — el ángel de ARN explica por qué ni el vidente ni él perciben el Æthyr que está presente: no hay nada en la mente sobre lo que aquello pueda proyectar un símbolo, y la luz es tan pura que impide la formación de imágenes, por lo que los hombres la han llamado oscuridad.

«And this is the Mystery of the incest of CHAOS with his daughter.» — el vidente de ARN nombra en una sola frase el misterio que la visión anterior de la doncella encarnada le deja: el incesto del Caos con su hija.

«But I am dying. I can neither strive nor wait. There is agony in my ears, and in my throat, and mine eyes have been so long blind that I cannot remember that there ever was such a thing as sight.» — el vidente de ARN interrumpe la sesión declarando el límite de su cuerpo: agonía en los oídos y en la garganta, y ciego desde hace tanto que no recuerda que existiera la vista.

«Again it comes to me, without voice: Therefore is motherhood the symbol of the Masters. For first they must give up their virginity to be destroyed, and the seed must lie hidden in them until the nine moons wax and wane, and they must surround it with the Universal Fluid. And they must feed it with blood for fire. Then is the child a living thing. And afterwards is much suffering and much joy, and after that are they torn asunder, and this is all their thank, that they give it to suck.» — la voz sin voz de ARN hace de la maternidad el símbolo de los Maestros y la describe entera como pérdida: entregar la virginidad para ser destruida, nutrir con sangre por fuego, y al final ser desgarrados.

«Now there is naught but a vast black triangle having the apex downwards, and in the centre of the black triangle is the face of Typhon, the Lord of the Tempest, and he crieth aloud: Despair! Despair! For thou mayest deceive the Virgin, and thou mayest cajole the Mother; but what wilt thou say unto the ancient Whore that is throned in Eternity? For if she will not, there is neither force nor cunning, nor any wit, that may prevail upon her.» — en ARN el rostro de Tifón en el triángulo negro grita desesperación y fija la razón: se puede engañar a la Virgen y engatusar a la Madre, pero contra la antigua Ramera entronizada en la Eternidad no valen fuerza ni astucia.

«Thou canst not woo her with love, for she is love. And she hath all, and hath no need of thee. And thou canst not woo her with gold, for all the Kings and captains of the earth, and all the gods of heaven, have showered their gold upon her. Thus hath she all, and hath no need of thee. And thou canst not woo her with knowledge, for knowledge is the thing that she hath spurned. She hath it all, and hath no need of thee. And thou canst not woo her with wit, for her Lord is Wit. She hath it all, and hath no need of thee. Despair! Despair!» — Tifón enumera en ARN cuatro maneras de cortejar a Babalon y las anula todas con la misma fórmula, porque ella lo tiene todo y no necesita nada: amor, oro, conocimiento e ingenio.

«Nor canst thou cling to her knees and ask for pity; nor canst thou cling to her heart and ask for love; nor canst thou put thine arms about her neck, and ask for understanding; for thou hast all these, and they avail thee not.» — Tifón cierra en ARN la serie por el lado contrario: tampoco sirve pedirle piedad, amor o entendimiento, porque el que pide ya los tiene y no le valen.

«Then I took the Flaming Sword, and I let it loose against Typhon, so that his head was cloven asunder, and the black triangle dissolved in lightnings.» — el vidente de ARN corta el discurso de Tifón con la Espada Flamígera y le hiende la cabeza.

«But as he parted his voice broke out again: Nor canst thou win her with the Sword, for her eyes are fixed upon the eyes of Him in whose hand is the hilt of the Sword. Despair! Despair! And the echo of that cry was his word, which is identical, although it be diverse: Nor canst thou win her by the Serpent, for it was the Serpent that seduced her first.» — Tifón añade en ARN dos imposibilidades más desde su propia huida: ni la Espada, porque los ojos de ella están en quien la empuña, ni la Serpiente, porque la Serpiente fue la que la sedujo primero.

«I am Leviathan, the great Lost Serpent of the Sea. I writhe eternally in torment, and I lash the ocean with my tail into a whirlpool of foam that is vemonous and bitter, and I have no purpose. I go no whither. I can neither live nor die. I can but rave and rave in my death agony. I am the Crocodile that eateth up the children of men. And through the malice of BABALON I hunger, hunger, hunger.» — Tifón se nombra en ARN Leviatán y se describe por la falta de propósito: no va a ninguna parte, no puede vivir ni morir, y solo delira en su agonía. El troceo imprime *vemonous*.

«All this while the Stone is more inert than ever yet; a thousand times more lifeless than when it is not invoked. Now, when it kindles, it only kindles into its physical beauty. And now upon the face of it is a great black Rose, each of whose petals, though it be featureless, is yet a devil-face. And all the stalks are the black snakes of hell. It is alive, this Rose; a single thought informs it. It comes to clutch, to murder. Yet, because a single thought alone informs it, I have hope therein.» — el vidente de ARN describe la Rosa negra cuyos pétalos son rostros de demonio y cuyos tallos son las serpientes del infierno, y funda su esperanza justamente en que un solo pensamiento la informa.

«Light, Life and Love are like three glow-worms at thy feet: the whole universe of stars, the dewdrops on the grass whereon thou walkest!» — el vidente de ARN se dirige a Nuit y reduce la Luz, la Vida y el Amor a tres luciérnagas a sus pies, y el universo de estrellas a rocío sobre la hierba que ella pisa.

«Yea! Before thee all the most holy is profane, O thou desolator of shrines! O thou falsifier of the oracles of truth! Ever as I went, hath it been thus. The truth of the profane was the falsehood of the Neophyte, and the truth of the Neophyte was the falsehood of the Zelator! Again and again the the fortress must be battered down! Again and again the pylon must be over-thrown! Again and again must the gods be desecrated!» — el vidente de ARN enuncia la regla de relevo que gobierna los grados: la verdad del profano es la falsedad del neófito y la del neófito la del zelator, y por eso hay que derribar la fortaleza y profanar los dioses una y otra vez. El troceo imprime *the the* y parte *over-thrown*.

«And now I lie supine before thee, in terror and abasement. O Purity! O Truth! What shall I say? My tongue cleaveth to my jaws, O thou Medusa that hast turned me to stone! Yet is that stone the stone of the philosophers. Yet is that tongue Hadit.» — el vidente de ARN vuelve del revés la petrificación que sufre: la piedra en que la Medusa lo convierte es la piedra de los filósofos y la lengua que se le pega al paladar es Hadit.

«Nuit! Nuit! How art thou manifested in this place! This is a Mystery ineffable. And it is mine, and I can never reveal it either to God or to man. It is for thee and me !» — el vidente de ARN declara indecible e intransferible lo que ve, ni a Dios ni a hombre, y lo reserva para la relación entre los dos. El troceo imprime un espacio antes del signo de admiración final.

«It is the cry of my body! Save me! I have come too close. I have come too close to that which may not be endured. It must awake, the body; it must assert itself. It must shut out the Æthyr, or else it is dead.» — el vidente de ARN registra la reacción del cuerpo como voz propia: tiene que despertarse y afirmarse y cerrar el Æthyr, o muere.

«Neither God nor man can penetrate the Mystery of the Æthyr. (Here the Seer mutters unintelligibly.) And even that which understandeth cannot hear its voice. For to the profane the voice of the Neophyte is called silence, and to the Neophyte the voice of the Zelator is called silence. And so ever is it.» — la voz de ARN extiende la regla de relevo al oír: lo que el profano llama silencio es la voz del neófito, y lo que el neófito llama silencio es la voz del zelator.

«Sight is fire, and is the first angle of the Tablet; spirit is hearing, and is the centre thereof; thou, therefore, who art all spirit and fire, and hast no duller elements in thy star; thou art come to sight at the end of thy will. And if thou wilt hear the voice of the Æthyr, do thou invoke it in the night, having no other light but the light of the half moon. Then mayest thou hear the voice, though it may be that thou understandeth it not. Yet shall it be a potent spell, whereby thou mayest lay bare the womb of thy understanding to the violence of CHAOS.» — la voz de ARN empareja los sentidos con los ángulos de la Tabla y prescribe para oír la voz del Æthyr una condición material exacta: de noche y con la sola luz de la media luna.

«And the voice comes: this is the Song of the Sphinx, which she singeth ever in the ears of men. And it is the song of the syrens. And whoever heareth it is lost.» — en ARN la voz nombra lo que se canta Canción de la Esfinge y de las sirenas, y declara perdido a quien la oiga.

«And that which thou hearest is but the dropping of the dew from my limbs, for I dance in the night, naked upon the grass, in shadowy places, by running streams.» — la voz de ARN se atribuye la música como goteo del rocío de sus miembros mientras danza desnuda en la noche.

«Many are they who have loved the nymphs of the woods, and of the wells, and of the fountains, and of the hills. And of these some were nympholept. For it was not a nymph, but I myself that walked upon the earth taking my pleasure. So also there were many images of Pan, and men adored them, and as a beautiful god he made their olives bear double and their vines increase; but some were slain by the god, for it was I that had woven the garlands about him.» — la voz de ARN reclama para sí lo que se atribuyó a ninfas y a imágenes de Pan: era ella la que andaba por la tierra, y ella la que había tejido las guirnaldas del dios que mataba.

«So sweet is this song that no one could resist it. For in it is all the passionate ache for the moonlight, and the great hunger of the sea, and the terror of desolate places,—all things that lure men to the unattainable.» — el vidente de ARN describe lo que la canción contiene: el dolor apasionado por la luz de la luna, el hambre del mar y el terror de los lugares desolados.

«I am the harlot that shaketh Death. This shaking giveth the Peace of Satiate Lust. Immortality jetteth from my skull, And music from my vulva. Immortality jetteth from my vulva also, For my Whoredom is a sweet scent like a seven-stringed instrument, Played unto God the Invisible, the all-ruler, That goeth along giving the shrill scream of orgasm.» — el volumen imprime la traducción de ese segundo canto de ARN, en primera persona, donde la voz se nombra ramera y hace de su prostitución un instrumento de siete cuerdas tocado a Dios.

«Every man that hath seen me forgetteth me never, and I appear oftentimes in the coals of the fire, and upon the smooth white skin of woman, and in the constancy of the waterfall, and in the emptiness of deserts and marshes, and upon great cliffs that look seaward; and in many strange places, where men seek me not. And many thousand times he beholdeth me not. And at last I smite myself into him as a vision smiteth into a stone, and whom I call must follow.» — la voz de ARN describe cómo se aparece y cómo se impone: en las brasas, en la piel de la mujer, en la constancia de la cascada, y al cabo golpeándose dentro del hombre como una visión golpea dentro de una piedra.

«A voice goes on: this is the holiness of fruitless love and aimless toil. For in doing the thing for the things's sake is concentration, and this is the holiest of them that suit not the means to the end. For therein is faith and sympathy and a knowledge of the true Magick.» — la voz de ARN santifica el amor sin fruto y el trabajo sin fin, porque hacer la cosa por la cosa misma es concentración, y llama los más santos a los que no ajustan los medios al fin. El troceo imprime *the things's sake*.

«I cling unto the burning Æthyr like Lucifer that fell through the Abyss, and by the fury of his flight kindled the air.» — el vidente de ARN se identifica con Lucifer, que al caer por el Abismo encendió el aire con la furia de su vuelo.

«This Æthyr must be left unfinished then until the half moon.» — acotación del registro en ARN: la sesión se corta y el Æthyr queda inacabado hasta la media luna, que es lo que la propia voz acaba de prescribir.

«Translation of Song. I Silence! the moon ceaseth (her motion), That also was sweet In the air, in the air, in the air! Who Will shall attain! Who Will shall attain By the Moon, and by Myself, and by the Angel of the Lord! II Now Silence ceaseth And the moon waxeth sweet; (It is the hour of) Initiation, Initiation, Initiation. The kiss of Isis is honeyed; My own Will is ended, For Will hath attained.» — el volumen imprime la traducción de esa canción de ARN, con los añadidos del traductor entre paréntesis; las dos primeras estrofas van de la cesación de la luna a la hora de la iniciación. El tramo se corta en el cambio de plana y las otras dos estrofas siguen en la siguiente.

«And I am Belial, for having seen the Rose upon thy breast, I» — el vidente de ARN se identifica con Belial por haber visto la Rosa sobre el pecho de Nuit. El tramo se corta en el cambio de plana y la frase termina en la siguiente con *have denied God*.

«III Behold the lion-child swimmeth (in the heaven) And the moon reeleth:— (It is) Thou! (It is) Thou! (It is) Thou! Triumph; the Will stealeth away (like a thief), The Strong Will that staggered Before Ra Hoor Khuit!—Hadit!—Nuit!» — tercera estrofa de esa traducción de ARN, ya en la plana siguiente, con los tres nombres del eón por remate. El troceo reemite aquí el marcador de plana y corta el tramo antes de la cuarta estrofa.

«IV To the God OAI Be praise In the end and the beginning! And may none fall Who Will attain The Sword, the Balances, the Crown!» — cuarta y última estrofa de esa traducción de ARN, dirigida al dios cuyo nombre el troceo imprime OAI, con la Espada, la Balanza y la Corona por remate.

«He is like one's idea of Sappho and Calypso, and all seductive and deadly things; heavy eye-lids, long lashes, a face like ivory, wonderful barbaric jewellery, intensely red lips, a very small mouth, tiny ears, a Grecian face. Over the shoulders is a black robe with a green collar; the robe is spangled with golden stars; the tunic is a pure soft blue.» — el vidente de ARN describe al Ángel del Æthyr por comparación con dos figuras griegas y por el detalle del rostro y del vestido, mientras espera a que la voz vuelva.

«And the eagle cries: the house also of death. Come away! The volume of the book is open, the Angel waiteth without, for the summer is at hand. Come away! For the Æon is measured, and thy span allotted. Come away! For the mighty sounds have entered into every angle. And they have awakened the Angels of the Æthyrs that slept these three hundred years.» — el águila blanca de ARN convoca con una fórmula repetida y fecha el despertar: los Ángeles de los Æthyrs dormían desde hacía trescientos años.

«For in the Holy letter Shin, that is the Resurrection in the Book of Thoth, that is the Holy Spirit in the Trinity, that is three hundred in the tale of the years, hath the tomb been opened, so that this great wisdom might be revealed.» — el águila de ARN funda esos trescientos años en el valor de una letra hebrea, que es a la vez la Resurrección del tarot y el Espíritu Santo de la Trinidad.

«Come away! For the Second Triad is completed, and there remaineth only the Lord of the Æon, the Avenger, the Child both Crowned and Conquering, the Lord of the Sword and the Sun, the Babe in the Lotus, pure from his birth, the Child of suffering, the Father of justice, unto whom be the glory throughout all the Æon!» — el águila de ARN anuncia quién queda por venir con una cadena de títulos del Niño Coronado y Conquistador, y el pasaje lleva llamada de nota.

«First, let praise and worship and honour and glory and great thank be given unto the Holy One, who hath permitted us to come thus far, who hath revealed unto us the ineffable mysteries, that they might be disclosed before men. And we humbly beseech His infinite goodness that he will be pleased to manifest unto us even the Mystery of the First Æthyr.» — abre el 1.er Æthyr, LIL, con una acción de gracias y una petición formal, no con una visión: es el único Æthyr que empieza rezando.

«The veil of the Æthyr is like the veil of night, dark azure, full of countless stars. And because the veil is infinite, at first one seeth not the winged globe of the sun that burneth in the centre thereof. Profound peace filleth me,—beyond ecstasy, beyond thought, beyond being itself, IAIDA. (This word means “I am,” but in a sense entirely beyond being.)» — el vidente de LIL describe el velo del Æthyr como noche llena de estrellas y da la palabra enoquiana de la paz que lo llena, con su glosa entre paréntesis.

«(Note.—In Hebrew letters it adds to 26. In Hebrew letters the name of the Æthyr is 70, ayin; but by turning the Yetziratic attributions of the letters into Hebrew, it gives 66, and 66 is the sum of the numbers from 0 to 11.)» — acotación del registro en LIL con la cuenta por gematría de esa palabra y del nombre del Æthyr, en hebreo y por las atribuciones yetziráticas.

«Yes; there is peace. There is no tendency of any sort, much less any observation or feeling or impression. There is only a faint consciousness, like the scent of jasmine. The body of the Seer is rested in a waking sleep that is deeper than sleep, and his mind is still; he seems like a well in the desert, shaded by windless palms.» — el vidente de LIL describe esa paz por lo que falta: ninguna tendencia, ninguna observación, ningún sentimiento, solo una consciencia tenue que compara con el olor del jazmín.

«And it is night; and because the night is the whole night of space, and not the partial night of earth, there is no thought of dawn. For the light of the Sun maketh illusion, blinding man's eyes to the glory of the stars. And unless he be in the shadow of the earth, he cannot see the stars. So, also, unless he be hidden from the light of life, he cannot behold Nuit. Here, then, do I abide in unalterable midnight, utterly at peace.» — el vidente de LIL saca del eclipse una regla: la luz del Sol hace ilusión y ciega a las estrellas, y solo escondido de la luz de la vida puede el hombre contemplar a Nuit.

«I have forgotten where I am, and who I am. I am hanging in nothing. Now the veil opens of itself. (To Scribe. Come nearer; I» — acotación de LIL donde el vidente declara haber olvidado dónde está y quién es, y se dirige al escriba para que se acerque. El tramo se corta en el cambio de plana.

«It is a little child covered with lilies and roses. He is supported by countless myriads of Archangels. The Archangels are all the same colourless brilliance, and every one of them is blind. Below the Archangels again are many, many other legions, and so on far below, so far that the eye cannot pierce. And on his forehead, and on his heart, and in his hand, is the secret sigil of the Beast. And of all this the glory is so great that all the spiritual senses fail, and their reflections in the body fail.» — el vidente de LIL describe al niño sostenido por miríadas de arcángeles, todos de la misma brillantez incolora y todos ciegos, con el sigilo secreto de la Bestia en la frente, el corazón y la mano.

«It is very strange. In my heart is rapture, holy and ineffable, absolutely beyond emotion; beyond even that bliss called Ananda, infinitely calm and pure. Yet at the gates of mine eyes stand tears, like warriors upon the watch, that lean on their spears, listening.» — el vidente de LIL distingue su arrobo de la dicha llamada Ananda y lo declara más allá de la emoción, y a la vez registra las lágrimas paradas a las puertas de sus ojos.

«There are long intervals between many of these paragraphs, the Seer having been lost to Being. The reader will note that “The Great and Terrible Angel” has not been mentioned, but comes in suddenly. This was because the Seer’s speech was inaudible, or never occurred. This angel was the “Higher Genius” of the Seer.» — nota al pie del comentador en LIL, que explica una discontinuidad del propio texto: el Gran y Terrible Ángel aparece de golpe porque el habla del vidente fue inaudible o no ocurrió, y lo identifica con su Genio Superior.

«(It's very difficult to talk at all, because an impression takes such an immense time to travel from the will to the muscles. Naturally, I've no idea of time.)» — acotación del vidente en LIL sobre la mecánica del registro: una impresión tarda un tiempo inmenso en ir de la voluntad a los músculos, y no tiene noción del tiempo.

«This child danceth not, but it is because he is the soul of the two dances,—the right hand and the left hand, and in him they are one dance, the dance without motion.» — el vidente de LIL explica la quietud del niño por síntesis y no por ausencia: es el alma de las dos danzas, la de la mano derecha y la de la izquierda, y en él son una sola danza sin movimiento.

«Yet a third time am I led to him, prostrating myself seven times at every step. There is a perfume in the air, reflected down even to the body of the seer. That perfume thrills his body with an ecstasy that is like love, like sleep.» — acotación de LIL sobre el acercamiento por grados: siete postraciones a cada paso, y un perfume que se refleja hasta el cuerpo del vidente.

«I am the child of all who am the father of all, for from me come forth all things, that I might be. I am the fountain in the snows, and I am the eternal sea. I am the lover, and I am the beloved, and I am the first-fruits of their love. I am the first faint shuddering of the Light, and I am the loom wherein night weaveth her impenetrable veil.» — abre el canto del niño de LIL, en primera persona, con una serie de identidades que anulan las oposiciones: el amante y el amado y el primer fruto del amor de ambos.

«I am the captain of the hosts of eternity; of the swordsmen and the spearmen and the bowmen and the charioteers. I have led the armies of the east against the armies of the west, and the armies of the west against the armies of the east. For I am Peace.» — el niño de LIL se declara capitán de los ejércitos de la eternidad, dice haber llevado a los del este contra los del oeste y viceversa, y de ahí concluye que él es la Paz.

«My groves of olive were planted by an harlot, and my horses were bred by a thief. I have trained my vines upon the spears of the Most High, and with my laughter have I slain a thousand men. With the wine in my cup have I mixed the lightnings, and I have carved my bread with a sharp sword.» — el niño de LIL empareja cada cosa suya con su contrario moral: los olivos plantados por una ramera, los caballos criados por un ladrón, la risa que mata y el pan cortado con espada.

«With my folly have I undone the wisdom of the Magus, even as with my judgments I have overwhelmed the universe. I have eaten the pomegranate in the House of Wrath, and I have crushed out the blood of my mother between mill-stones to make bread.» — el niño de LIL invierte los términos del oficio: con su locura deshizo la sabiduría del Mago, y molió entre piedras la sangre de su madre para hacer pan.

«Holy, Holy, Holy, Holy; yea, thrice and four times holy art thou, because thou hast attained to look upon my face; not by my favour only, not by thy magick only, may this be won. Yet it is written: “Unto the persevering mortal the blessed Immortals are swift.» — el niño de LIL acota su propia bendición en la misma frase: no se gana solo por su favor ni solo por la magia del que llega, y cita para eso un oráculo.

«Mighty, mighty, mighty, mighty; yea, thrice and four times mighty art thou. He that riseth up against thee shall be thrown down, though thou raise not so much as thy little finger against him. And he that speaketh evil against thee shall be put to shame, though thy lips utter not the littlest syllable against him. And he that thinketh evil concerning thee shall be confounded in his thought, although in thy mind arise not the least thought of him. And they shall be brought unto subjection unto thee, and serve thee, though thou willest it not.» — el niño de LIL describe el poder del que ha llegado como algo que opera sin que él intervenga: el que se levante contra él caerá sin que él alce un dedo.

«There is nothing that I have not trampled beneath my feet. There is nothing that I have not set a garland on my brow. I have wound all things about my waist as a girdle. I have hidden all things in the cave of my heart. I have slain all things because I am Innocence. I have lain with all things because I am» — el niño de LIL funda cada acto en su contrario: mató todas las cosas porque es Inocencia y yació con todas porque es algo que la frase nombra en la plana siguiente. El tramo se corta en el cambio de plana.

«Untouched Virginity. I have given birth to all things because I am Death. Stainless are my lips, for they are redder than the purple of the vine, and of the blood wherewith I am intoxicated. Stainless is my forehead, for it is whiter than the wind and the dew that cooleth it.» — continuación en la plana siguiente: el niño de LIL cierra la serie declarándose Virginidad Intocada y Muerte, y describe sus labios y su frente como intactos por exceso y no por privación.

«Thou shalt laugh at the folly of the fool. Thou shalt learn the wisdom of the Wise. And thou shalt be initiate in holy things. And thou shalt be learned in the things of love. And thou shalt be mighty in the things of war. And thou shalt be adept in things occult. And thou shalt interpret the oracles.» — el niño de LIL recorre los primeros arcanos del tarot como programa de trabajo para el que se le acerca: la locura del necio, la sabiduría del Sabio, la iniciación, el amor, la guerra, lo oculto y los oráculos.

«blessed is he that hath attained to look upon thy face. For I will hurl thee forth from my presence as a whirling thunderbolt to guard the ways, and whom thou smitest shall be smitten indeed. And whom thou lovest shall be loved indeed. And whether by smiting or by love thou workest, each one shall see my face, a glimmer through a thousand veils.» — continuación en la plana siguiente: el niño de LIL le anuncia al que ha mirado su rostro el oficio de rayo que guarda los caminos, y declara que lo mismo por el golpe que por el amor cada uno verá su cara.

«And they shall rise up from love’s sleep or death’s, and gird themselves with a girdle of snake-skin for wisdom, and they shall wear the white tunic of purity, and the apron of flaming orange for will, and over their shoulders shall they cast the panther’s skin of courage. And they shall wear the nemyss of secrecy and the ateph crown of truth.» — el niño de LIL describe el atuendo de los que se levanten pieza por pieza y con el significado de cada una: cinto de piel de serpiente por sabiduría, túnica blanca por pureza, delantal naranja por voluntad y piel de pantera por valor.

«And on their feet shall they put sandals made of the skin of breasts, that they may trample upon all they were, yet also that its toughness shall support them, and protect their feet, as they pass upon the mystical way that lieth through the pylons. And upon their breasts shall be the Rose and Cross of light and life, and in their hands the hermit's staff and lamp. Thus shall they set out upon the never-ending journey, each step of which is an unutterable reward.» — sigue el atuendo de LIL con las sandalias hechas de la piel de lo que fueron, para pisarlo y a la vez apoyarse en ello, y llama recompensa indecible a cada paso del camino sin fin.

«And it shall be unto them a grace and a sacrament, and ye shall all sit down together at the supernal banquet, and ye shall feast upon the honey of the gods,» — el niño de LIL convierte en gracia y sacramento la sujeción de los que se le opusieron, y los sienta a todos al banquete supernal. El tramo se corta en el cambio de plana.

«and be drunk upon the dew of immortality—FOR I AM HORUS, THE CROWNED AND CONQUERING CHILD, WHOM THOU KNEWEST NOT!» — cierre del canto de LIL, ya en la plana siguiente: el niño se nombra por fin, en versalitas, como el Niño Coronado y Conquistador que el vidente no conocía.

«I am light, and I am night, and I am that which is beyond them. I am speech, and I am silence, and I am that which is beyond them. I am life, and I am death, and I am that which is beyond them. I am war,and I am peace, and I am that which is beyond them. I am weakness, and I am strength, and I am that which is beyond them. Yet by none of these can man reach up to me. Yet by each of them must man reach up to me.» — el niño de LIL despliega cinco pares de opuestos con un tercer término más allá de cada par, y cierra con la doble negación y afirmación: por ninguno de ellos llega el hombre hasta él y por cada uno tiene que llegar. El troceo imprime *I am war,and* sin espacio.

«And thou shalt drive all these before thee in thy car, and though by none of these canst thou reach up to me, yet by each of these must thou attain to me. And thou must have the strength of the lion, and the secrecy of the hermit. And thou must turn the wheel of life. And thou must hold the balances of Truth. Thou must pass through the great Waters, a Redeemer. Thou must have the tail of the scorpion, and the poisoned arrows of the Archer, and the dreadful horns of the Goat.» — sigue el programa de LIL con los arcanos restantes —la fuerza del león, el secreto del ermitaño, la rueda de la vida, la balanza de la Verdad, las grandes Aguas, la cola del escorpión, las flechas del Arquero y los cuernos de la Cabra—, y repite que por ninguno de ellos se llega y por cada uno hay que llegar.

«And so shalt thou break down the fortress that guardeth the Palace of the King my son. And thou must work by the light of the Star and of the Moon and of the Sun, and by the dreadful light of judgment that is the birth of the Holy Spirit within thee. When these shall have destroyed the universe, then mayest thou enter the palace of the Queen my daughter.» — cierre de ese programa de LIL: la fortaleza que guarda el palacio del Rey derribada, el trabajo hecho a la luz de la Estrella, la Luna, el Sol y el juicio, y el acceso al palacio de la Reina condicionado a que todo eso haya destruido el universo.

«Blessed, blessed, blessed; yea, blessed; thrice and four times» — el niño de LIL declara bienaventurado con una fórmula cuádruple. El tramo se corta en el cambio de plana y sigue con *blessed is he that hath attained to look upon thy face*.

«Pass thou on, therefore, O thou Prophet of the Gods, unto the Cubical Altar of the Universe; there shalt thou receive every tribe and kingdom and nation into the mighty Order that reacheth from the frontier fortresses that guard the Uttermost Abyss unto My Throne. This is the formula of the Æon, and with that the voice of LIL, that is the Lamp of the Invisible Light, is ended.» — cierre del 1.er Æthyr y del volumen entero: el niño manda al vidente al Altar Cúbico del Universo a recibir a toda tribu, reino y nación en la Orden, y declara que eso es la fórmula del Æon.

«30. Without the cube—the material world—is the spheresystem of the spiritual world enfolding it. the Cry seems to be a sort of Exordium, and external showing forth of the coming of the new Æon, the Æon of Horus the crowned child.» — abre el comentario final sobre las naturalezas de los Æthyrs, en voz del comentador y no del vidente: lee el 30.º como exordio y muestra externa de la venida del eón nuevo. El troceo imprime *the Cry* en minúscula tras el punto. El troceo parte *sphere-system* al final del renglón y el extractor lo devuelve unido, *spheresystem*.

«28. Now is a further and clearer shadowing-forth of the Great Mystery of the Æon which is to be led up to by the Æthyrs. Note however that the King of the New Æon never appears until the very first Æthyr.» — el comentador señala en su nota al 28.º la regla de composición de todo el volumen: el Rey del Æon nuevo no aparece hasta el primer Æthyr.

«26. The death of the past Æon, that of Jehovah and Jesus; ends with adumbration of the new, the vision of the Stele of Ankh-f-nkhonsu, whose discovery brought about in a human consciousness the knowledge of the Equinox of the Gods, 21. 3. 04.» — el comentador lee el 26.º como muerte del eón pasado, el de Jehová y Jesús, y fecha por día el hallazgo de la estela que llevó a una consciencia humana el conocimiento del Equinoccio de los Dioses. El troceo parte el nombre *Ankh-f-n-khonsu* al final del renglón y el extractor devuelve *nkhonsu* pegado: la restitución es lectura propuesta y no está dentro de las comillas.

«24. Now appears his mate, the heavenly Venus, the Scarlet Woman, who by men is thought of as Babalon as he is thought of as Chaos.» — el comentador nombra en su nota al 24.º la pareja de la obra por el modo en que los hombres los piensan: ella como Babalon y él como Caos.

«21. This seems to be the Vision of God face to face that is the necessary ordeal for him who would pass the Abyss, as it were. A commission to be the prophet of the Æon arising is given to the Seer. The God is the Hierophant in the Ceremony of Magister Templi.» — el comentador lee el 21.º como la visión de Dios cara a cara que es la prueba necesaria para pasar el Abismo, y reparte los Æthyrs siguientes entre los oficiales de la ceremonia de Magister Templi.

«13. The emergence of Nemo into the world; his work therein. This is the first mystery revealed to a M.T.» — el comentador identifica el 13.º con el surgimiento de NEMO y lo declara el primer misterio revelado a un Magister Templi.

«12. The Second Mystery: the cup-bearer of Babalon the beautiful. The Holy Grail manifested to the M.T., with the first knowledge of the Black Brothers.» — el comentador reparte el 12.º entre el Grial manifestado al Magister Templi y el primer conocimiento de los Hermanos Oscuros.

«9. The M.T. hath passed the Abyss, and is let to the Palace of the Virgin redeemed from Malkuth unto Binah.» — el comentador describe el paso del 10.º al 9.º como el cruce del Abismo y la llegada al Palacio de la Virgen redimida de una sefirá a otra. El troceo imprime *is let to* por is led to.

«2. The understanding of the Curse, that is become a Blessing. The final reward of the M.T., his marriage even with Babalon Herself. The pæan thereof.» — el comentador lee el 2.º como la comprensión de la Maldición vuelta Bendición y como la recompensa final del Magister Templi, su matrimonio con Babalon misma.

«1. The final manifestation. All leads up to the Crowned Child, Horus, the Lord of the New Æon.» — el comentador cierra la serie diciendo hacia dónde conduce todo el volumen: el Niño Coronado, Horus, Señor del Æon Nuevo.

«I turned me to the West, and the Archangel bore a flaming Book, on which was written AN in Enochian. Within was drawn a fiery scorpion, yet cold withal.» — el vidente de TEX se vuelve al oeste y lee el libro llameante del arcángel, rotulado con dos letras enoquianas y con un escorpión de fuego dibujado dentro, que declara frío a la vez.

«For Thou art submitted to the Four: Five thou shalt find, but Seven is lone and far. O Lord God, let Thy Spirit hither unto me! For I am lost in the night of infinite pain: no hope: no God: no resurrection: no end: I fall: I fear.» — la voz del libro del oeste en TEX prohíbe mirar arriba y abajo, cifra en números lo que está al alcance y lo que no, y termina en primera persona declarando pérdida: sin esperanza, sin Dios, sin resurrección y sin fin.

«Let us alone! What have we to do with Thee, Thou Jesus of Nazareth? Go! Go! If I keep silence—Or if I speak each word is anguish without hope.» — la voz de TEX cita a los endemoniados del evangelio para dirigirse al que acaba de invocar como Salvador del Mundo, y declara la angustia igual en el silencio y en la palabra.

«And I heard the Æthyr cry aloud “Return! Return! Return! For the work is ended; and the Book is shut; and let the glory be to God the Blessed for ever in the Æons, Amen.” Thus far is the voice of TEX and no more.» — cierre del 30.º Æthyr: el propio Æthyr manda volver declarando acabada la obra y cerrado el Libro, y el vidente acota que hasta ahí llega la voz de TEX.

«A∴ A∴ Publication in Class A B. Imprimatur: D.D.S. 7° = 4° Præmonstrator O.S.V. 6° = 5° Imperator N.S.F. 5° = 6° Cancellarius» — aparato de la orden que emite el volumen, en la segunda plana: lo clasifica en una categoría de publicación y lo autoriza con tres iniciales de oficio, sin nombres.

«[A further and fuller comment upon this Book is in preparation.]» — nota del aparato al cierre del comentario final, entre corchetes: anuncia otro comentario más amplio en preparación. El troceo parte *prepar-ation* al final del renglón.

«(c) Ordo Templi Orientis. Key-entry and initial proof-reading by W.E. Heidrick for O.T.O. Formatting and further proof-reading by Frater T.S. for Celephaïs Press / NIWG. This e-text last revised 29.06.2004.» — colofón de la edición electrónica, única plana del troceo con pie editorial: acredita por nombre la captura y la primera corrección a W.E. Heidrick por la O.T.O., y el formato y la segunda corrección a Frater T.S. por Celephaïs Press / NIWG, con fecha de la última revisión.

Gematría (aritmética de las letras) — Es el instrumento de prueba del volumen entero: los ángeles de los treinta Æthyrs suman noventa y uno, que es el valor de Amén; el nombre del ángel que habla en el 8.º Æthyr vale setenta y ocho; el de Choronzon, trescientos treinta y tres; las cinco severidades del 3.er Æthyr suman doscientos ochenta; NEMO se descompone en ciento sesenta y cinco y en novecientos diez.

Sefirot (las diez numeraciones) — El sistema de los treinta Æthyrs se encaja sobre el Árbol en dos tiempos: los tres últimos Æthyrs llevan diez ángeles y valen por las diez sefirot, y el mapa que el ángel del 9.º muestra reparte los treinta Æthyrs en las diez sefirot dispuestas como Espada Flamígera. El 12.º Æthyr añade que los Æthyrs se ligan también con las sendas y que por eso su orden no es el del Árbol.

Iniciación (recepción por grados / metamorfosis del ser) — El volumen ordena lo que ve por grados de una orden y consigna los topes: al vidente lo empujan atrás del trono del 21.º Æthyr por no poder dar el signo, y él mismo corrige por escrito su idea de que un Maestro del Templo pudiera entrar al templo de un Magus. La regla de relevo que enuncia el 2.º Æthyr hace de la verdad de cada grado la falsedad del siguiente.

Círculo mágico (circulus) — En la operación del 10.º Æthyr el círculo es el puesto del escriba y el triángulo el del demonio y el del vidente; la rúbrica manda fortificarlo con nombres de Dios y herir con la daga lo que intente entrar, aunque tenga la apariencia del vidente. El relato cuenta después que Choronzon lo rellenó de arena por el trecho más próximo y saltó dentro.

Evocación (llamar y constreñir espíritus) — La operación del 10.º Æthyr es una evocación con su materia: una paloma degollada en cada ángulo del triángulo, la sangre vertida dentro y la advertencia de que una sola gota fuera dejaría al demonio manifestarse en el universo.

Theurgia (obra divina) — El 8.º Æthyr da entera la rúbrica para el Conocimiento y la Conversación del Ángel Guardián: cuarto blanco con suelo de cuadros, lámpara de vidrio rojo con aceite de oliva, incienso de olíbano, estacte y áloe, vara de almendro cortada al alba de un equinoccio, once semanas de oración y noventa y un días hasta volver al mundo.

Pentagrama (estrella flamígera) — El destierro por pentagrama y hexagrama es la tarea que la rúbrica del 10.º Æthyr asigna al escriba; en el 5.º Æthyr la estrella del santuario vacío es un pentagrama, y el ángel lo justifica por aritmética.

Tetragrammaton (el Nombre de cuatro letras) — Los escudos del ejército del 11.º Æthyr llevan los ojos del Tetragrámaton alados de llama; el escriba llama a ese nombre para obligar a Choronzon a volver al triángulo; y el 7.º Æthyr hace de la palabra de cuatro letras la que contiene el misterio y esconde otra de siete.

Secreto (lo que se jura no fijar por escrito) — Lo reservado atraviesa el volumen: el libro del norte del 30.º Æthyr manda sellar lo visto porque no hay oído formado para oírlo, el vidente del 6.º declara no revelar la postura que adopta, el del 16.º no dice lo entendido entre él y la figura, y el del 2.º declara su misterio intransferible a Dios y a hombre.

Talismán (imagen astrológica) — El talismán que el Mago del 3.er Æthyr lleva en la cabeza es la blasfemia triplicada en forma de círculo, y la nota al pie precisa que la profanación consiste en el círculo mismo, de tres anillos concéntricos.

Piedra filosofal (lapis philosophorum) — El séptimo versículo del himno del 9.º Æthyr identifica la clave de bóveda del palacio con la Piedra de los Filósofos y con la piedra escondida en los muros; y en el 2.º Æthyr el vidente petrificado por la Medusa declara que esa piedra es la de los filósofos.

Cadena de transmisión (quién tomó de quién) — El volumen construye su propia línea hacia atrás y la fecha: los Ángeles de los Æthyrs dormían desde hacía trescientos años, cifra que el texto funda en el valor de una letra hebrea; el 17.º Æthyr objeta la descripción que del ángel Madimi da el relato de Casaubon; y el comentario final data el hallazgo de la estela el 21 de marzo de 1904.

Crítica de fuentes (criterios de inclusión y descarte) — El texto audita documentos ajenos y el propio: adjudica al Apocalipsis una historia de composición por cosido de alegorías desconectadas, atribuye a escribas hebreos no iniciados el robo de la fábula de Caín, registra que el 10.º Æthyr fue editado y revisado al día siguiente, y consigna que el escriba isabelino alteró una frase de la Llamada que no entendía.

Imaginación (phantasia) — El 19.º Æthyr hace de la imaginación del hombre lo que se come el universo como el dragón se come la luna, y la concentra en la saeta del ángel; el 5.º Æthyr declara que la imaginación no alcanza a figurar un pétalo de los lirios donde la Hija se sostiene.

Daimon (entidad intermedia, ni ángel ni demonio) — El Ángel Guardián es el eje operativo del volumen: el escriba lo pone por testigo de su juramento, el 8.º Æthyr da la rúbrica entera para obtenerlo, y el ángel del 7.º se nombra Aiwass y a la vez declara que el vidente lo situaba mal en el Árbol.