Enochian Vision Magick: A Practical Guide to the Magick of Dr. John Dee and Edward Kelley

«Whenever I visit London, I never fail to make a pilgrimage to the temple of history that is the British Museum. In my opinion, it is holy ground, a time machine, a vortex of human consciousness, and the material showcase of the Akashic Records.» — DuQuette abre el prefacio de 2019 declarando su relación con el British Museum en términos devocionales y no eruditos; marca la opinión como tal.

«In the mid-1980s, when I first came upon them, they were identified simply as “Magical Objects of Dr. John Dee, c. 1583,” and they were tucked inconspicuously among furnishings and small household items of the period.» — DuQuette data su primer encuentro con los objetos de Dee en el museo a mediados de los ochenta y describe el rótulo que entonces llevaban y el sitio menor que ocupaban.

«It seems that interest in John Dee and his celebrated status as a mathematician, international spy for Queen Elizabeth I, and model for Shakespeare’s Prospero has grown in the past thirty years.» — según DuQuette, el interés por Dee creció en treinta años, y lo mide por el traslado de esos objetos a una vitrina propia; enumera las tres figuras públicas que se le atribuyen —matemático, espía de Isabel I y modelo del Próspero de Shakespeare— con verbo cauto.

«A bees wax Sigillum Dei Aemeth (the design of which displays in figures and letters an angelic hierarchy of heaven);» — el primero de los tres objetos que DuQuette declara claves del sistema: el disco de cera de abeja cuyo diseño despliega en figuras y letras una jerarquía angélica.

«The Golden Talisman, the design of which is a graphic index of a “Great Table,” home to an angelic chain of command that forms the structure of existence itself;» — el segundo objeto según DuQuette: el Talismán Dorado como índice gráfico de la Gran Tabla, donde reside la cadena de mando angélica que él identifica con la estructura misma de lo existente.

«And the black obsidian “magic mirror” that served as Dee and Kelley’s angelic viewing screen for nearly three years of meticulously recorded magical visions.» — el tercer objeto: el espejo de obsidiana negra que DuQuette describe como la pantalla de visión de Dee y Kelley durante casi tres años.

«I sometimes wonder if John Dee and Edward Kelley ever gazed into that dark mirror and peered four hundred years into the future—a future when their audacious efforts to tap the mind of God and communicate with angels would be studied, debated, analyzed, and imitated by magicians and spiritual adventurers the world over—a time when their attempts to directly assail the gates of heaven would be seriously examined, not as naïve and superstitious, bible-inspired pretentions, but as serious psycho-dramatic techniques to access and exploit quantum levels of human consciousness.» — la reformulación con que DuQuette traduce el proyecto isabelino a términos contemporáneos: no pretensiones bíblicas ingenuas sino técnicas psicodramáticas de acceso a la consciencia. Lo enuncia como conjetura, no como tesis.

«Special acknowedgement and praise should be made to Enochian magick pioneers, Geoffrey James, Joseph Peterson, Clay Holden, Robert Turner, Adam McLean, Jim Reeds, and Colin Wilson.» — la lista de pioneros que DuQuette reconoce en la apertura del material a partir de los años setenta; la capa de texto imprime acknowedgement, sic.

«It soon became clear to all of us studying the original 16th century documents that “Enochian Magick” as practiced by the Golden Dawn and Aleister Crowley, while being brilliantly exploited and developed, had only scratched the surface and tapped a tiny portion of the potential the system offered.» — el juicio que DuQuette adjudica al conjunto de quienes leyeron los manuscritos originales: la Golden Dawn y Crowley explotaron el material con brillo y solo rasparon la superficie. Es la premisa de todo el libro y la mantiene sin retirarles el mérito.

«The first edition of Enochian Vision Magick was my modest attempt to paint (with very broad strokes) a bigger picture of the circumstances of the reception of the material and the possible practical implications the technology could have for the modern spiritual explorer.» — DuQuette declara el alcance que se propuso en la edición de 2008: un cuadro más amplio de las circunstancias de la recepción y de lo que la técnica podría dar hoy, dicho con la reserva de las pinceladas anchas.

«But the scholar focuses on the subject; the magician focuses on the magician, and Magick in practice is more than the intellectual mastery of a colorful subject. Like Yoga or Zen or Sufism, Magick is a powerful self-transformational artform capable of triggering profound changes in the consciousness of the practitioner.» — la distinción que ordena el libro entero, según DuQuette: el erudito atiende al asunto y el mago se atiende a sí mismo; de ahí que ponga la magia junto al yoga, el zen y el sufismo como arte de transformación propia.

«Since 1978 my wife Constance and I have hosted Monday Night Magick Class in our home in Costa Mesa, California. We regularly schedule a series of workshops on Enochian magick (practiced in a group setting), and year after year the system itself teaches us more» — DuQuette data en 1978 la clase semanal en su casa de Costa Mesa y declara que la práctica es grupal; sostiene que el sistema se enseña a sí mismo año tras año. La frase continúa en la plana siguiente.

«Everyone’s visions (at least those who stay awake) will differ in many details, but most, if not all, will share uncanny parallels in the fundamental themes of their visions. (Imagine if a botanist and a musician and a stonemason and a folklorist all went together on a tour of Ireland. The botanist’s consciousness would be altered and elevated by the mystical auras of the flora, the musician would be transcendently crazed by the lively music at the pubs, the stonemason inspired by the geologic and technical wonders of the stone architecture, and the folklorist might be captured by leprechauns! But they would all agree . . . they were in Ireland!)» — el criterio con que DuQuette lee las visiones de grupo: los detalles difieren y los temas fundamentales coinciden. Lo explica con la analogía del botánico, el músico, el cantero y el folclorista de viaje por Irlanda, y con humor sobre quien se duerme.

«I was even invited to present an all-day workshop in Krakow, Poland at the Hotel Stary (reportedly the residence where Dee and Kelley lived and performed many of their angelic workings in the 1580s» — DuQuette consigna el taller de Cracovia en el Hotel Stary y marca con reportedly la atribución del edificio como residencia de Dee y Kelley: no la afirma.

«These workshops are not simply lectures on the history of Enochian Magick. The attendees become Enochian visionary magicians themselves and join me in a group scrying session of one of the thirty Enochian Aethyrs.» — DuQuette declara qué hace en esos talleres: no historia sino sesión de visión en grupo sobre uno de los treinta Aethyrs.

«Since 2008, when this book was first published, a number of new and excellent books on Enochian Magick have been released which continue to enrich the practical and theoretical understanding of this marvelous system, including works by Stephen Skinner, Jason Louv, Jason Augustus Newcomb, Aaron Leitch, and Dr. John DeSalvo.» — el estado de la bibliografía que DuQuette reconoce once años después de la primera edición, nombrando a Stephen Skinner, Jason Louv, Jason Augustus Newcomb, Aaron Leitch y John DeSalvo.

«A new edition of Joseph Peterson’s John Dee’s Five Books of Mystery (perhaps the most complete, essential, original resource) will also soon be released, and I urge everyone who is interested in where and how Enochian Magick first developed to get it and set it in on the shelf in your library right next to this new edition of Enochian Vision Magick.» — la única obra ajena que DuQuette recomienda poner al lado de la suya, con su acotación entre paréntesis: la edición de Joseph Peterson como recurso original más completo para saber dónde y cómo se formó el sistema.

«Within these numbered manuscripts are various “books,” or “Libers” bearing separate titles. Some of these Libers were copied by Kelley or others and reproduced in subsequent manuscripts (sometimes renamed) and have found their way to London’s British Library and the Bodleian and Ashmolean libraries at Oxford University. For my purposes the material from the British Library’s Sloane 3188, 3189, 3191; and Cotton Appendix XLVI parts I and II proved to be quite sufficient.» — DuQuette explica la forma del corpus: dentro de cada signatura hay Libers con título propio, copiados y a veces rebautizados, repartidos entre la British Library, la Bodleiana y la Ashmoleana. Acota su propio recorte a cinco signaturas y no pretende haber usado todo.

«Enochian scholar Geoffrey James prepared a concise summary breakdown of Dee and Kelley manuscripts for the bibliography of his excellent book, Enochian Magick of Dr. John Dee.1 He has graciously allowed me to reproduce his entries for the material that relates directly or indirectly to Enochian Vision Magick. The reader who wishes to explore the source material in greater detail (or who simply wishes to track the book’s footnotes and references) should find this list very helpful.» — DuQuette declara que el inventario de manuscritos que sigue no es suyo: es el de Geoffrey James, reproducido con permiso, y sirve además para rastrear las notas del libro.

«SLOANE MS. 3188. This manuscript contains Dee’s earliest scrying sessions. It contains six individual ‘books’, which are:— Mysteriorum Liber Primus covering December 22, 1581 to March 15, 1582, and containing a ceremony with Saul (Dee’s first scryer) and the first ceremonies with Edward Talbot, in which the table and» — según el inventario de James que DuQuette reproduce, Sloane 3188 guarda las sesiones más tempranas en seis libros; el Liber Primus cubre de diciembre de 1581 a marzo de 1582 y registra al primer vidente, Saul, antes de Edward Talbot. La entrada sigue en la plana siguiente.

«Mysteriorum Liber Secondus covering March 6, 1582 to March 21, 1582, and containing the first elements of the Heptarchic system, the spirits of the Sigil of Æmeth, and the first suggestion that an antediluvian language would be delivered to Dee. This title page is missing, but can be inferred from textual references in SLOANE MS. 3677.» — la entrada de James para el segundo libro —así, Secondus, imprime la capa de texto—: ahí aparecen los primeros elementos del sistema heptárquico, los espíritus del Sigil of Æmeth y el primer anuncio de que se entregaría una lengua antediluviana. La portada falta y se infiere de la copia de Ashmole.

«Quartus Liber Liber Mysteriorum covering November 15, 1583 to November 21, 1583, and containing the remainder of the Heptarchic system; this book is the first to record the name of Edward Kelly2 as the scryer.» — la entrada de James para el cuarto libro, con el título duplicado tal como lo imprime la capa de texto; es el primero que registra el nombre de Kelley —aquí Kelly— como vidente.

«Liber Mysteriorum Quintus covering March 23, 1583 to April 18, 1583, and containing the tables later transcribed by Kelly into SLOANE MS. 3189. Quinti Libri Mysteriorum Appendix covering April 20, 1583 to May 23, 1583, and containing the famous Enochian letters, as well as information concerning the construction of the Great Table.» — las dos últimas entradas de Sloane 3188 según James: el quinto libro con las tablas que Kelley copiaría después, y el Apéndice con las letras enoquianas y la construcción de la Gran Tabla. Las fechas del inventario dejan el quinto libro antes que el cuarto y la ficha no armoniza la discrepancia.

«Liber Mysteriorum Sextus and Sanctus or The Book of Enoch revealed to John Dee by the Angels which contains 49 double-sided tables of (apparently) random letters. It is in Edward Kelly’s handwriting.» — la entrada de James para Sloane 3189: el Libro de Enoc revelado a Dee, cuarenta y nueve tablas a doble cara de letras aparentemente aleatorias, y de puño de Kelley, no de Dee.

«SLOANE MS. 3191. This manuscript is the only book of ceremonial magic extant in Dee’s handwriting. It consists of three separate ‘books,’ each dealing with a different aspect of Dee’s angelic magickal system. The books are:— 49 Claves Angelicæ Anno 1584 Cracoviæ (Liber 18) which contains Dee’s transcription of the Angelical Keys (often called the Enochian Keys or Enochian Calls.) Liber Scientiæ Auxillii et Victoriæ Terrestris which contains a complex system of magic based upon the Great Table (often called The Table of Watchtowers). It is entirely in Latin, and related to the Call of the Thirty Aires. De Heptarchia Mystica which describes a complete system of planetary magic, along with excerpts from the various scrying sessions.» — la entrada de James para Sloane 3191, el único libro de magia ceremonial de mano de Dee: las Claves Angélicas de 1584 en Cracovia, el Liber Scientiæ enteramente en latín sobre la Gran Tabla, y la De Heptarchia Mystica con el sistema planetario completo.

«Actio Tertia Trebonæ Generalis covering April 4, 1587 to May 23, 1587, and containing a complex series of corrections to the Watchtowers and the infamous wife-swapping episode.» — una de las trece entradas del Cotton Appendix XLVI según James: junto a las correcciones a los Watchtowers va el episodio del intercambio de esposas, nombrado en el inventario sin más comentario.

«Some of this material has been published in more modern times in books that are still readily available. Foremost of these are A True & Faithful Relation of What Passed for Many Yeers Between Dr. John Dee and Some Spirits,3 and John Dee’s Five Books of Mystery.4» — las dos ediciones modernas que DuQuette declara accesibles y por las que citará: la relación publicada por Casaubon en 1659 y los Five Books of Mystery.

«To make things a bit easier for the reader to access more readily available source material, I will, wherever possible, try to make references with the text and in notes to passages in these modern works.» — la política de citación que DuQuette anuncia, con su reserva: siempre que sea posible remitirá a esas ediciones modernas en vez de a las signaturas.

«Vyasa: There’s something secret about a beginning. I don’t know how to start. Ganesha: As you claim to be the author of the poem, how about beginning with yourself? –THE MAHABHARATA5» — el epígrafe del primer prólogo no es voz de DuQuette: es el diálogo entre Vyasa y Ganesha que él toma de la pieza teatral de Jean-Claude Carrière y atribuye al Mahabharata.

«There is indeed something secret about a beginning, secret and invisible like the soul of infinite potential that broods in the heart of every living seed.» — DuQuette recoge el epígrafe por su cuenta y lo convierte en imagen del comienzo como potencia sellada.

«And so, in pale imitation of the poet Vyasa, I will heed the wise counsel of my elephant-headed lord, the remover of obstacles. I shall begin this work of magick by telling you something about myself.» — la decisión de método que abre el libro: DuQuette declara que empezará por sí mismo, con lo que instala desde el arranque el registro anecdótico que Holden le elogia en el prólogo.

«Miracles are part of my job, for I am a magician. I’m not the type of magician who creates illusions to entertain audiences, but the type of who seeks to dispel the myriad illusions that hinder my own spiritual growth and enlightenment.» — la definición de mago con que DuQuette se presenta: no el que produce ilusiones para un público sino el que disipa las propias. La capa de texto imprime the type of who, sic.

«Aleister Crowley (1875–1947), the great twentieth-century magician, defined magick as the “science and art of causing change to occur in conformity with Will.”7 This is obviously a very broad definition of the term. In my opinion, however, it is the only one that is entirely accurate.» — DuQuette adopta la definición de magia de Crowley —ciencia y arte de causar cambio conforme a la Voluntad— reconociéndola amplísima y marcando como opinión propia que sea la única enteramente exacta.

«Personally, I’ve come to the realization that the only real changes I can effect with magick are changes in myself. By changing myself, I change the world around me, hopefully for the better.» — el límite que DuQuette le pone de inmediato a esa definición: los únicos cambios reales que declara poder causar con magia son cambios en sí mismo, y el efecto sobre el mundo lo enuncia con un hopefully.

«Early in my career I was befriended (and many times guided) by some very wonderful, and in their own ways masterful, magicians to whom I owe an immeasurable debt: Israel Regardie, Phyllis Seckler, Helen Parsons Smith, and Grady L. McMurtry.» — la genealogía que DuQuette se reconoce: Israel Regardie, Phyllis Seckler, Helen Parsons Smith y Grady L. McMurtry, es decir, la línea de la Golden Dawn y de la O.T.O., no la académica.

«Readers who are familiar with the body of my work know that I am occasionally taken to task by knowledgeable critics who accuse me of writing for beginners and who chide me for diluting or oversimplifying complex and esoteric concepts. Against these charges I can say very little in my defense except to confess that I am indeed a simple man who, by conventional academic standards, is a lazy and undisciplined student.» — DuQuette recoge la objeción de sus críticos —escribir para principiantes, diluir lo complejo— y responde concediéndola en lugar de rebatirla.

«Yes, I’m proud to write for beginning students of magick. But first and foremost I write to explain things to myself. I write to find out what I know. I write the books that I wish I could have studied during the first five years of my magickal studies—books that might have saved me years of frustration, blind alleys, and wheel-spinning.» — la respuesta de DuQuette a esa objeción: escribe para explicarse las cosas a sí mismo y para dar el libro que le habría ahorrado los primeros cinco años.

«I began my study of this most curious of quaint and curious subjects in late 1979 and began practicing it in earnest in autumn of 1980.» — DuQuette fecha su propio recorrido: estudio desde finales de 1979, práctica desde el otoño de 1980.

«The only person I actually knew who had any significant hands-on experience with the system was Dr. Francis (Israel) Regardie,8 who cautioned me in no uncertain terms that I probably shouldn’t be dabbling in such things.» — según DuQuette, el único practicante con experiencia de primera mano que conocía era Regardie, y lo que Regardie le dijo fue que no se metiera. La advertencia queda consignada, no discutida.

«Nevertheless, armed with my copy of Aleister Crowley’s Gems from the Equinox9 and the two-volume set of Regardie’s The Golden Dawn,10 I naïvely plunged into what I thought was the deep end of the Enochian magick swimming pool.» — con qué entró DuQuette al sistema pese a esa advertencia: los Gems from the Equinox de Crowley y la edición en dos volúmenes de la Golden Dawn de Regardie, es decir, la recepción y no las fuentes.

«A year or so later a friend would present me with a huge stack of photocopied11 documents from the British Museum. This material represented several significant portions of surviving diaries and magickal notebooks of Elizabethan magus Dr. John Dee (1527–1608 or 1609)» — el momento en que DuQuette pasa de la recepción a los manuscritos: una pila de fotocopias del British Museum. Da las fechas de Dee dejando abierto el año de muerte. La frase sigue en la plana siguiente con las de Kelley.

«Only then did I begin to realize how dreadfully deep the waters of Enochiana really are. By then, however, it was too late for me to get out of the pool. What little of the system I had mastered had already yielded breathtaking results. My life was becoming very magickal.» — DuQuette declara que la profundidad del corpus se le hizo visible cuando ya no podía dejarlo, y adjudica a la parte que sí dominaba resultados que llama sobrecogedores.

«Today clear copies of the museum manuscripts are readily available to the serious student, and there are no less than thirty books currently in print with the word “Enochian” in the title.» — el estado del campo que DuQuette describe para justificar un libro más: copias claras al alcance de cualquiera y no menos de treinta títulos en circulación.

«In 1991 Dr. Christopher S. Hyatt and I wrote a commentary on Aleister Crowley’s little Enochian masterpiece, Liber Chanokh.13 A year latter Herman Slater of Magickal Childe Publishing asked me to pen the introduction to the new facsimile edition of the 1659 A True & Faithful Relation of What Passed for Many Yeers Between John Dee . . . and Some Spirits.» — DuQuette declara su propia contribución previa a esos treinta títulos: el comentario con Christopher S. Hyatt al Liber Chanokh de Crowley y la introducción al facsímil de la relación de 1659 que le encargó Herman Slater.

«In 1995, my wife, Constance, and I created a deck of tarot cards14 that incorporates a large number of images relating to the Enochian Elemental Tablets. In the book that accompanies the cards,15 I elucidate on how they can be used for practical Enochian magick operations.» — la tercera contribución previa que DuQuette consigna: un mazo de tarot con imágenes de las tablas elementales y un libro que explica su uso operativo.

«But writing (and reading) about Enochian magick is one thing; actually using it in a practical way to advance one’s own spiritual evolution is another.» — la distinción que DuQuette pone como razón del libro: escribir y leer sobre el sistema no es usarlo.

«I feel qualified to do this not because I have any illusions that I am the world’s most knowledgeable scholar on the subject (I assure you I am not)» — la abstención con que DuQuette acota su autoridad: niega ser el estudioso más informado del asunto, y funda su credencial solo en los años de práctica.

«Magick is as mysterious as mathematics, as empirical as poetry, as uncertain as golf, and as dependent on the personal equations as Love. –ALEISTER CROWLEY17» — el epígrafe del segundo prólogo es de Crowley, no de DuQuette: define la magia por una serie de comparaciones que niegan a la vez el misterio puro y la técnica pura.

«I’m a magician. I practice the art of ceremonial magick. I adore and invoke the essence of highest Deity and hold congress with divine angels. I also evoke and command spirits and demons.18» — DuQuette declara en primera persona lo que hace, y distingue en la misma frase las dos operaciones que el libro separa después: invocar lo divino y evocar espíritus y demonios.

«Ceremonial magick is the path I have chosen to give expression to the spiritual yearnings I believe are inherent in every human being. It is my Tao, my Way, my religion, my philosophy, my psychology. But ceremonial magick isn’t my life. I already have a life, thank you. But I use magick to help make my life magick.» — DuQuette pone la magia ceremonial en el lugar de la religión, la filosofía y la psicología, y acto seguido le niega el lugar de la vida entera; la fórmula que repite es que la usa para hacer mágica su vida, no para sustituirla.

«I have closets and chests full of bizarre and colorful robes and crowns and wands and daggers and chalices and swords and lances and thuribles and banners and veils and rings and incense and candles and oils and tablets and talismans and mirrors and crystals. I have books—strange books (some very old and rare), books that would scare the daylights out of most of my neighbors.» — el inventario del instrumental que DuQuette declara tener, enumerado sin jerarquía y con humor sobre el efecto que produce en los vecinos; en el mismo párrafo repite que esas cosas no son su vida.

«It is impossible for me to adequately explain or justify why I celebrate my spiritual life through the vehicle of magick, for the same reasons it is impossible for any artist to properly explain why he or she has taken up the brush or the chisel or the violin or ballet slippers. If reasonableness were the sole criterion for the existence of art, there would be no music, no dance, no magick.» — la abstención con que DuQuette responde a la pregunta por qué magia: declara imposible justificarla, por la misma razón que un artista no puede justificar su instrumento.

«Make no mistake about it, magick is an art form, and every true magician is an artist. Just like the musician and dancer, the magician must practice, create, and perform. Just like the painter or sculptor, he or she must be armed with proper tools, skills, knowledge, and, most of all, inspiration.» — la tesis que ordena el prólogo: la magia como forma de arte y el mago como artista que debe practicar, crear y ejecutar, con herramientas, pericia, conocimiento e inspiración.

«As quantum physicists tell us, both the observer and that which is observed are changed by the act of observation itself. By appreciating the artist’s handiwork, we are fundamentally affecting the reality and life of that creation. More importantly, when we expose ourselves to the artist’s creation, we enjoy the passive luxury of allowing our consciousness to be altered, elevated, and enriched in unique and personal ways the artist might have never imagined.» — DuQuette apoya en la física cuántica su idea de que también el espectador es artista; la invoca de segunda mano y sin locator, como analogía.

«The art of ceremonial magick, however, is a little different. There is no painted canvas to display, no audience to applaud. Regardless of how altruistic the magician’s motives may be, magick is spiritual performance art that must ultimately be executed and appreciated by the magician alone.» — el límite que DuQuette pone a la analogía artística: en la magia ceremonial no hay lienzo ni público, y la ejecución y el aprecio recaen en el mago solo.

«He or she is at once the teacher, the student, the medium, the conductor, the performer, the venue, the audience, and the critic. The magician touches the broader audience of humanity only by affecting changes in the magician, and success can be weighed only in the silent Holy of Holies of his or her own soul.» — la consecuencia que DuQuette extrae: el mago ocupa todos los papeles a la vez, y el éxito solo se mide en su propio fuero interno, no en efecto sobre el mundo.

«So, here and now and for the duration of this book, I shall lay aside the question of “why magick?” If my magickal efforts seem to propel me closer to self-realization, if my work brings me a measure of health or happiness or wisdom or a sense of fulfillment, good. But none of these things, nor indeed any thing, can be the goal of my art.» — DuQuette deja de lado la pregunta por el porqué y acota de inmediato: ni la salud, ni la felicidad, ni la sabiduría, ni cosa alguna pueden ser la meta del arte que enseña.

«Am I really an artist? Am I drawn to this strange and irrational art form because of my mad passion to enrich my art and fulfill my creative life purpose? Or am I doing all this to avoid fulfilling my destiny? Am I running away from myself?» — las preguntas que DuQuette propone en lugar de la del porqué, y que se aplica a sí mismo: si la vocación es real o es huida; el párrafo sigue con la imagen del poseur disfrazado y continúa en la plana siguiente.

«Teach me (O creator of all things) to have correct knowledge and understanding, for your wisdom is all that I desire. Speak your word in my ear (O creator of all things) and set your wisdom in my heart. —JOHN DEE19» — el epígrafe del capítulo primero es una oración que DuQuette atribuye a Dee y que reaparece en el cuerpo como la que él mismo reza al sentarse ante la Mesa Sagrada.

«It’s 3:43 a.m. I’ve been up for about a half an hour bathing, dressing, and preparing myself to operate. Constance is asleep in the bedroom, and I’m trying to be as quiet as I can. In just a few minutes I will turn off the computer here in my office, take up my almond wand, and go into the darkened living room. There I will quietly perform a Lesser Banishing Ritual of the Pentagram, light two tapered candles, and sit down before the Holy Table.» — DuQuette abre el manual con una operación propia narrada en presente y con hora exacta: baño, vestido, varita de almendro, Ritual Menor de Destierro del Pentagrama y dos velas. El género del libro queda fijado aquí, entre la instrucción y el relato.

«quietly recite the Prayer of the Ring: Behold the Ring. Lo, this it is. This is it, wherewith all miracles, and divine works and wonders were wrought by Solomon: this is it, which the Archangel Michael has revealed to me. This is it, which Philosophy dreameth of. This is it, which the Angels scarce know. This is it, and blessed be his name: yea, his Name be blessed forever. Without this I shall do nothing. Blessed be his name, that encompasses all things:» — la Oración del Anillo tal como DuQuette la recita, con su reclamo de linaje salomónico y su condición: sin el Anillo, nada. Es texto tomado del diario, no redacción suya, y la fórmula se repite después en el apéndice I.

«Before putting it around my neck I will again pray: Behold the Lamen. As the Holy Table conciliates Heaven and Earth, let this Lamen which I place over my heart conciliate me to the Holy Table. Amen.» — la oración del Lamen, que enuncia la analogía con que se sostiene todo el instrumental: la Mesa concilia cielo y tierra y el Lamen concilia al mago con la Mesa.

«move the tip of the wand from right to left along the far edge of the table and chant: Pa Med Fam Med Drux Fam Fam Ur Ged Graph Drux Med Graph Graph Med Med Or Med Gal Ged Ged Drux.» — el primero de los cuatro cantos del borde de la Mesa: no palabras sino los nombres de las letras del alfabeto angélico grabadas en el canto, recitados siguiendo la varita. Se transcriben tal como los imprime la capa de texto.

«Then I will trace a circle over the center of the table and say: Seven, rest in Seven: and the Seven, live by Seven: The Seven, govern the Seven: And by Seven all Government is. Galas Gethog Thaoth Horlwn Innon Aaoth Galethog, Zaphkiel Zedekiel Cumael Raphael Haniel Michael Gabriel, E(l) Me Ese Iana Akele Azdobon Stimcul, I Ih Ilr Dmal Heeoa Beigia Stimcul, S Ab Ath Izad Ekiei Madimi Esemeli, E An Ave Liba Rocle Hagonel Ilemes, Sabathiel Zadkiel Madimiel Semeliel Nogahel Corabiel Lavanael.» — la fórmula de los siete septetos y las siete filas de nombres angélicos que DuQuette recita sobre el centro de la Mesa; incluye los siete nombres divinos del Sigillum. Los nombres van sin cotejo contra facsímil, en la grafía del troceo.

«place the tip of my wand upon the center of my forehead and whisper: luah lang sach urch Iad moz zir—iad bab zna—iad sor gru—iad ser osf.» — el susurro final de la ceremonia, con las cuatro clases de ángeles de la Tabla de Nalvage y la fórmula cuádruple en lengua angélica.

«The chanting will take about eighteen minutes. By then I will have chanted myself into an altered state of consciousness. In fact, I’ll be high as a kite and struggling to avoid drifting into a directionless rapture.» — DuQuette declara el efecto buscado y su medida en el tiempo: dieciocho minutos de canto para entrar en un estado alterado, con la advertencia de no perderse en un arrobo sin dirección.

«I will no longer be the overweight knot of worries and vices that haunts the daylight world of bills and phone calls and deadlines— vampires of time.» — cómo describe DuQuette el cambio de identidad que la ceremonia produce, en registro autoirónico y no solemne.

«My living room will disappear, and in its place will tower the Temple of the Universe, holy ground demarcated by a consecrated carpet of red silk, upon which rests the Holy Table, the center of the universe, the Holy of Holies where heaven touches earth.» — la conversión de la sala de estar en Templo del Universo: la alfombra de seda roja demarca el terreno consagrado y la Mesa Sagrada ocupa el centro.

«The centerpiece of the Holy Table is the Sigillum Dei Aemeth, a wax disk approximately nine inches in diameter and one and one-half inches thick, bearing the carved image of a complex diagram consisting of an interlocked heptagram, two heptagons, a pentagram, and an array of numbers and letters, which, when decoded, spell the names of seven sets of seven divine beings: Seven who rest in seven, seven who live by seven, the seven who govern the seven, and seven by whom all government is.» — la descripción física del Sigillum que DuQuette usa: disco de cera de unas nueve pulgadas, con heptagrama, dos heptágonos, un pentagrama y una malla de números y letras que descifrada da siete septetos de seres divinos.

«The chanting completed, I will unveil a circular black mirror made of highly polished obsidian. I have it placed in a stand directly upon the covered Sigillum Dei Aemeth, and I will carefully angle it so I see my dimly lit face reflected in its pool of deep blackness. After only a few moments the reflection of my face will disappear, and I will see with magick eyes and hear with magick ears.» — el momento en que DuQuette sitúa el inicio de la visión: el espejo de obsidiana montado sobre el Sigillum cubierto, hasta que el propio reflejo desaparece.

«If Merlin is an inner resonator who generated the literature which gathered about his name, then Dr. John Dee must be considered almost his outer manifestation in the real world. He is probably the single most influential aspect of the magician ever to have lived and a worthy successor to the Arthurian mage. —JOHN AND CAITLIN MATTHEWS20» — el epígrafe del capítulo dos no es de DuQuette sino de John y Caitlín Matthews, y adjudica a Dee el papel de manifestación externa de Merlín.

«The little ceremony I described in chapter one cannot be found in any other book of magick. I composed it in the spring of 2006 for the benefit of the members of my weekly magick class. It is designed as a ritual of preparation—a ceremonial “drug,” as it were, to safely induce an altered state of consciousness, a trance in which specific techniques of magick may be practiced and visions can occur.» — DuQuette declara la autoría y la fecha de la ceremonia que acaba de narrar: la compuso él en la primavera de 2006 para su clase, como droga ceremonial que induzca el trance.

«The components of the ritual are not, however, a modern invention. The magical implements and furniture were fabricated as faithfully as possible from descriptions found in sixteenth-century manuscripts and items currently housed at the Bodleian Library of Oxford University, the British Library, and the King’s Library wing of the British Museum.» — el límite de esa autoría: los componentes no son invención moderna sino reconstrucción, lo más fiel posible, de descripciones de manuscritos del siglo XVI y de objetos conservados en la Bodleiana, la British Library y el British Museum.

«The ancient manuscripts I refer to are the diaries and magical records of Dr. John Dee21 and his partner Edward Kelley, and these texts represent the source material for the system of magick known and practiced today as Enochian magick.» — DuQuette identifica su fuente única: los diarios y registros mágicos de Dee y Kelley, que declara material de origen del sistema que hoy se practica como magia enoquiana.

«It is not my intention, nor is it within the scope of the present work, to present a proper biography of Dee. That has been handled nicely in Peter French’s brilliant biography22 and other texts that I’ve itemized in the bibliography.» — la abstención con que DuQuette acota su capítulo biográfico: no escribe una biografía de Dee y remite a la de Peter French.

«Son of a gentleman server to Henry VIII, John Dee was a true Renaissance magus and one of the most extraordinary individuals of his time. Historian John Aubrey called him “one of the ornaments of his Age.”23» — según DuQuette, Dee fue un magus renacentista cabal, y para calificarlo cita a John Aubrey en vez de calificarlo él.

«He was the master of scores of disciplines. He was a physician, an engineer, a theologian, an astronomer, and cartographer. He invented the nautical instruments and developed the advanced navigational charts that helped make Britannia ruler of the waves. He even coined the term Britannia.» — la lista de oficios que DuQuette atribuye a Dee —médico, ingeniero, teólogo, astrónomo, cartógrafo— más los instrumentos náuticos y las cartas de navegación, y la acuñación del término Britannia.

«Because he was fluent in many languages and lectured often on the continent, Elizabeth enlisted his services as a spy. Dee enjoyed this role very much. As a matter of fact, I believe he remained in this position until the day she died. He was fascinated with cryptography and loved word and letter puzzles. Dee was secretly known as “the queen’s eyes,” and he signed his dispatches to her with the stylized image of a hand shading two eyes.» — según DuQuette, Isabel usó a Dee como espía y él lo disfrutó; marca como creencia propia que siguiera en el puesto hasta la muerte de la reina, y consigna la firma de la mano sombreando dos ojos.

«Dee possessed the largest private library in England and was constantly enlarging it. He was perhaps the most educated man of his day. Part of his education included esoteric philosophy, Qabalah, alchemy, and magick—not illogical pursuits for a Renaissance magus. Magick, in particular, was a science to be explored and exploited.» — DuQuette encuadra la magia de Dee dentro de su erudición y no contra ella: filosofía esotérica, cábala, alquimia y magia como ocupaciones no ilógicas para un magus renacentista.

«to discover the wisdom of the past and the secrets of the universe, but also, more immediately, to discover the secrets of Elizabeth’s enemies» — según DuQuette, el fin de Dee tenía dos caras: la sabiduría del pasado y los secretos de los enemigos de Isabel. El tramo se corta donde el troceo cambia de fragmento y sigue en la línea siguiente.

«and brandish the power to magically manipulate the spiritual forces that control them. Dee wanted to be a magical spy.» — continuación: DuQuette resume el propósito de Dee diciendo que quería ser un espía mágico, con lo que ata la conversación angélica al servicio de la corona.

«His approach to magick (at least at first) was pretty standard procedure for the day. After bathing and dressing in clean clothes (extraordinary measures for the times—unless, of course, it was May, when many people of the day took their annual bath), he would enter a room set aside for the purpose. There he would drop to his knees before a consecrated table/altar and for a half hour or so pray fervently to God and His good angels, alternately reciting a litany of self-abasing confessions of his unworthiness to enter into the divine presence and boasting of his God-given right to do that very thing.» — según DuQuette, el procedimiento de Dee era el corriente de su época y descansaba en media hora de oración que alternaba confesión de indignidad con reclamo del derecho a entrar en la presencia divina; el paréntesis sobre el baño anual de mayo es humor del autor.

«With his consciousness duly exalted by prayer, he would then gaze into a crystal or a black mirror (a process known as scrying25) and wait to receive a vision.» — la segunda mitad del procedimiento según DuQuette: con la consciencia ya exaltada por la oración, mirar el cristal o el espejo negro y esperar. Nombra la operación con el término técnico, scrying.

«However, even though Dee was skilled at composing long and eloquent prayers, he was not very good at scrying. In 1581 he started to advertise for someone who was.» — la asimetría de la que sale toda la sociedad, según DuQuette: Dee sabía componer oraciones y no sabía escrutar, y por eso puso anuncio en 1581.

«He had a small measure of success with a handful of rented seers until March of 1582, when he made the acquaintance of one Edward Talbot. Talbot (who would soon confess that his name was actually Kelley) was an unemployed alchemist’s assistant and convicted forger. Kelley’s questionable character notwithstanding, his skills as a scryer immediately impressed Dee, who hired him on the spot at a salary of fifty pounds a year, a handsome figure for the day.» — según DuQuette, Kelley llegó a Dee en marzo de 1582 bajo el nombre de Edward Talbot, como ayudante de alquimista sin trabajo y falsificador convicto, y Dee lo contrató de inmediato por cincuenta libras al año pese a su reputación.

«The partnership of Dr. John Dee and Edward Kelley would last until 1587. Their angelic-magick workings for the most part concluded in 1584. During their time together they engaged in hundreds of scrying sessions of varying lengths, in which Kelley gazed into a crystal ball or a black obsidian mirror and reported everything he saw and heard during a variety of angelic communications. Dee, sitting at a nearby table with pen and ink, led the questioning and recorded everything in anal-retentive detail.» — el reparto de papeles que DuQuette fija: Kelley mira y relata, Dee pregunta y anota. La sociedad duró hasta 1587 y las sesiones angélicas terminaron en lo esencial en 1584.

«Not all of the sessions yielded profound revelations. Indeed, many appear to be attempts by the communicating intelligences to simply keep the conversation going. There were numerous instances when information received in earlier sessions was amended (sometimes radically) in subsequent sessions. There were even times when the magicians were informed that they had been deceived in earlier communications by evil spirits.» — DuQuette no armoniza el registro: sesiones que solo mantienen la conversación, información enmendada a veces de raíz, y avisos de que los magos habían sido engañados por espíritus malignos.

«The Dee and Kelley years can be viewed as having occurred in three major phases, resulting in what appears on the surface to be three separate and unique magical systems.» — la división en tres fases con que DuQuette organiza los cinco Books del libro, enunciada con la reserva de que solo en la superficie parecen tres sistemas distintos.

«Here at the beginning it is enough to simply point out it is the third and last phase of their angelic workings» — DuQuette acota qué merece llamarse propiamente enoquiano: la tercera y última fase. La frase sigue en la línea siguiente porque la capa de texto parte con guion *three-month* al final del renglón.

«period between April 10 and July 13, 1584) that yielded the material for the system of vision magick that can be properly called Enochian.» — continuación: DuQuette fecha el material enoquiano propiamente dicho entre el 10 de abril y el 13 de julio de 1584, tres meses.

«The Enochian period was highly productive and bore much promise. In fewer than a hundred days Dee and Kelley received an angelic language, tablets containing the names of elemental and celestial beings, and calls in the angelic tongue that promised to unlock the secrets of heaven and earth.» — lo que según DuQuette se recibió en menos de cien días: una lengua angélica, tablas con nombres de seres elementales y celestes, y llamadas que prometían abrir los secretos del cielo y de la tierra.

«With sad, almost Faustian irony, however, once the Enochian material was in their hands, Dee and Kelley did not proceed to actually operate the system in subsequent workings.» — el hecho sobre el que se apoya la tesis del Book I: según DuQuette, Dee y Kelley no llegaron a operar el sistema que recibieron.

«They would go on to other magical adventures, attempting to impress (with little success) the crown heads of Europe with their supernatural counsel. Finally, after nearly five years of working together, years of exhausting magical sessions, and years of traipsing their families around Europe (not to mention a notorious wife-swapping incident), familiarity finally bred contempt, and the two magicians parted company without ever getting into the driver’s seat of Enochian magick and turning the key.» — cómo describe DuQuette el final de la sociedad: cinco años de sesiones, familias trasladadas por Europa, el incidente del intercambio de esposas y una separación sin haber puesto nunca el sistema en marcha.

«Dee shocked her courtiers by urging the queen to not engage the Spanish armada and keep her ships at bay, prophesizing that a mighty storm would scatter and destroy the Spaniards. Elizabeth wisely heeded Dee’s words. The storm manifested right on cue, and in the chaos that followed, the Spanish armada went down to defeat. In many circles Dee was credited with magically raising the tempest that saved England. The story of this event became instant legend. William Shakespeare, writing only twenty-three years later, would use Dee as the model for Prospero, the storm-raising magician in his play, The Tempest.» — el episodio de la Armada según DuQuette, con el crédito por la tormenta atribuido a Dee en muchos círculos y la derivación literaria: Shakespeare tomándolo como modelo de Próspero veintitrés años después.

«He was knighted by Emperor Rudolph II of Bohemia but was shortly thereafter imprisoned by his royal patron for failing to manufacture alchemical gold.» — la suerte de Kelley después de Dee según DuQuette: nombrado caballero por Rodolfo II —así, Rudolph, imprime el troceo— y encarcelado por el mismo patrón por no producir oro.

«untimely death in November of 1595 while attempting to escape from the turret of Emperor Rudolph’s prison tower.» — la muerte de Kelley según DuQuette, en noviembre de 1595 al intentar huir de la torre. El tramo empieza a media frase porque la anterior cambia de plana.

«Dee’s end was not so colorful. Elizabeth appointed him warden of Christ’s College in Manchester, but it was not a happy tenure. His wife (and, it is believed, several of his children) died there during the plague in 1605.» — el final de Dee según DuQuette: guardián del Christ’s College de Manchester, con la muerte de su mujer y probablemente de varios hijos en la peste de 1605.

«Dee returned to his home at Mortlake, where his daughter Katherine cared for him until his death in late 1608 or early 1609.» — el cierre de la biografía: Mortlake, la hija Katherine y una fecha de muerte que DuQuette deja abierta entre finales de 1608 y principios de 1609.

«Several of the most important documents Dee had hidden in the false bottom of a cedar chest (can we get much more romantic?), where they lay undiscovered for over fifty years after his death. Through a curious chain of events (that tragically saw a portion of the manuscripts baked as pie wrappings), the surviving material came to the attention of the illustrious antiquary, politician, astrologer, chemist, and Freemason, Alias Ashmole (1617–1692), one of the few people in the world capable of recognizing the importance of the discovery.» — la cadena de custodia según DuQuette: el doble fondo del arcón de cedro, cincuenta años sin descubrir, parte del material usado como papel de horno, y el hallazgo llegando a Ashmole. La capa de texto imprime Alias Ashmole por Elias, sic.

«Thanks to Ashmole, the material was catalogued and finally housed safely in his own museum at Oxford, the British Museum, and the British Library, where, over three hundred years after its reception, it captured the attention of S. L. MacGregor Mathers, Wynn Wescott, and the adepts of the Hermetic Order of the Golden Dawn, then Aleister Crowley— and now you.» — la línea de recepción que DuQuette traza y que estructura su libro: de Ashmole a los archivos, de ahí a Mathers, Wescott —así lo imprime aquí la capa de texto, con una sola te— y los adeptos de la Golden Dawn, luego Crowley, y por último el lector.

«Now hath it pleased God to deliver this Doctrine again out of darknesse: and to fulfill his promise with thee, for the books of Enoch: To whom he sayeth as he said unto Enoch. Let those that are worthy understand this, by thee, that it may be one witness of my promise toward thee. —THE ANGEL AVE, MONDAY, JUNE 25, 158426» — el epígrafe del capítulo tercero es voz transcrita del diario y va fechado: el ángel Ave declara que Dios entrega de nuevo la doctrina, salida de la oscuridad, en cumplimiento de la promesa hecha a Enoc.

«Modern Enochian magick (as first developed in the late nineteenth century by S. L. MacGregor Mathers and the adepts of the Hermetic Order of the Golden Dawn and later adapted and augmented by Aleister Crowley and others) is a remarkable and tidy self-referential system of visionary magick.» — la definición con que DuQuette abre la comparación: lo que hoy se llama magia enoquiana lo desarrollaron Mathers y los adeptos de la Golden Dawn a finales del siglo XIX, y lo adaptaron después Crowley y otros. Lo llama notable y ordenado, y también autorreferencial.

«However, the complexity of the system, as outlined by Golden Dawn/Crowley texts, continues to effectively guard the mysteries of this marvelous magical art form from all but the most serious, courageous, tenacious, foolish, or naïve.27» — la objeción de DuQuette a esos textos: su complejidad sigue guardando el arte de todos salvo de los serios, valientes, tenaces, insensatos o ingenuos. La lista mezcla virtudes y defectos a propósito.

«The visionary labor of many post-modern Enochian explorers was well repaid, for we soon discovered that despite our very limited access to the original texts (not to mention our inexperience and ineptitude) this kind of magick actually worked. With surprisingly few exceptions, when we followed the GD/Crowley procedures and techniques, even the most insensitive and skeptical among us received visions we deemed appropriate to the particular regions we were exploring.» — DuQuette concede el punto empírico a favor del modelo Golden Dawn-Crowley: con acceso limitado a las fuentes y con inexperiencia, el procedimiento funcionaba. Acota el juicio con we deemed, que deja la evaluación en manos de los propios operadores.

«The technique used to receive visions such as these is called scrying. The Golden Dawn and Crowley often referred to the practice as “traveling in the spirit vision.” Scrying is, quite simply, the ability to put oneself in touch with one’s own psychic senses. In magical operations the scrying session is usually preceded by a formal ceremony designed to put the magician in an altered state of consciousness. It is, for all intents and purposes, a shamanistic experience.» — la definición de scrying que DuQuette da: ponerse en contacto con los propios sentidos psíquicos, precedido de una ceremonia que altera el estado de consciencia; y la califica de experiencia chamánica. Consigna el nombre que le daban la Golden Dawn y Crowley.

«There is no question (in my mind, at least) that the Enochian magick procedures and techniques developed by the Golden Dawn and Crowley embody a highly effective system of magical working that, if properly applied, can become an integral component in the modern magician’s program of personal self-development.» — DuQuette declara sin reservas la eficacia del sistema Golden Dawn-Crowley como componente del desarrollo personal del mago moderno, marcando la afirmación como propia.

«This compatibility, however, has been, for the most part, contrived and jerry-rigged. For as efficacious as the GD/Crowley applications and techniques are, they bear little resemblance to anything Dee and Kelley practiced or were instructed to engage in by their angelic contacts.» — el desacuerdo central del libro: la compatibilidad entre lo enoquiano y el aparato ceremonial moderno está amañada, y las técnicas de la Golden Dawn y de Crowley se parecen poco a lo que Dee y Kelley practicaron o recibieron instrucción de practicar. La eficacia no se discute; la filiación sí.

«With all due respect to Mathers, it is clear that he and his Golden Dawn adepts chose to limit their attention to only those portions of source texts that offered material that they could fit» — la acusación concreta contra Mathers y sus adeptos: seleccionaron de las fuentes solo lo que encajaba en su esquema cabalístico-hermético. El tramo se corta donde el troceo cambia de fragmento.

«easily into the qabalistic/hermetic schema to which they were so passionately committed. Furthermore, it is clear that in many instances, when the original material didn’t fit the schema, they found a way to make it fit.» — continuación y agravante: cuando el material original no encajaba en el esquema, según DuQuette encontraron la manera de hacerlo encajar.

«This fact should not diminish in our respect for the wonderfully effective system the Golden Dawn and Crowley have bequeathed to us. But it has prompted many of us (who obviously have an inordinate amount of time on our hands) to examine in greater detail the surviving Dee and Kelley material that has now become more readily available to the serious student. What we discovered is an overwhelmingly large body of work—books, notebooks, and diaries— the most interesting of which span the better part of three years of intense magical operations. Most of this material appears to have nothing whatsoever to do with Enochian magick as practiced today.» — DuQuette separa el juicio de eficacia del de filiación y saca la consecuencia de trabajo: al volver a las fuentes aparece un cuerpo enorme —libros, cuadernos, diarios de casi tres años— cuya mayor parte no tiene que ver con lo que hoy se practica.

«In fact, for the better part of twenty years I was one of the most vocal apologists for the Enochian school whose motto is, “Don’t try to duplicate the magick Dee and Kelley did to receive the system—just use the system they received!” Then, starting in 1999, a couple of things happened that caused me to rethink the wisdom of this attitude.» — DuQuette declara haber sostenido durante veinte años el lema que ahora da título al Book I, y fecha en 1999 el comienzo de su cambio de postura. La tesis del libro se presenta como corrección de sí mismo.

«First, I became enthralled with the work of Clay Holden and the John Dee Publication Project, which brought the glories of Quinti Libri Mysteriorum to life on the World Wide Web.» — la primera de las cosas que según DuQuette le hicieron cambiar de postura: las transcripciones del Quinti Libri Mysteriorum publicadas en red por Clay Holden.

«Around the same time, my publisher sent me a copy of Joseph H. Peterson’s book John Dee’s Five Books of Mystery: Original Sourcebook of Enochian Magic. I had years earlier examined much of this material enlarged from microfilm, but now I had the luxury of comfortably reviewing it in clearer formats (with Latin translations) on my home computer and from Peterson’s marvelously well-organized book.» — la segunda: la edición de Joseph H. Peterson, que le da el mismo material antes visto en microfilm en formato legible y con traducciones del latín.

«I must confess that even with this information stacked conveniently and legibly under my nose, I was overwhelmed by the sheer immensity of it all. I’m interested in the magical adventures of Dee and Kelley as much as the next fellow, but I also have a life. Did I need to sacrifice three years of my own life in order to eavesdrop on every detail of three years of theirs?» — la objeción práctica que DuQuette se plantea a sí mismo y que sostiene la mitad de su tesis: no está dispuesto a gastar tres años en reconstruir tres años ajenos.

«In the final analysis, no matter what system the magician chooses, in order to make it work most effectively he or she must first become attuned to that system’s particular way of viewing of the universe.» — el principio con que DuQuette resuelve esa objeción: cualquiera que sea el sistema, el mago debe primero sintonizarse con su manera de ver el universo. La capa de texto imprime viewing of the universe, sic.

«Late in 2005, while gathering material for yet another workshop series on Enochian magick for my Monday night magick class, I poured over the records of Dee and Kelley’s pre-Enochian workings in hopes of finding the key to their preparatory processes.» — DuQuette fecha a finales de 2005 la lectura de los trabajos preenoquianos con una pregunta explícita: qué les hicieron los ángeles a Dee y a Kelley antes de la revelación final.

«Crowley all but ignored: • a Ring;29 • a Lamen, which was to be worn by the magician as a breastplate and which connects him or her to the Holy Table; • the Holy Table itself, inscribed with letters from an angelic alphabet and upon which would rest the Sigillium Dei Aemeth; • the Sigillium Dei Aemeth, an intricately carved disk made of purified beeswax (an artifact so stunning and historically intriguing that it is prominently displayed today in the King’s Library wing of the British Museum); • seven talismans (five squares and two circles), called Ensigns of Creation, which surround the Sigillium on the Holy Table.» — la lista de los cinco instrumentos que según DuQuette la Golden Dawn y Crowley dejaron de lado: Anillo, Lamen, Mesa Sagrada, Sigillum Dei Aemeth y las siete Ensigns of Creation. La capa de texto imprime Sigillium, con dos íes.

«To all appearances, heptarchic magick has little or no direct relationship to the Enochian magick system they received during their final days of practice. Also, it is demonstrably clear (in my mind at least) that Enochian magick can be performed quite effectively without using the Ring, the Lamen, the Holy Table, and so on.» — la concesión que DuQuette hace antes de defender su tesis: la magia heptárquica no parece guardar relación directa con el sistema enoquiano, y este puede operarse sin Anillo, Lamen ni Mesa. Marca el juicio como suyo.

«However, it is equally clear to me that, as Dee and Kelley were receiving and working with the items and concepts of heptarchic magick, their minds and psychic bodies were, day by day, undergoing subtle yet profound evolutionary changes.» — la tesis propiamente dicha: lo que la fase heptárquica produjo no fue doctrina sino transformación de los operadores, día a día. También la marca como juicio propio.

«Could the reason the practical Enochian material came so very late in the game be that Dee and Kelley had to first complete their transformation into magicians who could appreciate and handle the advanced work? After all, isn’t that what magick is really about— changes in the magician?» — DuQuette enuncia su hipótesis en forma de pregunta y la ata a su definición de magia: el material práctico llegó tarde porque antes hacía falta que los magos cambiaran.

«that modern Enochian magicians are omitting entirely. I grew intrigued with this idea. Given the fact that the GD/ Crowley methods of Enochian magick already work so well right out of the box, how much better might these same techniques work if the magician were first prepared and attuned in a manner similar to the way Dee and Kelley had been prepared and attuned.» — la consecuencia que DuQuette extrae contra la práctica actual: falta un paso preparatorio que los magos enoquianos modernos omiten por completo; y la pregunta de cuánto mejor rendirían las técnicas de la Golden Dawn y Crowley con esa preparación previa.

«I was at first uneasy with this theory because it came dangerously near to destroying my comfortable philosophy of “Don’t try to duplicate the magick Dee and Kelley did to receive the system—just use the system they received!”» — DuQuette reconoce la incomodidad de que su hipótesis contradiga el lema que él mismo defendía y que encabeza el Book I.

«Instead, one must simply understand and use (in a way that mirrors the preparation process) the Ring, the Holy Table, the Lamen, the seven Ensigns of Creation, and the Sigillum Dei Aemeth that they received!» — la salida con que DuQuette concilia las dos cosas y que es el método del libro: no repetir el trabajo con que Dee y Kelley obtuvieron los instrumentos, sino entender y usar los instrumentos recibidos de modo que reflejen ese proceso.

«This book was written to show the practicing Enochian magician how to do precisely that, and the little ritual in chapter one (and outlined in greater detail in appendix I) is the ceremony that embodies this preparation process.» — DuQuette declara el objeto del libro y remite la ejecución al capítulo uno y al apéndice I.

«The material is based on two series of classes that Constance and I held in our home in 2005 and 2006—visionary workings that spanned a period of just over seven months.» — la base experimental que DuQuette declara: dos series de clases en su casa en 2005 y 2006, algo más de siete meses de trabajo visionario.

«My biggest challenge, for both the class series and writing this book, has been how best to communicate the essence of the breathtakingly intricate procedures that occupied Dee and Kelley during their years of preparation without enmeshing the reader in a time-devouring web of details. It is somewhat like trying to convey the profundity of a great cathedral without dwelling minutely on every action of every stonemason who fashioned each perfect stone.» — el problema de exposición que DuQuette declara y la imagen con que lo explica: transmitir la catedral sin detenerse en cada gesto de cada cantero.

«It is very important for the reader to understand that this book was not written as a substitute for the source material but simply as a guide to the practical, self-transformational applications of this magical art. I advise those of you who may be committed to in-depth academic research of this subject not to view my book as an authoritative replacement for the original texts.» — la abstención con que DuQuette acota su propio libro: no sustituye las fuentes y no debe tomarse como reemplazo autorizado para quien haga investigación académica.

«Dee and Kelley’s records are liberally peppered with irregularities, conflicting instructions, missing pieces, and typos. I’ve done my best to wade through these and be as consistent and accurate as possible. But when I say I’m going to stay focused on the big picture, that is exactly what I mean.» — el estado de la fuente según DuQuette —irregularidades, instrucciones contradictorias, piezas que faltan y erratas— y el alcance que declara para su propio trabajo sobre ellas.

«Now first I understand what he, the sage, has said: “The world of spirits is not shut away; Thy sense is closed, thy heart is dead!” —FAUST, ACT I, SCENE I31» — el epígrafe del capítulo cuarto es del Fausto, no de DuQuette: el mundo de los espíritus no está cerrado, lo que está cerrado es el sentido de quien mira.

«Are angels, spirits, and demons real? Do they have an existence apart from and outside the mind? Ever since human beings could frame thoughts into words, we have asked ourselves that question. It is an eternal debate among magicians and mystics and one that likely will never be resolved to anyone’s complete satisfaction. Personally, I agree with the venerable Rabbi Lamed Ben Clifford who said, “It’s all in your head. You just have no idea how big your head is.”32 Certainly every outside impression we receive is ultimately processed inside our own minds. Just keeping that fact in mind we might conclude that, where objective reality is concerned, there is no outside-of-ourselves.» — DuQuette plantea la pregunta ontológica y se abstiene de zanjarla: la declara debate eterno que no se resolverá a satisfacción de nadie, y se alinea con la fórmula del rabino Lamed Ben Clifford, personaje que él mismo usa como voz en otros libros suyos.

«In either case, in the art of magick, the magician must behave (at least for the duration of the operation) as if the spirits are independent intelligences and have an objective existence in a dimension outside his or her own mind.» — la regla operativa con que DuQuette sortea la pregunta: sea cual sea la respuesta, durante la operación el mago debe comportarse como si los espíritus fueran inteligencias independientes.

«Dee and Kelley (who believed most fervently in a tangible heaven, hell, and the characters and events of the Bible) certainly assumed that the communicating spirits and angels were real and enjoyed an independent existence. This gave the Elizabethan partners a decided psychological edge over modern magicians, who must overcome a smug mountain of logic, rationality, and spiritual cynicism in order to even begin to operate this most naïvely romantic of spiritual art forms.» — según DuQuette, la fe literal de Dee y Kelley en un cielo y un infierno tangibles les daba ventaja psicológica sobre el mago moderno, que primero debe vencer su propio escepticismo.

«For practical purposes, it does not matter whether the magician is making contact with “spirit” intelligences from a “spirit world” or merely tapping into currently unexplainable levels in his or her own mind.» — DuQuette declara indiferente, a efectos prácticos, si el contacto es con un mundo espiritual o con niveles inexplicados de la propia mente. Es la abstención que sostiene todo el manual.

«In fact, there are instances where the communicating intelligences indicated that they viewed the two magicians as a single entity with Kelley acting as an extension of Dee’s mind. On April 28, 1582, Dee asks of the archangel Michael, “You mean us two (Dee and Kelley) to be joined so, and in mind united, as if we were one man?” and Michael answered, “Thou understandest.”» — DuQuette cita el diario del 28 de abril de 1582: los ángeles trataban a Dee y a Kelley como una sola entidad, con Kelley por extensión de la mente de Dee. La respuesta de Michael es voz transcrita del diario.

«Dee’s immense intellect was actually a magical handicap. His magnificent brain was too engaged to surrender its analytical control. His mind worked too fast, and his thoughts were too loud to hear the subtle messages from the spirits. This is not good for mystical experiences. In order for the communicating intelligences to get past Dee’s constantly churning mind, they had to force him to use his mind to overcome his mind. They had to beat his brain at its own game.» — la tesis del capítulo: según DuQuette el intelecto de Dee le estorbaba para la visión, y por eso los espíritus tuvieron que obligarlo a usar su mente contra su propia mente.

«But he wasn’t a musician or a dancer or a soldier. Dee was, at heart, a cryptographer—perhaps the best in the world—and whether he consciously realized it or not, this was how he could make contact with his subconscious mind. This is how he expected the cosmos to unveil her secrets to him. For Dr. John Dee, the secrets of the universe were codes that could be broken. Divine revelation was a matter of decipherment, and he was willing to work for it.» — de ahí la explicación que DuQuette da al formato del material recibido: Dee era criptógrafo, y para él la revelación divina tenía forma de desciframiento. Es la razón por la que el sistema llega en tablas y cuadrados alfanuméricos.

«Dee: Is my book of Soyga of any excellency? Uriel: That book was revealed to Adam in Paradise by God’s good angels . . . Dee: . . .Oh, my great and long desire hath been to be able to read those tables of Soyga. —JOHN DEE AND THE ARCHANGEL URIEL, MARCH 10, 158233» — el epígrafe del capítulo quinto es diálogo transcrito del diario, fechado el 10 de marzo de 1582: Uriel declara que el libro de Soyga le fue revelado a Adán en el Paraíso, y Dee confiesa su deseo de leer sus tablas.

«Even before Dee met Kelley he was immersed in the study of a magical treatise written in Latin called Aldaraia sive Soyga: Tractatus Astrologico magicus or, more simply, the Book of Soyga.34 We know that Dee was intrigued by the Book of Soyga because his diary records that it was the subject of one of the very first questions he asked of the archangel Uriel during Edward Kelley’s inaugural scrying session on March 10, 1582. In later diary entries he laments that he has misplaced his Book of Soyga, and still-later entries indicate that he eventually found it.» — según DuQuette, el Book of Soyga —Aldaraia sive Soyga: Tractatus Astrologico magicus— ocupaba a Dee antes de conocer a Kelley, y fue objeto de una de las primeras preguntas de la sesión inaugural; el diario registra después que lo extravió y que volvió a hallarlo.

«The book is an anonymous, late-medieval grimoire of planetary, angelic, and demonic magick that is in many ways not too dissimilar from other magical treatises of the period. However, there are several things that distinguish Soyga—things that obviously made it particularly attractive to Dee. For one thing, a great deal of the text concerns itself with alphanumeric exercises and puzzles; letters with numerical, astrological, and elemental values, which are combined, recombined and reduced to form magick words (spelled forwards and backwards), all of which contain increasingly complex values and magical virtues. As we will see, this magical letter distillation process is characteristic of Enochian magick.» — la caracterización que DuQuette hace del Soyga: grimorio anónimo tardomedieval no muy distinto de otros, salvo por sus ejercicios alfanuméricos; y la continuidad que traza con el procedimiento de destilación de letras propio de lo enoquiano.

«Perhaps most intriguing to Dee were the last eighteen leaves of Soyga. These pages contain thirty-six tables, each comprising a grid of 1,296 squares, arranged in 36 x 36 grids. Each of the tables’ 1,296 squares is filled with a Latin letter. Together the tables could form a cube comprising 46,656 squares.» — las cifras del Soyga según DuQuette: treinta y seis tablas de 36 x 36, mil doscientas noventa y seis casillas cada una, que sumadas darían un cubo de 46 656 casillas.

«Like DNA, alphanumeric squares carry an unimaginably vast amount of information in a deceptively small package. As a resident of our 3 x 3 table, the c square also carries information drawn from its position relative to the other letters and their correspondences. Can you begin to see how much information is contained in that one little square alone? Imagine, then, the mass of complex data that could be tightly stored in a 36 x 36 x 36 square cube represented by the Book of Soyga.» — la analogía con que DuQuette explica por qué una retícula de letras puede almacenar tanto: como el ADN, y con la información que aporta además la posición relativa de cada casilla.

«I’ve discovered no evidence of a direct connection between the Book of Soyga and any of the magical workings that led ultimately to the reception of Enochian magick. Nevertheless, the fact remains that» — la búsqueda negativa que DuQuette declara: no halló prueba de conexión directa entre el Book of Soyga y los trabajos que llevaron a lo enoquiano. La frase continúa en la plana siguiente.

«even before Dee met Kelley, the mechanics of the alphanumeric cipher system, as presented in Soyga, captured Dee’s analytical imagination and had become part of the way he expected to receive divine information. Indeed, at every phase of Dee and Kelley’s workings, alphanumeric squares and codes would play a major role.» — continuación: lo que sí sostiene DuQuette pese a esa negativa es una filiación de expectativa, no de contenido: el cifrado alfanumérico ya era la forma en que Dee esperaba recibir información divina.

«We know Dee held the Book of Soyga in high regard and was particularly preoccupied with learning the secrets of the thirty-six tables. The magical process of the Book of Soyga (shuffling and distilling immense numbers of letters and squares into smaller and smaller bits of concentrated information) would become the modus operandi by which the spirits would ultimately communicate the secrets of Enochian magick to Dee and Kelley. It would be the method by which they received the Holy Table, the Lamen, the Ensigns of Creation, the Sigillum Dei Aemeth, the Table of Nalvage, the Elemental Tablets, and, most dramatically, the angelic language and the forty-eight calls.» — según DuQuette, el procedimiento del Soyga —barajar y destilar letras hasta bloques cada vez más concentrados— se volvió el modus operandi de toda la revelación, del Anillo a las cuarenta y ocho llamadas.

«In a way, this process is a metaphor of the mechanics of creation itself. As Carl Sagan37 said, “If you wish to make an apple pie from scratch, you must first create the universe.”» — DuQuette cita a Carl Sagan para convertir ese procedimiento en metáfora de la creación: para hacer un pastel de manzana desde cero hay que crear primero el universo.

«The immensely packed assembly of thirty-six 36 x 36 alphanumeric squares found in the Book of Soyga is a crude but appropriate model for such a singularity.» — la equivalencia que DuQuette propone, marcada como burda: las treinta y seis tablas del Soyga como modelo de la singularidad inicial de la que sale el universo.

«The Book of Soyga did not play a direct role in the magical operations of Dee and Kelley, but the patterns and formulae it embodied would remain the methodology of their angelic communications until the end of their association.» — DuQuette repite el límite de su tesis y a la vez la sostiene: el Soyga no intervino directamente, y sus patrones y fórmulas fueron la metodología de las comunicaciones angélicas hasta el final.

«I believe that the two magicians, by taking part in this incremental process of creation, became personally attuned to the magical universe as it presently exists, and thus prepared themselves to receive and engage in Enochian magick.» — la conclusión del Book I, marcada como creencia propia: al participar del proceso incremental de creación, Dee y Kelley se sintonizaron con el universo mágico y quedaron preparados para lo enoquiano.

«No man should ever undertake any great or important undertaking without first invoking the blessing of God. —Master’s admonition, California Free and Accepted Masons The whole secret may be summarized in these four words: “Inflame thyself in praying.” —ALEISTER CROWLEY38» — los dos epígrafes del capítulo sexto vienen de fuentes distintas y ninguna es DuQuette: la admonición del Maestro de la masonería de California y la fórmula de Crowley.

«It’s okay to pray. Even if you think you don’t believe in the same God that Dee and Kelley believed in, it’s okay to pray. I realize for many twenty-first-century magicians the word prayer carries with it unpleasant memories of childhood church and Sunday school traumas, and bedtime fears that “if I die before I wake” somebody was going to take my soul to God knows where.» — DuQuette se anticipa a la resistencia del lector moderno ante la palabra oración y nombra su origen: los traumas de catecismo, no un argumento.

«In magick, prayer has nothing to do with religion. It does, however, have everything to do with the magician’s grasp of facts of life in the magical world in which he or she intends to operate. Part of that reality is the mystical fact that existence itself is an expression of consciousness, and there are levels of consciousness higher and lower than the one we are currently attuned to.» — la definición que DuQuette da a la oración dentro de la magia: no religión sino reconocimiento de que la existencia es expresión de consciencia y de que hay niveles por encima y por debajo del propio.

«By the simple act of uttering a prayer, our apparently limited consciousness reaches out and makes contact with a higher level of consciousness, and by doing so, we insert ourselves into the divine circuitry of the cosmos. As we do, part of us (a part that we might not be aware of) wakes up, as it were, and recognizes our rightful place in» — el mecanismo que DuQuette atribuye a la oración: insertarse en el circuito divino del cosmos y despertar la parte que reconoce el propio lugar en él. La frase sigue en la plana siguiente.

«In my book The Key to Solomon’s Key,39 I illustrate this concept using the legend of King Solomon as my example. In the excerpt below, I discuss prayer in the context of spirit evocation, but the same thoughts hold true to all forms of magick, including Enochian.» — DuQuette declara que lo que sigue es autocita de otro libro suyo y que allí lo argumentaba para la evocación de espíritus, extendiéndolo aquí a toda forma de magia.

«Before undertaking the task of ruling his people and building the Temple, Solomon doesn’t begin by consulting with his inferiors (his ministers, his generals, his architects, his building-supply contractors, or labor leaders). He doesn’t immediately enmesh himself in the energy-draining details of micromanaging such a huge and important project. Instead he turns his attention upward to the highest level of the hierarchical scale of consciousness. He makes direct contact with Deity and, instead of behaving like a helpless youngster asking a parent for pocket money, he boldly makes himself available to serve as a conduit through which the Deity’s infinite wisdom and understanding can pass.» — la lectura que DuQuette hace del episodio de Salomón: en vez de descender a sus subordinados, dirige la atención al nivel más alto de la escala de consciencia y se ofrece como conducto.

«This profoundly mature and uncomplicated request is instantly granted, as if Deity had no choice but to acquiesce. A unique42 spiritual hierarchy is created, with Solomon enthroned midway between heaven and hell—poised to work in cosmic harmony with the divine consciousness above him, poised to compel the infernal spirits to do the same.» — la consecuencia jerárquica que DuQuette extrae: Salomón entronizado a media altura entre cielo e infierno, en armonía con lo de arriba y en posición de mandar sobre lo de abajo.

«This is the primary secret of Solomonic magic. As long as the» — DuQuette enuncia lo que llama el secreto primero de la magia salomónica; la frase se corta aquí porque cambia de plana y sigue en la línea siguiente.

«magician remains plugged in to that which is above, he or she is simultaneously plugged into (and must begin to master) that which is below.43» — continuación: mientras el mago siga enchufado a lo de arriba, queda enchufado a lo de abajo y obligado a dominarlo.

«Dee’s prayers, both in English and Latin, fill page after page of his diaries and magical records. I confess I am neither inclined nor devotionally equipped to follow his exhausting example. I do, however, recognize the efficacy of prayer as an indispensable preliminary to magical operations.» — DuQuette se desmarca del modelo devocional de Dee —confiesa no estar dispuesto ni equipado para imitarlo— y a la vez conserva la oración como preliminar indispensable.

«And, while I do not personally believe that the biblical Solomon ever existed as such in empirical history, as a magical artist I embrace his myth and happily adopt him as a patron saint of magick.» — la distinción con que DuQuette separa creencia histórica de uso mágico: niega que el Salomón bíblico existiera y adopta su mito como patrono.

«How appropriate, then, that the first magical tool Dee and Kelley would receive from their angelic contacts was the Ring of Solomon, and that before putting on that ring, the magician must first pray.» — el enlace con que DuQuette cierra el Book I y abre el II: el primer instrumento recibido fue el Anillo de Salomón, y antes de ponérselo hay que rezar.

«Lo, this it is. This is it, wherewith all Miracles, and divine works and wonders were wrowght by Salomon. —THE ARCHANGEL MICHAEL, MARCH 14, 1582» — el epígrafe del capítulo séptimo es voz transcrita del diario, fechada el 14 de marzo de 1582: Michael declara que con ese anillo obró Salomón todos los milagros. La grafía isabelina se conserva tal cual.

«The first system of magick Dee and Kelley received from their angelic contacts was a form of planetary magick referred to as De Heptarchia Mystica. It was delivered mostly in late 1582 and amended somewhat the following year.» — según DuQuette, lo primero que Dee y Kelley recibieron fue magia planetaria, la De Heptarchia Mystica, entregada sobre todo a finales de 1582 y enmendada al año siguiente.

«Unfortunately, we don’t know exactly how, or even if, the magicians actually operated this particular form of magick. What we do know is that besides receiving the names and symbols for forty-nine planetary “good angels” Dee and Kelley were instructed to create a number of magical items—items that were almost entirely ignored by the Golden Dawn and Crowley. These items, I believe, can be extremely important tools for the modern Enochian magician; these are the Ring, the Holy Table, the Ensigns of Creation, the Lamen, and the Sigillum Dei Aemeth.» — DuQuette declara el hueco documental —no se sabe cómo, ni siquiera si, operaron la heptarquía— y en la misma frase separa lo que sí consta: los nombres de los cuarenta y nueve ángeles buenos y los cinco instrumentos que la Golden Dawn y Crowley ignoraron.

«First we need to examine the Ring, for without the Ring the magicians were told they could “do nothing.” Unlike most other things they would receive from their angelic contacts, the Ring was delivered in a relatively straightforward manner.» — DuQuette pone el Anillo primero por la condición que le impusieron a los magos, y observa que a diferencia de casi todo lo demás llegó de manera directa.

«Mi: I will reveale thee this ring: which was never revealed since the death of Salomon: with whom I was present. I was present with him in strength, and mercy.» — voz transcrita del diario: Michael declara que ese anillo no se revelaba desde la muerte de Salomón y se sitúa a sí mismo presente junto a él.

«Δ: It shewed to be a Ring of Gold: with a seale graved in it: and had a rownd thing in the myddle of the seale and a thing like an V, throwgh the top of the circle: and an L, in the bottome: and a barr cleane throwgh it: And had these fowre letters in it, P E L E.» — la descripción física del Anillo tal como la anotó Dee —la delta griega marca su voz en el diario—: oro, sello grabado, una figura como V atravesando el círculo y una L abajo, y las cuatro letras P E L E.

«Mi: So shall it do, at thy commanndement. Without this, thow shalt do nothing. Blessed be his name, that cumpasseth all things: Wonders are in him, and his Name is WONDERFULL: His Name worketh wonders from generation, to generation.47» — la condición que Michael impone según el diario, y que DuQuette convierte en regla del manual: sin el Anillo, nada.

«Solomon was, and remains, the archetypal magician, and his legendary exploits as a master of spirits fill the pages of traditional Jewish, Islamic, and Ethiopian religious literature. In many of the stories, his magical ring played an important role as the source of his power to control demons.» — el encuadre que DuQuette da al Anillo: Salomón como mago arquetípico en las literaturas judía, islámica y etíope, y su anillo como fuente del dominio sobre los demonios.

«Although the ring’s design is unique, the word PELE (wonder worker) is found in two books which Dee already had in his library: De Verbo Mirifico by German humanist and Hebrew scholar Johann Reuchlin and Cornelius Agrippa’s Occult Philosophy. (Agrippa apparently took the term from Reuchlin.)» — la filiación libresca que DuQuette señala sin desmentir la revelación: la palabra PELE estaba en dos libros que Dee ya tenía, el De Verbo Mirifico de Reuchlin y la Filosofía oculta de Agrippa, y marca con apparently el préstamo entre ambos.

«Dee was told the Ring should be made of pure gold. If he indeed had one made, it has not survived the centuries.» — DuQuette consigna la instrucción y su límite documental: si Dee llegó a mandarlo hacer, el objeto no se conserva.

«Here is the pattern for a Ring that can be made out of colored paper or poster board. I realize such material is not as impressive or romantic as pure gold. You might even think that a true magick Ring cannot be made from a scrap of paper. You might tell me you’d feel silly wearing a paper ring. If you feel this way, then I hope you won’t be offended when I tell you that if you can’t make a real magick Ring out of paper, then you’ll not be able to make one out of gold.» — la respuesta de DuQuette a la objeción del material: da un patrón de papel y sostiene que quien no puede hacer un anillo mágico de papel tampoco podrá hacerlo de oro. La misma regla la extiende a todo el instrumental.

«Beware of wavering. Blot out suspicion of us, for we are God’s creatures that have reigned, do reign, and shall reign forever. All our Mysteries shall be known unto you. —THE ANGEL BRALGES, ONE OF THE ANGELIC PRINCES NAMED ON THE LAMEN, NOVEMBER 16, 1582, PRINCE BRALGES, NOVEMBER 16, 158250» — el epígrafe del capítulo octavo es voz transcrita del ángel Bralges, uno de los príncipes nombrados en el Lamen, fechada el 16 de noviembre de 1582; la línea de atribución aparece duplicada en la capa de texto, sic.

«The Lamen and the Holy Table are inextricably linked. By wearing the Lamen over the heart, the magician becomes linked to the Holy Table. I cannot say it any plainer than that. But putting on the Lamen and sitting at the Holy Table are empty gestures unless the magician has some idea of what these items represent and how they are connected.» — la relación que DuQuette declara entre los dos instrumentos, y su reserva: llevarlo puesto y sentarse a la Mesa son gestos vacíos si no se entiende qué representan.

«The designs for both the Lamen and the Holy Table were distilled from tables composed of letters of the names of planetary angels of the Heptarchia. Even though the chronology of their reception is a bit tangled, it is probably easiest to discuss the Lamen first.» — según DuQuette, los dos diseños salen por destilación de tablas de letras de los nombres de los ángeles planetarios; reconoce que la cronología de la recepción está enredada y decide el orden por comodidad expositiva.

«Traditionally a Lamen is a breastplate that is hung from the neck by a chain or ribbon. The breastplate of the high priest of Israel is the biblical archetype for this most important piece of magical adornment. It was a square plate, a 3 x 4 grid embedded with twelve precious stones representing, among other twelveish concepts, the tribes of Israel and the signs of the zodiac.» — el arquetipo bíblico al que DuQuette remite el Lamen: el pectoral del sumo sacerdote de Israel, retícula de 3 x 4 con doce piedras.

«Two versions of the Lamen were received by Dee and Kelley. The first, delivered in 1582, was a rather odd assortment of lines, squiggles, and letters reminiscent of Solomonic or Goetic sigils. This Lamen, they were told, was to be made in gold and worn as a protective device. After receiving it, the magicians spent the rest of the year and part of 1583 receiving material relating to the forty-nine planetary good angels of the Heptarchia (see figure 5).» — según DuQuette hubo dos Lámenes: el de 1582, parecido a los sellos salomónicos o goéticos y destinado a la protección, y el que sale del material de los cuarenta y nueve ángeles buenos.

«The seven-letter names of these angels were received (much to Dee’s cryptographic delight, I’m sure) by the complex manipulation and distillation of letters from a cross-shaped table composed of seven 7 x 7 tables (343 squares in all, each containing a number and a letter). This process was dictated by the archangel Michael during a grueling three-hour session.» — el procedimiento que DuQuette describe para obtener los nombres de siete letras: manipulación y destilación de una tabla en cruz de siete tablas de 7 x 7, 343 casillas, dictada por Michael en una sesión de tres horas.

«The magicians were then instructed how to organize and arrange these 343 letters to reveal the hierarchy of planetary good angels. Each of the seven planetary spheres was assigned a king, a prince, and five ministers. Figure 5 shows how the 343 letters form the names of the forty-nine good angels and how they are arranged according to planet (starting at the top of the wheel and working counterclockwise: Venus, Luna, Saturn, Mercury, Jupiter, Mars, Sol). Note also that only the names of the kings and princes are in all capital letters.» — la jerarquía resultante según DuQuette: por cada esfera planetaria un rey, un príncipe y cinco ministros, dispuestos en rueda en sentido antihorario desde Venus, con reyes y príncipes en versalitas.

«However, just as amber encapsulates and preserves the essence of a prehistoric insect (right down to the DNA), so too the Lamen and the Holy Table capture the distilled essence of the heptarchic hierarchy and system.» — la imagen con que DuQuette justifica trabajar con el Lamen y la Mesa pese al hueco documental de la heptarquía: como el ámbar guarda el insecto, esos dos objetos guardan destilada la jerarquía entera.

«instructions how to create a new one, which was to be worn not for protection per se, but in order to “dignify” the magicians as worthy practitioners of this form of magick.» — según DuQuette, a los magos se les dijo que el primer Lamen era falso, entregado por un espíritu embaucador, y el segundo no se lleva para protegerse sino para dignificar a quien lo porta.

«Now, the reader might be tempted to skim over the following material, invoking my slogan, “Don’t try to duplicate the magick Dee and Kelley did to receive the system—just use the system they received.” But I beg you to resist that temptation. By following through (even halfheartedly) the methods by which these magical tools were constructed, you will slip, however subtly, into the divine creative stream that produced them. You will become part of the same process that programmed and prepared Dee and Kelley.» — DuQuette pide al lector que no salte la parte técnica invocando su propio lema, y da la razón: seguir aunque sea a medias el procedimiento de construcción inserta al lector en la corriente que preparó a Dee y a Kelley.

«The key to the construction of the Lamen was a 12 x 7 table containing the letters of the names (minus the initial b51) of the seven planetary heptarchic kings and their princes (see figure 6). Mimicking the cooling phases of Big Bang creation, this 12 x 7 table was condensed from the 343 lettered squares of the much larger» — la pieza de la que sale el Lamen según DuQuette: una tabla de 12 x 7 con las letras de los nombres de los siete reyes heptárquicos y sus príncipes, sin la be inicial, condensada de la cruz de 343 casillas. La frase se corta donde termina la plana.

«As you can see, the names of the kings are found on the right half of the table, the names of the princes on the left half. The names in this table are read from right to left.» — la disposición de esa tabla según DuQuette: reyes a la derecha, príncipes a la izquierda, lectura de derecha a izquierda.

«You will immediately notice that the kings of one planet are not matched on the same line as the prince of the same planet (e.g., the sun ⊙ king, Bobogel, is set on the same line with the Venus ♀ prince, Bornogo, instead of on the line of the sun ⊙ prince, Befafes).52» — el desajuste que DuQuette señala en la tabla: rey y príncipe de un mismo planeta no comparten renglón, y da el ejemplo del rey solar Bobogel emparejado con el príncipe venusino Bornogo.

«However, this is the arrangement the angels insisted upon for the 12 x 7 table from which the Lamen was to be formed. As we will soon see in the following chapter, they will rectify the imbalance in the 12 x 7 table in order to create the Holy Table.» — DuQuette consigna que el desajuste fue impuesto por los ángeles y anuncia que ellos mismos lo corregirán después para la Mesa Sagrada. No lo armoniza: lo deja como dos disposiciones distintas con función distinta.

«The basic form of the Lamen is a table of twenty-four squares (arranged from top to bottom: 2—4—6—6—4—2) enclosed within diamond square, enclosed by a square, enclosed by a larger square.» — la forma del Lamen según DuQuette: veinticuatro casillas en filas de 2, 4, 6, 6, 4 y 2, dentro de un rombo, dentro de un cuadrado, dentro de otro mayor.

«The letters of the 12 x 7 table were applied to the Lamen by means of an exercise that first divided the table into three sections, described as flesh, heart, and skin. The letters were then transferred to the blank Lamen in three steps.» — el procedimiento de transferencia en tres pasos que DuQuette expone, con los nombres que la fuente da a las tres secciones de la tabla: carne, corazón y piel.

«Dee was told that the Latin letters of the finished Lamen should be translated into the angelic script. (I’ll discuss the angelic alphabet a bit later.) Figure 15 shows the completed Lamen with angelic letters.» — la última instrucción del proceso según DuQuette: traducir las letras latinas del Lamen terminado a la escritura angélica.

«As with the Ring, gold was the material suggested for the Lamen, but it can be made from paper or poster board. The Lamen I first used was printed on both sides (Latin letters on one side, angelic script on the other) and laminated in plastic. In the area just above the top center I punched a hole through which I threaded a black ribbon.» — DuQuette repite el criterio material del Anillo y describe el Lamen que él mismo usó: impreso por las dos caras, plastificado y colgado de una cinta negra.

«Every one of those sides must have 21 Characters: But first, at every corner make a great B. —THE ANGEL IL, APRIL 28, 158354» — el epígrafe del capítulo noveno es voz transcrita del ángel Il, fechada el 28 de abril de 1583, con la instrucción de los veintiún caracteres por lado y la be grande en cada esquina.

«Magick tables were nothing new to Renaissance magicians. Unlike the protective circle and triangle spirit-trap apparatus used by Solomonic magicians, a properly consecrated magick table in a room transforms the entire chamber into holy ground. The table itself becomes the Holy of Holies, the place whereupon earth and heaven touch.» — la distinción que DuQuette traza frente a la magia salomónica: no un círculo y un triángulo que atrapan al espíritu, sino una mesa que convierte la habitación entera en terreno sagrado.

«Dee was already using a table of practice before Edward Kelley entered the picture, but afterwards, as the elements of the heptarchic magick developed, it became clear that the communicating spirits wanted Dee to customize his table in a most specific manner. The angels wanted the Holy Table to be an “instrument of conciliation,” made of “sweet wood,”55 and built two cubits square and two cubits high.56» — según DuQuette, Dee ya usaba una mesa de práctica y los espíritus le pidieron una a medida: instrumento de conciliación, de madera dulce, de dos codos de lado y dos de alto.

«The table was to stand upon a carpet of red silk that was large enough to accommodate the scryer’s chair. Once the Sigillum Dei Aemeth and the seven Ensigns of Creation were in position, the Holy Table was covered by a red silk cloth with gold tassels that hung from the corners. The scrying stone or black mirror was then placed upon the covered Sigillum.» — el montaje completo según DuQuette: alfombra de seda roja que alcance para la silla del vidente, Sigillum y siete Ensigns colocados, paño rojo con borlas doradas encima, y el espejo sobre el Sigillum cubierto.

«The public’s first view of the Holy Table (sometimes referred to as the Table of Covenant or Table of Practice) was published in 1659 by Meric Casaubon in his A True & Faithful Relation . . . .57 It was Casaubon’s image that was reproduced in 1912 in Aleister Crowley’s magazine The Equinox58 and numerous books since then.» — la cadena de difusión de la imagen según DuQuette: Casaubon en 1659, Crowley reproduciéndola en The Equinox en 1912, y de ahí a muchos libros.

«It may come as a surprise to many (and be highly amusing to others) that Casaubon’s impressively printed image of the Holy Table» — DuQuette anuncia que esa imagen tan difundida tiene un defecto; la frase se corta al cambiar de plana y sigue en la línea siguiente.

«is perhaps the greatest flaw in his liberally flawed and ill-titled A True & Faithful Relation. One look at the description and drawing in Dee’s Quinti Libri Mysteriorum: Appendix59 reveals the eighty-four letters that form the border of the Holy Table and the twelve letters that fill the 3 x 4 center square of Casaubon’s image are printed in backward order.» — la objeción concreta de DuQuette a la lámina de Casaubon, cotejada contra el dibujo del Quinti Libri Mysteriorum: las ochenta y cuatro letras del borde y las doce del cuadro central están impresas al revés. De paso llama al título mismo mal puesto.

«Did I say the same 12 x 7 table? That’s not entirely accurate. Recall that when we were discussing the 12 x 7 table in the previous chapter, something appeared out of whack. The names of the planetary kings did not share the same lines as their planetary counterpart prince (e.g., the sun ⊙ king, Bobogel, is set on the same line with the Venus ♀ prince, Bornogo, instead of his sun ⊙ prince, Befafes). This planetary mismatch in the 12 x 7 table’s construction did not appear to bother the angels, and indeed the “flaw” seemed to be a vital characteristic of the Lamen.» — DuQuette se corrige a sí mismo: la tabla que sirve a la Mesa no es la misma que sirve al Lamen, y el desajuste de reyes y príncipes que no molestaba a los ángeles resulta ser rasgo esencial del Lamen.

«As you can see in Figure 17, the version of the 12 x 7 table that is the key to the Holy Table “corrects” this imbalance by rearranging the names of the planetary kings to match those of the princes of the same planet. Furthermore, the table is reversed, so that the kings now occupy the left side of the table and princes the right, and the direction in which the names are read is reversed to read from left to right.» — las tres diferencias de la versión que hace la Mesa según DuQuette: rey y príncipe emparejados por planeta, tabla invertida y sentido de lectura invertido.

«In my mind, the differences between the two 12 x 7 tables demonstrate a fundamental fact of life—the fact that even though human beings are an integral part of the hierarchy of spiritual beings, we currently find ourselves “on earth,” trapped in a tomb of matter and to all appearances separated from the greater realities of the spiritual “heavens.”» — la lectura que DuQuette da a esa diferencia, marcada como suya: el hombre pertenece a la jerarquía espiritual y a la vez se encuentra en la tierra, en una tumba de materia y en apariencia separado.

«Qabalists tell us that we are created in the image of Deity—that we are, in the truest sense, a little reflection (a microcosm) of the great intelligence and creative force that creates, sustains, and destroys all things in the universe (the macrocosm). As Hermes Trismegistus said, “As above, so below.”» — DuQuette apoya esa lectura en la doctrina cabalística del microcosmos y en la fórmula que atribuye a Hermes Trismegisto.

«I’m like the 12 x 7 table from which the Lamen is created: I’ve got all the condensed components of a perfectly tuned universe in me, but they are out of sync just enough to keep me from actually being the perfect reflection of the big “way things are.”» — la aplicación en primera persona: DuQuette se identifica con la tabla desajustada del Lamen, con todos los componentes del universo dentro y fuera de sincronía.

«The 12 x 7 table that makes the Holy Table, on the other hand, sets this all straight. It is like the macrocosm showing the microcosm how it’s done. As I sit before the Holy Table with the Lamen over my heart, I can almost feel the Holy Table’s order and perfection pulling magnetically at my heart through the Lamen, connecting me by an almost tangible electric current to the Holy of Holies, pulling my heart and my attention toward the sacred spot in my living-room temple where heaven touches earth. The Holy Table is indeed an instrument of conciliation, an instrument of reunion.60» — el cierre del argumento: la Mesa es el macrocosmos enseñándole al microcosmos cómo se hace, y por eso DuQuette la llama instrumento de conciliación y de reunión.

«The border of the Holy Table is first segmented into twenty-one cells per side. Per angelic instructions, the sacred letter B is placed in» — la disposición material de la Mesa según DuQuette: veintiuna casillas por lado y la letra B en las cuatro esquinas, por instrucción angélica. El tramo se corta donde el troceo cambia de fragmento.

«the four corners, and then the letters of the 12 x 7 table are inserted in the remaining cells as indicated by the four sets of arrows on figure 18. The 3 x 4 square in the center of the Holy Table is extracted from the central heart of the 12 x 7 table, as highlighted in figure 18.» — continuación: el resto de las casillas se llena con las letras de la tabla de 12 x 7, y el cuadro central de 3 x 4 sale del corazón de esa misma tabla.

«The arrows around the edges of figure 19 (see page 54) show that the letters are arranged to generate a counterclockwise whirl. In the Ritual of Preparation of chapter one, I chant seven rounds of the perimeter letters in this order using the angelic pronunciation. I also do the same for the twelve letters of the center square. By doing so, I» — DuQuette liga la figura al rito del capítulo uno: las letras del borde generan un remolino antihorario y él las canta siete veces con la pronunciación angélica. Esta es la única remisión a página impresa de todo el volumen, y no cuadra con las del índice: ver Notas de carga.

«effectively activate the Holy Table and the objects that sit upon it (including the Sigillum Dei Aemeth, the Ensigns of Creation, and the skrying mirror). The chant affects a powerful shift in consciousness unlike anything I have experienced before in magical practice.» — lo que DuQuette declara que hace ese canto: activar la Mesa y cuanto reposa sobre ella, con un desplazamiento de consciencia que dice no haber experimentado antes en la práctica mágica.

«Seven, rest in 7: and the 7, live by 7: The 7, govern the 7: And by 7 all Government is. —THE ARCHANGEL MICHAEL, MARCH 20, 158261» — el epígrafe del capítulo diez es voz transcrita de Michael, fechada el 20 de marzo de 1582, y aquí con cifras donde el cuerpo del libro escribe la palabra Seven.

«The design of Dee’s Sigillum Dei Aemeth (“the seal of God’s truth”) is perhaps the most recognizable image of Enochian magick. It is a powerful magical device, alive with the angelic forces of an ordered universe in which “Seven, rest in Seven: and the Seven, live by Seven: The Seven, govern the Seven: And by Seven all Government is.”» — DuQuette traduce el nombre del objeto y lo declara la imagen más reconocible de la magia enoquiana; el septeto de Michael funciona en su exposición como fórmula del orden que el disco encarna.

«Unlike the hierarchies of the Lamen and the Holy Table, the Sigillum’s hierarchy of angels was not condensed, distilled, or otherwise generated from the seven 12 x 7 tables from which the names of the forty-nine good angels were drawn. Nevertheless, the Sigillum is the centerpiece of heptarchic magick and is the object through which all heptarchic energy (if we dare call it that) is focused.» — la diferencia de origen que DuQuette señala: la jerarquía del Sigillum no sale de las tablas de 12 x 7 como el Lamen y la Mesa; aun así lo declara pieza central de la heptarquía, con reserva expresa sobre la palabra energía.

«The Sigillum itself was a disk nine inches in diameter and approximately an inch and a half thick. It was made of pure beeswax and placed in the center of the Holy Table. The scrying crystal or black mirror was placed upon it. Four smaller wax versions were placed beneath small boxes, upon which stood the four legs of the Holy Table.» — las medidas y el montaje del Sigillum según DuQuette, incluidas las cuatro copias menores bajo las patas de la Mesa.

«Dee was first told to simply copy the design from a book he already had in his library. But Dee had at least two volumes62 that contained designs for sigilla. He couldn’t make up his mind which one to use, so he asked for further clarification. The angel then gave instructions how to construct an entirely new sigillum based on the format of the others but adding an array of heavenly personages: seven god names enclosing seven sets of angelic names.» — el origen del diseño según DuQuette: la primera instrucción fue copiarlo de un libro que Dee ya tenía, y solo al pedir aclaración —tenía al menos dos con sigilla— se le dictó uno nuevo con siete nombres divinos y siete grupos de nombres angélicos.

«It is clear to me that the construction of the Sigillum was a vital step in Dee and Kelley’s preparation program and that construction can serve that same important purpose to the modern magician as well. I’m going to walk you through the steps of how it is constructed, because I hope readers who are serious about actually doing magick, rather than merely studying it, will want to build their own.» — DuQuette marca como juicio propio que construir el Sigillum era parte del programa de preparación, y de ahí deriva la instrucción: separa al lector que hace del que estudia.

«Constructing your own Sigillum Dei Aemeth is the fastest and easiest way I know to meet and connect with the angelic forces resident in the design and make them part of you.» — la razón que DuQuette da para construirlo uno mismo: no reproducir un objeto sino trabar contacto con las fuerzas angélicas que residen en el diseño.

«The seven god names were drawn from numbers and letters that appear in the forty cells that make up the perimeter of the Sigillum. The magicians were told to divide the outer perimeter of a blank ring into four sections. Then they were to divide each of the four sections into ten (making forty cells in all). Kelley then had a dramatic and colorful vision, facilitated by the archangel Michael, with the help of Uriel and the angel Semiael. In this vision, forty angels stepped forth, one at a time, and parted their garments to reveal one of three things: 1. a number positioned above a letter, 2. a letter positioned above a number, or 3. a single letter.» — el procedimiento de recepción según DuQuette: cuarenta celdas en el perímetro y una visión de Kelley facilitada por Michael, con Uriel y el ángel Semiael, en la que cuarenta ángeles muestran número sobre letra, letra sobre número o letra sola.

«Some of the letters were capitalized, but most were lowercase. As they revealed their letters and numbers, each of the forty angels also uttered a different pious declaration in Latin, such as, “O God, God, our God, blessed are you, now and forever” or “And you are true in your works.” Then the angel disappeared or was consumed in flashes of fire or other such dramatics.» — el detalle del episodio según DuQuette: cada uno de los cuarenta ángeles pronunciaba además una declaración piadosa distinta en latín antes de desaparecer o consumirse en fuego.

«From those starting points, note the number inside the cell and count your way to find the next letter in the god name. You count clockwise when the number in the cell is positioned above the letter, and you count counterclockwise when the letter is positioned above the number. Keep counting until you reach a cell that contains a letter but no number. That will be the last letter of that particular god name.» — la regla de conteo con que se extraen los nombres divinos: en sentido horario si el número va arriba, antihorario si va arriba la letra, hasta llegar a una celda con letra y sin número.

«When all the counting is done, we have spelled the god name Galaas. The archangel Michael would later advise Dee and Kelley to alter the spelling (an archangel’s prerogative) to Galas.» — el resultado del primer conteo según DuQuette: el nombre sale Galaas y Michael lo cambia después a Galas, cambio que DuQuette comenta con humor como prerrogativa de arcángel. La divergencia de grafía queda consignada, no corregida.

«Although a connection is not mentioned overtly in the original material, the god name Galas and its sigil are generally considered by many modern Enochian magicians to be associated with the qabalistic planetary sphere of Saturn.» — DuQuette separa lo que dice la fuente de lo que añade la tradición moderna: la correspondencia de Galas con Saturno no está en el material original y es atribución de los magos enoquianos de hoy. Repite la misma advertencia para cada uno de los siete nombres.

«Count six cells clockwise to single letter n, producing the god name Horlωn.» — el cuarto nombre divino se imprime aquí con omega griega, Horlωn, mientras que la ceremonia del capítulo uno lo imprime con doble ve latina. Las dos grafías se consignan sin arbitrar.

«With Aaoth, you have your choice of either (1) starting at 11/A (near the left-hand side of the circle) and counting eleven cells clockwise to a/5 or (2) starting with 6/A (near the left-hand side of the circle) and counting six cells clockwise to a/5. In either case, once you get to a/5, count five cells counterclockwise to o/10. Count ten cells counterclockwise to t/11. Count eleven cells counterclockwise to finish at h, producing the god name Aaoth.» — lo que cambia en la serie de los siete conteos: para Aaoth hay dos puntos de partida válidos que dan el mismo nombre. DuQuette repite para cada nombre divino la misma estructura —conteo, sigilo, posición horaria en el Sigillum y esfera planetaria adjudicada por los magos enoquianos modernos, no por la fuente—; a Innon le toca las cuatro, a Aaoth las dos y a Galethog la una.

«These seven god names—Galas, Gethog, Thaoth, Horlωn, Innon, Aaoth, and Galethog—are distilled into one supreme name. Strangely enough, the great name is also spelled Galethog.» — el remate del procedimiento según DuQuette: los siete nombres divinos se destilan en uno supremo, y ese nombre supremo resulta escribirse igual que el séptimo. Marca la coincidencia con extrañeza y no la explica.

«The code that reveals this distillation can be found on those little numbers that appear beside six of the sigils of the god names.» — dónde está la clave de esa destilación según DuQuette: en los numeritos que acompañan a seis de los siete sigilos.

«The little numbers beside the letters point out seven landmarks among the forty cells: 5/G, a/24, l/30, e/21, t/9. Og has no number attached to it, confirming that it is the end of the supreme god name.» — cómo se lee esa clave: los numeritos señalan siete hitos entre las cuarenta celdas, y la ausencia de número en og es lo que marca el final del nombre supremo.

«A heptagon (a seven-sided figure) rests just inside the perimeter of the Sigillum. Each of the seven bars that compose the heptagon is divided into seven cells and is filled with the names of the next order of angels in the hierarchy of the Sigillum. These seven names were drawn from a 7 x 7 (sevenfold) table delivered to Dee and Kelley in a series of brief and colorful visions» — el segundo paso de la construcción según DuQuette: un heptágono dentro del perímetro, cada una de sus siete barras dividida en siete celdas, llenas con el orden siguiente de la jerarquía; esos siete nombres salen de una primera tabla de 7 x 7 recibida en visiones breves.

«When the table is read vertically, however, the names of the seven classic planetary archangels appear: Zaphkiel (Saturn) Cumael (Mars) Haniel (Venus) Gabriel (Luna) Zadkiel (Jupiter) Raphael (Sol) Michael (Mercury)» — el hallazgo que DuQuette destaca de esa tabla: leída en vertical entrega los siete arcángeles planetarios clásicos con su planeta. Los nombres van en la grafía del troceo, sin cotejo contra facsímil.

«These archangels were assigned to these planets many years before Dee and Kelley received them and could have been found in any number of books in Dee’s library. However, Dee and Kelley insisted that the table was given to them before they noticed these names were generated by the table. Whether we choose to believe their assertion or not, the fact remains that these particular angels are not unique to the Enochian system.» — la objeción de procedencia que DuQuette plantea y no resuelve: esas asignaciones de arcángel a planeta son muy anteriores y estaban en libros que Dee tenía; Dee y Kelley sostuvieron que recibieron la tabla antes de notar que generaba esos nombres; y creamos o no su versión, esos ángeles no son privativos del sistema enoquiano. Deja las dos posiciones juntas sin arbitrar.

«In order to read each archangel’s name using the seven god names on the bars of the heptagon, we are obliged to project the letters in progressive layers rising from the surface of the Sigillum itself. I wish I could graphically illustrate this using the modern magick of animation, but you can demonstrate this for yourself.» — cómo se lee cada nombre de arcángel según DuQuette: proyectando las letras en capas sucesivas que se levantan sobre la superficie del Sigillum. Lamenta no poder animarlo en el papel y le pasa la comprobación al lector.

«I hope you can visualize what happens every time you move to another bar of the heptagon to pick up a letter in the archangel’s name. As you move, you are literally shifting the dimensional structure of the Sigillum up another level—in the case of Zaphkiel, eight levels in all (see figure 36). (Picture the multilevel chess game played by characters on Star Trek.)» — la consecuencia que DuQuette extrae de ese recorrido: cada salto de barra sube un nivel dimensional, ocho en total para Zaphkiel, y lo explica con el ajedrez multinivel de Star Trek.

«Compound this with the fact that Zaphkiel’s name is braided together in these same layers with the names of the six other archangels’ names. Viewed this way, the Sigillum is no longer a flat image placed on the flat surface of the Holy Table. It is a multidimensional space hovering over the Holy Table—a magical basket formed of the netting of the entwined letters of the names of the seven planetary archangels. It is within this invisible basket that the scrying stone or black mirror is placed during the magical operation. Is it any wonder visions appear in such an environment?» — la imagen con que DuQuette cierra el paso: los siete nombres trenzados en esas capas dejan de ser un dibujo plano y forman un espacio multidimensional sobre la Mesa, una canasta de letras entrelazadas dentro de la cual se coloca el espejo. De ahí deriva, en forma de pregunta, la eficacia visionaria del montaje.

«Just inside the bars of the outer heptagon are seven more divine names. These names are drawn from a second 7 x 7 (sevenfold) table given to Dee and Kelley, letter by letter, in vision.» — el tercer paso: siete nombres divinos más, bajo las barras del heptágono exterior, sacados de una segunda tabla de 7 x 7 que según DuQuette se entregó letra por letra en visión.

«You will immediately notice some of the squares in this table contain tiny numbers (21 over 8, 8, 26, 30, and so on) and variously placed dots. These are added to indicate the addition of the letter l or letters el or al (angelic suffixes) to the letter in the square, the better to spell out the names of the various angels this table will produce.» — qué significan los numeritos y los puntos de esa segunda tabla según DuQuette: indican que hay que añadir a la letra de la casilla los sufijos angélicos l, el o al para deletrear los nombres.

«The first set was revealed in vision by seven young women (called “Daughters of Light” or “Women”) clad in green silk. Each bore a little blue tablet on her forehead that identified her by name: El, Me, Ese, Iana, Akele, Azdobn, and Stimcul.» — la primera de las cinco tandas de ángeles planetarios que salen de esa tabla, descrita por DuQuette como visión: siete mujeres jóvenes de seda verde, cada una con una tablilla azul en la frente que la nombra. Los nombres van tal cual, y aquí Azdobn se imprime sin la o que lleva en el canto del capítulo uno.

«Although the angels were not identified with planets in the original material, the manner in which the vision proceeded to reveal these names suggests these seven angels carry the following planetary assignments: E(l) Saturn Ese Mars Akele Venus Stimcul Luna Me Jupiter Iana Sol Azdobn Mercury» — la misma reserva que DuQuette repite en cada tanda: el material original no adjudica planetas, y la adjudicación se infiere del modo en que la visión reveló los nombres. La lista de siete pares va en el orden en que la imprime el troceo.

«Next came seven young men (called the “Sons of the Light” or “Men”) dressed in white, each carrying a metal ball: the first ball was gold, the second silver, the third copper, the fourth tin, the fifth iron, the sixth quicksilver, and the seventh lead. Each had a tablet of gold on his breast that identified him by name: I, Ih, Ilr, Dmal, Heeoa, Beigia, and Stimcul.» — la segunda tanda según DuQuette: siete varones jóvenes de blanco, cada uno con una bola de metal distinta —oro, plata, cobre, estaño, hierro, azogue y plomo— y una tablilla de oro al pecho con su nombre.

«The metal of the ball carried by each of these characters suggests these seven angels carry the following planetary assignments: I Saturn Ilr Mars Heeoa Venus Stimcul Luna Ih Jupiter Dmal Sol Beigia Mercury» — lo que cambia en esta tanda respecto de la anterior: aquí el indicio de la correspondencia planetaria no es el modo de la visión sino el metal de la bola que cada uno carga. Stimcul reaparece con el mismo planeta que en la tanda de las Hijas, y DuQuette no comenta la repetición del nombre.

«Next came seven “little wenches” (“Daughters of Daughters”) dressed in white, having tablets, which appeared to be white ivory, on their bosoms, identifying them as S, Ab, Ath, Izad, Ekiei, Madimi, and Esemeli.» — la tercera tanda: las Hijas de las Hijas, vestidas de blanco y con tablillas de marfil en el pecho. Entre los siete nombres está Madimi, que en los diarios de Dee es además una de las voces angélicas que hablan.

«Next came seven “little children . . . like boys” (“Sons of Sons”) dressed in robes of purple silk with long pointed sleeves and hats such as priests or scholars wear. They had triangular green tablets on their breasts identifying them as E, An, Ave, Liba, Rocle, Hagonel, and Ilemese.» — la cuarta tanda: los Hijos de los Hijos, de seda púrpura y con gorros de sacerdote o de escolar, con tablillas verdes triangulares. Aquí el último nombre se imprime Ilemese, mientras que el canto del capítulo uno lo imprime Ilemes; las dos grafías se consignan sin arbitrar.

«Finally, Dee and Kelley were instructed in a relatively straightforward manner how to arrange the names of seven planetary angels— Sabathiel (Saturn), Zedekiel (Jupiter), Madimiel (Mars), Semeliel (Sol), Nogahel (Venus), Corabiel (Mercury), and Lavanael (Luna)—around a pentagram at the very center of the Sigillum. These seven names are also drawn from the second sevenfold table by reading it in a zigzag manner, illustrated in figure 47.» — el octavo paso y el último de los nombres angélicos: siete ángeles planetarios en torno al pentagrama del centro mismo del Sigillum, sacados de la segunda tabla leída en zigzag. DuQuette subraya que esta instrucción llegó de manera directa, a diferencia del resto.

«Because the original Dee and Kelley material does not confirm the planetary attributions to all the various names on the Sigillum, I will not presume to do so either. I have, however, created a chart (see figure 49) that I currently use to help me in my meditations on the subject. I offer it along with the key to reading the names of planetary archangels from the first sevenfold table.» — la abstención más nítida del capítulo: como el material original no confirma las adjudicaciones planetarias de todos los nombres del Sigillum, DuQuette declara que él tampoco va a presumirlas; ofrece su tabla como apoyo de meditación propia y no como doctrina.

«Once the names of these angels were placed around the central pentagram, a number of tiny crosses were added to the Sigillum in a curiously inconsistent manner (see figure 50).» — el noveno paso según DuQuette: unas crucecitas añadidas al Sigillum de un modo que él mismo califica de curiosamente inconsistente. Consigna la irregularidad en vez de regularizarla.

«The only thing left to add is the design on the back. It is a very simple image of a cross dominating a small circle, around which are the letters of the divine word AGLA (an acronym for the Hebrew phrase Ateh Gibor Le-olam Adonai, “the Lord is mighty forever.”)» — lo último que se dibuja, según DuQuette: en el reverso, una cruz sobre un círculo rodeada por las letras de AGLA, que él descompone como acrónimo de la frase hebrea Ateh Gibor Le-olam Adonai.

«Years ago, on a Christmas morning, I melted the stubs of scores of candles into a round Christmas cookie tin.64 After the wax cooled and hardened, I removed the wax disk from the tin and set to work carving my own Sigillum. Other magicians I know have sealed their drawings of the Sigillum upon wooden disks that they purchased for pennies at a crafts store, or glued the image to foam board. Whatever the medium, I think the presence of the Sigillum is an important factor in creating the magical environment conducive to Enochian vision magick.» — cómo hizo DuQuette su propio Sigillum —cabos de vela fundidos en una lata de galletas navideña y tallados a mano— y qué materiales usan otros magos que conoce; sostiene que lo que importa no es el medio sino la presencia del objeto en la habitación.

«Sigillum, including suggestions for how every letter in each of the names contains a set of angels, and on and on by sevens by sevens. I encourage you to continue your exploration of the Sigillum’s mysteries. But now we must move on to the seven Ensigns of Creation, where I promise you a much shorter journey.» — DuQuette declara que deja fuera mucho de lo que los ángeles dijeron del Sigillum —entre ello que cada letra de cada nombre contiene a su vez un grupo de ángeles, y así por sietes— y le encarga al lector seguir por su cuenta. El tramo empieza a media frase porque la anterior cambia de plana.

«Of these seven tables, characters, or scotcheons. Consider the words spoken in the fifth book Anno 1583, April 2nd. How they are proper to every King and prince in their order. They are Instruments of Conciliation.» — el epígrafe del capítulo once es voz de Dee transcrita de una nota suya al Quinti Libri Mysteriorum: las siete tablas corresponden cada una a su rey y a su príncipe, y son instrumentos de conciliación.

«The Ensigns of Creation are seven planetary talismans designed to be positioned on the Holy Table in a circle surrounding the Sigillum Dei Aemeth or laid out in a line along the edge of the table nearest the scryer. They were to be made of purified tin or else painted directly upon the Holy Table. Like the Lamen and the Holy Table, they are “Instruments of Conciliation” connected to the Heptarchia planetary kings and princes in a manner that, I must confess, is not altogether clear to me.» — qué son las Ensigns of Creation según DuQuette —siete talismanes planetarios de estaño purificado, o pintados sobre la Mesa, dispuestos en círculo alrededor del Sigillum o en fila junto al vidente— y la confesión con que cierra: el modo en que se enlazan con los reyes y príncipes heptárquicos no le queda del todo claro.

«Five of them are square tables containing squares filled with numbers, letters, crosses, and lines. Two ensigns are a circle surrounded by a square. The letter B (Pa in the angelic language) is by far the most used letter in the ensigns.» — la forma de las siete: cinco son tablas cuadradas de casillas con números, letras, cruces y líneas, y dos son un círculo dentro de un cuadrado. DuQuette anota que la letra más repetida es la be, Pa en la lengua angélica.

«The ensigns originally displayed Latin letters. The communicating angel would later insist that the Latin letters be replaced with the corresponding characters of the angelic script (see chapter fourteen). Dee was reluctant to do this and even asked the angel if he really had to. The angel said he must. We don’t know if he ever did.» — el forcejeo que DuQuette consigna entre Dee y el ángel comunicante: se le exigió sustituir las letras latinas por la escritura angélica, Dee se resistió y preguntó si de veras tenía que hacerlo, el ángel dijo que sí, y no se sabe si llegó a hacerlo. El desacuerdo queda sin resolver.

«It is clear that the ensigns were to be utilized ritualistically, such as being held in the magician’s hand during prayers or invocations. But information on exactly how things were to be done is incomplete, and there are no records whatsoever of Dee and Kelley actually performing rituals of heptarchic magick.» — el hueco documental que DuQuette declara sobre el uso de las Ensigns: consta que iban a usarse en rito, sostenidas en la mano durante oraciones o invocaciones, y no hay registro alguno de que Dee y Kelley llegaran a celebrar ritos de magia heptárquica.

«However, the ensigns remain part of the Holy Table ensemble, and their subsequent connection to the table and the magician’s own Lamen make them, in my opinion, an integral component of the hierarchical current that charges the holy ground of the Enochian magick temple.» — pese a ese hueco, DuQuette las conserva en el conjunto y marca como opinión propia que son parte integral de la corriente jerárquica que carga el terreno sagrado del templo.

«Figures 53 and 54 show the ensigns lettered in the angelic script. To my knowledge, this is the first time the ensigns have appeared in print in their correct form.» — la reivindicación de primicia que DuQuette hace por el aparato gráfico de su libro, acotada con un a mi saber: sería la primera vez que las Ensigns aparecen impresas en su forma correcta, es decir, con la escritura angélica que el ángel exigió.

«The entire assembly is one big magical machine—the Sigillum resting like a sevenfold, multidimensional dynamo in the center of the Holy Table’s swirling and churning angels and the circling Ensigns of Creation.» — la imagen con que DuQuette cierra el montaje: no piezas sueltas sino una sola máquina mágica, con el Sigillum de dínamo multidimensional en el centro. El párrafo sigue comparando el espejo puesto encima con la pantalla de una computadora conectada a una red mundial; ese renglón queda fuera de la cita porque la capa de texto lo parte con guion.

«We have made only the tiniest scratch on the surface of Dee and Kelley’s material of this period. There is much more information concerning De Heptarchia Mystica available to the serious student, and I encourage the reader who feels drawn to this system to make the effort. I know it is only a matter of time before some bright magician fine-tunes, perfects, and transforms the material into a workable magical system.» — la despedida de la heptarquía: DuQuette declara que apenas rasparon la superficie del material de ese periodo, remite al estudiante serio a lo demás y da por seguro que alguien acabará convirtiéndolo en un sistema operable. Es reconocimiento de que él no lo hizo.

«Never since the beginning of the world was this secret delivered, nor this holy mystery set open, before the weaklings of this world. —THE ANGEL IL, APRIL 29, 1583» — el epígrafe del capítulo doce es voz transcrita del ángel Il, fechada el 29 de abril de 1583: el secreto no se había entregado nunca antes a los débiles de este mundo.

«The question I’m sure many of you are asking at this point is, “Do I need all this stuff?”» — DuQuette formula la objeción del lector con sus propias palabras y le dedica un capítulo entero; el título del capítulo es esa misma pregunta.

«During the classes that I conducted in our home in 2005 and 2006 (with experienced magicians) and subsequent day-long workshops I’ve conducted around the country with people having little or no prior magical experience) it has become abundantly clear to me that the magical objects and “furniture” Dee and Kelley received during the Heptarchia periods (the Ring, the Holy Table, the Lamen, the Ensigns of Creation, and the Sigillum Dei Aemeth) can and should be formally employed in order to create the specific environment of consciousness conducive to the practice of angelic vision magick.» — la respuesta que DuQuette funda en su propia práctica de enseñanza —clases con magos experimentados y talleres de un día con gente sin experiencia previa—: los objetos heptárquicos pueden y deben emplearse formalmente para crear el entorno de consciencia que la visión angélica requiere.

«Furthermore, it has been my observation that regular and repeated activation of this magical “temple” by means of the little ritual outlined in chapter one (and laid out more fully in appendix I) can attune the magician to this uniquely ordered universe and serve to progressively strengthen and enhance his or her visionary capabilities.» — lo que DuQuette dice haber observado, marcado como observación y no como doctrina: la activación regular y repetida del templo con el rito del capítulo uno sintoniza al mago y refuerza progresivamente su capacidad visionaria.

«Most exciting for me was the discovery that once the magician is prepared and the temple activated the angelic forces (especially the good angels resident in the Holy Table, Lamen, Ensigns of Creation, and the planetary angels resident in the Sigillum) can be individually called forth or visited by means of classic evocation techniques or even informal extemporaneous prayers and conjurations.» — el hallazgo que DuQuette declara más entusiasmante: activado el templo, las fuerzas angélicas residentes en la Mesa, el Lamen, las Ensigns y el Sigillum pueden llamarse una por una con técnicas clásicas de evocación o incluso con oraciones improvisadas.

«This is new territory for all of us, but it holds much promise, for it entails the possibility of contacting the same angelic forces that engaged Dee and Kelley throughout most of their day-to-day actions. Obviously, dealing with these angelic forces offers an alluring challenge for today’s more intrepid magicians who, when frustrated by gaps and perplexities in the original material, will not be afraid to go straight to the communicating angels for guidance and clarification on how all this should operate. Indeed, I expect to see in the years to come exciting and viable magical systems develop as the result of the magical efforts of gifted practitioners who dare to make such angelic contact.» — DuQuette declara territorio nuevo lo que propone y saca de ahí una consecuencia de método: ante los huecos y las perplejidades del material original, el mago audaz puede preguntarle directamente a los ángeles comunicantes, y de ese atrevimiento espera que salgan sistemas nuevos en los años por venir.

«My answer is this: In order to do this particular variety of magick you need all this stuff inside you. That’s where the real magick takes place. But until such time as you have internalized all this (even in the most cursory and general manner) it is necessary to have some outward, visible, material representation of the magical concepts and forces you are dealing with.» — la respuesta de DuQuette a la pregunta del capítulo, con su límite dentro: lo que hace falta es tener todo eso adentro, y hasta que se haya interiorizado hace falta una representación material, visible y externa.

«I suggest, if you’re serious about engaging in this magical art form, then you should, at the very least, provide yourself with a Ring, a Holy Table, a Lamen, a Sigillum Dei Aemeth, and the seven Ensigns of Creation. Make them out of paper if you have to. Copy them straight out of this book if you have to. But have them. Make them real to you. Consecrate them by using them. Use them to create your Enochian magick temple.» — la prescripción mínima de DuQuette para quien vaya en serio: Anillo, Mesa Sagrada, Lamen, Sigillum y las siete Ensigns, de papel si hace falta y copiados de este mismo libro si hace falta, consagrados por el uso y no por el material.

«The sense of art for some magicians is stimulated by replicating as much as humanly possible the tools and procedures as outlined in ancient texts. By doing so, they achieve a level of empowerment they believe is necessary to execute the work. Personally, my sense of art is quite happy with paper rings and photocopied Holy Tables.» — DuQuette consigna la postura contraria a la suya sin descalificarla —hay magos a quienes el arte les pide replicar los textos antiguos hasta donde sea humanamente posible, y de ahí sacan el poder que creen necesario— y opone la propia: a él le bastan anillos de papel y Mesas fotocopiadas.

«Here is as good a place as any for me to pause and describe what I believe the source material suggests would transform a clean uncluttered room into the holy ground of an Enochian magick temple. The Temple Upon the floor in the center of the room is a square carpet of red silk cloth large enough to accommodate the Holy Table and the chair of the scryer.» — la descripción del templo empieza por el suelo, y DuQuette la acota como lo que él cree que el material de origen sugiere, no como instrucción documentada: una alfombra cuadrada de seda roja que alcance para la Mesa y para la silla del vidente.

«The Holy Table and all the objects upon it are covered by a red silk cloth with gold tassels that dangle from the corners. This cloth should match in material and color that of the red silk carpet. Upon the covered Sigillum the scrying stone (a crystal ball) or black mirror is placed.» — lo que DuQuette añade aquí al montaje ya descrito: el paño rojo con borlas doradas debe coincidir en material y color con la alfombra, y el espejo o la bola de cristal van sobre el Sigillum ya cubierto.

«The scryer’s chair is placed on the carpet near the table. His or her feet should touch the carpet. The Ring and Lamen should be near. The magician should ceremonially put them on at the beginning of each session and remove them at the conclusion.» — la posición del vidente según DuQuette —silla sobre la alfombra y pies tocándola— y la regla del Anillo y el Lamen: se ponen ceremonialmente al abrir cada sesión y se quitan al cerrarla.

«Renaissance magicians often wore crowns and white linen robes, and on one occasion in preparation for a specific working, Dee and Kelley were instructed to wear white linen robes. In an operation that took place on July 13, 1584 (at the very end of the Enochian communications)» — lo que DuQuette puede documentar sobre la vestimenta, con su límite: los magos renacentistas solían llevar corona y túnica de lino blanco, y a Dee y Kelley se les instruyó vestir lino blanco en una sola ocasión, el 13 de julio de 1584, al final mismo de las comunicaciones enoquianas.

«the archangel Gabriel told the magicians: See that your garments be clean. Herein be not rash: Nor over hasty; For those that are hasty and rash, and are loathsomely appareled, my knock long before they enter.» — la instrucción misma, voz transcrita del diario: Gabriel manda que las vestiduras estén limpias y advierte contra la prisa y el descuido. La capa de texto imprime my knock donde la frase pediría may, sic; y el mismo pasaje se reimprime en el apéndice I.

«In practical operations conducted by my Monday night class and my Enochian magick workshops, everyone is shoeless and wears comfortable street clothes. In private sessions, such as the one I described in chapter one, I put on a simple black robe. Not only does it carry with it a certain personal magical virtue, but its color does not distract from the images reflected in the black mirror as I scry.» — qué hace DuQuette en la práctica frente a esa instrucción: en grupo, descalzos y con ropa de calle; en privado, una túnica negra que él justifica por dos razones, una virtud mágica personal y la de no reflejarse en el espejo negro.

«Every element (of the book) hath 49 manner of understandings. Therein is comprehended so many languages. They are all spoken at once, and severally, by themselves, by distinction many be spoken. Until thou come to the City, thou canst not behold the beauty thereof. —THE ANGEL ME TO JOHN DEE, EASTER DAY, 1583» — el epígrafe del Book III es voz transcrita del ángel Me, fechada el domingo de Pascua de 1583: cada elemento del libro tiene cuarenta y nueve maneras de entenderse, todas se hablan a la vez, y la belleza del conjunto no se ve hasta llegar a la Ciudad.

«The second phase of Dee and Kelley’s magical operations remains, for the most part, a tantalizing mystery to modern students. Covering most of 1582 and 1583, it is a period characterized by considerable tension between the two magicians, but one that also produced a large body of work in the form of a book referred to at various times as Liber Mysteriorum Sextus et Sanctus, the Book of Enoch, and Liber Loagaeth.68 While in recent years Enochian scholars have courageously set out to give us a closer examination of this information, it unfortunately has not been enough to allow modern practitioners to develop anything near a workable system from this material.» — cómo encuadra DuQuette la segunda fase: un misterio todavía sin resolver, con tensión entre los dos magos, que produjo el libro llamado alternativamente Liber Mysteriorum Sextus et Sanctus, Book of Enoch y Liber Loagaeth. Reconoce el trabajo reciente de los estudiosos y acota que no ha bastado para sacar de ahí un sistema operable.

«One of the reasons more attention isn’t paid to this period is the nature of the material itself and the nearly complete lack of direction concerning how it is to be applied. Also, the focus of the communications of this period is driven by Dee’s very personal fixation on discovering lost books of the Bible, the Apocrypha, and in particular the Book of Enoch, which is mentioned in several places in the Bible. The resulting character of Liber Loagaeth is rich in apocalyptic imagery and prophetic sounding rhetoric. This has been seized upon in recent years by commentators who would project a patently sectarian interpretation upon the material, even going so far as to suggest sinister (perhaps even Satanic or Lovecraftian) motives behind the “angelic” communications.» — por qué se atiende poco a este periodo según DuQuette: el material no trae casi ninguna indicación de uso, y las comunicaciones las mueve la fijación personal de Dee con los libros perdidos de la Biblia y con el Libro de Enoc. De ahí la retórica apocalíptica, que otros comentaristas han tomado como prueba de motivos siniestros, satánicos o lovecraftianos. DuQuette registra esa lectura ajena para rechazarla enseguida.

«I think it wise, however, to keep in mind that when we study the Dee and Kelley material, we are not only eavesdropping on questions framed in the minds of two sixteenth-century Englishmen and put in the context of biblical literature, but we are also hearing the answers to those questions given in such a manner as these men could understand— that is, framed within the same cultural and Biblical context. I’m sure if Dee had been a Chinese alchemist or an African shaman in these same circumstances, the angels would have communicated the same universal answers unencumbered by the apocalyptic nomenclature familiar to the Jewish or Christian mind.» — la respuesta de DuQuette a esa lectura siniestra: al leer los diarios se escuchan preguntas formuladas por dos ingleses del siglo XVI en marco bíblico y respuestas dadas en ese mismo marco para que ellos las entendieran. Marca como convicción propia que con un alquimista chino o un chamán africano las respuestas habrían sido las mismas sin la nomenclatura apocalíptica.

«The importance of Liber Loagaeth cannot be overemphasized. From it would “be restored the holy bokes, which haue perished euen from the beginning, and from the first that liued.” The truths it contains will end religious disputes and restore religious unity. “Which when it hath spread a while, THEN COMMETH THE END.”69 In short, it will usher in the new age. Since the book is so central to these angelic communications, it is amazing that it has remained unpublished.» — la cita no es de DuQuette sino de la introducción de Joseph Peterson a los Five Books of Mystery, y adentro lleva a su vez el diario en grafía isabelina: del Loagaeth saldría la restitución de los libros santos perdidos, el fin de las disputas religiosas y, con ellas, el fin. Peterson cierra extrañándose de que el libro siga inédito.

«Amazing indeed, but as I wrote concerning De Heptarchia Mystica, it is only a matter of time before someone cracks the code of this breathtakingly immense body of work.» — DuQuette suscribe el asombro de Peterson y repite para el Loagaeth el mismo pronóstico que dio para la heptarquía: alguien descifrará el código, es cuestión de tiempo, y no será él.

«One surviving manuscript comprises forty-eight leaves, each containing 49 x 49 lettered squares, 115,000 lettered squares in all. Each square was filled, letter-by-letter, according to Kelley’s vision. In the end, the magicians were left with forty-nine calls in an angelic language. (Note: These calls were not the same calls in the angelic tongue that would come later and form the centerpiece of the Enochian phase of Dee and Kelley’s partnership.) Loagaeth literally means “speech from God,” and the magicians were informed that the words of the forty-nine calls were the same as those uttered by God at the dawn of creation—in the same language spoken by Adam when he named all things.» — las cifras del Loagaeth según DuQuette —cuarenta y ocho hojas de cuadrículas de 49 x 49, ciento quince mil casillas llenadas letra por letra según la visión de Kelley— y lo que se obtuvo: cuarenta y nueve llamadas en lengua angélica, que él distingue expresamente de las Llaves enoquianas posteriores. Loagaeth se traduce habla de Dios, y a los magos se les dijo que esas palabras son las que Dios pronunció al crear y las que habló Adán al nombrar las cosas.

«Unfortunately, these calls were never translated (or else the material has been lost), and attempts by modern linguists have failed to find enough landmarks of a properly constructed language to put the calls of Loagaeth in the same category as the angelic language» — el límite documental y lingüístico que DuQuette declara: las llamadas nunca se tradujeron, o la traducción se perdió, y los lingüistas modernos no han hallado en ellas los rasgos suficientes de una lengua construida. El tramo se corta donde termina la plana.

«Kelley’s visionary skills were severely exploited during this period, and his visions were characterized by the presence of a dazzling light that both magicians could see. The light would fly out of the scrying stone and penetrate Kelley’s head, putting him in a trance in which he could read and comprehend the text of Liber Loagaeth. He was, however, forbidden to translate it and told that God would later provide the translation. At the end of the session, the light would leave Kelley’s head and return to the stone. When he returned to normal consciousness, he claimed to have no memory of the experience.» — lo que DuQuette describe del procedimiento de esa fase: una luz deslumbrante que ambos magos veían salía de la piedra y entraba en la cabeza de Kelley, que en trance leía el Loagaeth con prohibición expresa de traducirlo, y al volver en sí decía no recordar nada. El verbo es de reporte: es lo que Kelley afirmaba.

«As tempting as it might be, I am, for the time being not incorporating any of the calls from Loagaeth in my Enochian-magick preparation ritual. However, something else of great importance came out of this period: the angelic alphabet.» — la abstención práctica de DuQuette respecto del Loagaeth: por ahora no incorpora ninguna de esas llamadas a su rito de preparación. Rescata en cambio lo que sí saca del periodo, el alfabeto angélico.

«He wiped his finger on the top of the Table, and there came out above the Table certain Characters enclosed in no line: but standing by them selves, and points between them. He pointed orderly to them with his finger, and looked toward the skryer at every pointing. —EDWARD KELLEY DESCRIBING HIS VISION OF THE ANGEL’S REVELATION OF THE ANGELIC ALPHABET, MARCH 26, 1583» — el epígrafe del capítulo catorce es voz de Kelley transcrita del diario, fechada el 26 de marzo de 1583: describe cómo el ángel pasó el dedo por la Mesa y aparecieron los caracteres sueltos, sin línea que los encerrara y con puntos entre ellos.

«I confess, even with clear copies and transcriptions of the source material in front of me, it has been very difficult for me to wrap my mind around the order of the visionary events of Dee and Kelley’s years together. Because certain elements of these magical systems were often corrected or amended by the angels in subsequent visions, often occurring months apart, it is extremely difficult (for me at least) to present a clean chronology of events. The circumstances surrounding the reception of the angelic alphabet are no exception.» — la confesión de método con que DuQuette entra al capítulo: aun con copias limpias delante no logra ordenar la cronología de las visiones, porque los ángeles corregían y enmendaban meses después. Acota el problema como suyo, no de las fuentes.

«The alphabet was received during the Loagaeth period, but because the magicians were told to replace the Latin/English letters of the Lamen, Holy Table, and the seven Ensigns of Creation with letters from the angelic script, its influence reached back in time to touch the Heptarchia period as well.» — la razón de esa cronología revuelta, con el ejemplo que la muestra: el alfabeto llega en la fase del Loagaeth y alcanza hacia atrás a la fase heptárquica, porque obliga a rehacer con letras angélicas el Lamen, la Mesa y las siete Ensigns.

«The twenty-one characters of the angelic alphabet appeared fully formed in yellowish letters that rose in Kelley’s vision above the table. The images of the individual letters then obligingly hovered over a sheet of paper and stayed visible long enough for him to copy them in ink before fading away.» — cómo se recibió el alfabeto según DuQuette: veintiún caracteres ya formados, en letras amarillentas que se alzaron sobre la mesa en la visión de Kelley y se quedaron flotando sobre un papel el tiempo suficiente para que las copiara con tinta.

«Words in the angelic language are written from right to left, and that is the order the letters first appeared to Kelley. All twenty-one letters appeared in a single row and were separated by dots. There was also a dot preceding the first letter.» — la dirección de la escritura angélica según DuQuette —de derecha a izquierda, que es el orden en que Kelley las vio— y la disposición de la primera aparición: los veintiún caracteres en un solo renglón, separados por puntos y con un punto delante del primero.

«You will notice that the name for the first letter received, Pa, is the only letter whose name is capitalized. Pa, b in English, has a special significance in the magick of the Heptarchia. For example, the names of all the forty-nine good angels begin with b, the letter b appears overwhelmingly on the Ensigns of Creation, and each of the four corners of the Holy Table displays an oversized Pa.» — la singularidad de la primera letra según DuQuette: Pa, la be inglesa, es la única cuyo nombre va con mayúscula, y su peso en la heptarquía se ve en que los cuarenta y nueve ángeles buenos empiezan con be, en su abundancia en las Ensigns y en la be grande de cada esquina de la Mesa.

«This abundance of bs has caused several knowledgeable modern magical commentators to speculate that b must represent the number seven, the number upon which these magical systems seem to be based. While that makes a great deal of sense to me, I have nonetheless found nothing in the original material that would specifically suggest numerical equivalents to any of the single letters of the angelic alphabet.» — la negativa que DuQuette declara contra una conjetura que le gusta: varios comentaristas modernos suponen que la be vale siete, número sobre el que se arman estos sistemas, y a él le parece muy razonable; aun así dice no haber hallado en el material original nada que asigne valor numérico a ninguna letra suelta.

«What is very clear, however, is the fact that the communicating angel wanted Dee and Kelley to immediately memorize the letters of the angelic alphabet and the letters’ names. Dee was a busy man and wanted to be excused from this time-consuming duty. The angel Me would have none of it. In this March 26, 1583, exchange, Dee tries to make the angel understand, “Look man, I’ve got a life!”» — el forcejeo que DuQuette narra entre Dee y el ángel Me sobre memorizar el alfabeto: el ángel lo exigía de inmediato, Dee quería que lo dispensaran por falta de tiempo. La frase final entre comillas no es del diario sino la paráfrasis coloquial con que DuQuette traduce la excusa de Dee.

«Dee: You perceive that I have diverse affairs which at this present do withdraw me from peculiar diligence using to these Characters and their names learning by heart: And therefore I trust, I shall not offend, if I bestow all the convenient leisure that I shall get, about the learning thereof. Me: Peace, Thou talkest, as though, thou understoodest not. We know thee, we see thee in thy heart: Nor one thing shall not let another. For short is the time, that shall bring these things to proof.» — el intercambio mismo, voz transcrita del diario en grafía isabelina: Dee alega ocupaciones y promete dedicarle el tiempo libre que consiga; el ángel Me le contesta que lo ven en el corazón, que una cosa no impide la otra y que el tiempo es corto.

«The Lord appeared unto Enoch, and was merciful unto him, opened his eyes, that he might see and judge the earth, which was unknown to his Parents, by reason of their fall : for the Lord said, Let us shew unto Enoch, the use of the earth : And lo, Enoch was wise, and full of the spirit of wisdom. —THE ANGEL AVE, MONDAY, JUNE 25, 1584» — el epígrafe del Book IV es voz transcrita del ángel Ave, fechada el 25 de junio de 1584: Dios abrió los ojos de Enoc para que viera y juzgara la tierra, desconocida para sus padres por la caída, y lo llenó de espíritu de sabiduría.

«To my knowledge, Dee and Kelley never used the word Enochian to describe the system of magick they received between April 10 and July 13, 1584. Throughout their actions, they simply referred to it as angelic. We cannot, however, be faulted too badly for attaching the biblical patriarch’s name to the system. The magicians were told that this was the magick given by God to Enoch (the seventh man from Adam) in the form of a book and that Enoch (before he ascended bodily into the presence of God) passed it on to others. Over the generations, the book fell into wicked hands, and God caused it to be lost. But because of Dee’s piety and prayers, God was moved to once again deliver it to mankind.» — la corrección de nombre que DuQuette hace al principio del Book IV, acotada con un a mi saber: Dee y Kelley nunca llamaron enoquiano a lo que recibieron entre el 10 de abril y el 13 de julio de 1584, sino angélico. Y la razón por la que el nombre no le parece del todo indebido: a los magos se les dijo que era el libro dado por Dios a Enoc, perdido después en manos malvadas y devuelto ahora por la piedad de Dee.

«These final days were an especially difficult period in Dee and Kelley’s relationship. They and their families were living in Krakow, Poland. Their actions were regularly interrupted by “evil spirits,” who encouraged the magicians to abandon the actions. Kelley was increasingly impatient and uncomfortable with the work, voicing his fear of the possible evil nature of the communications on one hand. Ironically, Kelley was at the time practicing demon magick behind Dee’s back. Dee was furious when he learned of this. So were the communicating angels, who warned that such behavior attracted evil spirits into the magician’s environment—an annoying and time-consuming distraction. Finally Kelley promised Dee and the angels that he would knock off the black magick.» — el marco humano de la fase final según DuQuette: las dos familias en Cracovia, sesiones interrumpidas por espíritus malignos que empujaban a abandonar, Kelley cada vez más incómodo y temiendo que las comunicaciones fueran malas mientras practicaba a espaldas de Dee magia demoníaca. Consigna el enojo de Dee, la advertencia de los ángeles y la promesa de Kelley, sin absolver a nadie.

«In April, the magicians were told in no uncertain terms that the work had to be completed by August. The magicians met their deadline with time to spare. July 13, 1584, Dee’s fifty-seventh birthday, saw the final communication that completed the reception of the angelic calls and provided the names of the thirty Aethyrs. Not only had the Enochian phase of Dee and Kelley’s operations ended, but, indeed, the entire angelic adventure had also come to a close. The plug was pulled. The communicating angels fell silent.» — el cierre de la aventura angélica según DuQuette: en abril se les puso plazo hasta agosto, y el 13 de julio de 1584, cincuenta y siete cumpleaños de Dee, se completaron las llamadas y los nombres de los treinta Aethyrs. No terminó solo la fase enoquiana sino el trato entero, y los ángeles callaron.

«The magicians would continue on and off for several years with visionary operations and unsuccessful mago-political adventures in Europe. But, with the exception of only three brief references in their subsequent diaries, they never again mention the angelic magick. One of those latter-day references (the Tabula Recensa), however, is very significant to the study of the Enochian magick period. I’ll speak more on that very soon.» — lo que vino después según DuQuette: años de operaciones visionarias y de aventuras mago-políticas fallidas en Europa, con solo tres menciones breves de la magia angélica en los diarios posteriores. Aparta una de ellas, la Tabula Recensa, por su peso para el estudio del periodo.

«The reception of the Enochian material was (at least to my impatient attention span) even more confused and topsy-turvy than that which characterized the Heptarchia and Liber Loagaeth periods. Sadly, as we discovered in the two earlier cases, the surviving information, while abundant, still does not provide us with adequate information on how it all was supposed to work as a practical system of magick.» — el juicio de DuQuette sobre la fase que da nombre al libro, con la reserva puesta sobre sí mismo: la recepción fue aún más confusa y desordenada que las dos anteriores, y el material que sobrevive, con ser abundante, tampoco dice cómo se supone que el sistema funcione en la práctica.

«And here is where we must again tip our magical hats to S. L. MacGregor Mathers, the adepts of the Golden Dawn, and Aleister Crowley, who at the dawn of the twentieth century developed this material into a remarkably logical system of vision magick—a system possessed of the solid infrastructure lacking in the surviving source material, a system that, for all intents and purposes, offers the diligent practitioner a practical and elegant unified field theory of hermetic and qabalistic magick.» — la concesión que DuQuette repite justo donde acaba de señalar el hueco: Mathers, los adeptos de la Golden Dawn y Crowley construyeron con ese material un sistema notablemente lógico, con la infraestructura sólida que las fuentes no traen, y que él llega a llamar teoría de campo unificado de la magia hermética y cabalística. La objeción de filiación queda intacta.

«As applied most commonly today, Enochian magick is a two-part magical system: one part focusing on the elemental universe, the other on the aethyric. The former enables the magician to summon or visit in vision the spirits of the myriad levels of the elemental worlds of Fire, Water, Air, Earth, and Spirit; the latter enables the magician to systematically penetrate increasingly higher heavens (or Aethyrs) to access information from those heavenly levels of consciousness.» — la división que DuQuette da por vigente en la práctica de hoy: una rama elemental, para convocar o visitar a los espíritus de los mundos de Fuego, Agua, Aire, Tierra y Espíritu, y una aetírica, para penetrar cielos cada vez más altos y sacar de ahí información.

«This tablet was delivered to the magicians by the angel Nalvage in April of 1584. It is an item that was acknowledged by the adepts of the Golden Dawn but never incorporated into any practice. It is something, however, I believe should not escape our attention. No name was given to this object. Some modern scholars designate it simply the Tablet of God. I shall refer to it as the Round Tablet of Nalvage.» — la pieza que DuQuette añade al programa de preparación y que nadie usa: una tabla entregada por el ángel Nalvage en abril de 1584, reconocida por los adeptos de la Golden Dawn y nunca incorporada a su práctica. Consigna que la fuente no le dio nombre, que algunos estudiosos modernos la llaman Tablet of God, y que el nombre con que él la llama es suyo.

«The order and knitting together of the parts in their due and perfect proportion, God the Holy Ghost. Lo the beginning and end of all things. —THE ANGEL NALVAGE, APRIL 10, 1584» — el epígrafe del capítulo dieciséis es voz transcrita de Nalvage, fechada el 10 de abril de 1584: el orden y el entretejido de las partes en su proporción debida es el Espíritu Santo, principio y fin de todas las cosas.

«“The Method of Science—The Aim of Religion” was the official motto of The Equinox, the great magical periodical first published by Aleister Crowley and his colleagues in the early years of the twentieth century.74 This same phrase could also comfortably serve as the watchwords that describe what the art of magick is to me.» — el lema que DuQuette adopta para su idea de la magia y de dónde lo toma: era el de The Equinox, la revista de Crowley. Método de la ciencia, fin de la religión.

«Conversely, superstition (as the word is commonly understood) has, in my opinion, no place in the arsenal of the modern magician.» — el reverso de ese lema, marcado como opinión propia: la superstición, en el sentido corriente de la palabra, no tiene lugar en el arsenal del mago moderno.

«this system, I have never encountered a single case of so-called psychic attack, demon possession, headache, hives, or hernia—indeed any ill effects whatsoever—resulting from the practice of this particular kind of magick.» — la negativa experiencial con que DuQuette desactiva la leyenda de peligrosidad del sistema: en todos sus años de práctica no ha visto un solo caso de ataque psíquico, posesión ni efecto adverso alguno. El tramo empieza a media frase porque la anterior cambia de plana, y la enumeración baja a propósito del ataque psíquico al dolor de cabeza y la hernia.

«That being said, strange and unexpected things do occasionally happen to those who practice magick. And while I believe it is bad for one’s mental health to ascribe undue importance to these phenomena, it is important that they be dispassionately observed and recorded.» — el límite que DuQuette le pone de inmediato a esa negativa: cosas extrañas sí ocurren, y su regla es doble, no darles importancia indebida y registrarlas con desapasionamiento.

«A friend had given me two massive, black wax candles shaped like giant chessmen (bishops). My plan was to melt these down in a round Christmas cookie tin and carve the squares and the angelic letters of the Tablet of Nalvage on the cooled wax disk.» — el arranque del primero de los dos relatos con que DuQuette explica el respeto que le tiene a la Tabla de Nalvage: dos velas negras en forma de alfil de ajedrez, que planeaba fundir en una lata de galletas para tallar allí la tabla.

«The oven was completely engulfed in flames. I ran into the living room and found our son, Jean-Paul, lying on the floor watching television completely oblivious to the black smoke pressing its way toward him from above.» — el desenlace del relato: el horno en llamas y el hijo tirado frente al televisor sin advertir el humo. DuQuette lo cuenta en registro doméstico, no portentoso.

«Now, I’m the first to confess that this story has less to do with magick and superstition and more with my own carelessness and stupidity. (I am now forbidden to use the oven for magical crafts.)» — cómo interpreta DuQuette su propio relato: se adelanta a la lectura mágica y la descarta, atribuyendo el incendio a su descuido y su estupidez. El paréntesis sobre la prohibición doméstica de usar el horno es humor declarado.

«As we’ll soon see, there is much we know about the Round Tablet of Nalvage. What we don’t know is how it was intended to be used. As I was preparing for the class series that inspired this book, I debated with myself how (or even if) I was going to introduce it into our studies. After all, there is nothing in the source material that hints at what is to be done with it.» — la abstención que ordena el capítulo: de la Tabla de Nalvage se sabe mucho salvo para qué servía, y no hay en el material de origen nada que insinúe qué hacer con ella. DuQuette declara haber dudado incluso de si introducirla en sus clases.

«I went to my desk to turn off the computer and gather things for class, when I was startled by the sound of something smashing against my guitar, which was mounted upright in its stand near the open closet door. With the guitar strings still ringing, I turned to see that the Tablet of Nalvage had flown from its shelf, ricocheted off my guitar, and was resting inches from my feet.» — el segundo relato de DuQuette sobre la Tabla de Nalvage: guardada en el estante alto, salió disparada, rebotó en su guitarra y quedó a unos centímetros de sus pies, justo después de que él decidiera no usarla esa noche.

«As a reasonably rational man, I am of the opinion that there is nothing supernatural in the world, just natural things that have yet to be explained. I’m sure there is nothing I can say to convince the cynic that the tablet hadn’t fallen naturally from the shelf because I hadn’t put it there properly. I remain, however, extremely impressed at the distance this object had to travel across physical space in order to strike the guitar and find its way to my feet at the very moment I had decided not to discuss it at that evening’s class.» — cómo lee DuQuette ese suceso, y es la formulación más clara de su postura: no hay nada sobrenatural en el mundo, solo cosas naturales todavía sin explicar. Concede que no tiene con qué convencer al escéptico y se limita a declarar lo que le impresiona, la distancia recorrida y el momento.

«Needless to say, I changed my mind about the importance of the tablet, and in the few moments remaining before class members started to arrive, I composed the two-part chorus that incorporates the dynamics created by the letters of the Round Tablet of Nalvage—a chant that has become the last (and perhaps the most important) component of the Ceremony of Preparation.» — la consecuencia práctica: DuQuette cambió de opinión y compuso allí mismo el coro a dos voces con las letras de la Tabla de Nalvage, que declara la última y quizá la más importante pieza de la Ceremonia de Preparación.

«The Tablet of Nalvage is not really round. It is a square divided into four squares (or continents) and surrounded by four outer bars (see figure 59). The continents and bars are subdivided into lettered squares (nine squares per continent and four squares per bar).» — la corrección de forma que DuQuette hace sobre el nombre que él mismo le puso: la tabla no es redonda sino un cuadrado dividido en cuatro cuadrados, o continentes, rodeado por cuatro barras exteriores, con nueve casillas por continente y cuatro por barra.

«Nalvage told Dee and Kelley that continents 1 and 2 are “dignified,” while 3 “is not yet dignified, but to be dignified,” and 4 is “without glory or dignity.” Nalvage described them in Latin as follows: 1. Vita suprema (highest life), the continent of “joy”; 2. Vita (life), the continent of “potentiality”; 3. Vita non dignificata, sed dignificanda (life not dignified, but which shall be dignified), the continent of “creation”; and 4. Vita est etiam haec, sed quae perperit mors (“Even this is life, but life which will be paid with death”), the continent of “discord.”» — lo que Nalvage dijo de los cuatro continentes, en la gradación que la fuente da en latín: dos dignificados, uno todavía por dignificar y uno sin gloria ni dignidad, con los nombres de gozo, potencia, creación y discordia. El cuarto se define como vida que se paga con muerte.

«When read counterclockwise, the outer bars of the tablet spell the names of four classes of angels: luah (praising angels), lang (ministering angels), sach (confirming angels), and urch (confounding angels).» — qué dicen las barras exteriores leídas en sentido antihorario, según DuQuette: los nombres de cuatro clases de ángeles, los que alaban, los que ministran, los que confirman y los que confunden. Los cuatro nombres van en la grafía del troceo.

«First notice how the three letters of outer corners of each of the four continents (upper left corner of upper left continent, lower left corner of lower left continent, and so on) all spell the Enochian word meaning God—iad. Notice next that the three diagonal letters of continents spell the words moz (joy), bab (power), sor (action), and ser (lamentation). Finally, the three letters of the inner corners of the continents spell the words zir (I am), zna (motion), gru (deed), and osf (discord).» — cómo se leen las letras de los continentes según DuQuette: las esquinas exteriores dan iad, la palabra enoquiana para Dios; las diagonales dan gozo, potencia, acción y lamentación; las esquinas interiores dan yo soy, movimiento, hecho y discordia.

«This rich tapestry of joy, movement, creation, and sorrow is contained and encircled by a counterclockwise whirl of the angels: luah, lang, sach, and urch.» — el resumen que DuQuette hace del sentido de la tabla: un tapiz de gozo, movimiento, creación y pesar, encerrado por el remolino antihorario de las cuatro clases de ángeles.

«Concerning the tablet as a whole, Nalvage said,”The Substance is attributed to God the Father.”76 In reference to the letters on the outer bars, Nalvage said, “The first circular mover, the circumference, God the Son, The finger of the Father, and mover of all things.”77 Referring to the continents and the manner in which their letters are read, he said, “The order and knitting together of the parts in their due and perfect proportion, God the Holy Ghost. Lo the beginning and end of all things.”» — las tres adjudicaciones trinitarias que DuQuette recoge de Nalvage: la sustancia de la tabla al Padre, las letras de las barras exteriores al Hijo como primer motor circular, y el orden y el entretejido de las partes al Espíritu Santo. La capa de texto abre la primera cita con la comilla de cierre, sic.

«Like the Holy Table, the Round Tablet of Nalvage, once decoded, displays divine and angelic words and names in perpetual motion in such a way that one can almost sense what is meant by the term choir of angels. In group workings, I break the participants up into two voices as we ceremonially chant the words from the tablet. Voice One: luah lang sach urch Voice Two: iad moz zir—iad bab zna—iad sor gru—iad ser osf The effect is powerful even when I’m alone in the middle of the night and chant one voice at a time.» — la comparación con la Mesa Sagrada y la aplicación práctica: palabras divinas en movimiento perpetuo, que DuQuette hace cantar en grupo repartidas en dos voces, y que declara eficaces incluso a solas y de una en una.

«Once Nalvage described the dynamics of the tablet, he didn’t go on to provide instructions on how, or even if, the tablet was to be used. Is it a talisman? Is it to be worn as the Lamen? Is it to be held or placed on the Holy Table? We don’t know.» — la abstención repetida, ahora con las preguntas enumeradas: descrita la dinámica de la tabla, Nalvage no dijo cómo ni siquiera si debía usarse, y DuQuette contesta que no se sabe si es talismán, si se lleva como el Lamen o si se pone sobre la Mesa.

«However, we do know that after the two magicians had become attuned to the structure of the Round Tablet of Nalvage, the entire remaining system of Enochian magick was revealed in less than ninety days. This has led more than a few magicians to speculate that the Round Tablet of Nalvage might be the key to a mysterious and unexpressed “first call” of the Enochian system, or perhaps even represent the call itself.» — el argumento indirecto que DuQuette sí ofrece: una vez sintonizados los magos con la Tabla de Nalvage, el resto del sistema se reveló en menos de noventa días, y de ahí que más de un mago haya conjeturado que la tabla sea la clave de la primera llamada no expresada, o esa llamada misma. Lo consigna como especulación ajena.

«Move, therefore, and show yourselves: open the Mysteries of your Creation: Be friendly unto me: for I am the servant of the same your God, the true worshipper of the Highest. —FROM THE FIRST CALL» — el epígrafe del capítulo diecisiete no es voz de DuQuette sino la Primera Llamada traducida: manda a los ángeles moverse y mostrarse, y el mago se presenta como siervo del mismo Dios de ellos. El mismo pasaje se reimprime entero en el apéndice II.

«The centerpiece of the Enochian system is a collection of calls80 in an angelic tongue that is significantly different from the language delivered in Liber Loagaeth.» — qué es el centro del sistema según DuQuette y qué lo separa de la fase anterior: las llamadas están en una lengua angélica sensiblemente distinta de la del Liber Loagaeth.

«Careful examination of the calls and their translations reveal that Enochian is a real language and not simply strings of barbarous names and words. The calls read like evocative hymns or invocations. They are constructed of real, sometimes breathtakingly beautiful sentences that can be translated (not merely transliterated). The language exhibits a remarkable consistency of word meaning from call to call. It has a form of grammar and syntax. This phenomenon, coupled with the multiple double-blind/letter-by-letter method by which it was received, makes this (in my mind at least) one of the most extraordinary aspects of Dee and Kelley’s workings.» — la tesis lingüística de DuQuette, con las razones dentro: el enoquiano sería lengua real y no ristra de nombres bárbaros, porque se traduce y no solo se translitera, mantiene el sentido de una llamada a otra y tiene gramática y sintaxis. Suma el modo de recepción, a ciegas y letra por letra, y marca el juicio como suyo.

«Technically, there are forty-nine calls. However, as the first call was said to be unexpressed» — la cuenta que DuQuette adopta y por qué: hay cuarenta y nueve llamadas, y como de la primera se dijo que quedaba sin expresar, él las trata como cuarenta y ocho. El tramo se corta antes del renglón donde la capa de texto parte el número con guion.

«Beginning on April 10, 1584, the first four calls were painstakingly delivered, letter-by-letter (in backward order, because the angels at first voiced fears that the calls were so powerful it might be too dangerous to deliver them in a straightforward manner).» — cómo llegaron las primeras cuatro llamadas según DuQuette: letra por letra y en orden invertido, porque los ángeles temían que fueran tan poderosas que entregarlas de frente resultara peligroso.

«Then things changed. It appears that even the angels became impatient with this tedious method. They proceeded to deliver calls five through eighteen in a straightforward manner, but they would wait six weeks before delivering the English translations.» — el cambio de método que DuQuette atribuye a la impaciencia de los propios ángeles: las llamadas cinco a dieciocho se dictaron de frente, y la traducción al inglés se hizo esperar seis semanas.

«The fact that the translated words from the first four calls (delivered backwards) matched (or were otherwise linguistically compatible with) the translated words of calls five through eighteen (delivered forward and translated six weeks later) all but rules out the possibility that either Dee or Kelley invented the angelic language or the calls.» — el argumento con que DuQuette descarta el fraude, y descansa entero en ese desfase: las palabras traducidas de las cuatro primeras llamadas, dictadas al revés, concuerdan con las de la cinco a la dieciocho, traducidas seis semanas después. Lo enuncia como descarte casi total, no absoluto.

«I call it hybrid because the “Enochian” magick developed by the Golden Dawn and Crowley is based on a number of assumptions that connect the forty-eight calls with other “Enochian” material Dee and Kelley received after the reception of the calls. I refer to what are now commonly called the Elemental Tablets, which I will discuss in detail in chapter twenty-three and beyond. While eminently logical and based on the most anal-retentive hermetic principles, many of the assumptions made by the Golden Dawn and Crowley were nonetheless not clearly made in the original Dee material.» — por qué DuQuette llama híbrido al sistema moderno: la Golden Dawn y Crowley enlazaron las cuarenta y ocho llamadas con las Tablas Elementales, material recibido después, mediante supuestos que él concede lógicos y de estricta hechura hermética, pero que no están claramente hechos en el material de Dee.

«It all started with Dee wanting to spy on the king of Poland and ended with the reception of what appears to be nothing less than the printed circuit board of the mind of God.» — la fórmula con que DuQuette anuncia el capítulo siguiente y resume la desproporción del episodio: empezó con Dee queriendo espiar al rey de Polonia y acabó con algo que parece la placa de circuito impreso de la mente de Dios.

«Dee: Hey Nalvage, I’d sure like to magically eavesdrop on secret meetings between King Stephen of Poland and his ministers. I’d like to know if Count Albert Laski will soon succeed Stephen as king of Poland. Can you help me do this? Nalvage: No problem, Dr. Dee. But first you have to understand how the universe where this can happen operates. You need to understand how everything in heaven and earth is connected to everything in heaven and earth.81 —IMAGINARY CONVERSATION, JOHN DEE AND THE ANGEL NALVAGE» — el epígrafe del capítulo dieciocho no es del diario: es un diálogo que DuQuette inventa y rotula como imaginario, con Dee pidiendo escuchar las reuniones secretas del rey Esteban de Polonia y saber si Alberto Laski lo sucederá, y Nalvage contestando que primero hay que entender cómo está todo conectado con todo.

«The fantasy dialogue above is more than just another one of my lame attempts to be witty. It describes what, for all intents and purposes, was happening during this phase of the Enochian magick revelations. Dee was indeed trying to squeeze from the angels some information regarding political intrigues in Poland. The angel Nalvage’s response was to first try to explain to Dee the mechanics of how specific spirits rule specific parts of the earth. In doing so, Nalvage would ambitiously attempt to demonstrate how everything in heaven and earth is connected to everything in heaven and earth.» — DuQuette defiende su invención como descripción fiel de lo que pasaba: Dee sí apretaba a los ángeles por las intrigas polacas, y la respuesta de Nalvage fue explicarle qué espíritus rigen qué partes de la tierra. La broma sobre sus propios chistes flojos es suya.

«Nalvage started by dividing the universe into thirty segments that would eventually be identified as Aires, or Aethyrs (see column I of figure 63). To the thirty Aires he assigned ninety-one parts of the earth (see column II), which he first referred to by the geographical name recognizable to the sixteenth-century magicians, such as Syria (see second name in column III), then by the name by which it is known in the divine realms, such as Pascomb (see second name in column IV).» — el armazón que Nalvage levantó según DuQuette: el universo partido en treinta segmentos, los Aires o Aethyrs, y noventa y una partes de la tierra repartidas entre ellos, cada una con su nombre geográfico del siglo XVI y su nombre en los reinos divinos. El ejemplo de la fuente es Siria y Pascomb.

«He then assigned each of these pairs of names to one of the twelve mythical tribes of Israel, along with their directional coordinates, an angelic king, and a respectable number of good ministers.» — lo que se añadió a cada par de nombres: una de las doce tribus de Israel, coordenadas de dirección, un rey angélico y un número de ministros buenos. DuQuette llama míticas a las tribus, sin discutirlo.

«Columns I through V contain the information Dee and Kelley received at this stage of the reception. The symmetrical characters found in column VI and the names of the good princes of the Air in column VII were delivered to Dee and Kelley at a later date than the information in columns I through V. This fact will have astonishing significance when we examine the circumstances and sequence of events that brought to a close the angelic adventures of the two magicians.» — la distinción cronológica dentro de la tabla que DuQuette subraya y guarda para después: las columnas I a V se recibieron en esta etapa y las columnas VI y VII, con los caracteres simétricos y los nombres de los príncipes buenos del Aire, mucho más tarde. Anuncia que el desfase tendrá una consecuencia asombrosa al final de la historia.

«Using the second of the ninety-one parts of earth, Syria, as our example, we see that its divinely ordained name is Pascomb. The tribe of Zabulon is assigned to Syria/Pascomb, as are the angelic king Zinggen and 2,360 good ministers.» — cómo se lee la tabla, con el mismo ejemplo desarrollado: a Siria le corresponde el nombre divino Pascomb, la tribu de Zabulón, el rey angélico Zinggen y dos mil trescientos sesenta ministros buenos. Los nombres y las cifras van tal cual; la tabla completa cae en las planas sin capa de texto declaradas en Notas de carga.

«Now therefore hearken unto me: for I will open unto you the secret knowledge of the Earth, that you may deal with her, by such as govern her, at your pleasure; and call her to a reckoning, as Steward doth the servants of the Lord. —THE ANGEL AVE, JUNE 20, 1584» — el epígrafe del capítulo diecinueve es voz transcrita del ángel Ave, fechada el 20 de junio de 1584: promete abrir el conocimiento secreto de la Tierra para tratar con ella por medio de quienes la gobiernan y pedirle cuentas.

«Very early on the morning of Wednesday, June 20, 1584, Edward Kelley was aroused from a sound sleep by someone (something) patting him on the head. He opened his eyes and beheld an angel, “clothed with feathers, strangely wreathed about him all over, etc.” standing at the head of his bed. The angel would later identify itself as Ave, one of the Sons of Sons of Light from the Sigillum Dei Aemeth (see chapter ten). Ave proceeded to project a vision that would dramatize the elements and structure of the entire system of Enochian magick as widely practiced today. The following is from Dee’s diary:» — cómo empezó la visión que da forma al sistema entero, según DuQuette: Kelley despertado de madrugada por algo que le daba palmadas en la cabeza, un ángel vestido de plumas junto a la cabecera, que después se identificaría como Ave, uno de los Hijos de los Hijos de la Luz del Sigillum. La descripción entre comillas es del diario, no de DuQuette.

«There appeared to him [Kelley] four very fair Castles, standing in the four parts of the world: out of which he heard the sound of a Trumpet. Then it seemed out of every Castle a cloath to be thrown on the ground, of more than the breadth of a Table-cloath . . . 86 . . . Out of every Gate then issued one Trumpeter, whose Trumpets were of strange form, wreathed, and growing bigger and bigger toward the end. After the Trumpeter followed three Ensign Bearers. After them six ancient men, with white beards and staves in their hands. Then followed a comely man, with very much Apparel on his back, his Robe having a long train. After him came five men, carrying up of his train. Then followed one great Crosse, and about that four lesser Crosses. These Crosses had on them, each of them ten, like men, their faces distinctly appearing on the four parts of the Crosse, all over. After the Crosses followed 16 white Creatures. After them, an infinite number seemed to issue, and to spread themselves orderly in a compasse, almost before the four fore-said Castles.» — la visión misma, voz transcrita del diario de Dee: cuatro castillos en las cuatro partes del mundo, y de cada puerta un trompetero, tres portaenseñas, seis ancianos con barba blanca y bastón, un varón apuesto de larga cola sostenida por cinco hombres, una cruz grande con cuatro menores y dieciséis criaturas blancas. Es el reparto jerárquico que las Tablas Elementales fijarán después.

«The highlights of Kelley’s vision would eventually be memorialized upon a round talisman etched in gold, which is today on display at the British Museum. Much as I’d like to believe this object was fashioned by Dee himself, it is almost certainly a forgery patterned upon the flawed image printed in Casaubon’s A True & Faithful Relation. For reference, however, I will continue to refer to both the vision and the image as the Golden Talisman.» — la adjudicación que DuQuette hace del objeto expuesto en el British Museum, contra su propio deseo: el talismán de oro no es casi con seguridad obra de Dee sino una falsificación calcada de la lámina defectuosa de Casaubon. Aun así conserva el nombre para referirse a la visión y a la imagen.

«The four castles, or Watchtowers, formed a cross, the center of which was a circle supported by twenty-four columns.» — la geometría del talismán según DuQuette: los cuatro castillos, o Watchtowers, en cruz, con un círculo sostenido por veinticuatro columnas en el centro.

«Ave would elucidate upon the nature, powers, and hierarchical status of the characters on the Golden Talisman. Eventually he would go into far greater detail by projecting and organizing all of it upon what he called the Great Table or the Great Table of the Watchtowers. The Great Table is the Rosetta stone of Enochian magick. How it was received and how it is connected to the information Dee and Kelley had already received concerning the ninety-one parts of the earth present us with perhaps the most convincing proof that the two magicians were indeed in contact with noncorporeal intelligences of a superior order.» — la afirmación más fuerte que DuQuette hace en el libro, y descansa en el encaje: la Gran Tabla es la piedra Rosetta de la magia enoquiana, y el modo en que se recibió y se enlazó con las noventa y una partes de la tierra le parece la prueba más convincente de que los magos trataban con inteligencias no corpóreas de orden superior. La marca como quizá, no como demostración.

«The seals and authorities of these Houses are confirmed in the beginning of the World. Unto everyone of them be 4 characters, (tokens of the presence of the son of God: by whom all things were made in Creation.) —THE ANGEL AVE, JUNE 20, 1584» — el epígrafe del capítulo veinte es otra vez voz de Ave y de la misma fecha: los sellos y autoridades de esas Casas quedaron confirmados al principio del mundo, y a cada una le corresponden cuatro caracteres, señales de la presencia del hijo de Dios.

«In a working that took place on Wednesday, June 25, 1584, the angel Ave showed the magicians the image of a table that was divided into four sections by a central cross. Each of the four sections was identified as one of the castles of the Golden Talisman vision. Also called Watchtowers, Watchmen, princes, and mighty angels of the Lord, they were each represented by a seal. Three of these seals, by their imagery, bear a direct and unambiguous connection to the Sigillum Dei Aemeth or the Ensigns of Creation.» — la sesión del 25 de junio de 1584 según DuQuette: Ave mostró una tabla partida en cuatro por una cruz central, cada sección uno de los castillos de la visión, llamados también Watchtowers, Watchmen, príncipes y ángeles poderosos del Señor. Y el dato que a él le importa: tres de los cuatro sellos remiten sin ambigüedad al Sigillum o a las Ensigns.

«The first seal was assigned to the upper left section of the table. It was the image of a capital letter T with four rays beaming vertically from the top bar. This seal comes from a major landmark of the Sigillum Dei Aemeth. The 4/T cell is the first (near the top) of the forty cells that form the perimeter (see figure 23). The 4/T cell is where we began counting to create the seven Names of God drawn from the Sigillum.» — el primero de esos enlaces: la te mayúscula con cuatro rayos es la celda 4/T del Sigillum, justo la casilla desde la que se empezaba a contar para sacar los siete nombres divinos.

«The second seal was assigned to the upper right section of the table and identified as an alphabet cross. We first saw this cross on the (lower right) corner of the first sevenfold table (see figure 33), which generated the letters of the large outer heptagon of the Sigillum, where the cross appears at the top left (see figure 34).» — el segundo enlace: la cruz alfabética ya estaba en la esquina de la primera tabla de siete por siete, la que generó las letras del heptágono exterior del Sigillum.

«Creation that ring the Sigillum on the Holy Table (the one many modern magicians associate with Mercury) is a 4 x 8 table (see figure 54). The square occupying the position of the second column, second row, contains the cross, numbers, and letters exactly as appears on the vision of the third seal.» — el tercer enlace, que DuQuette dice haber rastreado con más trabajo: la indicación de Ave sobre una tabla de cuatro y ocho lo llevó a una de las Ensigns, la de 4 x 8, donde una casilla reproduce exactamente la figura del sello. El tramo empieza a media palabra porque el nombre Ensigns of Creation queda partido por el cambio de plana.

«The forth seal was assigned to the lower left section of the table and was the image of “a little round smoke, as big as a pin’s head.” It is illustrated in one of the drawings of the Great Table in Sloane 3191 as a tiny circle with twelve rays issuing from it. It is perhaps the stylized representation of the figure that appears on the back of the Sigillum Dei Aemeth: a small circle from which projects the four capital Ts of a cross potent formed from twelve right angles (see figure 51). Perhaps it is connected to the Round Table of Nalvage and the twelve words that occupy its four continents. Frankly I’ve been unable to find any reference in the original material that would suggest either of these connections.» — el cuarto sello es donde DuQuette se queda sin enlace: humo redondo del tamaño de una cabeza de alfiler en la fuente, dibujado en Sloane 3191 como círculo con doce rayos. Propone dos parentescos posibles —el reverso del Sigillum y la Tabla de Nalvage con sus doce palabras— y declara sin rodeos no haber hallado en el material original nada que respalde ninguno. La capa de texto imprime forth por fourth, sic.

«Figure 65 shows the positions of the Great Seals on the Great Table and the order in which they were revealed to Dee and Kelley on June 25, 1584. On April 18, 1587 (nearly three years after the magicians had, for all intents and purposes, discontinued their angelic workings), Kelley would receive a vision that would alter (or reform) several aspects of the Great Table, including the relative positions of the seals and all they represent.» — la reforma de 1587 según DuQuette: casi tres años después de dejar los trabajos angélicos, Kelley recibió una visión que alteró varios aspectos de la Gran Tabla, entre ellos las posiciones relativas de los sellos.

«As one might expect, this reformation remains the source of intense frustration to Enochian students and practitioners. To add to all the confusion, Dee at different times assigned different directional attributes to the quarters of the table.» — las dos capas de confusión que DuQuette consigna sin resolver: la reforma exaspera a los estudiosos y practicantes, y Dee mismo adjudicó en distintos momentos direcciones distintas a los cuadrantes de la tabla.

«attribute the quarters of the Great Table to the elements of Air, Water, Earth, and Fire. Eventually, I will do that as well, but for the moment, let’s be satisfied with identifying the four quarters of the Great Table by their seals and original numbers as shown in figure 65, while we move on to the wonders of what next took place.» — cómo salió la Golden Dawn de esa confusión y qué hace DuQuette con ello: para tener un sistema operable adjudicaron los cuadrantes a Aire, Agua, Tierra y Fuego, y él declara que acabará haciendo lo mismo, aunque de momento prefiere nombrarlos por sus sellos y sus números originales. El tramo empieza a media frase porque la anterior cambia de plana.

«There was a terrible storm of thunder and rain, toward the end of our yesterdays action: which I said, was somewhat more than natural. —JOHN DEE, JUNE 26, 1584» — el epígrafe del capítulo veintiuno es voz de Dee transcrita del diario, fechada el 26 de junio de 1584: una tormenta al final de la sesión del día anterior que él mismo calificó de algo más que natural.

«I feel I must here briefly outline (if only for my own benefit) the sequential landmarks of the Enochian magick period up to this point: • The reception of the Round Tablet of Nalvage, • The beginning of the reception of the forty-eight calls in the angelic language, • The reception of the order and earthly name of each of the ninety-one parts of the earth, together with: – its divinely given name, – the tribe of Israel to which it is assigned,89 – the direction assigned to that tribe, – the name of its ruling angelic king, – the number of good ministers.» — el recuento de hitos con que DuQuette se orienta a mitad del Book IV, y declara hacerlo para su propio beneficio: la Tabla de Nalvage, el comienzo de las cuarenta y ocho llamadas y las noventa y una partes de la tierra con su nombre divino, su tribu, su dirección, su rey angélico y su número de ministros.

«During the working of Monday, June 25, 1584, Kelley was given in vision four blank grids, each of which was twelve squares wide by thirteen squares high. These grids were said to represent the four quarters of the unlettered Great Table of the vision of a few days earlier. As the vision proceeded, “little pricks,” or dots, began to appear in the squares. Kelley was then instructed to connect the dots in groups of seven, which created sigils, each forming a curious pattern.» — cómo se recibió la Gran Tabla según DuQuette: cuatro cuadrículas en blanco de doce por trece, en las que fueron apareciendo puntos que Kelley tuvo orden de unir de siete en siete, formando sellos.

«When he was through connecting the dots, all but eight of the 624 squares that make up the four grids were covered by eighty-eight characters, each unique in form, each covering seven squares, but none of which intruded upon another character’s squares. These symbols were identified as “the true images of God his Spiritual Creatures.”» — el resultado con sus cifras: ochenta y ocho caracteres únicos, de siete casillas cada uno y sin invadirse, cubriendo todas las 624 casillas menos ocho. La fuente los llamó las verdaderas imágenes de Dios y de sus criaturas espirituales.

«They are called symmetrical characters because each one is formed from the same number of pricks—in this case, seven.» — por qué se llaman caracteres simétricos según DuQuette: porque cada uno se forma con el mismo número de puntos, siete. Y con eso queda identificado lo que llenaba la columna VI de la tabla de las noventa y una partes.

«characters, Kelley was instructed to fill in the squares with letters. Starting at the top left of each grid and moving to the right, letters began to appear to Kelley, one by one, as Dee copied them down. Some of the letters were capitalized, but most were not. A few of the capitalized letters appeared to be written backwards. When all four grids were filled in with letters and characters, it became clear that the characters spelled out names. Not only that, but each of these eighty-eight names also began with a capital letter and contained no other capital letter among the remaining six.» — la segunda pasada sobre las mismas cuadrículas: las letras aparecieron una por una mientras Dee copiaba, algunas mayúsculas y unas pocas escritas al revés; al terminar se vio que los caracteres deletreaban nombres, cada uno con mayúscula inicial y ninguna otra en las seis letras restantes. El tramo empieza a media palabra porque el nombre queda partido por el cambio de plana.

«This phenomenon is in itself impressive, but it is nothing compared to what Dee and Kelley would learn next. Within a few hours (and with a few helpful hints from the angels), the two magicians discovered, to their utter amazement, that the symmetrical characters spelled all but three of the divine names of the ninety-one parts of the earth—names they had been given days earlier and in list format. Figure 67 shows an example of how the divine name of the second part of the earth, Pascomb, is spelled out by its symmetric character.» — el hallazgo que DuQuette pone como el más notable de todos: en unas horas, y con ayuda de los ángeles, los magos vieron que los caracteres simétricos deletreaban casi todos los nombres divinos de las noventa y una partes de la tierra que habían recibido días antes en forma de lista.

«All four grids were filled with similar characters all spelling out (with a few minor irregularities) the names of eighty-eight of the ninety-one parts of the earth.» — la cifra exacta del encaje y su límite, que DuQuette no oculta: ochenta y ocho de las noventa y una partes, y con algunas irregularidades menores.

«The next day the angels tidied up this array by joining the four 12 × 13 grids with a central cross and turning it into one Great Table. The letters of the three missing divine names of the parts of the earth were found distributed in the central cross (sometimes referred to as the Black Cross or the Great Central Cross)» — cómo se cerró el hueco al día siguiente: las cuatro cuadrículas unidas por una cruz central en una sola Gran Tabla, y las letras de los tres nombres divinos que faltaban repartidas en esa cruz, que también se llama Cruz Negra.

«second name, Paraoan, was created from certain of the backwards letters that occupied the squares left vacant by the symmetrical characters (see chapter twenty-four). Things were wrapped up pretty neatly.» — y el nombre noventa y dos, Paraoan, sacado de las letras invertidas que quedaban en las casillas vacías. DuQuette comenta con ironía lo redondo del cierre. El tramo empieza a media palabra porque el ordinal queda partido por el cambio de plana.

«Enochian scholar and magician David R. Jones, wrote: The student of Enochian can compare the lists of names with the sigils, which formulate their existence on the Watchtowers, and easily see the correlation. But realize that the names were delivered first and then the Watchtowers horizontally line by line and after having both figures at hand. The Angels demonstrated that, by discrete (7 letters, the number of letters in each Governor’s name) linear connections, all of the letters given in the Watchtowers could be accounted for from the letters that formulate names of the Governors previously given.» — el argumento no es de DuQuette sino del estudioso y mago David R. Jones, citado a la letra: los nombres se entregaron primero y las Watchtowers después, renglón por renglón, y los ángeles mostraron que todas las letras de las Watchtowers salían, por trazos de siete, de los nombres de los gobernadores ya dados.

«memorization (2 dimensions to 1 dimension then back to 2 dimensions and with directional correlation from a 3 dimensional origin to a 3 dimensional conclusion) on Kelly’s part or an elaborate and extremely obtuse deception on Dee’s part. This constitutes one of the chief proofs of the system.» — el remate del argumento de Jones, planteado como disyuntiva sin tercera salida: o una memorización monumental de segundo y tercer orden por parte de Kelley, o un engaño elaboradísimo por parte de Dee. Jones lo llama una de las pruebas principales del sistema. El tramo empieza a media palabra porque la anterior cambia de plana, y el apellido va aquí Kelly.

«The magicians would eventually be informed that the ninety-one divine names of the parts of the earth are also the names of ninety-one governors who inhabit the thirty Aethyrs, or Aires, or heavens that surround the Watchtowers like a heavenly glass onion. We’ve yet to discuss the Aethyrs because their names (see figure 63, column VII) were among the last bits of information Dee and Kelley received in their Enochian magick workings. The lowest of these Aethyrs, Tex, is inhabited by four governors. The remaining Aethyrs including the highest, Lil, each have three governors.» — la segunda función de esos noventa y un nombres divinos: son también los de los gobernadores que habitan los treinta Aethyrs, cielos que rodean las Watchtowers como una cebolla de vidrio, según la imagen de DuQuette. El más bajo, Tex, tiene cuatro gobernadores; los demás, incluido el más alto, Lil, tienen tres.

«Here it is important for us to simply understand that linking the ninety-one parts of the earth to the thirty Aethyrs was the Enochian way of identifying and linking all levels of divine consciousness from bottom to top. Thus, the dynamics of the Great Table really are a demonstration of how everything in heaven and earth is indeed connected to everything else in heaven and earth.» — para qué sirve ese enlace según DuQuette: unir las noventa y una partes de la tierra con los treinta Aethyrs era el modo enoquiano de identificar y encadenar todos los niveles de consciencia divina de abajo arriba, que es lo que Nalvage había prometido explicarle a Dee.

«At length, E. K. was willed to go down into his Chamber, and I did remain still at our Dineing Table till his return, which was within an hour or somewhat more. And at his return this he brought in writing . . . . —JOHN DEE, APRIL 20, 1587» — el epígrafe del capítulo veintidós es voz de Dee transcrita del diario, fechada el 20 de abril de 1587: Kelley bajó solo a su cámara y volvió al cabo de una hora con algo escrito. Es el momento en que aparece la Tabula Recensa, y Dee no lo presenció.

«After they initially received the Great Table, the magicians were obliged to change or add certain letters in some of the squares. To confuse things further, in documents they received both earlier and later,92 the names of a handful of the ninety-one governors of the table (whose names are spelled out by the symmetrical characters) and the names of specific angels drawn from the Watchtowers of the Great Table are in subsequent communications spelled a bit differently than they appear in the original table. This difference has proven very frustrating to modern Enochian magicians, who naturally would like to be confident in their ability to accurately identify and spell the name of the angel with whom they wish to communicate.» — el problema textual que DuQuette declara antes de operar con la tabla: hubo que cambiar o añadir letras, y en documentos anteriores y posteriores los nombres de varios gobernadores y ángeles aparecen escritos de otro modo. Nombra el costo práctico: el mago no puede estar seguro de cómo se llama el ángel con el que quiere hablar.

«There are other loose-end inconsistencies that plagued Dee and Kelley, one of which was the uncertainty over which compass directions were to be assigned to the four quarters of the Great Table —a problem that Dee appears never to have resolved to his satisfaction» — la segunda inconsistencia, que DuQuette atribuye ya a Dee y no a los copistas: qué dirección cardinal correspondía a cada cuadrante de la Gran Tabla, cuestión que Dee no parece haber resuelto nunca a su gusto.

«using the directional references to identify the four quarters of the Great Table at all. These inconsistencies, however, pale before what happened in April of 1587, nearly three years after Dee and Kelley had ended their Enochian workings.» — la decisión editorial que DuQuette toma ante eso: no usar en absoluto las referencias direccionales. Y el anuncio de que todo eso es menor comparado con lo de abril de 1587. El tramo empieza a media frase porque la anterior cambia de plana.

«For some reason Kelley felt compelled to revisit the mysteries of the Great Table and once and for all settle the questions of unresolved inconsistencies. During a conversation with the archangel Raphael that lasted approximately one hour, he claimed to receive the Tabula Recensa, or “Reformed Table.” This table, while correcting a few of the letters, was characterized by one very dramatic change: three of the quadrants housing the four Watchtowers were shifted to different positions within the full table. This alteration did not change any symmetrical characters, nor did it tinker all that much with the names of the governors or other angels within the table. What it did do was change the basic construction of the Great Table.» — la Tabula Recensa según DuQuette: Kelley, por razones que él no sabe, volvió sobre la Gran Tabla y dijo haber recibido del arcángel Rafael en una hora la Tabla Reformada. El verbo es de reporte, claimed. El cambio dramático no fueron las letras sino que tres de los cuatro cuadrantes cambiaron de sitio.

«For the duration of this book I will, for the sake of consistency, try to use the Tabula Recensa as my main model for both the lettering and arrangement of the Watchtowers of the Great Table. I say “try to use” because for nearly the entire Enochian period the angels referenced the original Great Table (figure 68) when explaining the angelic hierarchies and spelling the names of individual angels. It will be necessary from time to time to refer to the original, unreformed Great Table, especially when we start discussing the Kerubs (see chapters twenty-three and twenty-four), whose names might be dramatically affected by the reformed table’s new arrangement.» — la regla que DuQuette se da y el motivo por el que no puede cumplirla del todo: tomará la Tabula Recensa como modelo, pero durante casi todo el periodo enoquiano los ángeles se refirieron a la tabla original, así que habrá que volver a ella, sobre todo con los Kerubs.

«I should remind the reader that in magick it is eminently possible for many contradictory ideas to be simultaneously true. In the pages that follow, the alert reader will notice that the names of certain angels are spelled in a manner inconsistent with the original Great Table, the Tabula Recensa, and/or other obvious references within the text. It is probable that particular inconsistencies are the result of subsequent angelic instructions or other extenuating reasons. For a practical manual such as this it would be distracting to the point of absurdity for me to pause, footnote, cross reference, defend, and explain each and every one of these aberrations, especially considering the fact that in many instances I myself have not been able to track down the source of the differing lettering.» — la regla de lectura que DuQuette pide para las contradicciones del libro, y es una posición sobre la materia entera: en magia es enteramente posible que muchas ideas contradictorias sean verdaderas a la vez. Anuncia que no anotará ni defenderá cada divergencia de grafía, y confiesa que en muchos casos ni él ha podido rastrear de dónde sale.

«Also for convenience sake, I’m going to represent the segue between the Enochian magick of Dee and Kelley and Enochian magick as it is generally practiced today. Up to this point in the chronology of the adventures of Dee and Kelley, each of the four Watchtowers of the Great Table (both the original and reformed) have been identified by the one of the four Great Seals (see figure 65) or by certain landmark letters. At different times in the original material they have been identified by the order they were received or by the directions: east, south, west, or north. Nowhere in the surviving documents have I been able to find the four quadrants of the Great Table overtly identified as the Elemental Tablets of Fire, Water, Air, and Earth.» — la búsqueda negativa que sostiene toda la crítica de DuQuette a la recepción moderna: en los documentos que sobreviven no ha podido hallar en ninguna parte que los cuatro cuadrantes de la Gran Tabla se identifiquen expresamente como Tablas Elementales de Fuego, Agua, Aire y Tierra. La atribución elemental es posterior.

«That being said, certain clear references in the continuing communications revealed elemental hierarchies and rulerships both of and within the individual Watchtowers. Building on this information, the adepts of the Golden Dawn projected an eminently logical elemental structure to the Great Table, its central Black Cross, and its individual subdivisions. These elemental attributions are the heart and soul of the system of Enochian magick taught and practiced by the Golden Dawn, Aleister Crowley, and most modern practitioners.» — el límite que DuQuette pone a esa negativa: sí hay referencias claras a jerarquías y regencias elementales dentro de cada Watchtower, y sobre ellas la Golden Dawn proyectó una estructura elemental que él llama eminentemente lógica y que es el alma del sistema que hoy se enseña.

«I personally believe that when these more modern adepts treated the Watchtowers as expressions of the elements they were picking up where Dee and Kelley had stopped and were taking the next logical step in the development of the system.» — el juicio con que DuQuette cierra el pleito y lo marca como creencia personal: al tratar las Watchtowers como expresiones de los elementos, los adeptos modernos retomaron donde Dee y Kelley se detuvieron y dieron el paso lógico siguiente. Es la razón por la que él mismo adopta esa nomenclatura de aquí en adelante.

«refer to as the Watchtower, or Elemental Tablet, of Air. • The upper right quadrant of the reformed Great Table I will now refer to as the Watchtower, or Elemental Tablet, of Water. • The lower left quadrant of the reformed Great Table I will now refer to as the Watchtower, or Elemental Tablet, of Earth. • The lower right quadrant of the reformed Great Table I will now refer to as the Watchtower, or Elemental Tablet, of Fire.» — la nomenclatura que DuQuette adopta para el resto del libro y que declara moderna, no de la fuente: cuadrante superior izquierdo Aire, superior derecho Agua, inferior izquierdo Tierra, inferior derecho Fuego, sobre la tabla ya reformada. El tramo empieza a media frase porque el primer inciso queda del otro lado del corte de fragmento.

«There is a fifth Elemental Tablet—the Tablet of Union—that is attributed to the quintessential element, Spirit. It is much smaller, containing only twenty squares, and its letters are drawn from those on the central Black Cross of the Great Table» — la quinta tabla según DuQuette: la Tablet of Union, atribuida a la quintaesencia, el Espíritu, mucho más chica —veinte casillas— y con letras sacadas de la Cruz Negra central. El tramo se corta donde termina la plana.

«the four Watchtowers in precisely the same way Spirit is said to unite and separate the four elements. I will have more to say about this very important tablet in chapter twenty-six.» — continuación: la Cruz Negra une las cuatro Watchtowers del mismo modo en que se dice que el Espíritu une y separa los cuatro elementos. La analogía es la que justifica la quinta tabla.

«The Angels of the 4 angles shall make the Earth open unto you, and shall serve your necessities from the 4 parts of the Earth. —THE ANGEL AVE, JULY 2, 1584» — el epígrafe del capítulo veintitrés es voz transcrita de Ave, fechada el 2 de julio de 1584: los ángeles de los cuatro ángulos abrirán la Tierra y servirán las necesidades del mago desde las cuatro partes de ella.

«These images and characters provide, at least partially, the key to the divine hierarchy of the Great Table. This hierarchy represents the spiritual forces that govern not only the phenomenal universe but also heaven. Let’s take a moment and project the vision of the Golden Talisman upon the Great Table.» — la operación que ordena el capítulo y su límite: la procesión de la visión del Talismán Dorado da, al menos en parte, la clave de la jerarquía divina de la Gran Tabla, y DuQuette la proyecta sobre ella figura por figura.

«The castles are obviously the four Watchtowers (Elemental Tablets) themselves, and the rest of the characters in the vision represent the angelic hierarchy resident in each tablet.» — la primera equivalencia de esa proyección: los cuatro castillos son las cuatro Watchtowers, y los personajes que salen de ellos son la jerarquía angélica que reside en cada tabla.

«I will show how that is done in appendix I. First, let’s see how the cast of characters from the Golden Talisman fit on the individual Elemental Tablets.» — cómo se activa esa jerarquía según DuQuette: entonando una o más de las primeras dieciocho llamadas sobre la tabla y la zona donde reside el ángel, con el procedimiento remitido al apéndice I.

«The first character to issue from each of the castles was the trumpeter. The trumpeters are the Great Seals of the tablets. In our example (the Elemental Tablet of Fire), the seal is the image of the sun emitting rays.» — la segunda equivalencia: los trompeteros de la visión son los Grandes Sellos de las tablas, y en la de Fuego el sello es el sol emitiendo rayos.

«These names appear in the central horizontal row of the Great Central Cross that divides each Elemental Tablet. This cross is made of the two vertical columns that bisect the tablet into left and right; the left column is called the Line of the Father and the right column is called the Line of the Son, and the single central row that bisects the tablet top and bottom is called the Line of the Holy Ghost.» — dónde viven los Tres Grandes Nombres Secretos de Dios y cómo se llaman las líneas de la cruz central de cada tabla: la columna izquierda Línea del Padre, la derecha Línea del Hijo y el renglón central Línea del Espíritu Santo.

«Dee and Kelley were told that the three ensign bearers were respectively of the nature of “3, 4, and 5.” This means that the Three Great Secret Names of God are spelled using the first three letters, the next four letters, and the final five letters of the central horizontal row of the central cross. In the case of the Fire tablet, these letter combinations are: oiP, teaa, pDoce.» — la regla que se les dio para extraerlos: los tres portaenseñas son de la naturaleza de 3, 4 y 5, es decir, las tres primeras letras, las cuatro siguientes y las cinco últimas del renglón central. Los tres nombres de la tabla de Fuego van en la grafía mixta del troceo.

«If there was any doubt as to the angels’ meaning concerning the four sets of the Three Great Secret Names of God, they thoughtfully provided a round diagram with all twelve names neatly represented as ensign flags surrounding a central quartered square. In that diagram, all the letters of the names appeared in uppercase letters: OIP, TEAA, PDOCE.» — la confirmación gráfica que DuQuette agradece a los ángeles: un diagrama redondo con los doce nombres como banderas de enseña, y ahí las letras van todas en mayúsculas. La divergencia de caja entre las dos grafías se consigna, no se arbitra.

«the surviving documents that would suggest the six seniors carry planetary attributions, it is nonetheless a logical assumption; it was made by the adepts of the Golden Dawn and is made by most modern practitioners. For clarity of reference (and for the duration of our discussion), I will adapt the modern planetary designations given to the seniors.» — otra adjudicación moderna que DuQuette adopta declarando su origen: los documentos que sobreviven apenas indican que los seis seniors lleven atributo planetario, pero la suposición es lógica, la hizo la Golden Dawn y la hacen casi todos hoy. El tramo empieza a media frase porque la anterior cambia de plana.

«The six seniors of each of the Elemental Tablets are found on the Great Central Cross of each tablet. The seven-letter names of the six seniors radiate from the center two letters of the cross to its extremities. Figure 74: Positions of the six seniors on the Elemental Tablet of Fire On the Elemental Tablet of Fire, the six seniors are: aaetPio (Mars), adoeoet (Jupiter), aLndVod (Luna), aapDoce (Venus), arinna (Saturn), and a Nodoin (Mercury).» — dónde están y cómo se leen los seis seniors: en la cruz central, con nombres de siete letras que irradian desde las dos casillas del centro hacia los extremos. Los seis de la tabla de Fuego van con su planeta y en la grafía del troceo, que aquí separa a Nodoin.

«In subsequent references to the seniors (such as in lists and prayers), Dee would standardize the capitalization of the names on all the Elemental Tablets. In our example: Aaetpio, Adoeoet, Alndvod, Aapdoce, Arinna, Anodoin.» — la divergencia de grafía que DuQuette consigna sin corregir ninguna de las dos formas: en listas y oraciones posteriores Dee normalizó las mayúsculas de esos mismos nombres.

«In Kelley’s vision of the Golden Talisman, the six seniors from each of the four castles march to the center and meet as pillars that support, as it were, the entire structure.» — cómo se comportan los seniors en la visión: los seis de cada castillo marchan al centro y se encuentran formando pilares que sostienen la estructura entera.

«Revelation of John.96 The twenty-four seniors together are represented on the Golden Talisman as the twenty-four columns that ring the center circle of the talisman (see figure 64).» — el eco bíblico que DuQuette señala y su plasmación en el objeto: los veinticuatro seniors juntos evocan a los veinticuatro ancianos que rodean el trono en el Apocalipsis, y son las veinticuatro columnas que ciñen el círculo central del Talismán Dorado. El tramo empieza a media palabra porque el título del libro bíblico queda partido por el cambio de plana.

«There is a seventh planetary senior who is attributed to the sun. Just as the sun is the central “king” of our solar system, so too is the sun senior identified as king and found in the center of each Elemental Tablet.» — el séptimo senior, el solar, que no está entre los seis: es el rey, y ocupa el centro de cada tabla como el sol el centro del sistema.

«Like the sun, which attracts and holds the planets in orbit, the king of each Elemental Tablet is said to summon and direct the seniors for heavenly duties. When those duties are of a merciful nature, the king spells his name a bit differently than when the duties are those of severity and judgment.» — qué hace el rey según DuQuette y el rasgo que lo distingue: convoca y dirige a los seniors, y escribe su nombre de un modo cuando la tarea es de misericordia y de otro cuando es de severidad y juicio.

«Like those of the six seniors, the seven letters of the king’s name are drawn entirely from the Great Central Cross (the lines of the Father, Son, and Holy Ghost) of the Elemental Tablet. Beginning with the fifth letter from the left in the horizontal line of the Holy Ghost, the name is spelled out in a clockwise whirl that ends in one of the two squares that occupies the center of the cross: either at the sixth letter from the left for operations of mercy (figure 75) or the seventh letter from the left for operations of judgment (figure 76). In the case of the Elemental Tablet of Fire, the letters that hold those positions are both as, so both names are Edlprna.» — cómo se traza ese nombre: en remolino horario desde la quinta letra de la Línea del Espíritu Santo hasta una de las dos casillas centrales, la sexta para misericordia y la séptima para juicio. En la tabla de Fuego las dos casillas llevan la misma letra, así que los dos nombres coinciden.

«example to illustrate how the name of the king is formed by the clockwise whirls because the resulting names are the same. The other three Elemental Tablets yield distinctly different names.» — DuQuette se corrige a sí mismo el ejemplo: justo en la tabla de Fuego los dos nombres del rey salen iguales, y en las otras tres son claramente distintos. El tramo empieza a media frase porque la anterior cambia de plana.

«Each of the four quarters formed by the Great Central Cross is a rectangle five squares wide by six squares high. These quadrants are often referred to in modern Enochian magick as lesser angles or subangles. Just as the reformed Great Table positions the Elemental Tablet of Air in its upper left, Water in its upper right, Earth in its lower left, and Fire in its lower right quadrants, so too each subangle is assigned one of the four elements and positioned on its Elemental Tablet in the same way.» — la subdivisión de cada tabla según DuQuette: cuatro rectángulos de cinco por seis, llamados hoy ángulos menores o subángulos, cada uno con su elemento y en la misma disposición que los cuadrantes de la Gran Tabla reformada.

«Each of the four subangles is dominated by a Calvary cross made up of ten squares (the ten men of the vision of the Golden Talisman), which form the two god names of the subangle.» — qué domina cada subángulo: una cruz de Calvario de diez casillas, que DuQuette identifica con los diez hombres de la visión, y de la que salen los dos nombres divinos del subángulo.

«the six letters of the vertical column of the cross (read top to bottom) was said to summon the angels of the subangle, and the five-letter god name of the horizontal bar of the cross (read left to right) was said to command them. Figure 78 shows the god names rzionr and nrzfm from the Fire subangle (the lower right quadrant) of the Elemental Tablet of Fire.» — la función distinta de cada brazo de esa cruz: el nombre de seis letras de la columna vertical convoca a los ángeles del subángulo y el de cinco letras del brazo horizontal los manda. El tramo empieza a media frase porque la anterior cambia de plana.

«Among modern magicians there are several schools of thought concerning the identity of the sixteen dispositors. The simplest (and in my opinion the most correct) theory holds they are made up of the four angels who reside beneath the arms of the Calvary cross of each of the four subangles of the Elemental Tablet. Referred to as good angels or servient angels, they are invoked and commanded by the god names of their Calvary cross and have powers and knowledge that can be of great practical use to the magician (see appendix IV).» — el desacuerdo moderno sobre los dieciséis dispositores, que DuQuette consigna como escuelas en plural antes de tomar partido: la teoría más simple, y a su juicio la más correcta, los identifica con los cuatro ángeles que residen bajo los brazos de la cruz de Calvario de cada subángulo, llamados ángeles buenos o servientes.

«The names of the servient or good angels can be spelled with four letters (if you omit the central letter from the vertical bar of the Calvary cross) or with five letters (if you include the letter from the cross). In our example, the names are: adre or ad[i]re sisp or si[o]sp pali or pa[n]li» — la doble grafía de esos nombres, que la fuente no resuelve: cuatro letras si se omite la central del brazo vertical, cinco si se incluye. Los ejemplos van tal cual, con la letra opcional entre corchetes.

«This is a logical and very workable way of looking at the angelic hierarchy of the Elemental Tablet and conforms nicely to the vision of the Golden Talisman and to the way Dee composed his prayers to conjure these good angels. This theory does, however, leave out in the cold the four letters above the arm of each Calvary cross.» — el límite que DuQuette le encuentra a su propia teoría preferida: encaja con la visión y con las oraciones de Dee, y deja fuera las cuatro letras de encima del brazo de cada cruz. De ese resto sale el problema de los Kerubs.

«In Christian iconography, every well-appointed crucifix bears a rectangular piece of wood nailed above the head of Christ and displaying the four letters INRI.» — la analogía con que DuQuette introduce esas cuatro letras: como el INRI clavado sobre la cabeza de Cristo en el crucifijo, encima del brazo de cada cruz de Calvario hay cuatro letras.

«name of the Kerub of the sub-angle, a unique spiritual personage. The Golden Dawn dubbed these angels Kerubs.» — la adjudicación del nombre: esas cuatro letras nombran al Kerub del subángulo, y quien los llamó Kerubs fue la Golden Dawn, no la fuente. El tramo empieza a media frase porque la anterior cambia de plana.

«Now, if you are paying attention, you might want to point out that there are only four subangles and only four Calvary crosses (one in each Elemental Tablet), and therefore there should only be four Kerub/dispositors, not sixteen, per tablet. Of course, your observation would be accurate—if we restrict ourselves to spelling their names in a straightforward and orderly manner. But according to this theory, there are actually four Kerubs hidden in the four letters above the arms of every Calvary cross, and these sixteen Kerubs are actually the sixteen dispositors.» — la objeción aritmética que DuQuette le pone en boca al lector —cuatro subángulos y cuatro cruces deberían dar cuatro Kerubs, no dieciséis— y la respuesta de la teoría: en las cuatro letras de encima de cada brazo hay cuatro Kerubs escondidos, y esos dieciséis son los dispositores.

«This subangle’s four Kerubs are created from a simple permutation of the four letters above the arms of the Calvary cross; simply slide the four letters to the left, each time placing the displaced first letter to the back of the line: ZiZa iZaZ ZaZi aZiZ» — la permutación que los produce: correr las cuatro letras a la izquierda y mandar la desplazada al final de la fila. Las cuatro formas van tal cual, con la caja mixta del troceo.

«This dynamic perpetual motion of letters doesn’t stop with the Kerub, for each letter of the Kerub’s name can also rule a column and row of the sixteen letters of the servient angels residing beneath the arm of the Calvary cross.» — cómo sigue esa mecánica hacia abajo: cada letra del nombre del Kerub rige además una columna y un renglón de las dieciséis letras de los ángeles servientes.

«the Kerub, then invoke the servient angel of choice. This is a logical and workable system, but one that doesn’t appear to have been on Dee and Kelley’s menu. In fact, original material suggests that the Kerub is a unique citizen of the subangle, one who is not under the rulership of the Calvary cross, but under a “god” whose name begins with a sacred letter drawn from the Black Cross (the Great Central Cross) of the Great Table.» — el orden de invocación que la teoría prescribe y la objeción documental que DuQuette le opone: es lógico y operable, pero no parece haber estado en el menú de Dee y Kelley, cuyo material sugiere que el Kerub no depende de la cruz de Calvario sino de un dios cuyo nombre empieza con una letra sagrada de la Cruz Negra. El tramo empieza a media frase porque la anterior cambia de plana.

«Neither Dee or Kelley nor the modern magicians of the Golden Dawn ever use the term Super Kerub.» — DuQuette declara que el término Super Kerub no es de nadie más: ni de Dee y Kelley ni de la Golden Dawn. Marca así como propia la categoría con que va a ordenar el capítulo.

«There is, however, a variety of kerubic angel who seems to embody that title. Like the variety of kerubs we’ve just discussed, the names of the Super Kerubs are drawn from the letters above the arms of the Calvary crosses of the subangles of the Great Tablet. But, instead of answering to the two Calvary cross god names of their subangle, the Super Kerubs answer to a higher authority—a supercharged angel who is linked directly to the Black Cross of the unreformed Great Tablet. This angel was the subject of much discussion in the original Dee and Kelley material, for its existence and posers were central to the understanding of the “wicked” angels.» — a qué llama así: ángeles kerúbicos cuyos nombres salen igualmente de encima de los brazos de la cruz, pero que no responden a los dos nombres divinos de su subángulo sino a un ángel superior ligado a la Cruz Negra de la tabla sin reformar. De ese ángel dependía, según DuQuette, la comprensión de los ángeles malvados. La capa de texto imprime posers por powers, sic.

«That shall make the cross that bindeth the 4 Angles of the Table together. The same that stretcheth from the left to right, must also stretch from the right to the left . . . —THE ANGEL AVE, JUNE 25, 1584» — el epígrafe del capítulo veinticuatro es voz transcrita de Ave, fechada el 25 de junio de 1584: la cruz que ata los cuatro ángulos de la Tabla debe extenderse de izquierda a derecha y también de derecha a izquierda.

«I stated earlier that I have been unable to find in the surviving Dee and Kelley material any overt references to the four Watchtowers as being Elemental Tablets of Fire, Water, Air, and Earth. However, the communicating angels gave every indication that the dynamics and hierarchical structure of the Great Table were, at least in part, elemental in nature. In the communication of Monday, June 25, 1584, the angel Ave speaks of the virtues of the table:» — DuQuette repite su búsqueda negativa y le pone al lado lo que sí encontró: ninguna referencia expresa a las Watchtowers como tablas elementales, y en cambio todos los indicios de que la dinámica de la Gran Tabla es, al menos en parte, de naturaleza elemental. La prueba que aduce es el discurso de Ave del 25 de junio.

«First, generally this Table containeth: 1. All humane knowledge. 2. Out of it springeth Physick. 3. The knowledge of all elemental Creatures, amongst you. How many kindes there are, and for what use they were created. Those that live in the air, by themselves. Those that live in the waters, by themselves. Those that dwell in the earth, by themselves. The property of the fire—which is the secret life of all things.» — la lista misma, voz transcrita de Ave: la Tabla contiene todo el saber humano, de ella brota la medicina, y da el conocimiento de todas las criaturas elementales repartidas por aire, aguas y tierra, más la propiedad del fuego, que llama vida secreta de todas las cosas. La numeración del troceo salta del 3 al 5, sic.

«If we look at the four quarters of the Great Table as being the Elemental Tablets of Air, Water, Earth, and Fire, the Black Cross that separates and joins the tablets would then obviously represent Spirit— that quintessential force that binds the four elements together in infinite quantities and ratios to create and sustain the universe, while at the same time keeping the elements separated just enough to retain their identities. This push/pull, active/passive nature is a defining characteristic of Spirit. As I mentioned earlier, this characteristic is illustrated (as every good ceremonial magician knows) by the dynamics of the pentagram, which allow for two types of Spirit pentagram, one active and one passive.» — la lectura que DuQuette hace de la Cruz Negra a partir de esa lista, con su condicional dentro: si los cuatro cuadrantes son las tablas elementales, la cruz que los separa y los junta es el Espíritu, que ata los elementos y a la vez los mantiene distintos. Apoya el carácter doble en el pentagrama activo y pasivo que todo mago ceremonial conoce.

«The Black Cross contains forty letters that radiate from the central blank square. When we read from the top of the column toward the center, we find the curiously spaced and inconsistently capitalized letters e xarp and h Coma. When we start at the center square of the Black Cross and read to the right, we find the letters nanTa and bitom. We can find identical sets of letters if we read from the bottom of the column toward the center and from the center of the row to the left. In other words, the Black Cross contains mirror images of the letter groups e xarp, h Coma, nanTa, and bitom—a phenomenon curiously reflective of the dual nature of Spirit.» — la lectura material de la Cruz Negra: cuarenta letras que irradian de la casilla vacía central y dan, en cada sentido, los mismos cuatro grupos. DuQuette anota que el espaciado y las mayúsculas son caprichosos, y lee el reflejo especular como signo de la dualidad del Espíritu.

«During the same June 25 session, Ave would (in remarkably few words) explain the letters on the Black Cross, answer questions concerning the three missing symmetrical characters of the tenth Aire (Lexarph, Comanan, and Tabitom—the twenty-eighth, twenty-ninth, and thirtieth parts of the earth; see chapter eighteen, figure 63), and demonstrate how those three names construct a master table, the Tablet of Union, which appears to rule the whole Great Table.» — lo que Ave resolvió en esa misma sesión y con pocas palabras, según DuQuette: el sentido de las letras de la Cruz Negra, el paradero de los tres caracteres simétricos que faltaban —los del décimo Aire, partes veintiocho, veintinueve y treinta— y cómo esos tres nombres arman la Tablet of Union, que parece regir la Gran Tabla entera.

«It is my opinion, and I’m sure many will disagree, that there are two hierarchies of angels existing simultaneously in each subangle.» — la tesis con que DuQuette resuelve el pleito de los Kerubs, marcada como opinión y con el desacuerdo anticipado: en cada subángulo conviven dos jerarquías de ángeles a la vez. No elige entre ellas.

«cross, who are invoked before calling upon the four servient angels whose names appear beneath the arm of the cross. In this schema, all the names of the angels in the hierarchy are drawn neatly and exclusively from within the subangle itself. The Kerub plays no role at all.» — la primera de esas dos jerarquías: los dos nombres divinos de la cruz de Calvario invocados antes que los cuatro servientes, con todos los nombres sacados del subángulo mismo y sin papel alguno para el Kerub. El tramo empieza a media frase porque la anterior cambia de plana.

«The second hierarchy, I believe, does not use the two god names of the Calvary cross at all, nor does it necessarily concern itself with the servient angels. Instead, it places a new character, a Super Kerub, or kerubic god, above a group of angels whose names are drawn exclusively from the four letters above the arms of the cross.» — la segunda jerarquía, marcada también como creencia propia: prescinde de los nombres de la cruz y de los servientes, y pone un Super Kerub o dios kerúbico sobre un grupo de ángeles cuyos nombres salen solo de las cuatro letras de encima de los brazos.

«I realize it may sound crazy for us to bounce back to using the unreformed table when locating these angels, but it is the unreformed table the angels used in 1584 when this information was received. For the moment, please ignore the circled backwards letters on the diagram.» — la razón por la que DuQuette vuelve aquí a la tabla sin reformar pese a haberse comprometido con la reformada: es la que los ángeles usaban en 1584, cuando se recibió esta información. Reconoce que la maniobra suena descabellada.

«The letters of the Black Cross are the key to creating the kerubic gods. Note how four of the letters in the column are isolated from others that appear neatly in groups of four. Reading from the top toward the center, the e of e xarp and the h of h Coma are isolated. Reading from the bottom toward the center, the p of exar p and the a of hCom a are also isolated. Note that these four isolated letters appear in the same rows as the Kerubs who live above the arms of the Calvary crosses of all sixteen subangles.» — el detalle en que se apoya toda la construcción: cuatro letras de la columna de la Cruz Negra quedan aisladas de los grupos de cuatro, y esas cuatro caen justo en los mismos renglones que los Kerubs de los dieciséis subángulos.

«To determine the name of a subangle’s kerubic god, simply insert the isolated letter (that appears on the same row as the Kerub’s name) at the beginning of the Kerub’s four-letter name. For example, the Kerub of the Fire subangle of the Fire tablet, ZiZa, would be transformed into the Super Kerub, pZiZa (see figure 80). Instead of ruling the servient angels, this Super Kerub pZiZa directly rules four angels whose names are created by the permutation of the Kerub’s own name: ZiZa, iZaZ, ZaZi, and aZiZ.» — la regla para formar el dios kerúbico: anteponer al nombre de cuatro letras del Kerub la letra aislada de su mismo renglón. El ejemplo va tal cual, y ese dios rige a su vez las cuatro permutaciones del nombre del propio Kerub.

«The important thing to remember is that in this system there are two hierarchies of angels in each of the sixteen subangles: one hierarchy that simply uses the god name of the Calvary cross to summon or contact the serviant angels living under the arms of the cross, and one hierarchy that selects a letter from the Black Cross (outside the Elemental Tablet) and adds it to the Kerub’s name to create a kerubic god who rules four Kerubs whose names are created by the permutation of the regular Kerub’s own name.» — el resumen de las dos jerarquías que DuQuette pide retener, y no las jerarquiza entre sí: una parte del nombre divino de la cruz de Calvario y llega a los servientes; la otra toma una letra de la Cruz Negra, fuera de la tabla elemental, y arma un dios kerúbico sobre cuatro Kerubs permutados. La capa de texto imprime serviant, sic.

«When to use one hierarchy and not the other in a magical operation remains a subject of debate among modern magicians.» — la cuestión que DuQuette deja expresamente abierta: cuándo conviene una jerarquía y cuándo la otra sigue en debate entre los magos de hoy.

«The letters of the Black Cross are also the key to creating the names of the four wicked, or evil or malevolent, angels of each subangle. Up to now we’ve been dealing with angels whose names are representative of complete and balanced segments of the Great Table and its Elemental Tablets. But during the June 25 session, as the angel Ave was expounding on the virtues of the Black Cross, he also introduced Dee and Kelley to a set of angels that are not complete and balanced— angels he referred to as being “wicked.” These malevolent angels manifest aversely the powers of their good-angel subangle neighbors. For example, if the good angels are useful for healing, the wicked angels bring sickness and affliction (see appendix IV).» — de dónde salen los ángeles malvados y qué los define, según DuQuette: la misma Cruz Negra, y a diferencia de los anteriores sus nombres no representan segmentos completos ni equilibrados. Fue Ave quien los presentó, llamándolos malvados, y sus poderes son el envés de los de sus vecinos buenos: donde aquellos curan, estos enferman.

«But some of the wicked angel duties seem rather tempting and are said to be useful in obtaining money and for gambling. Kelley initially got pretty excited about such prospects and was very disappointed when Ave in no uncertain terms told him hands off the evil angels. Why Ave would give details of these critters and turn around and tell the magicians not to use them remains a mystery. Or does it?» — la contradicción que DuQuette consigna sin resolverla, y la deja en pregunta: algunas funciones de los ángeles malvados sirven para conseguir dinero y para el juego, Kelley se entusiasmó y Ave le prohibió tocarlos. Por qué el ángel daría los detalles y luego vedaría el uso queda como misterio abierto.

«The name of an evil angel is a portrait of incompleteness and imbalance supercharged with an injection of the immense power of the Black Cross—a dangerous recipe if there ever was one. Creating it is very simple. Here’s how to do it.» — cómo define DuQuette al ángel malvado por su nombre mismo: retrato de lo incompleto y desequilibrado, sobrecargado con la potencia de la Cruz Negra. La llama receta peligrosa y acto seguido la enseña.

«However, instead of prefacing the four letters of a Kerub’s name, we preface only the first two letters of the servient angel’s name with its neighboring letter from the Black Cross. This three-letter supercharged perversion of the first half of a servient angel’s name is a wicked angel. Figure 83 is the Air (upper left) subangle of the Elemental Tablet of Earth (upper right Elemental Tablet in the unreformed Great Table) with the adjoining Black Cross letters. The four evil angels of this sub-angle are xai, aor, rrs, and piz.» — la receta: en vez de anteponer la letra de la Cruz Negra al nombre entero del Kerub, se antepone a las dos primeras letras del nombre del ángel serviente, y esas tres letras son el ángel malvado. Los cuatro del subángulo de Aire de la tabla de Tierra van tal cual; la capa de texto parte sub-angle al final del renglón y la cita lo restituye unido, como lo imprime el resto del libro.

«And how does one, if one were inclined, call forth these evil angels? Who are their hierarchical rulers? As one might expect, the adverse god names that call forth the evil angels are the names on the Calvary cross spelled backwards. In the case of our example they are iOpgna and xanNu.» — cómo se los convoca, con la reserva puesta en el si a alguien se le antojara: los nombres divinos adversos son los de la cruz de Calvario leídos al revés.

«Ave was particularly concerned that Dee and Kelley locate the name Paraoan on the Great Table. The significance of this great angel has not (at least to my satisfaction) been adequately explored or explained.» — la deuda pendiente que DuQuette declara sobre Paraoan: Ave insistió en que los magos lo localizaran en la Gran Tabla, y el peso de ese ángel no se ha explorado ni explicado a satisfacción de DuQuette. Es una laguna que él señala sin llenar.

«The name Paraoan first appeared among the ninety-one parts of the earth as one of the three divine names (number 65) in the twenty-second Aire. Paraoan is the divine name of the part of the earth designated as Marmarica. According to Enochian scholar Robin Cousins, in Dee and Kelley’s day, Marmarica was a North African coastal region straddling the Egyptian and Libyan coasts, bounded on the east by the River Nile (see appendix III).» — dónde aparece Paraoan y a qué corresponde: nombre divino de la parte sesenta y cinco, Marmarica, en el vigésimo segundo Aire. La localización geográfica no la pone DuQuette sino el estudioso Robin Cousins, y él lo dice.

«Oddly enough, a perfectly good sixty-fifth symmetrical character already existed. It is found in the lower right section of the Elemental Tablet of Water, and spells the name Laxdizi.» — la anomalía que DuQuette expone sin resolver: la parte sesenta y cinco ya tenía su carácter simétrico, que deletrea otro nombre, Laxdizi, en la tabla de Agua.

«Nevertheless, Paraoan seems to also hold the title of the sixty-fifth part of the earth known as Marmarica. The obvious and inescapable similarity between the names Marmarica and America inserts (into my mind at least) an added dimension of mystery to this curious anomaly. Add to this the enigmatic and direful comments Ave made concerning the final n in Paraoan:» — DuQuette deja las dos atribuciones coexistiendo y suma su propia asociación, marcada como cosa de su cabeza: el parecido entre Marmarica y América. Lo que sí es de la fuente son las palabras temibles de Ave sobre la ene final.

«As far as that N. stretcheth in the Character, so far shall that Countrey be consumed with fire, and swallowed into Hell, as Sodom was for wickednesse. The end of all things is even at hand: and the earth must be purified, and delivered to another.» — la advertencia de Ave, voz transcrita del diario en grafía isabelina: hasta donde llegue esa ene en el carácter, ese país será consumido por el fuego y tragado por el infierno como Sodoma, porque el fin de todas las cosas está cerca.

«Dee: I beseech you say somewhat of the N in Paraoan, of which you said, so far as that stretched, should sink to hell. Ave: Every letter in Paraoan, is a living fire: but all of one quality and of one Creation. But unto N is delivered a viol of Destruction, according to that part that he is of Paraoan the Governour.» — el intercambio en que Dee pide aclaración, voz transcrita: Ave responde que cada letra de Paraoan es fuego vivo y de una misma calidad, y que a la ene se le entregó una redoma de Destrucción.

«The letters of the name Paraoan are created from seven of the eight backward letters that appear scattered among the four Elemental Tablets of the Great Table. See the circled letters in figure 82. The eighth backwards letter, the backward L found in the lowermost square on the right of figure 82, has another very important job to do.» — de dónde salen las letras de Paraoan: siete de las ocho letras invertidas repartidas por las cuatro tablas elementales. DuQuette guarda la octava, una ele invertida, para el paso siguiente.

«Recall from the table in chapter eighteen (figure 63) that there were no symmetrical characters for the three parts of the earth assigned to the tenth Aire (those whose divine names were Lexarph, Comanan, and Tabitom). Neither can these three names be found within the available letters in any of the four Elemental Tablets. They are, however, to be found on the Black Cross, and the angel Ave, in his highly productive lecture of June 25, 1584, shows how it is done.» — el hueco que queda por cerrar: las tres partes de la tierra del décimo Aire no tenían carácter simétrico, y sus nombres tampoco están en ninguna de las cuatro tablas elementales. Están en la Cruz Negra, y quien lo mostró fue Ave el 25 de junio de 1584.

«Lexarph, Comanan, and Tabitom are respectively the divine names of the twenty-eighth, twenty-ninth, and thirtieth parts of the earth in the tenth Aire, whose symmetrical characters were missing from the original material concerning the ninety-one parts of the earth. Their characters are simply the straight lines and rotating Ls that spell out their names on the Black Cross.» — la solución del hueco: esos tres nombres son los de las partes veintiocho, veintinueve y treinta, y sus caracteres simétricos son sencillamente las líneas rectas y las eles girando que los deletrean sobre la Cruz Negra.

«Obviously, angelic beings whose names are drawn from the Black Cross are of a nature that sets them apart from their neighbors in the Elemental Tablets. Their presence in the tenth Aire also distinguishes that portion of the ninety-one parts of the earth for special attention— something that will be important to us later.» — la consecuencia que DuQuette extrae y aparta para después: los ángeles cuyos nombres salen de la Cruz Negra son de otra naturaleza que sus vecinos de las tablas, y su presencia distingue al décimo Aire del resto de las noventa y una partes.

«Lexarph, Comanan, and Tabitom also contain within themselves the four names that appear in pairs on the Black Cross, names that are very familiar to practicing Enochian magicians: EXARP, HCOMA, NANTA, and BITOM. These are the four divine names of the elements that (in the practice of modern Enochian magick at least) rule the four Elemental Tablets.» — la tercera función de esos tres nombres: contienen los cuatro que aparecen en pares sobre la Cruz Negra. DuQuette acota que su papel de regir las cuatro tablas elementales corresponde a la práctica moderna, no necesariamente a la fuente.

«These four names are arranged into a table five squares wide by four squares high. This Tablet of Union, in its profound simplicity, extracts the essence and hierarchical dynamics of the entire Great Table. The Tablet of Union is quite literally the Great Table distilled.» — qué es la Tablet of Union según DuQuette: esos cuatro nombres en una tabla de cinco por cuatro que extrae la esencia y la dinámica jerárquica de la Gran Tabla. La llama, literalmente, la Gran Tabla destilada.

«Nalvage is called away and cannot be in Action with you until Wednesday. Then shall you have the Calls that you look for. And so enter into the knowledge and perfect understanding of the 49 Gates and Tables if you will. —THE ARCHANGEL GABRIEL, MONDAY, JULY 9, 1584» — el epígrafe del capítulo veinticinco es voz transcrita de Gabriel, fechada el 9 de julio de 1584: Nalvage ha sido llamado a otra parte y el miércoles llegarán las Llaves que esperan, para entrar en el conocimiento de las cuarenta y nueve Puertas y Tablas.

«In early July of 1584, the two magicians were busy trying to tie up loose ends before a mysterious August deadline. On July 7, the angel Ave waxed eloquent about how Enoch made tablets such as those Dee and Kelley now possessed, and had labored fifty days in prayer and confession before receiving a supreme revelation. It appears from the communication105 that the two magicians were to do likewise.» — la tarea que quedaba pendiente antes del plazo de agosto y el modelo que se les propuso, según DuQuette con verbo cauto: Ave contó que Enoc había hecho tablas como las suyas tras cincuenta días de oración y confesión, y de la comunicación parece desprenderse que ellos debían hacer lo mismo.

«On Thursday, July 12, the angel Ilemese106 began to deliver a nineteenth call, together with its translation. This call was said to be actually thirty calls, bringing the total number of calls to forty-eight. Add the unexpressed “first” call (see chapter sixteen), and we have a grand total of forty-nine (7 × 7) calls.» — cómo cuadra la cuenta de las llamadas según DuQuette: la decimonovena, que empezó a entregar el ángel Ilemese, son en realidad treinta, lo que da cuarenta y ocho, y con la primera no expresada, cuarenta y nueve, siete por siete.

«The next day, Friday the thirteenth, 1584, John Dee’s fifty-seventh birthday, Ilemese delivered the remaining portion of the nineteenth call and revealed that it was the key to accessing the thirty Aires (the heavens connected to the ninety-one parts of the earth). Lastly, he revealed the names of the thirty Aires, which until then had only been identified by numbers (see chapter nineteen, figure 63, columns I and VI).» — el último día de la aventura angélica: viernes trece, cincuenta y siete cumpleaños de Dee, con el resto de la decimonovena llamada, su función como llave de los treinta Aires y, por fin, los nombres de esos Aires, que hasta entonces solo tenían número.

«The first Aire is called _______________ Lil. The second ________________________ Arn. The third __________________________ Zom. 4. _______________________________ Paz. 5. _______________________________ Lit. 6. _______________________________ Maz. 7. _______________________________ Deo. 8. _______________________________ Zid. 9. _______________________________ Zip. 10. _______________________________ Zax. 11. _______________________________ Ich. 12. _______________________________ Loe. 13. _______________________________ Zim. 14. _______________________________ Uta. 15. _______________________________ Oxo. 16. _______________________________ Lea. 17. _______________________________ Tan. 18. _______________________________ Zen. 19. _______________________________ Pop. 20. _______________________________ Chr. 21. _______________________________ Asp. 22. _______________________________ Lin. 23. _______________________________ Tor. 24. _______________________________ Nia. 25. _______________________________ Uti. 26. _______________________________ Des. 27. _______________________________ Zaa. 28. _______________________________ Bag. 29. _______________________________ Rii. 30. _______________________________ Tex.» — la lista de los treinta Aires tal como Ilemese la dictó y como la imprime el troceo, con los espacios en blanco del formulario y sin cotejo contra facsímil: de Lil, el primero, a Tex, el trigésimo.

«Ile: There is all—Now change the name, and the Call is all one. Δ: Blessed be he who onely is always one. I take these names to be as primus, secudus, tertius, and to 30.» — el intercambio que cierra la entrega, voz transcrita del diario: Ilemese declara que ahí está todo y que basta cambiar el nombre para que la Llamada sirva igual; Dee bendice y añade que toma esos nombres por meros ordinales. La delta marca la voz de Dee y el troceo imprime secudus, sic.

«A voice . . . Not so, they be the substantial names of the Aires. Δ: It was said they had no proper names; but were to be called, O thou of the first Aire, O thou of the second, etc. I pray you reconcile the repugnancy of theses two places, as they should seem.» — la corrección y la objeción que le sigue: una voz niega que sean ordinales y afirma que son los nombres sustanciales de los Aires; Dee replica que antes se le había dicho lo contrario y pide que le concilien la contradicción entre los dos pasajes. La discrepancia queda planteada dentro de la propia fuente.

«Dee’s testiness evoked a response from none other than the archangel Gabriel, who was sitting nearby in Kelley’s vision during Ilemese’s discourse. The great angel stood and informed the magicians they now possessed the knowledge they needed. He encouraged them to study and prepare for the August operation and then, after one more little jab at Dee’s cheekiness, delivered a most poignant valediction.» — cómo lee DuQuette esa insistencia de Dee y lo que provoca: la impertinencia hace ponerse de pie a Gabriel, que estaba en la visión de Kelley, para decirles que ya tienen el conocimiento que necesitan y despedirse.

«Gabr . . . Thus has God kept promise with you, and hath delivered you the keyes of his storehouses: wherein you shall find, (if you enter wisesly, humbly, and patiently) Treasures more worth than the frames of the heavens. But it is not August come: Notwithstanding the Lord hath kept his promise with you be the time. Therefore, Now examine you Books, Confer one place with another, and learn to be perfect for the practice and entrance. See that your garments be clean. Herein be not rash: Nor over hasty; For those that are hasty and rash, and are loathsomely appareled, may knock long before they enter.» — la despedida de Gabriel, voz transcrita: Dios cumplió su promesa entregándoles las llaves de sus almacenes, y les manda cotejar un pasaje con otro y prepararse para la operación de agosto. Aquí el mismo aviso sobre las vestiduras se imprime may knock, mientras que en la plana 120 la capa de texto lo da como my knock; las dos formas se consignan sin arbitrar.

«Gab . . . You play with me childishly.» — la respuesta de Gabriel a la insistencia de Dee sobre los nombres, voz transcrita y sin más comentario: juegas conmigo como un niño.

«Thou shalt never know the mysteries of all things that have been spoken. If you love together, and dwell together, and in one God; Then the self-same God will be merciful unto you: Which bless you, comfort you, and strengthen you unto the end. More I would say, but words profit not. God be amongst you.» — las últimas palabras de Gabriel, voz transcrita del diario: nunca conocerán los misterios de todo lo dicho, y la bendición queda condicionada a que se amen y habiten juntos en un mismo Dios. Cierra diciendo que más diría, pero las palabras no aprovechan.

«E.K. Now they both be gone in a great flame of fire upwards» — la anotación de Kelley que cierra el registro, voz transcrita: los dos ángeles se van hacia arriba en una gran llama de fuego.

«Thus, in a dramatic burst of flame, the angels of Enochian magick fell silent, and the most amazing magical operation ever recorded came to an end. Unfortunately, we don’t know if the two magicians actually performed the fifty-day operation scheduled for August. Surviving diary entries for the month treat on other matters. What we are left with, however, is an elegant and remarkably coherent system of vision magick.» — el balance con que DuQuette cierra el Book IV, con el hueco documental dentro: los ángeles callaron, no se sabe si los magos llegaron a hacer la operación de cincuenta días de agosto —los apuntes del mes tratan de otras cosas— y lo que queda es el sistema.

«For those of us who have made Enochian magick a part of our spiritual quest, Gabriel’s parting words ring profoundly true. God did keep promise with Dee and Kelley and delivered unto them (and us) the keys to the storehouses wherein we shall find, if we enter wisely, humbly, and patiently, treasures worth more than the frames of the heavens.» — cómo se apropia DuQuette de la despedida de Gabriel y en nombre de quiénes habla: para quienes han hecho de esto parte de su búsqueda, la promesa se cumplió y las llaves les fueron entregadas también a ellos, con la condición de entrar con sabiduría, humildad y paciencia.

«The Tablet of Union is a Great Table you can put in your briefcase; but EHNB is a Tablet of Union you can put in your pocket. —LON MILO DUQUETTE» — el epígrafe del capítulo veintiséis es el único del libro firmado por el propio DuQuette: la Tablet of Union cabe en un portafolios y EHNB, en el bolsillo. La frase vuelve textual dentro del capítulo.

«I have purposefully placed this brief overview of practical Enochian vision magick after the chronology of Dee and Kelley’s great Enochian adventure. I do so because Enochian vision magick as it is generally practiced today is a system that depends heavily on innovations that were developed long after the great magicians passed into history. Not that I think that modern Enochian magick is an affront to the memories of these two giants of magick. But I do think it is important for us to know the difference between the foundational material and the structures that have later been built upon it.» — la razón del orden del libro, dicha por DuQuette: la práctica va después de la crónica porque lo que hoy se practica depende de innovaciones muy posteriores. Aclara que no lo dice como reproche a la Golden Dawn, sino para que se distinga el material fundacional de lo construido encima.

«I think it is also important to remember that there is nothing particularly sacrosanct about the methods and techniques developed by the Golden Dawn, Crowley, or any other latter-day magicians. As an informed and competent magician, you are just as free as these individuals were and are to develop your own Enochian magick art form based and structured on your personal interpretation and understanding of Dee and Kelley’s experiences and material. After all, in order for you to justly claim the title of magician you must be a magician, not merely a one-man or one-woman Society for Creative Anachronism dedicated to simply recreating the lives and works of real magicians of the past.» — el permiso que DuQuette le da al lector y el límite que le pone: nada hay de sacrosanto en los métodos de la Golden Dawn ni de Crowley, y cualquiera puede armar su propia forma de magia enoquiana; pero para llamarse mago hay que serlo, no dedicarse a recrear la vida de los magos del pasado.

«Enochian vision magick as practiced today can be divided into two broad categories: elemental and aethyric. Both require the ability to scry and to keep a faithful written record of one’s workings. Scrying the Aethyrs has, in my later years, become the focus of most of my Enochian operations, because that process deals most directly with the current state of my personal initiatory career» — la división que DuQuette adopta para la parte práctica —elemental y aetírica— con la condición común de saber escrutar y llevar registro escrito, y su preferencia declarada por los Aethyrs en sus años últimos. El tramo se corta donde termina la plana.

«However, it has not always been so. Indeed, I would never encourage any magician, especially in the early stages of his or her Enochian career, to neglect either branch of Enochian exploration. I spent many years honing my visionary skills by exploring the elemental worlds that not only make up my physical, mental, and emotional environment but also actually represent everything that my limited senses tell me is me.» — el consejo que DuQuette da contra su propia preferencia: nunca aconsejaría descuidar ninguna de las dos ramas, y menos al principio. Fundamenta la elemental en que esos mundos son lo que sus sentidos le dicen que es él mismo.

«The classic tarot image of the Magician shows the magician standing behind a table, upon which are four magical tools; a wand, a cup, a sword, and a disk. These are the four elemental weapons of the magician. They represent respectively the four suits of the tarot and the elements Fire, Water, Air, and Earth. The master card of each suit is the ace. The ace is the “Spirit” of the suit—the “Spirit” of the element. The other cards in the suit are given life by the spirit of the ace. They are essentially subdivisions, components, and aspects of the ace—they all “live” inside the ace.» — el modelo que DuQuette toma prestado para explicar la Tablet of Union: la carta del Mago con sus cuatro armas, los cuatro palos y los cuatro elementos, y el as de cada palo como Espíritu del elemento, dentro del cual viven las demás cartas.

«If we put an ace under a magick microscope, we would first see that it is composed of four major components.109 These are the four court cards (commonly titled king, queen, prince, and princess) that represent respectively the elements Fire, Water, Air, and Earth. For example, if we put the Ace of Wands (Fire) under our magick microscope, we would see that it was composed of the King of Wands (the fiery aspect of Fire), the Queen of Wands (the watery aspect of Fire), the Prince of Wands (the airy aspect of Fire), and the Princess of Wands (the earthy aspect of Fire).» — el segundo nivel de la analogía: dentro de cada as, las cuatro figuras de la corte como aspecto ígneo, acuoso, aéreo y terrestre del mismo elemento. El ejemplo es el As de Bastos.

«The Black Cross of the Great Table reveals Spirit’s influence on an even larger scale. It literally holds together and separates the four Elemental Tablets. The Black Cross is like the ace of aces. All this is expressed most simply and elegantly in the Tablet of Union.» — la traducción del modelo al esquema enoquiano: la Cruz Negra une y separa las cuatro tablas elementales, de modo que es, en la fórmula de DuQuette, el as de los ases, y todo eso se expresa condensado en la Tablet of Union.

«Recall that Exarp, Hcoma, Nanta, and Bitom are the four names found in pairs on the Black Cross of the Great Table. In modern Enochian magick, these Black Cross letters represent the element Spirit. The four names on the Tablet of Union are not merely the master keys to the elemental universe—they are the elemental universe.» — la afirmación fuerte de DuQuette sobre esos cuatro nombres, precedida de la acotación de que su valor como Espíritu es cosa de la magia enoquiana moderna: no son las llaves maestras del universo elemental, son el universo elemental.

«Starting with the top row, we see that EXARP is the elemental world of Air; HCOMA the world of Water; NANTA, Earth; and BITOM, Fire.110 (Note the little symbols of the elements to the left of each row of names.) Now let’s look at the five columns of the Tablet of Union. The leftmost column is made from the four first letters of the names, giving us the name EHNB. At the top of this column is a little circle with spokes inside. This is the symbol of Spirit. It tells us that EHNB is the column of Spirit and the essence of the entire tablet.» — cómo se lee la Tablet of Union según DuQuette: los cuatro renglones dan Aire, Agua, Tierra y Fuego, y la columna de la izquierda, formada por las iniciales, da EHNB, marcada con el símbolo del Espíritu y declarada esencia de toda la tabla.

«Obviously, the angelic entity described by the letters EHNB is profoundly powerful. It is a name that represents and contains within itself the entire Great Table and all the angelic forces within it. E represents the entire the Elemental Tablet of Air, H the Elemental Tablet of Water, N the Elemental Tablet of Earth, and B the Elemental Tablet of Fire.» — qué es EHNB según DuQuette: un nombre que representa y contiene la Gran Tabla entera, con cada una de sus cuatro letras por una tabla elemental completa.

«under a microscope and see COMA. Put N under a microscope and see ANTA. Put B under a microscope and see ITOM. As we move right, the next column is XCAI, whose letters represent the four Air subangles of the four Elemental Tablets and all the resident angels inside the Air subangles. (XCAI would be the four princes of the tarot.) AONT does the same for the Water subangles (queens of the tarot), RMTO for the Earth subangles (princesses of the tarot), and PAAM for the Fire subangles (kings of the tarot).» — cómo las otras dieciséis letras viven dentro de EHNB, con la equivalencia tarótica columna por columna: XCAI para los subángulos de Aire, AONT para los de Agua, RMTO para los de Tierra y PAAM para los de Fuego. El tramo empieza a media frase porque la anterior cambia de plana.

«Now are you starting to see the power resident in the Tablet of Union? If we were to call EXARP, HCOMA, NANTA, and BITOM archangels of the elements, then we would have to say that EHNB is the archangel of archangels of the elements. The Tablet of Union is a Great Table you can put in your briefcase, but EHNB is a Tablet of Union you can put in your pocket.» — el remate de la jerarquía y de la analogía: si aquellos cuatro son arcángeles de los elementos, EHNB es el arcángel de los arcángeles. Aquí DuQuette repite dentro del cuerpo la frase que él mismo puso de epígrafe al capítulo, con la puntuación cambiada.

«The first two calls are dedicated to the Tablet of Union exclusively and are never used to call or visit the angels of the Elemental Tablets. The next four calls (three through six) deal with the angels of the individual letters of EXARP, HCOMA, NANTA, and BITOM, and/or are used to activate and penetrate the native subangles of the Elemental Tablets. (A native subangle is the subangle of an Elemental Tablet that represents the same element as the Elemental Tablet—e.g., the Air Subangle of the Air Tablet, the Water Subangle of the Water Tablet.) The next twelve calls (seven through eighteen) are used to activate and penetrate the remaining three subangles of the Elemental Tablets. How these calls are allotted to the various subangles is an exercise in routine hermetic logic.» — el reparto de las dieciocho llamadas según DuQuette: las dos primeras solo para la Tablet of Union, las cuatro siguientes para las letras de los cuatro nombres y los subángulos nativos, y las doce restantes para los demás subángulos. El criterio de reparto lo despacha como lógica hermética de rutina.

«As I mentioned earlier, it is not necessary for you to have elaborate or expensive models of the Elemental Tablets and the Tablet of Union in order to perform Enochian magick. But it is important that you have a good understanding of them and have the equipment “installed” in your mind. When I work with the angels of the Elemental Tablets or the Tablet of Union, I simply have my four colored Elemental Tablets (positioned as they appear in the reformed Great Table) on a table before me and place my small Tablet of Union on the top of them in the center.» — la regla material que DuQuette repite y su propia disposición de trabajo: no hacen falta modelos caros, hace falta tener el equipo instalado en la cabeza; él pone las cuatro tablas de colores como en la tabla reformada y la Tablet of Union encima, al centro.

«Sylphs and Gnomes and Undines too, Salamanders beckon you . . . —“THEME FROM MOUNT OREAD”» — el epígrafe del capítulo veintisiete no es de la tradición mágica sino de una canción, atribuida a un tema de Mount Oread, y nombra a las cuatro clases de elementales.

«Why on earth would anyone wish to call upon an angel of the elements? What can a salamander (Fire elemental) do for me? When does an undine (Water elemental) come in handy? Does a sylph (Air elemental) really look like Tinkerbell? Are gnomes (Earth elementals) really grumpy? Is exploration of the elements a necessary prerequisite to higher magical workings?» — la ristra de preguntas con que DuQuette abre el capítulo sobre magia elemental, la mitad en broma: para qué sirve una salamandra, si un silfo se parece a Campanita, si los gnomos son de veras gruñones. La última es la seria: si la exploración de los elementos es requisito de lo demás.

«The supreme goal of the magician is spiritual enlightenment and liberation of the soul. Do I expect to accomplish that end through the aid of elemental spirits? Not directly. But the elementals are a part of my world, a part of my being. They move within me and around me. They dwell among themselves in their infinite number, ratios, and proportions. “Know Thyself” was chiseled above the doors of the ancient temples of initiation. How can I know myself when the mysteries of the elements of my own heart and soul remain undiscovered?» — la respuesta de DuQuette, con la negativa dentro: la meta suprema del mago es la iluminación y la liberación del alma, y no espera alcanzarla por medio de los espíritus elementales, al menos no directamente. Los justifica por el conócete a ti mismo, ya que los elementos son parte de su propio ser.

«Enochian elemental magick is not a matter of calling up a spirit to command it to do a job for you, to cause the girl next door to fall in love with you, to bewitch your neighbor’s cow, or to kill an enemy at a distance. Instead, when you visit an Enochian elemental angel in vision, you are exploring a specific aspect of creation» — lo que la magia elemental enoquiana no es, según DuQuette, enumerado con los ejemplos del repertorio popular: mandarle un trabajo a un espíritu, enamorar a la vecina, embrujar la vaca del vecino o matar a distancia. Lo que sí es: visitar en visión un aspecto concreto de la creación. El tramo se corta donde termina la plana.

«embodiment. You see things the way they are in that narrow quadrant of the universe. Once armed with the insights these spiritual specialists can provide, you are better prepared to know how to go about causing the girl next door to fall in love with you or bewitching your neighbor’s cow. (I understand that killing at a distance is less satisfying than one might imagine.)» — y el giro con que DuQuette desarma su propia distinción: quien ha visitado ese cuadrante queda mejor preparado para conseguir justamente lo que acaba de descartar. El paréntesis sobre matar a distancia es humor suyo. El tramo empieza a media palabra porque la anterior cambia de plana.

«Does this really help the magician? First and most obviously, it broadens his or her understanding of how the spirit world is the subjective and underlying reality of the objective world. Just as the educated and seasoned traveler is better equipped than the novice to understand rewards and pitfalls of world travel, a magician experienced with elemental work is endowed with a greater understanding of existence. That in and of itself is a spiritual reward. But more than that, each willed encounter with the angels of the elements activates, readjusts, and rebalances the magician’s own internal elemental components. Like the computer user who periodically defragments the hard drive of his or her computer in order to make things to run more efficiently, the magician is changed and (hopefully) improved with every thoughtful and seriously examined elemental encounter.» — el provecho que DuQuette le adjudica al trabajo elemental, en dos planos: entender que el mundo espiritual es la realidad subyacente del objetivo, y sobre todo que cada encuentro reajusta y reequilibra los componentes elementales del propio mago. La imagen es la del usuario que desfragmenta su disco duro.

«Here are a few of them. The first questions are the simplest yet most important: • What is your name? (Confirm you have who you’ve called.) • What is your nature? The next questions deal with how the angel is perceived by the human senses: • What is your color? • What is your sound (musical note, if possible)? • How do you feel to the human touch? • What do you taste like? • How do you smell? The next questions deal with how the angel makes itself known to us through our thoughts and emotions: • How do I express you through emotions? • In what form of images and ideas are you most revealed to me? • When are you most manifest in my daily life?» — el cuestionario que DuQuette y su clase le hacen a todo ángel elemental, ordenado en tres tandas: identidad y naturaleza, luego los cinco sentidos —color, sonido, tacto, sabor, olor— y por último cómo se expresa en las emociones, en las imágenes y en la vida diaria del operador.

«It is likely that my opinion on this subject will be slightly at odds with a number of practicing Enochian magicians. It is even more certain to receive condemnation by legions of others who don’t actually perform Enochian magick but instead enjoy speculating how Enochian magicians should operate.» — DuQuette anuncia el desacuerdo antes de exponerlo y separa a sus dos públicos: los magos que sí practican, con quienes discrepará un poco, y las legiones que no practican y disfrutan especulando sobre cómo debería operarse.

«Dee and Kelley contacted the angels by praying. Boy, did they pray! There is nothing in the surviving records that suggests that they performed banishing rituals, drew pentagrams or hexagrams in the air, made knocks or magical gestures, or called upon the strings of classic qabalistic Hebrew divine names from the sephiroth of the Tree of Life. The operating procedures of the Golden Dawn and Crowley, however, do all those things and more.» — la búsqueda negativa que funda todo el capítulo: Dee y Kelley contactaban rezando, y en los registros que sobreviven no hay destierros, ni pentagramas o hexagramas trazados en el aire, ni golpes, ni nombres divinos hebreos de las sefirot. Los procedimientos de la Golden Dawn y de Crowley hacen todo eso y más.

«Here is an example of a Golden Dawn–style temple opening appropriate for working with the Elemental Table of Earth. It is a ceremony that incorporates ritual components from the GD’s neophyte degree, the grade that represents Malkuth, the tenth and lowest sephirah on the Tree of Life. As you can see, the ritual invokes the qabalistic hierarchy of divine names, archangels, and angels traditionally attributed to Malkuth and the element Earth.» — la pieza de comparación que DuQuette reproduce entera para que el lector juzgue: una apertura de templo al estilo de la Golden Dawn para la tabla de Tierra, armada con componentes del grado de neófito, es decir, con la jerarquía cabalística de Maljut.

«Give the Sign of the God SET fighting. Purify with Fire and Water, and announce “The Temple is cleansed.” Knock. “Let us adore the Lord and King of Earth! Adonai ha Aretz, Adonai Melehk, unto Thee be the Kingdom, the Sceptre, and the Splendour: Malkuth, Geburah, Gedulah, The Rose of Sharon and the Lily of the Valley, Amen!” Sprinkle Salt before Earth tablet. “Let the Earth adore Adonai!” Make the Invoking Hexagram of Saturn.» — el arranque de esa ceremonia ajena, transcrita: signo del dios Set combatiendo, purificación con fuego y agua, adoración a Adonai ha Aretz con la enumeración de sefirot y epítetos bíblicos, sal esparcida ante la tabla y hexagrama invocador de Saturno.

«In the three great secret Names of God, MOR, DIAL, HCTGA, that are borne upon the Banners of the North, Spirits of Earth, adore your Creator!” Cense the Tablet. “In the name of ICZHIHA, great king of the North, Spirits of Earth, adore your Creator! In the Name of Adonai Ha-Aretz, I declare that the Spirits of Earth have been duly invoked.» — el tramo de esa misma ceremonia donde asoman los nombres enoquianos entre los cabalísticos: los Tres Grandes Nombres Secretos de la tabla de Tierra y el rey Iczhiha. Es justo lo que DuQuette dirá después que hace funcionar el rito.

«operate. For years they were an indispensable part of my operating procedure as well. I discontinued, however, about ten years ago.» — la posición de DuQuette frente a esas aperturas cabalísticas, contada como biografía y no como doctrina: durante años fueron parte indispensable de su procedimiento y hace unos diez que las dejó. El tramo empieza a media frase porque la anterior cambia de plana.

«As we myopically focus on the fascinating intricacies of different magical systems, we often forget the big picture and the fact that we have only one universe to play with. There is no such thing as a separate qabalistic magick universe, or a separate Solomonic magick universe, or a separate Enochian magick universe. These various systems simply oblige us to view the same universe from different angles. Granted, when we look from differing points of view, we see certain similarities. After all, it’s the same universe. There are certain to be recognizable landmarks. But we can’t expect the structure of one system’s point of view to neatly match or define the other.» — el principio con que DuQuette justifica esa renuncia: no hay un universo mágico cabalístico y otro salomónico y otro enoquiano, hay un solo universo mirado desde ángulos distintos. De ahí que haya coincidencias reconocibles y que no quepa esperar que la estructura de un punto de vista calce con la de otro.

«It is my opinion that the spiritual forces inherent in Enochian magick are expressed units of living consciousness that reflect a uniquely structured and organized point of view of the universe—one that the communicating angels obliged Dee and Kelley to build from scratch.» — qué son para DuQuette las fuerzas enoquianas, marcado como opinión propia: unidades expresadas de consciencia viva que reflejan un punto de vista del universo estructurado a su manera, y que los ángeles obligaron a Dee y a Kelley a levantar desde cero.

«With all due respect to the knowledgeable and eloquent magicians who created the above temple opening, I believe that (unless your sensitivities as a magical artist demands it) most of it is completely unnecessary in order for you to properly activate an Elemental Tablet and effectively address the hierarchy of angels who rule the angel you may wish to contact.» — la conclusión práctica, con la cortesía y la salvedad dentro: casi todo el aparato de esa apertura de templo le parece innecesario para activar una tabla elemental, salvo que la sensibilidad artística del mago se lo pida.

«Please don’t misunderstand me. Qabalistic temple openings such as the one above work effectively enough for Enochian elemental operations. But what makes them work, in my opinion, is not the pentagrams, Hebrew god names, or Bible verses. They work because, nestled within the ramblings and tossing about of salt and water, the magician is required to recognize and address by name the spiritual forces of the elements as they are uniquely organized and expressed in the Enochian magick system. In our example above, those names are Nanta (the great angel of Earth from the Tablet of Union), Mor, Dial, Hctga (the Three Great Secret Names of God from the Elemental Tablet of Earth), and Iczhiha (the king of the Elemental Tablet of Earth).» — la precisión con que DuQuette evita que se le lea como descalificación: esas aperturas funcionan, y lo que las hace funcionar no son los pentagramas ni los versículos sino que, entre la sal y el agua, obligan al mago a nombrar las fuerzas elementales tal como el sistema enoquiano las organiza. Los nombres que él aísla del rito son cinco.

«system calls Adonai ha Aretz, Adonai Melehk, Malkuth, the Rose of Sharon, and the Lily of the Valley—everything the other system calls forth by means of pentagrams, gestures, and Bible verses—are all wrapped up and neatly addressed in the Enochian system in the names Nanta, Mor, Dial, Hctga, and Iczhiha.» — la equivalencia que DuQuette establece entre los dos sistemas: todo lo que el cabalístico convoca con pentagramas, gestos y versículos queda envuelto en el enoquiano en esos cinco nombres. El tramo empieza a media frase porque la anterior cambia de plana.

«If you conclude that my thoughts on this subject have some merit, I encourage you to customize for yourself a simply formatted little speech that addresses by name and in proper order the various angelic personages of the hierarchies of each Elemental Tablet.» — lo que DuQuette propone en lugar del aparato ceremonial, y lo condiciona a que el lector le dé la razón: un discursito de formato simple que nombre por orden a los personajes angélicos de la jerarquía de cada tabla.

«The lower the angel you wish to contact is in the hierarchy of the Elemental Tablet, the more superior angels there are above it who must be named and addressed. Therefore, for our example I will use Adre, a lowly servient angel found under the arms of the Calvary cross of the Fire Subangle of the Elemental Tablet of Fire.» — la regla que ordena su protocolo: cuanto más bajo está el ángel buscado, más superiores hay que nombrar antes. Por eso elige como ejemplo el caso más trabajoso, un ángel serviente.

«Before embarking on any formal magical operation it is helpful, indeed necessary, to feel good about oneself. Therefore, I always recommend that the magician first bathe, dress in clean clothing, and operate in a clean and uncluttered space. It is also wise to formally purify and banish the area before operating. These preliminary ceremonies can be as simple or as elaborate as you feel necessary. I always begin with a simple Lesser Banishing Ritual of the Pentagram that I’ve customized to reflect my own taste and spiritual proclivity.» — los preliminares que DuQuette prescribe y el motivo que da: baño, ropa limpia y espacio despejado, porque antes de operar hay que sentirse bien con uno mismo. Deja el grado de elaboración al gusto de cada quien y declara que él usa un destierro menor del pentagrama adaptado por sí mismo.

«I next perform the Ceremony of Preparation that is outlined in chapter one and appendix I of this book. I consider this ritual an Enochian magick temple opening par excellence. I believe it serves to purify, banish, and consecrate both the temple and the magician in a manner that is in harmony with the universe as perceived by the Enochian angels. It also establishes and sanctifies the magical environment for the black mirror or scrying stone.» — qué lugar le da DuQuette a su propia ceremonia dentro del protocolo: apertura de templo enoquiana por excelencia, que purifica, destierra y consagra en armonía con el universo tal como lo ven los ángeles enoquianos.

«Only one call is necessary if your target angel resides in the Great Central Cross (one of the Three Great Secret Names of God, a senior, or a king). Also, only one call is necessary if your target angel resides in the native subangle of the Elemental Tablet (e.g., the Fire Subangle of the Fire Tablet, the Water Subangle of the Water Tablet, etc.). But if your target angel resides in a non-native subangle (e.g., the Earth Subangle of the Water Tablet, the Air Subangle of the Fire Tablet, etc.), you must also recite an additional call assigned specifically to the subangle.» — la regla de cuántas llamadas hacen falta: una sola si el ángel vive en la Gran Cruz Central o en el subángulo nativo de su tabla, y una segunda, propia del subángulo, si vive en uno no nativo.

«Reciting the sixth call switches on the power of the Elemental Tablet of Fire, as it were, and puts it in standby mode to await more specific actions from the magician.» — qué hace la llamada según la imagen de DuQuette: enciende la potencia de la tabla y la deja en espera, aguardando instrucciones más precisas del mago.

«Whether you feel it or not,112 your recitation of the sixth call has put you in an altered state of consciousness. Magically speaking, you are now present within the environment of the Element Tablet of Fire. You have awakened the spiritual forces of the tablet, and they are waiting to see if you are worthy of their attention.» — lo que DuQuette declara que ocurre se sienta o no: la recitación de la llamada pone al mago en estado alterado y, mágicamente hablando, dentro del entorno de la tabla, con sus fuerzas despiertas y a la expectativa. La capa de texto imprime Element Tablet, sic.

«You prove your worthiness by remembering your manners and addressing by name the angels who reign over your target angel. In the case of a servient angel like Adre, the hierarchy is essentially the whole cast of characters. Starting from the top we have: 1. The Supreme Name of Fire from the Tablet of Union: Bitom.» — cómo se acredita el mago ante ellas, en términos de urbanidad y no de poder: nombrando por orden a los ángeles que reinan sobre el que busca. Para un serviente la lista es el reparto completo, y empieza por el Nombre Supremo del Fuego.

«Fire: Oip, Teaa, Pdoce. 3. The name of the king of the Elemental Tablet of Fire: Edlprna. 4. The names of the six planetary seniors of the Elemental Tablet of Fire: Aaetpio, Adoeoet, Alndvod, Aapdoce, Arinna, and Anodoin. 5. The first god name of the Fire subangle: Rzionr.» — la continuación de esa escala jerárquica, con los nombres tal cual: los Tres Grandes Nombres Secretos, el rey, los seis seniors planetarios y el primer nombre divino del subángulo. El tramo empieza a media frase porque la anterior cambia de plana.

«If the target angel is higher on the hierarchical ladder, there are fewer names to include in your little speech. For example, to call a senior, you only need to use the names in steps 1, 2, and 3 before calling on the name of the target senior. If your target angel is the king of the Elemental Tablet, you only have to use the names in steps 1 and 2.» — la regla inversa: cuanto más alto el ángel buscado, menos nombres hay que decir. Para un senior bastan tres escalones y para el rey de la tabla, dos.

«And what about the kerubic angels who, as we learned earlier, have a separate hierarchy that skips the god names of the subangle? In the case of the Fire subangle of the Elemental Tablet of Fire, simply replace the name in step 5 with the name of the god Kerub (Pziza) and replace the name in step 6 with the name of the Kerub (ZiZa, iZaZ, ZaZi, or aZiZ).» — cómo se adapta el protocolo a la otra jerarquía, la que salta los nombres divinos del subángulo: se sustituye el quinto escalón por el dios Kerub y el sexto por el Kerub mismo, en cualquiera de sus cuatro permutaciones.

«Repeat out loud the name of the target angel, Adre, several times. State why you have called it; ask your questions and/or make your requests, then sit quietly and scry. If necessary, repeat the call to induce a deeper state of mind. If you wish, have a tape recorder running and describe your vision as it unfolds. Don’t tire yourself. Conclude your visionary business at the first signs of fatigue. Thank the angel and formally close the session with a banishing ritual of your choice.» — el paso de la llamada propiamente dicha, con sus cautelas domésticas: repetir el nombre en voz alta, decir para qué se llamó, escrutar, grabar si se quiere, no cansarse, cortar al primer signo de fatiga, agradecer y cerrar con un destierro.

«Immediately transcribe everything into your magical journal. I mean everything: the date and time, weather conditions, astrological aspects (if you know them and care about such things). Even if you think there is nothing to report, write that down, along with your thoughts of why things might not have worked.» — la obligación de registro que DuQuette impone y no admite excepción: fecha, hora, clima y aspectos astrológicos, y si parece que no hubo nada que reportar, se escribe eso mismo junto con las razones por las que se cree que no funcionó.

«The invocation below is what I currently use to acknowledge and invoke the hierarchy of the Elemental Tablet. I will provide the English translation of it first so you will know what it is saying. You may easily customize your own by referring to an Enochian dictionary.114 With the Elemental Tablet before me, I utter each angel’s name and I wave my wand over the squares that spell it.» — la invocación que DuQuette declara usar en el momento de escribir, ofrecida como modelo personalizable con un diccionario enoquiano; el gesto que la acompaña es pasar la varita sobre las casillas que deletrean cada nombre.

«I invoke and move thee, O thou, Spirit (name of target angel). And being exalted above you in the power of the Most High, I say unto you come forth and obey! In the name of (Supreme Name from the Tablet of Union; e.g., Exarp, Hcoma, Nanta, or Bitom); and in the name of (the Three Great Secret Names of God of the Elemental Tablet), and in the name of (the name of the king of the Elemental Tablet), and in the name of (the names of the six seniors of the Elemental Tablet), and in the name of . . . , and in the name of. . . , and in the name of . . . (as many names in hierarchy as necessary),» — la invocación en inglés, con los huecos que el operador rellena: se invoca y se mueve al espíritu, se declara la exaltación sobre él por la potencia del Altísimo y se le manda salir y obedecer, encadenando los nombres de la jerarquía en orden descendente.

«Here is the same invocation in the Enochian angelic language: Ol vinu od zacam, Ils gah (name of target angel). Od lansh vors gi Iad, gohus pugo ils niiso od darbs! Dooiap (Supreme Name from the Tablet of Union),» — la misma invocación en lengua angélica, que es la que se pronuncia, tal cual la imprime el troceo y sin cotejo contra facsímil.

«od dooiap (the Three Great Secret Names of God), od dooiap (the name of the king), od dooiap (the names of the six seniors), od dooiap . . . , od dooiap . . . , od dooiap . . . (as many names in hierarchy as necessary), Ol vinu od zacam, Ils gah (name of target angel).» — continuación de la versión enoquiana: la fórmula od dooiap se repite tantas veces como nombres tenga la jerarquía, y la invocación cierra repitiendo la línea con que abrió. El tramo empieza a media frase porque la anterior cambia de plana.

«Everything in heaven and earth is connected to everything in heaven and earth. Everything in heaven and earth is the reflection of everything in heaven and earth. Everything in heaven and earth contains the pattern of everything in heaven and earth. Look hard enough at anything and you will eventually see everything. —RABBI LAMED BEN CLIFFORD» — el epígrafe del capítulo veintiocho se atribuye al rabino Lamed Ben Clifford, personaje que el propio DuQuette usa como voz en otros libros suyos: todo está conectado, todo refleja y todo contiene el patrón de todo, de modo que quien mire bastante una cosa acaba viéndolo todo.

«Right up until the last day of the Enochian period, Dee and Kelley believed that the thirty Aires (column I) were simply the numbered segments of creation that organized in groups of three116 the ninety-one parts of the earth. Furthermore, they believed that the ninety-one divinely appointed names of the parts of the earth (column IV) were merely the angelic language names for the geographic areas of the earth named in column III. But in his final communication of July 13, 1584, the angel Ilemese revealed that the thirty Aires had names and a certain connection with the nineteenth call. As we saw in chapter twenty-five, this concept appeared to confuse and irritate Dee, who seemed comfortable with merely identifying the Aires by their sequence number.» — qué creyeron Dee y Kelley hasta el último día: que los treinta Aires eran meros segmentos numerados que agrupaban de tres en tres las partes de la tierra, y que los nombres divinos eran solo los nombres angélicos de esas regiones. Lo que Ilemese reveló el 13 de julio los desmintió, y a Dee eso lo confundió e irritó.

«Even though there is very little in the surviving material to suggest the thirty Aires are anything other than containers for the parts of the Earth, many modern magicians believe they carry a more profound significance.» — la distancia que DuQuette marca entre fuente y práctica moderna: el material que sobrevive apenas sugiere que los Aires sean otra cosa que contenedores, y muchos magos de hoy les atribuyen un sentido más hondo. Comenta el salto como retomar la pelota donde Dee y Kelley la soltaron.

«In keeping with the most fundamental hermetic and qabalistic axiom, “As above, so below,” the microcosmic world (the physical universe and humanity) is the reflection of a heavenly macrocosmic world of divine consciousness. So too, the thirty Aires containing the ninety-one parts of the earth are the microcosmic reflection of thirty Aethyrs, or heavens, that surround and enclose the four Watchtowers of the Great Table in thirty heavenly spheres, like layers of a glass onion.» — el argumento con que la práctica moderna sostiene ese salto, según DuQuette: por el como es arriba es abajo, los treinta Aires con sus noventa y una partes son el reflejo microcósmico de treinta Aethyrs que envuelven las Watchtowers como capas de una cebolla de vidrio.

«Like the ten sephiroth and the twenty-two paths on the Tree of Life, the thirty Aethyrs can be viewed as emanations of divine consciousness. The thirtieth or lowest Aethyr would represent a level of divine consciousness that is so low that it has almost descended into matter. The first or highest Aethyr would represent the pure and undifferentiated mind of Deity.» — la escala que resulta: los Aethyrs como emanaciones de consciencia divina, del trigésimo, tan bajo que casi ha descendido a la materia, al primero, que sería la mente pura e indiferenciada de la Deidad.

«Using this model, the ninety-one parts of the earth (column IV of figure 63) have their counterparts in the Aethyrs, and the divine names of the parts of the earth (e.g., Pascomb for Syria) also serve as the names of angelic governors, who, in groups of three, inhabit the thirty Aethyrs. The only exception to this is the thirtieth Aethyr, Tex, which has four governors.» — cómo se pueblan esos treinta cielos: los nombres divinos de las partes de la tierra son también los de los gobernadores angélicos, tres por Aethyr, con la única excepción del trigésimo, Tex, que tiene cuatro.

«There is a great temptation among modern practitioners to project this thirty-Aethyr model upon classic schema of the qabalistic Tree of Life with its ten sephiroth and twenty-two paths that also represent levels of consciousness. Some magicians go so far as to suggest the thirty Aethyrs can simply be divided by three into ten units and superimposed upon the ten sephiroth of the Tree. I wish I could believe things were as simple as that, but, as I wrote in the previous chapter, the classic qabalistic and Enochian models oblige us to view the same universe from different angles.» — la tentación que DuQuette nombra para resistirla: superponer los treinta Aethyrs, divididos entre tres, a las diez sefirot del Árbol de la Vida. Dice que ojalá fuera tan simple, y repite su principio de que los dos modelos miran el mismo universo desde ángulos distintos.

«It is to be remarked that the last three æthyrs have ten angels attributed to them, and they therefore represent the ten Sephiroth. 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. The last set consists, therefore, of the first three æthyrs with the remaining twenty-seven as their Malkuth.» — la solución que DuQuette prefiere no es suya sino de Crowley, citado a la letra: los tres últimos Aethyrs suman diez ángeles y representan las diez sefirot, pero esas diez forman a su vez el Maljut de los tres siguientes, y así hasta que los tres primeros tienen por Maljut a los veintisiete restantes.

«He then posited that this entire Tree of Life becomes the Malkuth (the tenth and lowest sephirah) of a higher Tree of Life made up of the nine governors of the next three Aethyrs (Zaa, Des, and Vti), which, in turn, become the Malkuth of the next three Aethyrs, and so on all the way to the top.» — la explicación que DuQuette da de ese encaje: cada Árbol entero se vuelve el Maljut del Árbol siguiente, formado por los nueve gobernadores de los tres Aethyrs de arriba, y así sucesivamente hasta la cima.

«You may or may not resonate with Crowley’s view on this subject. Still, it is not unreasonable to compare the thirty Aethyrs to the sephiroth of the Tree of Life, especially when we understand both of them to be levels of personal initiation. This is precisely how Aleister Crowley viewed them. His systematic scrying of the Aethyrs as he walked across the North African Sahara in 1909 are chronicled in his visionary masterwork, The Vision & the Voice, a text I believe should be studied by anyone interested in Enochian aethyric vision work.» — DuQuette deja al lector libre de suscribir o no a Crowley y sostiene lo que a él le importa: comparar Aethyrs y sefirot es razonable si se entiende que unos y otras son grados de iniciación personal. Remite a The Vision and the Voice, escrutado por Crowley cruzando el Sáhara en 1909, como lectura obligada. La capa de texto parte con guion la palabra sephiroth al final del renglón y la cita la restituye unida.

«number of occasions, scryed each Aethyr, starting with number thirty, Tex, and worked my way to number one, Lil. Even my Monday night magick class is obliged to now and again undergo thirty weeks of scrying the Aethyrs.» — la práctica propia que DuQuette declara, sin compararse con Crowley: ha escrutado los treinta Aethyrs del último al primero varias veces, y su clase de los lunes pasa cada tanto treinta semanas haciéndolo. El tramo empieza a media frase porque la anterior cambia de plana.

«Am I suggesting that we all actually achieve the sublime levels of consciousness represented by the higher Aethyrs? Of course I am not. But most of us receive provocative and highly personal visions, especially in the lower Aethyrs. That is because the lower Aethyrs represent levels of consciousness that we visit all the time in the natural course of daily life—in dreams, reveries, ecstasies, even deliriums. Even as I write these words, I am probably dipping into the lower Aethyrs as my memory and imagination conjure images that help me crystallize ideas I can put into words on the page. (I probably spent my entire senior year of high school staring into space and cruising in the lower Aethyrs!)» — la rebaja de expectativas que DuQuette hace sobre su propia práctica: nadie alcanza los niveles sublimes de los Aethyrs altos, y las visiones vienen sobre todo de los bajos, que son estados que se visitan a diario en sueños, ensoñaciones y delirios. El chiste sobre su último año de preparatoria es suyo.

«As the magician moves upwards through the Aethyrs, he or she progressively breaks into higher and higher levels of consciousness. If we are prepared for this new territory, our visions are characterized by a certain spontaneity and lucidity. However, when we begin to get out of our depth—when we haven’t yet achieved the level of consciousness necessary to take the next step—our visions become murky and forced, as if we were watching it through a glass darkly. When this happens, the vision is usually characterized by a clear message announcing in no uncertain terms that we have not completely penetrated the Aethyr.» — cómo se reconoce el límite propio en el ascenso: preparado, el mago ve con espontaneidad y lucidez; fuera de su hondura, la visión se enturbia y se fuerza, y suele traer un aviso explícito de que el Aethyr no quedó penetrado.

«move in any direction. They will not respond to your questions or vouchsafe a proper vision. When something like this happens, you know that your present level of consciousness (your personal initiatory grade) is not refined enough to penetrate, let alone» — cómo se manifiesta el fracaso en un Aethyr, según el ejemplo hipotético que DuQuette construye: los gobernadores rodean al operador, no lo dejan moverse y no responden. Y qué significa: que su grado iniciático no basta todavía. El tramo se corta donde termina la plana.

«appreciate, the next Aethyr. It’s as though you are a radio receiver not yet equipped to pull in higher broadcast frequencies. In order for you to do so, you will need to upgrade your equipment by raising your level of consciousness.» — continuación, con la imagen que DuQuette usa para explicarlo: un receptor de radio que aún no capta las frecuencias más altas, y que solo sube su nivel actualizando el equipo, es decir, la consciencia.

«You will need to undergo an initiatory experience that will turn you into a more refined visionary traveler. And, as in all initiations, there is an obstacle that needs to be overcome. This obstacle can be anything from a psychological issue to a personal demon or character flaw. In order to conquer it, you might need just a tiny illumination concerning life, or a magical shift of focus, or to successfully achieve a more profound meditative state or trance.» — qué exige esa actualización según DuQuette: una experiencia iniciática con su obstáculo, que lo mismo puede ser un asunto psicológico que un demonio personal o un defecto de carácter, y que se vence con poco: una iluminación pequeña, un cambio de foco o un trance más hondo.

«You won’t need to look far to discover what this obstacle is. It should be right there in your magical diary, in the record of the last Aethyr you could successfully penetrate. Somewhere in that vision there is a message telling you what it is you must do in order to take the next step in your spiritual journey through the heavens. It is sublimely simple and personal. It makes Enochian aethyric magick, in my opinion, a far more effective and user-friendly method of magical self-transformation than guided meditations or qabalistic pathworkings.» — dónde está escrito ese obstáculo: en el diario mágico, en la visión del último Aethyr que sí se penetró, que trae el mensaje de lo que falta hacer. De ahí que DuQuette juzgue la magia aetírica más eficaz y más manejable que las meditaciones guiadas o los recorridos de senderos cabalísticos, y lo marca como opinión.

«The method I use is straightforward. After performing a banishing and the Ceremony of Preparation, I simply recite the nineteenth call using the name of the particular Aethyr I wish to visit. Then I repeat the names of the three governors of the Aethyr until the vision begins.» — el procedimiento aetírico que DuQuette declara usar, en cuatro pasos: destierro, Ceremonia de Preparación, la decimonovena llamada con el nombre del Aethyr, y los nombres de sus tres gobernadores repetidos hasta que empiece la visión.

«The vision is usually characterized by the appearance of one or more of the governors, who stand ready to answer my inquiries and demonstrate the nature of the Aethyr. As in elemental workings, I try not to tire myself, and afterward make a detailed record of my experiences in my diary.» — cómo suele darse la visión y con qué cautelas: aparecen uno o más gobernadores dispuestos a responder y a mostrar la naturaleza del Aethyr, y valen las mismas reglas del trabajo elemental, no cansarse y registrarlo todo.

«Isn’t it enough to see that a garden is beautiful without having to believe that there are fairies at the bottom of it too? —DOUGLAS ADAMS» — el epígrafe del epílogo no viene de la tradición mágica sino de Douglas Adams, y es escéptico: si no basta con ver que un jardín es hermoso sin creer además que hay hadas en el fondo. DuQuette lo pone sin rebatirlo.

«It’s 3:15 a.m. For the last few days, I have arranged to sleep through the afternoon heat of an unseasonably hot late summer so that I may write undisturbed in the cool peace and quiet of the wee hours. This book of magick has taken me much longer to complete than I anticipated. Did I say “complete”? It’s a well-worn cliché that a writer never finishes a work, but merely abandons it. I’ve finally come to the place where I’m ready to abandon this book. For as slim as it is, it might be hard for you to believe that it has dominated my life for nearly three years. My publisher expected it in their hands over a year ago, and for their patience I am profoundly grateful.» — el epílogo repite la escena de madrugada con que abrió el libro, ahora escribiendo: tres años de trabajo, un año de retraso con la editorial, y la fórmula que DuQuette adopta para su propio cierre, que un escritor no termina una obra sino que la abandona.

«This is far from the end of the material, however. I’ve worked hard and long on the appendices, which for the practicing Enochian magician will likely become the most worn and dog-eared section of the book.» — dónde pone DuQuette el peso práctico de su libro: en los apéndices, que pronostica como la parte más manoseada por quien de veras opere.

«I must confess that my attitudes concerning Enochian magick have changed many times in the thirty years it has been part of my life. My respect for the magical art form, however, has never diminished and has continued to grow unabated. I feel like the musician who is moved to tears by listening to a great symphony, but who can play only a few tunes himself and those only moderately well.» — el balance personal con que DuQuette cierra treinta años de trato con el sistema: sus posturas han cambiado muchas veces y su respeto no ha dejado de crecer. Se compara con el músico que llora oyendo una gran sinfonía y solo sabe tocar unas pocas piezas, y a medias.

«this book, it is my sincerest hope that I have been able to help you in some small measure attune your magical ear to the music of the spheres. Adieu.» — la despedida del libro, sin promesa de resultados: la esperanza de haber ayudado en alguna medida a afinar el oído mágico del lector a la música de las esferas. El tramo empieza a media frase porque la anterior cambia de plana.

«The magician purifies and banishes the temple as he or she has skill to do so. Below is a standard version of the Lesser Banishing Ritual, a ceremony used by many modern magicians. Touching the forehead, say, Ateh (“Unto Thee”). Touching the breast, say, Malkuth (“the Kingdom”). Touching the right shoulder, say, ve-Geburah (“and the Power”). Touching the left shoulder, say, ve-Gedulah (“and the Glory”). Clasping the hand upon the breast, say, le-OLAHM, AMEN (“to the Ages, Amen”). Turning to the east, make the banishing pentagram (that of Earth) with the wand. Say, IHVH (“Ye-ho-wau”).» — con qué abre el apéndice I y cómo lo encuadra DuQuette: el destierro queda a criterio del operador, y lo que da es una versión estándar del Ritual Menor de Destierro, es decir, material de la tradición ceremonial moderna y no enoquiano. Sigue la cruz cabalística con sus traducciones y el primer pentagrama al este.

«Turning to the south, again draw the pentagram but say, ADNI (“Adonai”). Turning to the west, again draw the pentagram but say AHIH (“Eheieh”). Turning to the north, again draw the pentagram, but say AGLA (“Agla”). Extend the arms in the form of a cross say: Before me Raphael, Behind me Gabriel, On my right hand, Michael, On my left hand, Auriel, For about me flames the pentagram And in the column stands the six-rayed star.» — el resto del destierro transcrito: los pentagramas al sur, al oeste y al norte con sus nombres divinos, y la fórmula de los cuatro arcángeles en torno al operador, con el pentagrama flameando alrededor y la estrella de seis rayos en la columna.

«The Holy Table is set in the middle of the room upon a carpet of red silk. Four small versions of the Sigillum Dei Aemeth rest under the table legs. In the center of the Holy Table rests the Sigillum Dei Aemeth surrounded by the seven Ensigns of Creation. All are covered and draped by a red silk cloth with gold tassels at the corners.» — el montaje del templo reducido a instrucción de apéndice: Mesa al centro sobre la alfombra roja, cuatro Sigilla menores bajo las patas, el Sigillum al centro rodeado por las siete Ensigns, y todo cubierto por el paño rojo con borlas.

«A chair is positioned before the table so that the face of the scryer may be reflected in the mirror. The chair must also rest upon the red silk carpet. When operating at night or in a dimly lit room, one or two candles can also be place upon the covered Holy Table.» — el criterio con que se coloca la silla, que es óptico y no ceremonial: de modo que la cara del vidente se refleje en el espejo, y con los pies sobre la alfombra. Las velas quedan como opción para el trabajo nocturno.

«The magician recites seven complete rounds of the chant of the Holy Table’s Perimeter Letters. If possible, the magician traces with the wand the covered letters he or she is chanting: Pa Med Fam Med Drux Fam Fam Ur Ged Graph Drux Med Graph Graph Med Med Or Med Gal Ged Ged Drux.» — la instrucción del canto del borde de la Mesa en el apéndice: siete rondas completas, trazando con la varita las letras cubiertas que se van cantando. La primera de las cuatro tiradas va tal cual, sin cotejo contra facsímil.

«Ged Med Graph Van Ur Don Don Un. Pa Drux Ur Ur Don Ur Drux Un Med Graph Graph Med Med Graph Ceph Ged Ged Ur Mals Mals Fam Un. Pa Gon Med Un Graph Fam Mals Tal Ur Pa Pa Drux Un Un Van Un Med Un Gon Drux Drux Ur.» — las otras tres tiradas del borde, que en el apéndice van seguidas y sin la prosa que en el capítulo uno las separa indicando por qué canto va cada lado de la Mesa. Los nombres de las letras angélicas van tal cual.

«The magician chants seven rounds of the twelve letters of the Holy Table’s central square: Med Gon Gisg, Don Ur Van, Ur Don Ur, Med Med Graph. Med Don Ur Med, Gon Ur Don Med, Gisg Van Ur Graph.» — el segundo canto: siete rondas de las doce letras del cuadro central de la Mesa, también en nombres de letras angélicas.

«Galas Gethog Thaoth Horlωn Innon Aaoth Galethog Zaphkiel Zedekiel Cumael Raphael Haniel Michael Gabriel E(l) Me Ese Iana Akele Azdobon Stimcul I Ih Ilr Dmal Heeoa Beigia Stimcul S Ab Ath Izad Ekiei Madimi Esemeli E An Ave Liba Rocle Hagonel Ilemes Sabathiel Zadkiel Madimiel Semeliel Nogahel Corabiel Lavanael» — la nómina completa de los cuarenta y nueve ángeles del Sigillum en siete filas de siete, que es la lista que el capítulo diez construye paso a paso. Aquí la sexta fila cierra en Ilemes y la tercera imprime Azdobon, mientras que el cuerpo del libro da Ilemese y Azdobn; y Horlωn va con omega, como en la plana 97 y a diferencia del canto del capítulo uno. Las divergencias se consignan sin arbitrar.

«When the magician’s work is done, he or she dismisses the spirit with thanks and prays: Thy Name be mighty, O God, which canst open the veil whereby Thy All-Powerful Will may be opened unto men. Power, Glory, and Honor be unto Thee, For Thou art the same God of all things, and art life eternal. Amen.» — cómo se cierra la sesión según DuQuette: despidiendo al espíritu con agradecimiento y rezando la oración de Nalvage, la misma que abre el volumen como epígrafe. Aquí se imprime Honor sin u y se le añade el Amen que el epígrafe no lleva.

«The genuineness of these Keys, altogether apart from any critical observation, is guaranteed by the fact that anyone with the smallest capacity for Magick finds that they work. —Aleister Crowley» — el epígrafe del apéndice II es de Crowley y desplaza la cuestión de la autenticidad al terreno del uso: la garantía de las Llaves no es crítica sino que cualquiera con la menor capacidad para la magia comprueba que funcionan.

«Enochian magick as developed by the Golden Dawn and widely practiced today uses the first eighteen calls to activate the Elemental Tablets and contact the resident angels. However, in the hectic last days of the Enochian period, Dee was instructed in several places to write his own invocations. It remains unclear to me whether or not the angels were suggesting that additional “homemade” invocations were to be created as appendages to the calls. What is clear to me, after more than a quarter century of practical application, is the fact that the calls by themselves (with only the briefest of additional verbiage to awaken target angels and their hierarchy) serve admirably as the only invocations a magician needs.» — el pleito de las invocaciones, con la duda declarada: a Dee se le mandó en varios lugares escribir invocaciones propias, y DuQuette dice no tener claro si eso significaba añadirlas a las Llaves. Lo que sí le queda claro tras más de un cuarto de siglo de práctica es que las Llaves solas bastan.

«Naturally, if it appeals to your magical sense of art to compose additional invocations to utter before and/or after the call, I encourage you to do so.» — la licencia que DuQuette concede enseguida, apelando al sentido artístico del lector y no a la fuente: quien quiera componer invocaciones adicionales antes o después de la Llamada, que lo haga.

«You will probably be very surprised at how little time I spend on this subject. In fact, I am very tempted to simply paraphrase Rabbi Ben Clifford’s heretical comment about the Hebrew language and tell you bluntly, “There is no such thing as correct Enochian pronunciation!”» — cuánto pesa la pronunciación para DuQuette, dicho como provocación y con la fórmula prestada del rabino Ben Clifford sobre el hebreo: no existe tal cosa como una pronunciación enoquiana correcta.

«On a few occasions, the communicating angels gave Dee and Kelley suggestions as to how certain words are pronounced. But, by and large, we modern magicians are left to our own devices as to how to push these awkwardly constructed words out of our mouths.» — la base documental de esa afirmación: los ángeles dieron indicaciones sueltas sobre algunas palabras, y en lo demás los magos modernos quedan librados a su criterio.

«Dee notated the words of the calls in columns. The left column contained the Enochian word in all uppercase letters—PIRIPSOL, for example. The right column contained the word in upper- and lowercase letters, which split the word into syllables and characterized certain letters as if to suggest pronunciation: Pe ríp sol. Sometimes the translation of the word appeared in a center column: “of the heavens.”» — cómo anotó Dee las Llaves y qué se conserva de su intención fonética: una columna con la palabra en mayúsculas, otra con la palabra partida en sílabas y con letras marcadas, y a veces una columna central con la traducción.

«The Golden Dawn and Crowley use a pronunciation method that they felt rolled more fluidly off the tongue. This method obliged the magician to insert a natural Hebrew vowel sound after every Enochian consonant. For example, the word butmon (meaning “mouth”) would be pronounced, “but-a-mon-u.” This is wonderful for words such as this one, giving it an almost Italian lilt. But things get a little crazy when in comes to the letter z, which the English currently pronounce as “zed” and in Dee and Kelley’s day was pronounced “zod.”» — el método de la Golden Dawn y de Crowley: insertar una vocal hebrea después de cada consonante enoquiana. DuQuette concede que a algunas palabras les da un aire italiano, y señala dónde se descompone, en la zeta, que en tiempos de Dee se pronunciaba zod.

«The angels did on occasion instruct Dee when and when not to use “zod,” but its universal application to a language that uses the letter z very often becomes, in my opinion, laughably cumbersome. Using the Golden Dawn pronunciation method, the simple, one-syllable Enochain word zims (“clothing”) becomes the unwieldy, four-syllable “zod-I-mezod.” You tell me which rolls off the tongue better.» — la objeción de DuQuette a aplicar ese recurso sin excepción, marcada como opinión: los ángeles dijeron cuándo usar zod y cuándo no, y generalizarlo vuelve una palabra de una sílaba en un trabalenguas de cuatro.

«The most obvious alternative to the GD pronunciation is simply sounding out the words as they are written (which appears to be what the angels generally wanted Dee and Kelley to do). For the last fifteen years, this is what I have done, and it is what I recommend to students who are learning Enochian magick. Before that, however, I used the GD/Crowley pronunciation method and was perfectly happy with it. In fact, I still use the Italian sounding method when I recite the first and second calls because I have them memorized and they hold a special place in my heart.» — la alternativa que DuQuette practica y recomienda desde hace quince años —pronunciar como está escrito, que parece ser lo que los ángeles querían— con la salvedad autobiográfica de que antes usaba el método de la Golden Dawn y todavía lo usa para las dos primeras Llamadas, por memoria y por afecto.

«Both methods work just fine. In fact, any sincere effort on the part of the magician to sound out the words as they appear in the call works. Some of the best group scrying sessions I have experienced have followed the most horribly butchered recitations of the calls. It’s as though the Enochian angels (like the French) appreciate any attempt on your part to speak their language.» — la conclusión que desactiva el pleito: los dos métodos funcionan, y algunas de sus mejores sesiones de grupo vinieron después de recitaciones espantosamente destrozadas. La comparación con los franceses es suya.

«just shoo it away. But if it hopped up on your shoe and started to talk to you in your native tongue, you’d be impressed. You wouldn’t even care if it spoke with a thick accent!» — la analogía con que DuQuette lo remata: a un ratón que chilla se le espanta, y a uno que habla en tu idioma se le escucha aunque tenga acento cerrado. El tramo empieza a media frase porque la anterior cambia de plana.

«I have tried to present the calls below as close as possible to the original spelling, breaks, letter characterization, and punctuation. The English translation that follows each call is generally punctuated in the same way as the Enochian.» — el criterio editorial que DuQuette declara para el apéndice, con su reserva: reproducir las Llamadas lo más cerca posible de la grafía, los cortes, las marcas de letra y la puntuación originales.

«According to the Golden Dawn, Crowley, and many modern Enochian magick practitioners, the first eighteen calls activate the Tablet of Union, the Elemental Tablets, and the hierarchy of angels resident in the tablets in a very specific (and demonstrably logical) manner. Although the Dee and Kelley source material does not support this arrangement, it has become the foundation of a remarkably workable system. This table is the key to their use.» — la advertencia con que DuQuette entrega el reparto de las dieciocho primeras Llamadas y que vale para todo el apéndice: el material de origen no respalda ese ordenamiento, y aun así se ha vuelto la base de un sistema notablemente operable.

«Ol sonf vorsg, gohó Iad balt lansh calz vonpho, sobra z-ol ror i ta nazpsad Graa ta Malprg Ds hol-q Qa-a nothóa zimz, Od commah ta nobloh zien: Soba thil gnonp prge aldi Ds urbs óbôleh grsam: Casarm ohoréla cabá pir Ds zonrensg cab erm Iadnah. Pïlah farzm od znrza adna od gono Iädpil Ds hom od tóh, Soba Iaod Ipam Ul Ipâmis, Ds lóhôlo vep zomd Poamal od bogpa aäi ta piap piamos od vaoan: ZACARe c-a od ZAMRAM: odo cicle Qaa: zorge, lap zirdo noco MAD: Hoath Iaida.» — la Primera Llamada en lengua angélica, tal como la imprime el troceo, con sus acentos, sus guiones y sus versalitas y sin cotejo contra facsímil.

«I reign over you, sayeth the God of Justice, in power exalted above the firmaments of wrath: in whose hands the Sun is as a sword and the Moon as a through-thrusting fire which measureth your garments in the midst of my vestures, and trussed you together as the palms of my hands: Whose seats I garnished with the fire of gathering and (which) beautified your garments with admiration: to whom I made a law to govern the holy ones and delivered you a rod with the ark of knowledge. Moreover you lifted up your voices and swear obedience and faith to him that liveth and triumpheth whose beginning is not, nor end can not be, which shineth as a flame in the midst of your palace and reignneth amongst you as the balance of righteousness and truth.» — la traducción inglesa de esa misma Llamada, que DuQuette imprime enfrente: el Dios de la Justicia habla en primera persona, con el Sol por espada y la Luna por fuego que atraviesa, y recuerda la ley que dio y la vara que entregó con el arca del conocimiento. La cita se corta antes de las líneas finales, ya fichadas como epígrafe del capítulo diecisiete.

«The East is a house of virgins singing praises amongst the flames of first glory wherein the Lord hath opened his mouth and they are become 28 living dwellings in whom the strength of man rejoiceth, and they are appareled with ornaments of brightness such as work wonders on all creatures. Whose Kingdoms and continuance are as the third and fourth strong towers and places of comfort, the seats of mercy and continuance. O you Servants of Mercy, Move, Appear, sing praises unto the Creator and be mighty amongst us. For to this remembrance is given power and our strength waxeth strong in our Comforter.» — la Séptima Llamada traducida: nombra al Este como casa de vírgenes convertidas en veintiocho moradas vivientes, y se dirige a ellas como Siervos de la Misericordia. Cada Llamada de esta serie fija un cuadrante, una cifra de seres y un epíteto de Dios; eso es lo que cambia de una a otra.

«The Midday the first is as the third heaven made of Hyacinth Pillars 26 in whom the Elders are become strong which I have prepared for my own righteousness sayeth the Lord» — la Octava, en el mismo molde con otros valores: el Mediodía como tercer cielo de veintiséis pilares de jacinto donde los Ancianos se hacen fuertes. El tramo se corta donde termina la plana.

«A mighty guard of fire with two-edged swords flaming (which have vials 8 of wrath for two times and a half: whose wings are of worm-wood and of the marrow of salt) have settled their feet in the West and are measured with their Ministers 9996. These gather up the moss of the earth as the rich man doth his treasure: Cursed are they whose iniquities they are, in their eyes are millstones greater than the earth, and from their mouths run seas of blood: their heads are covered with diamond, and upon their hands are marble sleeves. Happy is he on whom they frown not. For why? The God of righteousness rejoiceth in them! Come away, and not your Vials, for the time is such as requireth comfort.» — la Novena: una guardia de fuego con espadas de dos filos y ocho redomas de ira asentada en el Oeste, con nueve mil novecientos noventa y seis ministros. Es la más terrible de la serie —piedras de molino por ojos, mares de sangre por bocas— y cierra pidiendo que vengan sin sus redomas.

«The Thunders of Judgment and Wrath are numbered and are harbored in the North in the likeness of an oak, whose branches are Nests 22 of lamentation and weeping laid up for the earth, which burn night and day: and vomit out the heads of scorpions and live sulfur mingled with poison. These be The Thunders that 5678 times in the 24th part of a moment roar with a hundred mighty earthquakes and a thousand times as many surges. which rest not neither know any echoing time here. One rock bringeth forth 1000, even as the heart of man doth his thoughts. Woe, Woe, Woe, Woe, Woe, Woe, yea Woe be to the earth! For her iniquities is, was and shall be great. Come away: but not your noises.» — la Décima: los Truenos del Juicio y de la Ira alojados en el Norte a semejanza de un roble, con veintidós nidos de lamento, y una cuenta de cinco mil seiscientos setenta y ocho estruendos en la vigesimocuarta parte de un instante. La sextuplicación del ay va tal cual.

«The Mighty Seat groaned and they were 5 thunders which flew into the East, and the Eagle spake and cried with a loud voice, Come away. And they gathered themselves together in the house of death of whom it is measured and it is as they are, whose number is 31. Come away. For I have prepared for you. Move therefore, and show your selves. Open the Mysteries of your Creation. be friendly unto me: for I am the servant of the same your God, the true worshipper of the Highest.» — la Undécima, y con ella la fórmula fija que cierra casi todas las Llamadas de la serie: moveos y mostraos, abrid los misterios de vuestra creación, sedme amistosos, porque soy siervo del mismo Dios vuestro. Lo que cambia aquí son los cinco truenos, el águila que grita y el número treinta y uno.

«bind up your girdles and visit us. Bring down your train 3663 that the Lord may be magnified whose name amongst you is Wrath.» — la Duodécima: los veintiocho que reinan en el Sur, llamados linternas del dolor, con un séquito de tres mil seiscientos sesenta y tres y un nombre divino que entre ellos es Ira. El tramo empieza a media frase porque la anterior cambia de plana.

«O you swords of the South which have 42 eyes to stir up the wrath of sin, making men drunken which are empty. Behold the promise of God and his power which is called amongst you a Bitter Sting.» — la Decimotercera: espadas del Sur con cuarenta y dos ojos que embriagan a los vacíos, y el nombre divino que aquí se llama Aguijón Amargo.

«O you sons of fury, the daughters of the Just, which sit upon 24 seats vexing all creatures of the earth with age, which have under you 1636, behold the Voice of God promise of him which is called amongst you Fury or Extreme Justice.» — la Decimocuarta: hijos de la furia e hijas del Justo sobre veinticuatro asientos, con mil seiscientos treinta y seis bajo ellos, y el nombre divino como Furia o Justicia Extrema.

«O Thou the governor of the first flame under whose wings are 6739 which weave the earth with dryness which knowest of the great name Righteousness and the Seal of Honor.» — la Decimoquinta abre la subserie de las tres llamas, dirigida ya a un solo gobernador y no a un colectivo: la primera llama, con seis mil setecientos treinta y nueve bajo sus alas, que conoce el nombre Justicia y el Sello del Honor.

«O Thou second flame the house of Justice which hast thy beginning in glory and shalt comfort the just, which walkest on the earth with feet 8763 that understand and separate creatures, great art Thou in the God of Stretch Forth and Conquer.» — la Decimosexta: la segunda llama, casa de la Justicia, que camina la tierra con ocho mil setecientos sesenta y tres pies, y cuyo nombre divino es Extiende y Conquista.

«O Thou third flame whose wings are thorns to stir up vexation, and hast 7336 lamps living going before thee, whose God is Wrath in Anger, gird up thy loins and harken.» — la Decimoséptima: la tercera llama, de alas espinosas, con siete mil trescientas treinta y seis lámparas vivas delante, y por Dios la Ira en Cólera.

«O Thou mighty Light and burning flame of comfort which openest the glory of God to the center of the earth, in whom the Secrets of Truth 6332 have their abiding, which is called in thy kingdom JOY and not to be measured, be Thou a window of comfort unto me.» — la Decimoctava cierra la serie con el registro invertido: no ira sino consuelo, una luz que abre la gloria de Dios hasta el centro de la tierra, con seis mil trescientos treinta y dos Secretos de la Verdad, y cuyo nombre en su reino es Gozo. El mago le pide ser ventana de consuelo.

«The nineteenth call is used to open each of the thirty Aethyrs. Only the name of the Aethyr itself (the third word in the first sentence) is changed. Each Aethyr (with the exception of the thirtieth) is inhabited by three governors, who could be considered personifications of the nature of the Aethyr. I believe that after you recite the call and before you settle down to scry, it is important to pronounce, vibrate, or otherwise incorporate the names of the governors in a brief invocation.» — la regla de uso de la Llamada de los Treinta Aethyrs: es una sola y solo cambia el nombre del Aethyr, tercera palabra de la primera frase. DuQuette añade como creencia propia, no como instrucción de la fuente, que conviene vibrar además los nombres de los tres gobernadores antes de escrutar.

«The names of the Aethyrs and their governors are listed in figure 90. If you wish to incorporate the sigils of the governors (the symmetrical characters) for visualizations or to create talismans, the sigils can be found in chapter eighteen, in column VI of figure 63.» — dónde encontrar lo que hace falta para operar esa Llamada: los nombres de Aethyrs y gobernadores en la figura del propio apéndice, y los sellos de los gobernadores —los caracteres simétricos— en la tabla del capítulo dieciocho.

«Madriax dspraf [name of Aethyr, e.g., TEX, RII, or BAG] chis Micaólz saánir Caósgo, od físis balzizras Iaída, nonca gohúlim, Micma adoían MAD, Iáod bliorb, sabaooáôna chis Lucíftîas perípsol, ds abraássa noncf netáâib Caósgi od tilb adphaht dámploz, toóat noncf gmicálzôma Lrásd tófglo marb yárry IDOIGO od torzulp iáodaf gohól, Caósga tabaord saánir» — el arranque de la Decimonovena Llamada en lengua angélica, con el hueco entre corchetes donde va el nombre del Aethyr, tal como lo imprime el troceo y sin cotejo contra facsímil. El tramo se corta donde termina la plana.

«TORZV, ZACAR, od ZAMRAN aspt sibsi butmôna ds surzas tia baltan. ODO cicle Qáa, od ozama plapli Iadnâmad.» — el cierre de la Decimonovena Llamada en lengua angélica, con la misma fórmula de mando que rematan las dieciocho anteriores, tal cual la imprime el troceo.

«O you heavens which dwell in the First Ayre are mighty in the parts of the Earth, and execute 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 to dispose all things according to the providence of Him that sitteth on the Holy Throne,» — la traducción de esa Llamada, en el ejemplo del Primer Aire: se dirige a los cielos que lo habitan, ejecutores del Juicio del Altísimo, y les recuerda que se les dio entendimiento para disponer todas las cosas conforme a la providencia del que se sienta en el Trono Santo.

«and rose up in the beginning saying: the Earth let her be governed by her parts and let there be division in her, that the glory of her may be always drunken and vexed in it self. Her course, let it run with the heavens, and as a handmaid let her serve them. One season let it confound an other, and let there be no creature upon or within her the same, All her members let them differ in their qualities, and let there be no one creature equal with an other: the reasonable Creatures of the Earth let them vex and weed out one an other, and the dwelling places let them forget their names:» — continuación: la parte más dura de la Llamada, una serie de mandatos de división sobre la Tierra —que se gobierne por partes, que ninguna estación ni criatura sea igual a otra, que las criaturas racionales se hostiguen y se extirpen entre sí— dichos en primera persona por la voz divina.

«the work of man, and his pomp, let them be defaced: his buildings let them become caves for the beasts of the field. Confound her understanding with darkness. For why? It repenteth me I made Man. One while let her be known and an other while a stranger: because she is the bed of a Harlot, and the dwelling place of Him that is Fallen.» — el tramo donde la Llamada llega al hombre: su obra y su pompa desfiguradas, sus edificios vueltos cuevas de fieras, y la razón dicha sin rodeos, que al que habla le pesa haber hecho al hombre. La Tierra queda nombrada lecho de ramera y morada del Caído.

«O you heavens arise: the lower heavens underneath you, let them serve you! Govern those that govern: cast down such as fall! Bring forth with those that increase, and destroy the rotten! No place let it remain in one number: add and diminish until the stars be numbered! Arise, Move, and Appear before the Covenant of his mouth, which he hath sworn unto us in his Justice. Open the Mysteries of your Creation: and make us partakers of Undefiled Knowledge.» — el cierre de la Llamada: los cielos altos convocados a gobernar a los que gobiernan, a derribar a los que caen y a añadir y disminuir hasta que las estrellas queden contadas, y la petición final de que se abran los misterios de la creación y se comparta el Conocimiento Incontaminado.

«Figure 90: Aethyr/governor table» — lo único que el troceo conserva de la tabla de Aethyrs y gobernadores del apéndice II es su pie: la tabla misma sale sin capa de texto, y los nombres de los treinta Aethyrs se fichan desde la plana 191, donde Ilemese los dicta.

«At the very top of the hierarchy of the Elemental Tablet are the Three Great Secret Names of God. In the practice of modern Enochian magick, prior to contacting any angel from the Elemental Tablet, the Three Great Secret Names of God should be first be invoked. The Golden Dawn and Crowley incorporated the names in a preliminary temple opening. Whether you use these temple openings in your own work, or if you design your own opening ritual, you must never neglect to recognize by name the Three Great Secret Names of God who rule the Elemental Tablet you are working with.» — la única regla que DuQuette declara innegociable en todo el apéndice IV: antes de contactar a cualquier ángel de una tabla elemental hay que invocar los Tres Grandes Nombres Secretos de Dios, se use la apertura de la Golden Dawn o una propia. La capa de texto imprime should be first be invoked, sic.

«Next in hierarchical order are the six seniors and the king of the Elemental Tablet. After invoking the Three Great Secret Names of God, these seven angels must also be recognized by name and made part of the magician’s opening ritual. If you are invoking an individual senior, you may omit the names of the other seniors (but not the king) in your ritual opening.» — el escalón siguiente y su única dispensa: los seis seniors y el rey deben nombrarse también en la apertura, salvo que se invoque a un senior en particular, en cuyo caso pueden omitirse los otros cinco pero nunca el rey.

«Figure 99: Good angels, god names, and Kerubs of the subangles, with their duties Figure 100: Wicked angels of the subangles and the adverse gods that invoke and command them» — de las dos tablas que reúnen lo que el libro promete —ángeles buenos con sus nombres divinos, sus Kerubs y sus oficios, y ángeles malvados con los dioses adversos que los mandan— el troceo solo conserva los pies: las tablas mismas salen sin capa de texto.

«Figure 101: Multiple-lettered Elemental Tablet of Fire» — lo mismo vale para las cuatro tablas elementales de letras múltiples, que son la respuesta de DuQuette a las divergencias de grafía anunciada en el capítulo veintidós: quedan fuera de la ficha por falta de capa de texto, igual que las tablas completas de las planas 250 a 253 y la plana 256, que el troceo omite entera.

«Nanta, elo Hoath zorge ef. “Spirit of Earth, first worshiper friendly visit.” —LAIDROM, MARS SENIOR OF EARTH» — el epígrafe del apéndice V se atribuye al propio ángel Laidrom y viene con su traducción: espíritu de la Tierra, primer adorador, visita amistosa. Es la frase que la clase reconstruyó del balbuceo de un vidente, y su procedencia se cuenta en el mismo apéndice.

«For our first evocation session I decided we would work as Dee and Kelley did. One person would act as seer, and one as operator. The seer would recite the appropriate call, receive the vision, and communicate it during or after the session. The operator would banish, open and close the temple, and question the seer.» — el reparto de papeles con que DuQuette montó su primera sesión, calcado del de Dee y Kelley: el vidente recita la Llamada y recibe, y el operador destierra, abre y cierra el templo y pregunta.

«David P. Wilson was not new to the world of magick. In the years leading up to his affiliation with our lodge he sat in with a host of magical groups and workshops in the Los Angeles area upon whom he later heaped scorn and ridicule because of their inability to show him “real magick.” He was the boldest member of the class, also the most impatient and sarcastic.» — cómo presenta DuQuette al vidente de la primera sesión, y no lo idealiza: David P. Wilson venía de rondar grupos mágicos de Los Ángeles a los que después ridiculizaba por no enseñarle magia de verdad, y era el más audaz de la clase y también el más impaciente y sarcástico.

«He had done none of the preliminary Enochian work with the rest of the class. He hadn’t painted a set of tablets or studied any of the calls. Still, he was our only volunteer.» — la condición en que ese vidente entró a la sesión, que DuQuette consigna sin disimular: no había hecho ninguno de los preparativos, ni pintado tablas ni estudiado las Llamadas, y era el único voluntario.

«I can’t recall why but I decided we would to try to contact LAIDROM, the Mars Senior of the Elemental Tablet of Earth. In the spirit of better safe than sorry, we placed the Earth tablet in the South (Capricorn/Cardinal Earth) and enclosed the entire class in a circle cast with a clothesline cord. I banished with the rituals of the lesser and greater pentagrams and hexagrams, then opened the temple and invoked the hierarchical names as indicated in Liber Chanokh.» — el montaje de aquella sesión de 1980, que es el que DuQuette criticaría veinticinco años después: tabla de Tierra al sur por correspondencia zodiacal, círculo de cuerda de tender, destierros menores y mayores de pentagrama y hexagrama, y nombres jerárquicos según el Liber Chanokh de Crowley. La capa de texto imprime we would to try, sic.

«David proceeded to describe in surprising detail a desert vista of flat, trackless white crystalline powder stretching to the horizon. Great gray columns of volcanic rock towering over the plain broke the monotony of the scene.» — la primera visión, en la voz de DuQuette resumiendo lo que el vidente decía: un desierto de polvo cristalino blanco hasta el horizonte, roto por columnas grises de roca volcánica.

«That was it. Nothing else was occurring. I asked him to read the Call a third time. This time there was movement. From out of a pit in the center of his field of vision arose a black cone. He said it sparkled from the inside and upon its surface with thousands of little sparks that jumped from one star to another.» — lo que hizo falta para que la visión se moviera: una tercera lectura de la Llamada. Entonces surgió de un pozo un cono negro que chispeaba por dentro y por fuera.

«He described a humanoid figure draped in the same material from which the cone was constructed. He had an egg-shaped head but no face. His hands were like mittens—there were no fingers. He reached his arm toward the ground and “drew” a diagram in the sand in front of him.» — cómo apareció Laidrom según el relato del vidente: figura humanoide envuelta en la misma materia del cono, con cabeza ovoide sin rostro y manos sin dedos, que dibujó un diagrama en la arena.

«left-hand corner. We took this to be LAIDROM’s signature.» — cómo interpretó el grupo ese dibujo, con el verbo de atribución a la vista: lo tomaron por la firma del ángel. El tramo empieza a media palabra porque la anterior cambia de plana.

«“Lon, I feel like . . . I feel . . . I could make strange sounds.” This was a twist. “Let yourself.” I told him. “Go with it.” I tried to sound calm. “Naw-n tahelo hoh athayzo raygayeff. . . this is bullshit!” “No! Relax, let it happen!” “I mean it, I feel like an idiot. I’m too . . . zil-zi-anzilzi-lo-da-arp nan-ta . . . (inaudible) . . . ef . . . efee thar-zi. I am sorry. That’s all. Nothing like this has ever happened before.» — el episodio central del primer ejemplo, transcrito con las interrupciones incluidas: el vidente rompe a emitir sonidos, se corta a sí mismo llamándolo una idiotez y se disculpa. DuQuette conserva la resistencia y la grosería en vez de limpiarlas.

«I rewound the tape and played it back from the beginning. Everything was crystal clear right up to the time of LAIDROM’s appearance, when the tape developed an irritating distortion. We joked that it was the fault of malicious spirits and expected it to soon clear up. It did not. In fact, by the time the tape reached David’s babbling we could hardly pick his voice out from behind the bank of white noise. As soon as the good stuff was over, the distortion suddenly stopped.» — la anomalía técnica que DuQuette consigna sin adjudicarla: la cinta se distorsionó justo al aparecer el ángel y volvió a la normalidad en cuanto pasó el episodio. La atribución a espíritus maliciosos la da como broma del grupo, no como explicación.

«Starting at the beginning, we painstakingly played with the phonetics of each word (and the word/words following) and attempted to match them with words in the Enochian Dictionary. Obviously we weren’t being very scientific, nor, I confess, very objective.» — la autocrítica de método más nítida del libro: al cotejar los sonidos con el diccionario enoquiano, DuQuette confiesa que no estaban siendo científicos ni objetivos.

«night we would have squeezed some profundity out of any string of sounds. Be that as it may, it took less than an hour to break the sounds up as follows: Nanta, elo Hoath zorge ef.—Which translated neatly to: “Spirit of Earth, first worshiper friendly visit.” Zil zien—“stretch forth hands” Zilodarp Nanta—“stretch forth and conquer Spirit of Earth” Ef etharzi—“visit in peace.”» — la confesión sigue —esa noche le habrían sacado profundidad a cualquier ristra de sonidos— y aun así DuQuette publica el resultado: cuatro frases en enoquiano con su traducción, obtenidas en menos de una hora. El tramo empieza a media frase porque la anterior cambia de plana.

«Needless to say we were all very impressed. At the end of the evening it was agreed that from now on class would meet two times a week to pursue Enochian magick. Sadly, David’s ability to break spontaneously into the Enochian language would diminish rapidly as his familiarity with the language of the Calls increased. After the fourth or fifth session, he lost the ability completely. His visions, on the other hand, became clearer, more informative, and more provocative.» — el desenlace del episodio y su lado triste, que DuQuette no oculta: la clase pasó a reunirse dos veces por semana, y la facultad del vidente de romper a hablar enoquiano se perdió del todo a medida que se familiarizaba con la lengua de las Llamadas. Sus visiones, en cambio, mejoraron.

«Enochian scrying sessions sometimes trigger emotional, physical, even sexual reactions. This is a clip from the transcription of a recording of a Monday night magick class scrying of the twenty-ninth Aethyr, Rii, and its governors: Vastrim, Odraxti, and Gomziam. The main scryer in this session was Jill Belanger, one of the class’s most talented seers. It demonstrates that Enochian visions need not take the form of biblical-esque landscapes and heavy magical pronouncements. I thank Jill for being a very good sport and allowing us to eavesdrop on part of this provocative session.» — cómo encuadra DuQuette el segundo ejemplo y para qué lo pone: las sesiones pueden desatar reacciones emocionales, físicas y sexuales, y la visión de Jill Belanger, nombrada con su permiso, le sirve para sostener que lo enoquiano no tiene por qué tomar forma de paisaje bíblico ni de pronunciamiento solemne.

«As soon as I closed my eyes I was pulled into a vortex, an upside down six, and I was pulled in with an . . . um . . . another gentleman, a lover, a man, and we were instantly in sexual ecstasy going in water in the form of six, and just flying around, the flame was in the middle, and the water was swirling around, and I was lost in that ecstasy for a while. And then I thought, No, I’ve got to figure out what this message is about. So I tried to push him away. (Laughter from class.) And I said (very drunkenly), “Gumziam [sic], where are you? And I kept flying around in the water vortex. I then saw two triangles together but three dimensional, in sort of like (garbled) with three or four sides instead of eight sides» — la visión del Aethyr Rii en voz de la propia Jill Belanger, transcrita de la grabación con sus titubeos y las risas de la clase: un vórtice de agua en forma de seis, un amante y un éxtasis sexual del que ella misma trata de salir para atender el mensaje. Llama al gobernador Gumziam, y la transcripción marca la variante con un sic frente al Gomziam de la presentación.

«other one. One on top, one on bottom, and the widest parts were together, and I was standing in the middle . . . and it was like the floor and ceiling were separating and apart. And I looked down, and the floor was split into four parts, not like the Watchtowers, more like pyramids, and one was Fire, Water, Earth, and Air. Then it was stuck back together again, and I was swirling with the vortex again. I said, “Fire creates, but water solidifies,” and the two pyramids went back together, and I was with this lover again, floating around, and I was like, “OK! Let’s . . . well . . . OK!” (Laughter from class.) I’m still kind of hot! (More laughter.)» — continuación de esa visión: dos pirámides que se separan y se vuelven a juntar, un suelo partido en cuatro que ella distingue expresamente de las Watchtowers, y la fórmula que dice dentro de la visión, que el fuego crea y el agua solidifica. El registro coloquial del cierre se conserva tal cual.

«The following is a letter I received a few days after I returned home from a workshop series on Enochian vision magick.» — la procedencia del tercer ejemplo, que a diferencia de los otros dos no es transcripción de sesión sino una carta que le llegó a DuQuette días después de un taller.

«She, like most of the attendees at this event, had never performed Enochian magick before.» — la condición de esa corresponsal, que es lo que da su peso al ejemplo: como casi todos los asistentes, nunca había hecho magia enoquiana. Su nombre se reserva.

«After I had outlined a brief history of Dee and Kelley’s adventures and the fundamentals of Enochian magick, the entire class took part in the ritual and chanting of the Ring/Lamen/Holy Table/Sigillum/Table of Nalvage opening ceremony. Over their two-part chorus of the Table of Nalvage words, I recited the nineteenth call to penetrate the thirtieth Aethyr, Tex. Here is her experience.» — qué se hizo en ese taller de medio día antes de la visión: una historia breve de Dee y Kelley, la ceremonia de apertura completa cantada por todos, y DuQuette recitando la decimonovena Llamada sobre el coro a dos voces para penetrar el trigésimo Aethyr.

«Hi, Lon! Thanks again for making the trek here . . . last weekend. I learned a lot more than I had expected to, which is why I’m writing you this. I didn’t get a chance to talk to you about the things I saw/did when you led the class foray into the Enochian aethyrs, and initially I was hesitant to because of the rather personal nature of some of it. But after talking to [my brother] about it, I realized I should tell you; in fact, he insisted I do so. So here goes.» — la carta empieza explicando por qué se escribe, en voz de su autora: la naturaleza personal de lo visto la había hecho callar, y escribe por insistencia de su hermano.

«We had just finished chanting the Holy Table, and you indicated we should close our eyes while you continued chanting and just follow the images that came to us. Initially I got not images per se, but random geometric shapes in dark shades of purple and green, mostly pyramids, and pyramids of one color in front of squares of a slightly darker shade. I realized that I was falling forward, swiftly, down a triangular corridor» — el arranque de esa visión en voz de su autora, y empieza por lo que no fue: no imágenes sino formas geométricas en morados y verdes oscuros, pirámides sobre cuadrados, y una caída hacia adelante por un corredor triangular. El tramo se corta donde termina la plana.

«I stopped speeding forward, and the purple mist cleared, and I was standing on a grassy plain, almost a hilltop, that rose slightly upward in front of me. I realized that the thing that had been spinning seemed to be the petals of an enormous flower, a lotus, perhaps, and that the hillside on which I stood was contained within its perimeter, like a low wall going around it. It occurs to me now that I was facing north.» — el lugar al que llega la corresponsal anónima en el trigésimo Aethyr, descrito en su voz: una llanura herbosa en alto, contenida dentro de lo que resulta ser el perímetro de una flor enorme, quizá un loto. La orientación al norte la añade al escribir, no dentro de la visión.

«Beyond the border of the wall were two more hills in the distance, one to the left and one to the right, covered in vibrant dark green vegetation, and I knew vaguely that there were Things in those hills, in those trees, but I didn’t have time to think about them. There were four pillars that stretched up around me, at the outside edge of the wall, and as I watched, a pyramid rose up out of the hillside in front of me, or perhaps I simply moved swiftly up the hillside towards it. It wasn’t large, maybe only one or one and a half stories high; it was four sided and made of a smooth golden brick or stone. A blinding light issued from the center of it, and, as I watched, the form of a person appeared in the center of this light and was walking towards me.» — lo que rodea ese lugar y lo que sale de él, siempre en su voz: dos colinas con vegetación donde intuye Cosas que no alcanza a mirar, cuatro pilares, y una pirámide dorada de una planta y media de la que sale una luz cegadora con una figura humana dentro.

«My impression was that he came from inside the pyramid, and he seemed to be coming from some distance, though the pyramid was just in front of me. He was tall and blond and blue eyed and wore a garment of brilliant white and a golden circlet about his temples. And he was smiling, he was so glad to see me. As he came close to me, he opened up the robe to reveal a column of blinding white light running down the centerline of his body. As my eyes adjusted to the light, I realized that the light was coming from his chakras, which were blazing yellow-white light and shaped sort of like flowers.» — cómo describe ella a esa figura: alto, rubio, de ojos azules, con veste blanca y aro dorado en las sienes, que abre la túnica y muestra una columna de luz blanca formada por sus chakras, con forma de flores.

«I realized that my chakras were also blazing, and the light from his heart chakra leapt forward in a thin white-yellow tongue of flaming light and entered my heart chakra. Then his throat chakra flamed and leapt into mine, and then all of them at once seemed to, and that blazing sharing of chakra light continued for a few blissful, amazing moments.» — el intercambio que sigue, en su voz: la luz del chakra del corazón de él salta al de ella, luego el de la garganta, y después todos a la vez.

«He held his hands out in front of him, palms facing toward me, and I placed my palms against them, and the chakras in our hands blazed with light and fire for a moment. Then he took my hands and pulled them straight into his chest» — el gesto con que la escena pasa del contacto a la transferencia: palma contra palma, y después las manos de ella metidas en el pecho de él. El tramo se corta donde termina la plana.

«I was amazed that he would suggest that, and slightly hesitant, but he was insistent, and together we thrust it into my chest. I was stunned at the force of the heat of the union of our two heart chakras. Then he gestured to his throat chakra, and again, I took his chakra in my hands, and lifted it out of him and into myself, with another flash of heat. Then I lifted out his third-eye chakra, then his solar plexus chakra, then his hara chakra.» — la secuencia de la transferencia, con la reticencia de ella dentro: sorprendida y algo vacilante ante lo que él le indica, y luego los chakras extraídos y trasladados uno por uno, del corazón a la garganta, al tercer ojo, al plexo solar y al hara.

«I reached next for his root chakra, and realized that in my hands it had become a huge golden phallus, and as in the curious logic of dreams, there was only one obvious way to integrate that into myself—I mounted it, and at the same time, I reached up and removed the crown from his head, symbolic of his crown chakra, and placed it on my own head at the same moment as the phallus slid into me, and the universe exploded.» — el punto en que la transferencia se vuelve unión sexual en la visión, contado por ella con la reserva de que obedece a la lógica de los sueños: el chakra raíz vuelto falo dorado y la corona tomada al mismo tiempo.

«It wasn’t sex, it wasn’t copulation, it was Union, I was perfectly with and within him, and he was perfectly with and within me. It was Bliss, it was Light, it was Perfection. I heard his voice in my ear, saying, “You are She, in Whom all things are received; She in Whom all things are created; She in Whom all things are possible. All Life is Yes; all Love is Know. Know that You are She.”» — cómo distingue ella misma lo ocurrido de lo sexual, y la fórmula que dice haber oído de esa figura: que ella es Aquella en quien todo se recibe, se crea y es posible. Es voz de la visión dentro de su relato.

«At about that moment, I heard your voice saying something about looking around for landmarks that would help me remember this place, and I laughed to myself that I wasn’t likely to forget this. You said something else about bringing back a sign, or a key or talisman from this place, something to know and remember it by that would help me return, and I pulled back slightly from this Being with a wordless question, and his answer was to withdraw from me, and he ejaculated into my outstretched hands, a liquid golden light that turned into two glowing, golden diamond crystals that sank into my palms and disappeared as I watched.» — el momento en que la instrucción del operador entra dentro de la visión: DuQuette pide desde fuera que traigan un signo o talismán del lugar, y la respuesta que ella recibe son dos cristales de diamante dorado que se hunden en sus palmas.

«Then your voice said it was time to return, and without another word or glance between us I was whisked up and away, coming back into awareness of my body with a nauseating thud, my head spinning, my heart pounding painfully. You started asking us questions about what we’d seen, where we’d been, and I was too nauseated and out of breath to answer, but was amazed to hear my classmates describing similar imagery, lotuses, columns, towers, pyramids, though no one else seemed to have experienced anything close to what had passed between me and that other Being—or at least, no one was admitting to it.» — el regreso y, con él, el dato que más pesa para la tesis del libro: sus compañeros describieron imágenes semejantes —lotos, columnas, torres, pirámides— y ninguno refirió nada parecido a lo suyo. Ella misma acota que quizá nadie lo admitía.

«We broke for dinner at about that moment, and I realized my opportunity to share it with the class had passed. But I still wanted to tell you about it, and, of course, [my husband]. We had driven separate cars that day, so we met at the house before going to the restaurant, and there at home I told him. He stared at me while I told him about it, saying it was pretty amazing, but I’d better not say anything about it in front of the class as a whole, that it was way too personal to just lay out there that way.» — por qué la visión no llegó a la puesta en común: la cena cortó la sesión y su marido, al oírla, le aconsejó no contarla ante la clase por demasiado personal.

«Perhaps now, after reading my account, you understand my hesitancy. Because to be honest, I wasn’t sure how to begin, I was still unsure of myself, unsure of how to confess to someone I had only just met that under his direction I had experienced a union that was way more than sexual with someone who was apparently a Being of Light, a resident of the angelic realms, and also not sure of what that said about me.» — la razón que ella misma da de su silencio, con las tres inseguridades nombradas: no sabía cómo empezar, no estaba segura de sí, y le costaba confesarle a alguien recién conocido una unión más que sexual con un Ser de Luz bajo su dirección.

«My brother was incredulous. How could I not have shared that vision with you, who of all people, would understand it and sympathize with my bewilderment at it? I should have told you everything, he insisted. I agreed and promised him I would write you. And so here we are.» — quién la hizo escribir: su hermano, incrédulo de que no lo hubiera compartido con quien podría entenderlo. La carta existe por insistencia ajena, no por iniciativa propia.

«There were things about the place that I recognized from dreams —it’s a place I’ve dreamed of my whole life but never consciously remembered until now. I’m not unaccustomed to visions and vision quests, but this was unlike anything I’ve ever done before. My body’s reaction to it was visceral; I crashed hard when I came back from it, and I continued to feel the physical aftereffects for several days (kind of like recovery from a bad acid trip). Today, Thursday, I’m finally feeling back up to steam. My brother said that’s a normal reaction to astral projection; is that really what I did?» — lo que ella declara sobre el efecto: reconoció el lugar de sueños de toda la vida, la reacción del cuerpo fue visceral y los efectos físicos duraron días, comparables a la resaca de un mal viaje. Y la pregunta que le devuelve a DuQuette sobre el diagnóstico de su hermano, si aquello fue de veras proyección astral.

«worker, a master of the Usui and Karuna systems of Reiki, and the student of a spirit guide who was a Native American shaman. The ejaculation of light that turned into crystals and sank into my palms resonates with me on several levels. I think one possible meaning is that it was a gift to use in my healing work. I can tell you that all this week, whenever I’ve “turned on” the Reiki or use one of the symbols, the chakras in my palms blaze with heat, my patients have actually commented on it!» — desde dónde interpreta ella su propia visión, y lo declara: terapeuta de masaje y trabajadora de energía, maestra de reiki usui y karuna, discípula de un guía espiritual. Lee los cristales como un don para su trabajo de sanación, y aduce como prueba el calor que sus pacientes le notan en las palmas.

«Obviously, it’s loaded with archetypal images, but I would love to know what you get from them, what level you sent me to, and if you recognize anything from my descriptions. Thanks for your patience. This has turned from an email into a novella! I eagerly await your reply! Brightest blessings!» — cómo cierra la carta: pidiéndole a DuQuette que le diga qué ve él en esas imágenes y a qué nivel la mandó. El libro reproduce la pregunta y no imprime la respuesta.

«3 Meric Casaubon, ed. A True & Faithful Relation of What Passed for Many Yeers Between Dr. John Dee and Some Spirits. Ed. Clay Holden (orig. pub. London: Maxwell: 1659, rev. ed. New York: Magickal Childe Publications, 1992. A transcription of Dee’s diaries from May 28, 1583 to April 2, 1587. The Magickal Child edition expands on the original and includes additional material by Clay Holden and Lon Milo DuQuette. Hereafter referred to as “A True and Faithful Relation.”» — la nota que fija la edición por la que DuQuette cita los diarios y declara su propia intervención en ella: la relación de Casaubon de 1659 revisada en 1992 por Magickal Childe, con material añadido de Clay Holden y del propio DuQuette. La atribución de la fuente y la del comentarista coinciden aquí, y él lo consigna.

«11 These nearly illegible photocopies were printed from microfilm on primitive heat-sensitive paper that made your skin crawl whenever you touched it.» — cómo eran materialmente las fotocopias con que DuQuette llegó a los manuscritos: casi ilegibles, impresas de microfilm en papel térmico que daba grima al tacto. El dato es del pie de página, no del cuerpo.

«16 There! That wasn’t so hard. Thank you, O remover of obstacles. I do believe the evil spirit of writer’s block has been banished.» — la nota con que DuQuette cierra en broma el marco del bloqueo del escritor con que abrió el libro: da las gracias al removedor de obstáculos y da por desterrado el espíritu maligno del bloqueo.

«18 In magick, “invocation” usually refers to the calling into oneself the presence or the essence of Deity; “evocation” usually refers to calling forth a spiritual entity (angel, spirit, demon, etc.) into the magician’s triangle of art, there to be constrained and charged to do the magician’s bidding. Theoretically, once the magician has successfully invoked the divine presence within himself or herself, he or she then has the divine authority to evoke the spirits.» — la distinción técnica que sostiene el libro entero y que DuQuette deja en nota: invocar es llamar hacia dentro la presencia de la Deidad y evocar es llamar hacia fuera a una entidad al triángulo del arte; y la primera operación es la que da autoridad para la segunda.

«21 The title doctor has for centuries been attached to John Dee, and cer tainly his academic and professorial stature among his counterparts was enormous. However, there are no records of him actually receiving a doctorate degree. We do know that he finished school in 1551 with a master of arts degree and subsequently given a modest pension from King Edward VI.» — la búsqueda negativa que DuQuette hace sobre el título con que él mismo nombra a Dee en la portada: no hay registro de que recibiera doctorado alguno, y lo que consta es la maestría en artes de 1551 y una pensión de Eduardo VI. Concede su estatura académica. La capa de texto parte certainly en dos, sic.

«24 This tidbit of historical trivia did not escape the attention of former British intelligence officer Ian Fleming when he created his fictional superspy, James Bond. Dee’s espionage exploits are featured at an exhibit at the International Spy Museum in Washington, D.C.» — la nota sobre el espionaje de Dee, que DuQuette prolonga hasta el siglo XX: Ian Fleming, oficial de inteligencia británica, se fijó en el dato al crear a James Bond, y el asunto tiene vitrina en el museo del espionaje de Washington.

«27 For good or ill, there will always be a few of these. Foolishness and naïveté are often the most valuable weapons in the magician’s arsenal.» — la nota que matiza la lista de insensatos e ingenuos del capítulo tres, y les da la vuelta: la insensatez y la ingenuidad son a menudo las armas más valiosas del arsenal del mago.

«34 What is likely Dee’s own copy of Aldaraia sive Soyga: Tractatus Astrologico magicus—the Book of Sogya is found in the British Library’s MS Sloane 8.» — dónde está hoy el Libro de Soyga según DuQuette, con la cautela puesta en el probablemente: el ejemplar que fue de Dee sería el MS Sloane 8 de la British Library. La capa de texto imprime aquí Sogya, invirtiendo las letras.

«36 I encourage readers who feel drawn to the mysteries of the tables to review the following brilliant cryptographic analysis of them: Jim Reeds, “John Dee and the Magic Tables in the Book of Soyga,” in John Dee: Interdisciplinary Essays in English Renaissance Thought» — la remisión que DuQuette hace para las tablas del Soyga, y es a un trabajo criptográfico académico, no ocultista: el análisis de Jim Reeds en el volumen colectivo sobre Dee editado por Stephen Clucas. El tramo se corta donde termina la plana.

«37 Carl Sagan (1934–1996) was an American astronomer» — la nota identifica a Carl Sagan por su oficio antes de dar la procedencia de la frase del pastel de manzana. El tramo se corta antes del renglón donde la capa de texto parte con guion la palabra siguiente.

«This quote is from his 1980 television series, Cosmos.» — y la procedencia misma: la frase con que DuQuette convierte el Soyga en metáfora de la creación no viene de un libro sino de la serie de televisión de 1980.

«50 Using the inconsistent spelling characteristic of the Elizabethan period, this phrase originally read, “Beware of wavering: Blot owte suspition of us; for we are gods Creatures that haue Raigned, do Raigne, and shall Raigne for eu∧. All our Mysteries shalbe known unto you.” Dee, Quinti Libri Mysteriorum: Liber Primus, Sloane 3188.» — la nota que muestra lo que DuQuette hace con las voces angélicas en el cuerpo del libro: da el epígrafe del ángel Bralges en su grafía isabelina original, con owte, suspition, haue y shalbe, para dejar constancia de que en el texto lo moderniza. El troceo trae además un carácter roto donde la fuente abrevia ever.

«53 This prayer is not found as such in the original Dee and Kelley mater ial. I composed it to reflect my understanding of the purpose of the Lamen as it relates to myself and the Holy Table.» — la atribución más importante de todas las notas: la oración del Lamen que el rito del capítulo uno reza no está en el material original, la compuso DuQuette. La capa de texto parte material en dos, sic.

«60 And just as we microcosmic human beings are said to be the reflection of macrocosmic Deity, the individual names of the kings and princes on the 12 × 7 table that create the Lamen (which are read from right to left) are the mirror image of the those found on the 12 × 7 table that create the Holy Table (which are read from left to right).» — la simetría que DuQuette añade en nota a su lectura de las dos tablas de 12 x 7: los nombres que hacen el Lamen son la imagen especular de los que hacen la Mesa, como el hombre lo es de la Deidad.

«62 Liber Juratis (The Sworne Booke of Honorius) and Athanasius Kircher’s Eodipus Aegypticus.» — cuáles eran los dos libros con sigilla que Dee tenía y entre los que no supo elegir: el Liber Juratus de Honorio y el Edipo egipcíaco de Kircher. El troceo imprime Eodipus Aegypticus, con las letras trastocadas.

«63 The Greek omega here is the only example of a non-Latin letter appearing on the Sigillum Dei Aemeth.» — la nota que resuelve la divergencia de grafía de Horlωn: la omega griega es la única letra no latina de todo el Sigillum, de modo que la forma con doble ve del capítulo uno es la variante y no al revés.

«80 The calls are also referred to as cries or keys.» — los tres nombres que la tradición da a lo mismo, según DuQuette: llamadas, gritos o llaves.

«81 In this fanciful vignette, Nalvage is reaching into the future to quote the venerable author of The Chicken Qabalah of Rabbi Lamed Ben Clifford.» — la nota con que DuQuette declara la trampa de su diálogo imaginario: la frase que le pone en boca a Nalvage es del rabino Lamed Ben Clifford, es decir, de otro libro suyo, y el ángel la toma del futuro.

«83 Some of the countries are difficult for us to pinpoint today. I am deeply indebted to Robin Cousins, who has done extensive research in this area and written a marvelous essay on the subject, which he has graciously allowed me to reprint in its entirety in appendix III.» — la nota que fija la autoría del apéndice III: el ensayo es de Robin Cousins, reproducido íntegro con su permiso, y DuQuette declara su deuda con esa investigación.

«86 The four cloths were colored: The one in the east was red; the south, white; the west, green; and the north, black.» — el dato que el cuerpo omite de la visión de los cuatro castillos y que DuQuette guarda en nota: los colores de los cuatro paños, rojo al este, blanco al sur, verde al oeste y negro al norte.

«97 INRI is an acronym of the Latin phrase Iesvs Nazarenvs Rex Iudaeorvm, “Jesus the Nazarene, King of the Jews.” It appears in the Gospel of John (chapter 19, verse 19).» — la nota que desarrolla la analogía del crucifijo con que se introducen los Kerubs: INRI como acrónimo del rótulo latino del evangelio de Juan.

«98 In astrology it is the four fixed, or kerubic, signs of the zodiac that exemplify the purest elemental quality. For example, there are three zodiac signs that represent the element of Fire: Aries, Leo, and Sagittarius. Aries is the cardinal or initial aspect of Fire, Leo is the fixed (kerubic) or firmly defined aspect of Fire, and Sagittarius is the mutable and most easily influenced aspect of Fire. The four fixed (kerubic) signs of the zodiac are: Aquarius (Air), Scorpio (Water), Taurus (Earth), and Leo (Fire). The classic symbols of the fixed signs (the angel of Aquarius, the eagle of Scorpio, the bull of Taurus, and the lion of Leo) are called the kerubic emblems and appear often in Christian iconography.» — de dónde viene el nombre de los Kerubs, según la nota astrológica de DuQuette: los cuatro signos fijos son los que dan la cualidad elemental más pura, frente al cardinal y al mutable, y sus emblemas clásicos —ángel, águila, toro y león— son los que la iconografía cristiana repite.

«101 Superficial, though not essential, transmutation.» — la traducción que DuQuette da del último punto latino de la lista de virtudes de la Gran Tabla que dictó Ave: transmutación de la forma y no de la esencia.

«106 Ilemese is one of Sons of Sons of Light from the Sigillium Dei Aemeth. See chapter ten.» — la nota que identifica al ángel que dictó la decimonovena Llamada: Ilemese es uno de los Hijos de los Hijos de la Luz del Sigillum, es decir, el mismo nombre que aparece en la nómina de los cuarenta y nueve. La capa de texto imprime Sigillium, con dos íes.

«110 I don’t fully understand why, but it is a consistent characteristic of Enochian magick to organize the four elements in this order: Air, Water, Earth, and Fire.» — una ignorancia que DuQuette declara sin resolver: no entiende del todo por qué la magia enoquiana ordena siempre los elementos como Aire, Agua, Tierra y Fuego, y aun así consigna la regularidad.

«111 Charley D. and Milo, Charley D. and Milo, Epic Records, 1970.» — la procedencia del epígrafe de los silfos y los gnomos, que resulta ser un disco de 1970 y no un texto de la tradición: el álbum homónimo de Charley D. and Milo en Epic Records.

«112 The more the magician practices reciting the calls, the more sensitive he or she becomes to the shifts of consciousness each one produces.» — la nota que matiza el sea o no perceptible del cuerpo: cuanto más se practican las Llamadas, más sensible se vuelve el mago al desplazamiento de consciencia que cada una produce.

«113 Theoretically, each of the 156 lettered squares of an Elemental Tablet is an angel who can be contacted by continuing the hierarchical descent into the subangle. If you care to plunge this deeply into elemental work ings, you are free to do so by discovering a further hierarchy of names and letters that seems most logical to you.» — hasta dónde llega en teoría el descenso jerárquico, según DuQuette: cada una de las ciento cincuenta y seis casillas de una tabla elemental sería un ángel contactable, y quien quiera bajar tan hondo queda libre de armar la jerarquía que le parezca más lógica. La capa de texto parte workings en dos, sic.

«114 Donald Laycock, The Complete Enochian Dictionary: A Dictionary of the Angelic Language As Revealed to Dr. John Dee and Edward Kelley (York Beach, ME: Weiser Books, 1994).» — cuál es el diccionario enoquiano que DuQuette usa y al que remite para componer invocaciones propias: el de Donald Laycock.

«116 The thirtieth Aire contains four parts.» — la excepción numérica que DuQuette guarda en nota al decir que los Aires agrupan las partes de tres en tres: el trigésimo tiene cuatro.

«123 The following is taken from chapter 20 of my book My Life with the Spirits: The Adventures of a Modern Magician (York Beach, ME: Weiser Books, 1999), 138–141.» — la procedencia del primero de los tres ejemplos de visión: no está escrito para este libro sino reimpreso del capítulo veinte de My Life with the Spirits, de 1999.

«THE AUTHOR DEDICATES THIS WORK TO THE MEMORY OF DAVID P. WILSON, THE MOST TALENTED SCRYER I HAVE EVER MET.» — la dedicatoria del volumen, impresa en versalitas y en tercera persona; nombra a David P. Wilson, que reaparece en los agradecimientos y en el apéndice V como el vidente de la primera sesión transcrita.

«Thy Name be mighty, O God, which canst open the veil whereby Thy All-Powerful Will may be opened unto men. Power, Glory, and Honour be unto Thee, For Thou art the same God of all things, and art life eternal. —PRAYER OF NALVAGE, APRIL 10, 1584» — el epígrafe del volumen: no es voz de DuQuette sino una oración atribuida al ángel Nalvage y fechada el 10 de abril de 1584, es decir, tomada del diario que el libro enseña a usar. La misma oración vuelve al final del apéndice I como despedida del espíritu, y ahí la grafía cambia a Honor y añade Amen.

«List of Illustrations Figure 1. A simple alphanumeric magick table Figure 2. The Ring Figure 3. Pattern for a paper Ring Figure 4. Cross of 343 letters and numbers Figure 5. The forty-nine good angels (seven kings, seven princes, thirty-five ministers)» — arranque de la lista de ilustraciones, aparato del volumen: el manual se sostiene sobre 105 figuras numeradas —tablas alfanuméricas, patrones recortables, sellos y tablas elementales—, y esa lista es lo único del aparato figural que sí tiene capa de texto.

«Figure 104. Multiple-lettered Elemental Tablet of Earth Figure 105. The Great Table (Unreformed) with the Symmetrical Characters» — la lista cierra en la figura 105; las planas donde esas figuras se imprimen enteras salen sin capa de texto y son los cuatro huecos del troceo declarados en Notas de carga.

«This book could not have been written without the inspiration and generous assistance of the following friends, scholars, and master Enochian magicians: David P. Wilson (S. Jason Black), Clay Holden, Christeos Pir, David R. Jones, Robin Cousins, Josh Norton (Benjamin Rowe), James Wasserman, Judith Hawkins-Tillirson, Rick Potter, I.Z. Gilford, Poke Runyon, Christopher S. Hyatt, and Robert Powell» — los agradecimientos de DuQuette nombran la red de la que sale el libro: magos y estudiosos enoquianos en activo, no bibliografía académica. La cita se corta antes de la mención de la logia porque la capa de texto parte con guion el nombre Heru-ra-ha al final del renglón.

«My thanks also go to Brothers Michael Strader, for his rendering of the Ensigns of Creation in the angelic script, and Robert Powell for his beautiful images of the Tablet of Union and the four Elemental Tablets. They are perhaps the clearest black and white renderings of these complex figures ever published.» — DuQuette acredita por nombre a quien dibujó cada figura: Michael Strader las Ensigns of Creation en escritura angélica y Robert Powell la Tablet of Union y las cuatro tablas elementales; el aparato gráfico del manual es obra de terceros y él lo dice.

«I also draw the reader’s attention to Brother Holden’s original image of John Dee’s Monas Hieroglyphica that adorns the cover page of each of the five books that make up Enochian Vision Magick. This image is in itself a most profound and historic element in the entire» — la imagen de la Monas Hieroglyphica que abre cada uno de los cinco Books es una recreación de Clay Holden, no un facsímil de Dee; DuQuette la presenta como elemento del libro y no como ornamento. El párrafo sigue en la plana siguiente.

«book for it represents a solution of a geometric puzzle going back to ancient Greek mathematical texts—that is, the production of a regular heptagon in a circle using only a compass and ruler.» — continuación del párrafo anterior: la razón por la que DuQuette llama histórica a esa imagen es geométrica —la construcción con regla y compás de un heptágono regular en un círculo—, y remite al prólogo de Holden, que la explica.

«Finally I offer very special thanks to Jan Johnson, Brenda Knight, and Amber Guetebier of Weiser Books who patiently (and graciously) forgave several deadline breaches.» — el agradecimiento editorial nombra a Jan Johnson, Brenda Knight y Amber Guetebier de Weiser Books, y de paso deja constancia, con humor, de los plazos incumplidos.

«Enochian magick is the core of the Western esoteric tradition. It supersedes all that came before and is the root of all that came after. Freemasonry, Rosicrucianism, Golden Dawn, Thelema—all of these are training wheels meant to prepare candidates for contact with what you now hold.» — la tesis con que Jason Louv abre su prólogo: lo enoquiano no es una rama del esoterismo occidental sino su centro, y la masonería, el rosacrucismo, la Golden Dawn y Thelema quedan reducidos a preparación. Es su afirmación, no la de DuQuette, que en el cuerpo trata a la Golden Dawn y a Crowley como reelaboradores discutibles.

«Enochian Magick is Western magick’s enlightenment engine. It will destroy everything you hold dear. It will erase everything that you call “you,” as if you never existed at all. And it will cremate the remains, leaving nothing but ash in the infinite, featureless desert.» — Louv presenta el sistema por lo que destruye y no por lo que da; el registro es de advertencia deliberadamente disuasoria, y él mismo lo llama después no un argumento de venta.

«Enlightenment is the resetting of consciousness to its pristine, original nature. It is available to all sentient beings at all times.» — la definición de iluminación con que Louv encuadra el sistema: restablecimiento de la consciencia a su naturaleza original, disponible siempre y para todo ser sintiente.

«First, is that it is perhaps the most truly universal magical system we have. Despite its origins in Renaissance Europe, it will work for you regardless of your background.» — primera de las ventajas que Louv le atribuye al sistema: pese a su origen renacentista europeo, funcionaría con cualquier trasfondo, porque las entidades se presentarían en el lenguaje y los símbolos del vidente.

«This was the plan of the angels—to provide a Rosetta Stone system for enlightenment that could be used by the entire planet, completely bypassing the need for human priestcraft or church authority, a plan no less revolutionary today than it was in the 16th century.» — Louv adjudica a los ángeles una intención declarada: un sistema de piedra Rosetta para todo el planeta que saltara la mediación sacerdotal y la autoridad eclesiástica.

«Additionally, it is a top-down delivered system, rather than a bottom-up, human-invented one. The angels—whatever you believe they were—told John Dee and Edward Kelley that the Enochian system is the true and complete system of magick, and that everything else (Agrippa, the grimoires, Neoplatonism, Qabalah, and all the rest of it) was only a crude attempt by simian humanity to approximate the methods of the angels.» — según Louv, lo que los ángeles dijeron a Dee y a Kelley es que el suyo era el sistema verdadero y completo, y que Agrippa, los grimorios, el neoplatonismo y la cábala eran aproximaciones burdas. Louv agrega su propia reserva entre guiones sobre qué fueran esos ángeles.

«Enochian Magick works by two methods: Sanctification and Illumination. Sanctification means purification by fire—fire that burns off your lower nature, complexes, delusions, bad behavior, and anything else keeping you chained to your animal, demonic, and maybe even human nature rather than reaching for the level of the angels. Illumination, or enlightenment, is the carrot to that stick.» — los dos métodos que Louv describe remitiendo a su propio libro, John Dee and the Empire of Angels: santificación como purificación por fuego e iluminación como recompensa.

«Occultists in the West are all outsiders. This largely means that intrepid would-be adepts—even those that belong to magical groups, which come with their own set of entanglements and impediments—are mostly on their own, making the Great Work a profoundly solitary and lonely pursuit. There will be no great reward, no accolades at the end of the rainbow. Just look outside—our culture is barely more evolved than it was in Dee’s time, perhaps even less so. Consider, as the late magician E. E. Rehmus did, how few English speakers are even capable of understanding Shakespeare now, in our supposedly hyper-advanced technological utopia. How much less the utterances of angels? The adept walks alone.» — la segunda pega que Louv señala es la falta de sostén cultural en Occidente, frente al hinduismo y el budismo; cita al difunto mago E. E. Rehmus para medirla por la lejanía del inglés de Shakespeare.

«And while the many alleged “dangers” of Enochian Magick that occult people love to gossip about second hand are mostly nonsense, one very real danger is that the system can become an all-consuming hobby that can easily distract» — Louv desestima los peligros de salón que circulan de segunda mano y pone en su lugar uno doméstico: que el sistema se vuelva una afición absorbente. El párrafo sigue en la plana siguiente.

«Enochian Magick is concerned with the world of angels, not humans. It will not pay your rent, it will not keep you employed, and it will not keep your partner engaged and satisfied.» — continuación del anterior: Louv separa los planos y advierte que el sistema no atiende obligaciones humanas. En el mismo párrafo compara la Mesa Sagrada con una consola de videojuegos isabelina —la capa de texto parte con guion *Elizabethan-era* al final del renglón— y añade la cita siguiente.

«Points accrued in the game cannot be carried over into the real world.» — el remate del símil: los puntos ganados en ese juego no se transfieren al mundo real.

«So: Keep your life in order. Do not mix the system with drugs. Exercise regularly. Keep a sense of humor and a tight leash on your cognitive biases. Maintain a day job and healthy relationships.» — la lista de higiene práctica con que Louv cierra la advertencia: orden, nada de drogas mezcladas con el sistema, ejercicio, humor y correa corta a los sesgos cognitivos.

«Without argument, it is the best, most accurate, most comprehensive practical guide ever published on the subject. You need nothing but this book to begin, and end, not only your practice of Enochian, but your practice of magick as a whole.» — el juicio de Louv sobre el libro que prologa, en superlativo y sin acotación.

«—Jason Louv Author of John Dee and the Empire of Angels: Enochian Magick and the Occult Roots of the Modern World and Head instructor and teacher of magick at www.magick.me» — la firma del prólogo, con las credenciales que el propio Louv declara; la página de derechos le reconoce copyright propio sobre este texto.

«What particularly impresses me with Lon’s book is not only the sheer volume of material covered or the clarity with which it is presented, but its immense readability and the fact that he has struck an elegant balance between classical scholarship, practical magickal instruction, and anecdotal events.» — Clay Holden, del John Dee Publication Project, elogia el libro por el equilibrio entre erudición clásica, instrucción práctica y anécdota, no por su novedad doctrinal.

«The self-important tone of many so-called “Enochian Magick” texts is entirely absent, replaced by clear and well-organized content.» — Holden opone el tono del libro al de la literatura enoquiana que conoce, a la que atribuye engolamiento.

«When I first encountered Enochian magick, the only available published materials were Regardie’s Golden Dawn and Crowley’s Gems from the Equinox, fascinating but largely incomprehensible to me. Next was the first of several largely incoherent books on Enochian Magick by Gerald Shueler, which elaborated on the Golden Dawn material and added much of his own invention, most of it of dubious value.» — el mapa bibliográfico que Holden traza de su propio aprendizaje, con juicios sin matizar: la edición de Regardie y los Gems from the Equinox de Crowley como incomprensibles, y los libros de Gerald Shueler —así, sin c, imprime la capa de texto— como incoherentes y en buena parte invención propia.

«In hindsight, they seem more suitable for Dungeons and Dragons than serious magickal work» — el remate del juicio de Holden sobre Shueler, que él mismo acota enseguida recordando que David Jones le señaló que el juego de rol es una buena disciplina introductoria al trabajo ritual.

«Then came Geoffrey James’s The Enochian Evocation of John Dee, a completely different matter altogether. Still more of a synopsis of a system than a workable guidebook (based largely on Sloane MS. 3191, Dee’s precis of the materials received between 1582 and 1587), it gathered together the bulk of Dee and Kelley’s work, and gave a sense of where it all came from. Still incredibly useful many years later, when coupled with an examination of the original scrying sessions that produced the material, it still does not serve as a proper guidebook through the system. The heart is there, but the how and why are largely absent.» — Holden concede a Geoffrey James haber reunido el grueso del material a partir de Sloane MS. 3191, y le niega lo que busca un practicante: el cómo y el porqué.

«When looking at what the Golden Dawn and Crowley and their successors put together as “Enochian Magick,” it seems clear that they were missing huge chunks of this “how and why,” along with many critical pieces to understanding what they were dealing with, and their attempts to graft basically everything else in their magickal system onto it produce a cumbersome thing that Dee and Kelley would not recognize as what they pulled through.» — la objeción central de Holden a la línea Golden Dawn-Crowley: no que se equivocaran, sino que injertaron el resto de su sistema mágico sobre un material del que les faltaban trozos enteros. Es un desacuerdo con la recepción moderna que la ficha consigna sin arbitrar.

«I have likened their resulting patchwork as similar to what happens when one attempts to open a Word document or a highly formatted database file in a text editor: one can read and even extract a good bit of raw data, but the formatting and links to other programs are entirely unreadable and bear little resemblance to the original document.» — el símil informático con que Holden describe ese remiendo: abrir un documento con formato en un editor de texto plano permite extraer datos crudos y pierde el formato y los enlaces.

«Without an understanding of Dee and Kelley’s early material, mostly presented in Sloane MS. 3188, what comes later on, while workable on its own, will be largely incomprehensible.» — Holden fija la prioridad de lectura en el material temprano de Sloane MS. 3188, y matiza en el mismo párrafo que el sistema tardío de las tablas elementales puede defenderse como independiente.

«To my aid came Elias Ashmole’s “fair-copy” of the diaries (Sloane MS. 3677), transcribed many decades later, in a beautiful hand which was much easier to read than Dee’s. It also has the benefit of being more complete in some cases than Dee’s original, as the manuscript was in considerably better shape in the 1600s than it is today, and Ashmole made notes indicating where materials were missing.» — Holden explica por qué la copia en limpio de Elias Ashmole, Sloane MS. 3677, es a veces mejor testigo que el original de Dee: la letra es más legible y el manuscrito estaba en mejor estado en el siglo XVII.

«Given the difficulty in reading the original texts, it occurred to me to begin transcribing the diaries into electronic texts, laid out exactly as Dee had in the original manuscripts, and this was the birth of the John Dee Publication Project.» — el origen que Holden declara para su propio proyecto de transcripción electrónica de los diarios, con la disposición del manuscrito conservada.

«While Lon in this book suggests that, rather than trying to reproduce Dee and Kelley’s work, one ought to use the system they transmitted, I found it of inestimable value to read through the text of Mysteriorum Liber Secundus, where the layout and working of the Sigillum is systematically laid out, and fill in each of the squares in a blank Sigillum as I went through it.» — el desacuerdo explícito del prologuista con la tesis que da título al Book I: Holden dice que a él le resultó de valor inestimable rehacer paso a paso el trabajo de Dee y Kelley llenando un Sigillum en blanco. Se consigna sin armonizar con la prescripción de DuQuette.

«Case in point: at the bottom of the Sigillum Dei Aemeth, both in Dee’s original illustration at the end of Mysteriorum Liber Secundus and in virtually every version published since, one finds the character “y” with a “14” under it. The text however clearly gives this number as “15.”» — el error que Holden dice haber encontrado al rehacer el Sigillum: el dibujo de Dee y casi todas las versiones publicadas ponen 14 bajo la letra y, y el texto da 15.

«If one adds and subtracts the numbers at the top and bottom of the letters around the outer ring of the Sigillum (having corrected the “y/15”), one arrives at a total number of 440. Adding the “1” in the con-centric circles that is given at the end of the instructions on the outer ring (accompanied by the statement “Omnia unum est”), the total comes to 441, the gematric value of the Hebrew “Aemeth,” or Truth.» — la comprobación gemátrica con que Holden sostiene su corrección; la capa de texto imprime *con-centric* partido dentro del renglón.

«Without the correction of the “y/15” square, the total remains 440, the gematric value for “Meth,” or Dead. Thus, the Sigillum may be considered as a Golem, and the published version an inactive and unworkable “dead” talisman.» — la consecuencia que Holden extrae: sin la corrección el total da 440, valor de *Meth*, muerto, de modo que el Sigillum publicado sería un gólem inactivo. Es su lectura, no la de DuQuette, que en el cuerpo trabaja con la figura tal como la imprime.

«It further demonstrated that Dr. Dee, in fact, lies in certain places in the record, indicating that there is material hidden even there that he did not want to be visible to an unthinking reader.» — la tesis fuerte de Holden sobre el registro: Dee miente en ciertos pasajes del diario, y lo hace para ocultar material al lector desatento.

«Mi. [...] Thow shalt sweare by the Living God, the strength of his Mercy, and his Medicinall vertue, powred into man’s soule never to disclose these Mysteries» — voz transcrita del diario, no de Holden ni de DuQuette: el arcángel Michael exige a Dee juramento de no revelar los misterios, en la grafía isabelina del Mysteriorum Liber Secundus.

«MIC. This is a Mystery, skarse worthy for us, ourselves, to know, muche lesse to Reveale. Art thow, then, so Contented?» — cierre del mismo intercambio transcrito: Michael declara el misterio apenas digno de que los propios ángeles lo conozcan, y mucho menos de revelarse.

«Keeping this in mind, one may begin to understand why Dee occasionally misdirects the reader in his diaries. As with Aleister Crowley’s works several hundred years later, if one is paying attention to what one is reading, the erroneous data should just about jump out from the page, and provide a pointer to the actual information.» — Holden convierte el error en método de lectura y traza el paralelo con Crowley: el dato erróneo salta a la vista y señala la información verdadera.

«While one cannot in fact produce a regular heptagon in a circle using only a compass and ruler (a geometric puzzle going back to ancient Greek mathematical texts), one can approximate it. There are several classical solutions, each of them rather close, but also involving complex methodology.» — Holden plantea el problema geométrico que hay detrás de la figura del Sigillum: el heptágono regular no se construye con regla y compás, y las soluciones clásicas son aproximaciones complicadas.

«and rotating the Monas so its “horns” touch on the circle from the top of the grid, one finishes with a very close approximation of a heptagon, in fact, as close or closer than any known classical solution.» — la solución que Holden dice haber hallado y que le conecta los diarios con la Monas Hieroglyphica: rotar el glifo dentro de su retícula de 4 x 9. La cita empieza donde empieza porque la capa de texto parte con guion *mid-point* al final del renglón anterior.

«First, they can be considered as authentic records of spirit communication. Over the years I have worked closely with practicing Enochian magicians, including at least one incredibly talented scryer, who can both see and hear through the crystal ball, a very rare combination. Most scryers can do one or the other, but not both. In Edward Kelley, Dee found a rare man, however difficult he may have been to work with, and clearly knew it. Dee could only rarely see or hear anything himself, but with his amazing mathematical and classically trained mind, was perhaps the only man in the world capable of understanding and organizing the instructions that were presented to him.» — primera de las tres lecturas que Holden propone para los diarios, y que declara mutuamente excluyentes pero todas de interés: registro auténtico de comunicación con espíritus. De paso reparte los papeles, Kelley como vidente raro que oía y veía, Dee como el único capaz de organizar lo recibido.

«He was also skeptic enough to question and reject transmitted material that appeared to come from lying spirits, as Kelley periodically pulled through “illuding divils” that specialized in disinformation. The internal consistency of the bulk of the spirit diaries, as well as the coherent interrelationship of its many parts, speaks convincingly to its being a genuine record of actual events over a period of years.» — el argumento de Holden a favor de esa primera lectura: la coherencia interna del conjunto, más el hecho de que Dee rechazara material venido de espíritus embaucadores.

«Second, one can consider the material as an exercise in cryptographic method, intended as a means of communicating secret information back from the continent to Dee’s colleagues and superiors in Elizabeth’s court. Clearly, as one reads through Liber Mysteriorum Quartus, and to a certain extent Secundus, one can see similarities to the methodology of Trithemius’s Steganographia, a work with which Dee was quite familiar, and which has now been demonstrated to be entirely a cryptographic treatise.» — segunda lectura de Holden: los diarios como método criptográfico para hacer llegar información a la corte de Isabel, por parentesco con la Steganographia de Trithemius, que él da por tratado enteramente criptográfico.

«Then there are the tables in Liber Loagaeth, at the end of which (Sloane MS. 3189) Dee has appended eight tables from “Aldaraia Sive Soyga,” the mathematical methods of which have been demonstrated by Jim Reeds. They appear even on the surface to be cryptographic tables, though no one to date has made a systematic study of their content, nor provided any translation or decryption or methodology. They remain the most hermetically sealed of all Dee and Kelley’s documents.» — Holden señala las ocho tablas del Aldaraia Sive Soyga que Dee anexó al final de Sloane MS. 3189, cuyos métodos matemáticos adjudica a Jim Reeds, y declara que nadie las ha estudiado ni descifrado.

«Yetzirah”), and arrive at the conclusion that the Enochian system might be considered “sacred cryptography” in the same sense as the classical Kabbalistic method, unrelated to the mundane world of secret transmission of political secrets.» — la salida que Holden ofrece para su segunda lectura: criptografía sagrada al modo cabalístico, ajena a la transmisión de secretos políticos. La cita empieza a media palabra porque el título Sepher Yetzirah queda partido por el cambio de plana.

«Lastly, and perhaps most amusingly, I have entertained the idea that Dee was the author of the first science fiction novel over a period of years, and indeed the first to give thought to the idea of “cyberspace,” an interdimensional world where communication takes place through a portal, giving thought to the twentieth-century works of H. P. Lovecraft, Philip K. Dick, and William O. Gibson.» — tercera lectura, que Holden presenta como la más divertida: Dee como autor de la primera novela de ciencia ficción y primero en imaginar un ciberespacio.

«In this view, while Edward Kelley is still a historic personage (he appears in Dee’s private diaries as well as being clearly documented both in England and in Prague, usually in conjunction purely as an alchemist), the “Edward Talbot” and “Edward Kelley” presented in the Spirit Diaries, his frequent turns from devout scryer to blaspheming conjurer and back again» — dentro de esa tercera lectura, Holden separa al Kelley histórico —documentado en Inglaterra y Praga como alquimista— del Edward Talbot y el Edward Kelley de los diarios, que serían personajes. La cita se corta antes del renglón donde la capa de texto parte con guion *light-hearted*.

«Of course, as anyone who has spent any time actually working with the system(s) presented in the Spirit Diaries can attest, when you put them to work as if true, stuff happens. Once invoked (or evoked), the spirits do in fact seem to appear and go to work, whether one believes in them or not.» — la salida pragmática de Holden ante las tres lecturas: trabajado como si fuera verdadero, el sistema produce efectos con independencia de la creencia.

«Which leads to the one piece of advice I would give to anyone starting out in working Enochian Magick: Be very clear of what you ask for, as you are certain to get as much of it as you can handle, and once started, it is much more difficult to get it to stop.» — el único consejo que Holden da a quien empieza: claridad sobre lo que se pide, porque se obtendrá tanto como se pueda soportar y cuesta más pararlo que echarlo a andar.

«In closing, I would like to quote a passage from W. Wynn Westcott’s translation of the “Chaldean Oracles” (quoting Proclus), which I have always found incredibly useful to keep in mind when working Enochian Magick, or indeed, any ritual work:» — Holden anuncia la cita con que cierra: los Oráculos Caldeos en traducción de W. Wynn Westcott, citando a Proclo. El mismo apellido lo imprime el cuerpo del libro como Wescott al nombrar a los adeptos de la Golden Dawn.

«As the Oracle therefore saith: God is never so turned away from man, and never so much sendeth him new paths, as when he maketh ascent to divine speculations or works in a confused or disordered manner, and as it adds, with unhallowed lips, or unwashed feet. For of those who are thus negligent, the progress is imperfect, the impulses are vain, and the paths are dark.» — voz del oráculo transcrita, no de Holden: quien asciende a la especulación divina en desorden, con labios sin consagrar o pies sin lavar, avanza en falso.

«with a clearly lit and well-ordered guide through the maze of Dee and Kelley’s Enochian system. The hallowed lips and well-washed feet are up to the reader.» — el juicio final de Holden sobre el libro, que en la plana anterior anuncia como guía ofrecida por primera vez; la parte que no delega es la del lector.

«Keep an open mind, a pure heart, and a clean temple, and you will surely hear their angels and spirits speaking to you.» — la despedida de Holden, en forma de condición y no de garantía.

«Clay Holden The John Dee Publication Project www.john-dee.org» — la firma del segundo prólogo; a diferencia del de Louv, la página de derechos no le reconoce copyright propio, y el texto habla del libro como obra todavía en curso, de modo que viene de la edición de 2008.

«Liber Scientiae Auxilii et Victoriae Terrestris, which forms part of Sloane Manuscript 3191, provides the details necessary to operate a system of magic, by which the magician can discover ‘how to compare . . . [the] divisions of provinces according to the Divisions of the Stars, with the Ministry of the Ruling Intelligences, and Blessings of the Tribes of Israel, the Lots of the Apostles, and Typical Seals of the Sacred Scripture, [so that he] shall be able to obtain great and prophetical oracles, concerning every region, of things to come.’» — el apéndice III no lo firma DuQuette sino Robin E. Cousins, y abre diciendo para qué sirve el Liber Scientiae dentro de Sloane 3191: comparar las divisiones de las provincias con las de las estrellas, los ministerios de las inteligencias regentes y las bendiciones de las tribus de Israel, para obtener oráculos proféticos sobre cualquier región.

«On Wednesday 23 May 1584, while in Krakow, John Dee and Edward Kelley received from the Spirit Nalvage the names of ninety-one regions and provinces of the physical world, as defined by man. At this time America was no longer considered to be a group of islands; but Australia had yet to be discovered» — Cousins fecha y sitúa la entrega —Cracovia, miércoles 23 de mayo de 1584, del espíritu Nalvage— y encuadra el estado del saber geográfico de entonces, con América ya no tenida por un grupo de islas y Australia sin descubrir. El tramo se corta donde termina la plana.

«The names of the ninety-one parts relate to the Ptolemaic ancient world of about AD 150 with some additions. The Spirit Nalvage explains: ‘Notwithstanding the Angel of the Lord appeared unto Ptolemie, and opened unto him the parts of the Earth: but some he was commanded to secret: and those are Northward under your Pole. But unto yon, the very true names of the World in her Creation are delivered.’» — el hallazgo que Cousins pone en el centro: la lista corresponde al mundo ptolemaico de hacia el año 150, con añadidos. Y cita a Nalvage explicándolo a su manera, que el ángel del Señor abrió a Ptolomeo las partes de la Tierra pero le mandó guardar algunas, y que a Dee y Kelley se les entregan los nombres verdaderos.

«The list is not altogether satisfactory. Dee, who was well-versed in geography, had not heard of some of the places and even Nalvage said, ‘Here are 15, which were never known in these times . . . The rest are’. Many of the strange locations are indeed in the Polar Regions, which were uncharted at the time.» — el juicio de Cousins sobre la lista, dicho sin rodeos: no es del todo satisfactoria. Dee, que sabía geografía, no conocía algunos de los lugares, y el propio Nalvage admitió que quince nunca se habían conocido. Cousins lo explica por las regiones polares, entonces sin cartografiar.

«In fact, a considerable Arctic land mass was believed to exist and was featured on sixteenth century maps. Nevertheless, locations for this region are desirable and there are many areas in the extreme north, whether land or sea, which can be covered by the descriptions. The belief of a south polar continent (Tolpam, Part 58) was not inaccurate, a location which can usefully extend to Australasia which was undiscovered at the time.» — cómo salva Cousins ese hueco sin forzar la lista: una masa continental ártica figuraba en los mapas del siglo XVI, y para el extremo norte hay descripciones que cubren muchas áreas. Concede además que la creencia en un continente polar sur no era inexacta, y que esa parte puede extenderse a Australasia.

«Two points emerge at the end of the communication relating to known lands not included in the list. Firstly, when Dee asks of ‘Polonia, Moschovia, Dania, Hibernia (Ireland), Islandia, and so of many others’, Nalvage replies: ‘Polonia and Moscovia, are of Sarmatia (Russia); Denmark, Ireland, Frizeland, Iseland, are of Britain: And so it is of the rest.’122 Does this imply that Brytania (Part 61) can be used to gain access to lands not included within the ninety-one parts?» — el primero de los dos cabos sueltos que Cousins señala: Dee preguntó por Polonia, Moscovia, Dinamarca, Irlanda e Islandia, y Nalvage las subsumió en Sarmacia y en Britania. Cousins deja abierta en pregunta la consecuencia, si Brytania serviría entonces de puerta a tierras no listadas.

«Secondly, when Dee presses Nalvage as to which part governs ‘Atlantis and the annexed places, under the King of Spain called the West Indies’, Nalvage replies: ‘When these 30 appear, they can each tell you what they own. Prepare for tomorrows Action’. The communication is, therefore, incomplete. Unfortunately, ‘tomorrows Action’ never occurred, because Kelley believed Nalvage to have taken the descriptions from books, including Agrippa’s Occult Philosophy, and refused to communicate further. ‘E. K. remained of his wilful intent’, noted a frustrated Dee.» — el segundo cabo, y con él la razón por la que el sistema quedó incompleto: preguntado por la Atlántida y las Indias Occidentales, Nalvage aplazó la respuesta a la sesión siguiente, que nunca ocurrió porque Kelley creyó que las descripciones estaban sacadas de libros, entre ellos la Filosofía oculta de Agrippa, y se negó a seguir. Dee anotó su terquedad.

«Note that Dee held that the term ‘West Indies’ was very misleading and preferred to use ‘Atlantis’ instead of ‘America’, as a name for the new lands. Nevertheless, the additional thirty parts wait to be realised, which would bring the total of the parts of the Earth to 121. It is interesting to speculate, whether they would affect the design of the Great Table.» — dos apuntes de Cousins sobre lo que faltó: Dee prefería llamar Atlántida y no América a las tierras nuevas, y las treinta partes que quedaron pendientes habrían llevado el total a ciento veintiuna. Cousins deja como especulación explícita si eso habría alterado el diseño de la Gran Tabla.

«Dee bought Gerhard Mercator’s Universal Chart of the World and the geographical work of Pomponius Mela to help him with his locations. He does not record his success.» — con qué herramientas intentó Dee ubicar las noventa y una partes, según Cousins: la carta universal de Mercator y la obra geográfica de Pomponio Mela. Y el límite documental, dicho en una frase: no dejó constancia de haberlo logrado.

«Ultimately, the advice of Nalvage in relation to Chaldei (Part 42) and Chaldea (Part 72) is the only way to establish the locations of the obscure and ambiguously described parts of the world: ‘You shall finde the difference of it, in practice’.» — la única vía que Cousins reconoce para fijar las partes oscuras es la que dio el propio Nalvage ante dos nombres casi iguales: que la diferencia se halla en la práctica.

«Many of the locations are well-known. However, for the obscurer areas Dee’s Spiritual Diaries (Cotton Appendix XLVI, Parts 1 & 2, published as A True and Faithful Relation of What passed for many Yeers Between Dr. John Dee and Some Spirits, edited by Meric Casaubon, 1659) are often the only guide. In these instances, supportive quotations are given. Other parts, especially those located by Kelley or Nalvage in the Far Orient or in the Arctic regions, are difficult to place on the world map today, as in Dee’s time these regions were largely unexplored and uncharted.» — el método que Cousins declara para su lista: donde el nombre es oscuro, la única guía son los diarios de Dee en la edición de Casaubon de 1659, y de ahí saca las citas de apoyo. Acota que las partes situadas por Kelley o Nalvage en el Extremo Oriente y en el Ártico siguen sin poder ubicarse en el mapa de hoy.

«48 FIACIM: Kelley: ‘Now he sheweth by the North Pole and the great Mountain.’ This is the North Pole. A great mountain was believed to exist at the Pole.» — la forma que tienen las entradas de la lista de Cousins cuando el nombre es oscuro: primero la voz de Kelley transcrita del diario, luego la identificación. Aquí el Polo Norte, con la montaña que en el siglo XVI se creía que había allí.

«53 COXLANT: Nalvage: ‘It appeareth very Eastward.’ Kelley: ‘It is on high ground. There come four Rivers out of it, one East, another West, another North, and another South . . . Is this the Paradise that Adam was banished out of?’ Nalvage: ‘The very same.’» — la entrada más cargada de la lista, en voces transcritas: Kelley describe un alto con cuatro ríos que salen a los cuatro rumbos y pregunta si es el Paraíso del que Adán fue expulsado, y Nalvage responde que el mismo.

«A discussion follows which does not help to locate Coxlant. The search for the Earthly Paradise, like the Eldorado, was the dream of early explorers. The four rivers are the Pison (The Persian Gulf?), Gihon (The Nile?), Hiddekel (Tigris), and Euphrates. The favourite location of Paradise was considered to be a little north of the confluence of the Tigris and Euphrates. However, other locations favoured sites further north in Mesopotamia and Armenia. Tibet could be another location. It is very easterly; on high ground; and the four rivers are the Mekong (east), the Indus (west), the Yangtze (north), and the Brahmaputra (south). Ultimately, however, the location of Coxlant or the Earthly Paradise must rest with the spirituality of the individual.» — cómo trata Cousins esa identificación: repasa los candidatos —la confluencia del Tigris y el Éufrates, Mesopotamia, Armenia, el Tíbet con el Mekong, el Indo, el Yangtsé y el Brahmaputra— y acaba absteniéndose, dejando la ubicación del Paraíso Terrenal a la espiritualidad de cada quien.

«56 CELTICA: Nalvage: ‘It is that which you call Flandria, the Low Country.’ This is North-West France and Belgium, not Central Gaul which is usually known as Celtica.» — un caso donde la voz angélica contradice la lectura obvia y Cousins la respeta: Nalvage identifica Celtica con Flandes, y Cousins anota que no es la Galia central que ese nombre designa habitualmente.

«57 VINSAN: Kelley: ‘Here appear men with tallons like Lions. They be very devils. There are five isles of them.’ Suggest the ancient kingdom of Wu-Sun, south of Lake Balkhash in Kazakhstan. The ‘isles’ could be communities near the lake.» — cómo trata Cousins una descripción fabulosa: Kelley ve hombres con garras de león a los que llama demonios en cinco islas, y él propone el reino antiguo de Wu-Sun al sur del lago Baljash, con las islas por comunidades ribereñas.

«58 TOLPAM: Kelley: ‘Under the South Pole.’ This is Antarctica and Australasia.» — la parte que Cousins destaca en su prólogo por acertada: Kelley la sitúa bajo el Polo Sur, y Cousins la identifica con la Antártida y Australasia, tierras no descubiertas entonces.

«61 BRYTANIA: The British Isles, Scandinavia, and possibly places not included in the 91 parts.» — la entrada donde Cousins deja abierta su propia conjetura: Brytania cubriría las islas británicas y Escandinavia y, posiblemente, lugares que la lista no incluye.

«65 MARMARICA: North African coastal region straddling the Egyptian and Libyan border. The Nile forms the eastern boundary.» — la entrada correspondiente a Paraoan, el ángel sobre el que DuQuette declara que nadie ha explicado lo bastante: región costera del norte de África a caballo entre Egipto y Libia, con el Nilo por límite oriental.

«69 IDUNIA: Nalvage: ‘It is beyond Greenland.’» — la entrada más corta de la lista, y Cousins no le añade nada: la única indicación es la de Nalvage, que está más allá de Groenlandia.

«76 GORSIM: Kelley: ‘Beares and Lions here.’ Most probably Chorazin/Korazim/Gorazim, an ancient site to the north of Lake Tiberias (Sea of Galilee), Israel, with the ruins of a black basalt synagogue. The place was condemned by Jesus and legend claims the Antichrist will be born there. Note also Chorasmia/ Khorezm/Khiva, south-east of the Caspian Sea in Turkmenistan.» — cómo resuelve Cousins un nombre por parecido fonético y deja la alternativa abierta: Gorsim sería Chorazin, junto al lago Tiberíades, sitio condenado por Jesús y donde la leyenda pone el nacimiento del Anticristo; pero anota también Chorasmia, en Turkmenistán.

«82 IDUMIAN: Kelley: ‘They are two Isles environed with an arm of the Scythian Sea, which goeth in at Maspi.’ Most probably the region to the north-east of the Aral Sea in the Kazakhstan. Suggest ‘Maspi’ is a corruption of the Aspisii Montes/ Mons Aspisii, which shortened to M. Aspisii, distorts to Maspi. The mountains were supposedly located in this region, but in the sixteenth century much of this land and especially the far north of Siberia or Scythia was Terrae Incognita. Mercator’s map of North-East Asia, which is dated 1569, shows a hypothetical arm of the Scythian Sea (Laptev and East Siberian seas) almost reaching to the north-east of the Aral Sea with the M. Aspisii nearby. The Aspisii Scythea were the people dwelling to the west of the mountains and to the north of the River Jaxartes (Syr Darya). Note also, however, the Arimaspi detailed in Part 88 below. The Maspii, a noble Persian tribe, are too far south to be considered.» — la reconstrucción más trabajada de la lista, y la que muestra el método de Cousins entero: conjetura que Maspi es una corrupción de los Aspisii Montes, apoya la ubicación en el mapa de Mercator de 1569 con su brazo hipotético del mar Escítico, y descarta expresamente dos candidatos alternativos.

«88 AFNAN or AFRAN: Kelley: ‘Here appear people with one eye in their head, seeming to be in their breast, towards the Equinoctial.’ Dee: ‘I remember of people called Arimaspi.’ Dee is confused here, as the Arimaspi (‘the one-eyed’) were a people on the left bank of the Middle Volga, north of the Caspian Sea. The Afran are the people Ptolemy called the Aphricerones, located just north of Equatorial Africa in North Zaire. The ancient scholars considered that all the southern parts of Africa were uninhabitable (as with many unexplored lands) and populated with strange beasts. Herodotus included in his con jectures on unknown Africa descriptions of peoples with ‘one eye in the breast instead of the usual head’, which must be the people referred to.» — la entrada donde Cousins corrige a Dee: ante los hombres de un solo ojo en el pecho que ve Kelley, Dee recuerda a los arimaspos, y Cousins dice que se confunde, porque esos eran otro pueblo y otro sitio. Adjudica la descripción a las conjeturas de Heródoto sobre el África desconocida. La capa de texto parte conjectures en dos, sic.

«89 PHRYGIA: Large province in Central Turkey. Greater Phrygia was bounded on the east by Cappadocia (Part 4). 89 CRETA: Crete. 91 MAURITANIA or MAURETANIA: Morocco and the north Algerian coastlands, not to be confused with the modern state of Mauritania, which is located further south and for which see Getulia (Part 19).» — el cierre de la lista, con un defecto de numeración que la ficha consigna sin corregir: dos entradas seguidas llevan el número 89 y la última salta al 91, de modo que la nonagésima parte queda sin número propio.

«Geography of Claudius Ptolemy, New York, 1932. Kiepert, H. Formae Orbis Antiqua, Berlin, 1894. Louis, V. de St Martin. Atlas dresse pour l’histoire de la geographie et des decouvertes geographiques, Paris, 1874. Oestergaards Handatlas durch alle Welt, Peter J. Oestergaard Verlag, Berlin, 193–. Skelton, R. A. Decorative and Printed Maps of the Fifteenth to Eighteenth Centuries, London, 1965. Smith, W. Dictionary of Greek and Roman Geography, London, 1878. Taylor, E. G. R. Tudor Geography: 1485–1583, London, 1930.» — la bibliografía con que Cousins cierra su apéndice, y que es de geografía histórica y cartografía, no de ocultismo: Ptolomeo, Kiepert, Saint-Martin, Skelton, Smith y la Tudor Geography de Taylor.

«the Earth Named by Man, as Detailed in the Liber Scientiae Auxilii et Victoriae Terrestris of John Dee,” published in Elizabethan Magic, ed. Robert Turner (Shaftesbury, Dorset, UK: Element Books, 1989).» — la nota que fija la procedencia del apéndice III: no se escribió para este libro sino que es una nueva edición de un ensayo de Robin E. Cousins publicado en Elizabethan Magic, el volumen editado por Robert Turner en 1989. El tramo empieza a media frase porque la anterior cambia de plana.

«120 Henry Cornelius Agrippa, Occult Philosophy, 1533.» — la fuente que Cousins cita al abrir su apéndice para explicar qué permite hacer el Liber Scientiae: la Filosofía oculta de Agrippa de 1533, es decir, la misma obra por la que Kelley acusaría después a Nalvage de copiar.

«122 Dee, like most of his contemporaries, believed the island of Friseland to exist. It was, in fact, a duplication of Iceland on an early map, an error which was repeated. When its coast was supposedly skirted, this was actually the coast of Cape Farewell, Southern Greenland. Note also that today Germania (Part 29) incorporates Poland. In Dee’s time Poland was located further eastward and would have formed part of Sarmatia or Russia (Part 46).» — la nota más sustantiva de Cousins: la isla de Friseland que Dee daba por existente era una duplicación de Islandia en un mapa antiguo, error que se repitió, y la costa que se creyó bordear era la de Cabo Farewell, en Groenlandia. Añade que la Polonia de entonces caía más al este y habría formado parte de Sarmacia.

«Casaubon, Meric, ed. A True & Faithful Relation of What Passed for Many Yeers Between Dr. John Dee . . . and Some Spirits. London: Maxwell, 1659. Reprinted with additional material by Clay Holden and Lon Milo DuQuette. New York: Magickal Childe Publications, 1992. Clulee, Nicholas H. John Dee’s Natural Philosophy: Between Science and Religion. Oxfordshire, UK: Routledge, 1988.» — la bibliografía del volumen abre por la fuente primaria y su reimpresión, y la segunda entrada es académica: el John Dee's Natural Philosophy de Nicholas Clulee. La lista mezcla desde el arranque edición de fuentes, ocultismo y estudio universitario.

«Crowley, Aleister. Liber Chanokh. St. Paul, MN: Llewellyn Publications, 1974; Scottsdale, AZ: New Falcon, 1992; York Beach, ME: Weiser Books, 2008. Liber Chanokh is a work by Crowley originally published in his periodical, The Equinox in 1912.» — la entrada de Crowley que la bibliografía anota con su procedencia: el Liber Chanokh no es un libro suelto sino un trabajo publicado originalmente en The Equinox en 1912, y es el texto que DuQuette usaba en su primera sesión de 1980.

«Leitch, Aaron. The Essential Enochian Grimoire. St. Paul, MN: Llewellyn Worldwide, 2014. Louv, Jason. John Dee and the Empire of Angels. Rochester, VT: Inner Traditions, 2018. McLean, Adam. A Treatise on Angel Magic. York Beach, ME: Phanes Press, 1990. Peterson, Joseph. John Dee’s Five Books of Mystery. San Francisco: Red Wheel/Weiser, 2003. Reeds, Jim. “John Dee and the Magic Tables in the Book of Soyga.” In John Dee: Interdisciplinary Essays in English Renaissance Thought Series. Vol. 193 of International Archives of the History of Ideas/Archives internationales d’histoire des idées. Edited by Stephen Clucas. New York and Heidelberg: Springer, 2006. Regardie, Israel. Complete Golden Dawn System of Magick. Scottsdale, AZ: New Falcon, 1995. _______. The Golden Dawn: The Original Account of the Teachings, Rites & Ceremonies of the Hermetic Order. St. Paul, MN: Llewellyn, 1969. Suster, Gerald. John Dee: Essential Readings. Rochester, VT: Inner Traditions, 1987.» — el tramo central de la bibliografía, donde conviven el prologuista del volumen, Jason Louv, con la edición de fuentes de Peterson, el análisis criptográfico académico de Jim Reeds y las ediciones de la Golden Dawn de Regardie. El grueso de la lista es de práctica, no de historia.

«Tyson, Donald. Enochian Magic for Beginners. St. Paul, MN: Llewellyn Worldwide, 1997. W.I.T., Frater. Enochian Initiation. Denver: Outskirts Press, 2006. Zalewski, Pat. Golden Dawn Enochian Magic. St. Paul, MN: Llewellyn Worldwide, 1990.» — el cierre alfabético de la bibliografía, con tres títulos de manual moderno, uno de ellos firmado con nombre de fraternidad y no de persona.

«And the electronic files of Sloane manuscripts numbers 2599, 3188, 3189, 3191, 3677, 3678, 3821, and 3824 and Cotton Appendix XLVI (including most of the source material for Casaubon’s A True & Faithful Relation). These manuscript collections are housed in the British Library, London, and the Bodleian and Ashmolean collections are at Oxford.» — la bibliografía cierra declarando una base documental más ancha que la del prefacio: ocho signaturas Sloane más el Cotton Appendix XLVI, frente a las cinco que la nota sobre fuentes originales declara haber usado. Las dos declaraciones se consignan sin arbitrar.

«Lon Milo DuQuette is a bestselling author and lecturer, whose books on Magick, Tarot, and the Western Mystery Traditions have been translated into ten languages. He is currently US Deputy Grand Master of Ordo Templi Orentis and is on the faculty of the Omega Institute in Rhinebeck, New York, and the Maybe Logic Academy.» — la nota de autor que cierra el volumen y da los cargos con que se presenta: diputado gran maestre de la Ordo Templi Orientis para Estados Unidos y profesor del Omega Institute y de la Maybe Logic Academy. La capa de texto imprime Orentis, sic.

«DuQuette has authored many books including My Life with the Spirits (Weiser 1999), Understanding Aleister Crowley’s Thoth Tarot (Weiser 2003), The Magick of Aleister Crowley (Weiser 2003), and Tarot of Ceremonial Magick (Weiser 1995). He lives in Costa Mesa, California with his wife Constance.» — los otros libros que la nota de autor selecciona, todos de Weiser y tres de ellos sobre Crowley y el tarot, más el dato doméstico que el cuerpo del libro repite: Costa Mesa y Constance.

Evocación (llamar y constreñir espíritus) — La nota al pie distingue invocar —llamar hacia dentro la presencia de la Deidad— de evocar —llamar hacia fuera a una entidad al triángulo del arte—, y hace de la primera operación la que da autoridad para la segunda.

Círculo mágico (circulus) — Opone la mesa consagrada al aparato salomónico de círculo y triángulo: la mesa no atrapa al espíritu, convierte la habitación entera en terreno sagrado.

Talismán (imagen astrológica) — Las siete Ensigns of Creation son talismanes planetarios de estaño purificado, o pintados sobre la Mesa, y su enlace con los reyes heptárquicos DuQuette confiesa no tenerlo claro.

Goetia (γοητεία, arte goético) — El primer Lamen de 1582 lo describe como conjunto de líneas y garabatos que recuerda a los sellos salomónicos o goéticos, y destinado a la protección.

Grimorio (libro de magia) — Encuadra el Book of Soyga como grimorio anónimo tardomedieval de magia planetaria, angélica y demoníaca, no muy distinto de otros de su época salvo por sus ejercicios alfanuméricos.

Templo de Salomón (el escenario del oficio) — Lee el episodio de Salomón antes de construir el Templo como modelo de la oración mágica: no consultar a los inferiores sino ofrecerse de conducto al nivel más alto de la escala de consciencia.

Cuatro elementos (fuego, aire, agua, tierra) — Adjudica los cuatro cuadrantes de la Gran Tabla a Aire, Agua, Tierra y Fuego declarando que la atribución es moderna y que en los documentos que sobreviven no aparece.

Quintaesencia (quinta essentia) — La Tablet of Union, quinta tabla de veinte casillas sacadas de la Cruz Negra, se atribuye al elemento quintaesencial, el Espíritu, que une y separa a los otros cuatro.

Pentagrama (estrella flamígera) — Apoya el carácter doble del Espíritu en la dinámica del pentagrama, que admite dos formas, una activa y una pasiva.

Tetragrammaton (el Nombre de cuatro letras) — El destierro menor que el apéndice I reproduce traza el pentagrama al este pronunciando IHVH, y los otros tres cuadrantes con ADNI, AHIH y AGLA.

Microcosmos (el hombre-mundo) — Lee la diferencia entre las dos tablas de 12 x 7 como imagen del hombre que pertenece a la jerarquía espiritual y a la vez se halla en la tierra, en una tumba de materia.

Sefirot (las diez numeraciones) — Compara los treinta Aethyrs con las diez sefirot y los veintidós senderos como grados de consciencia, y rechaza la superposición simple de treinta entre tres.

Gematría (aritmética de las letras) — El prólogo de Clay Holden funda su corrección del Sigillum en la cuenta gemátrica: con la corrección da 441, valor de Aemeth, verdad, y sin ella 440, valor de Meth, muerto.

Iniciación (recepción por grados / metamorfosis del ser) — Sostiene que los Aethyrs son grados de iniciación personal, y que la visión que se enturbia mide el grado al que el mago ha llegado.

Cadena de transmisión (quién tomó de quién) — Traza la línea de recepción del material: del arcón de cedro a Ashmole, de ahí a los archivos, a Mathers y los adeptos de la Golden Dawn, luego a Crowley y por último al lector.

Crítica de fuentes (criterios de inclusión y descarte) — Declara casi con seguridad falsificado el talismán de oro del British Museum, calcado de la lámina defectuosa de Casaubon, contra su propio deseo de creerlo obra de Dee.

Secreto (lo que se jura no fijar por escrito) — El prólogo se abre sobre la fórmula de que hay algo secreto en todo comienzo, secreto e invisible como el alma de potencia infinita que anida en cada semilla.