Scorpio Lord of Death and Resurrection

The Thoth Tarot trump for Scorpio is Death XIII, which is placed on the 24th path of Nun on the Hermetic Tree of Life. The esoteric title of the key is Child of the Great Transformers: Lord of the Gates of Death. The dual nature of Scorpio is here depicted: A skeletal figure is wielding a scythe. With the sweep of the scythe, bubbles appear in which new forms are created.

Scorpio: Crowley-Harris Thoth Tarot Atu Death XIII

In nature, life and death are two sides of one coin. ‘Death’ is therefore shown here as a dancing figure, destroying form and structure while simultaneously recreating it. The card is a symbol of transformation and regeneration, apt for the months of October and November in the northern hemisphere. In terms of magical alchemy, the figure sums up the chemical changes called putrefaction. It is said that the base metal iron can only be changed into gold during the month when the Sun traverses Scorpio. In astrology the fixed water sign Scorpio is ruled by fiery Mars, the energy that breaks down form into its elements so that new life can be created. Iron is the Hermetic correspondence of Mars, while gold is that of the Sun.

Scorpio has three symbols: the Scorpion, Eagle and Snake. The Hebrew letter nun, ascribed to the path of Scorpio, superseded the much older letter nahash—‘a serpent’—for in later times the serpent became identified with evil. While the Scorpion symbolises the voluntary submission to inevitable change, the undulations of the Snake symbolise the dual dance of life and death. The Eagle is said to be the higher form of Scorpio. It has always represented ascendancy over matter or material form. Putrefaction gives off gas or vapour, and this has its parallel in occultism with spirituous non-material substances that are nonetheless tangible to clairvoyance. Ectoplasm or etheric matter is known to act as a medium between the physical world and more tenuous planes of existence.

The head of the Eagle is used as a symbol for alchemical distillation—it therefore represents the sublimation of gross matter. Scorpio is the 8th house or area of influence in astrology. The 8th house governs matters of sex, death and legacies. It therefore sums up all of our memory and experience; at the same time the very nature of Scorpio urges us towards change and transformation.

Scorpio: Imaginative Intelligence

The 24th path of Nun connects Tiphereth, the sphere of the Sun, with Netzach, the sphere of Venus. The 24th path is called the Intelligence of Resemblance or Imaginative Intelligence. The root of the Hebrew word for ‘resemblance’ or ‘imagination’ (DMINVI) means ‘blood’. It is the self-replicating formula of all created beings personified by the ancient Egyptian dwarf god Besz. The Imaginative Intelligence works from the centre of the self in Tiphereth towards the desire plane of Netzach. Thereby, new modes of expression, vehicles for the self, are brought forth. When ascending the Tree, such vehicles are transcended and broken down—thus the full title of the Tarot trump, Child of the Great Transformers: Lord of the Gates of Death. The activity of the 24th path comes through the power of projecting mental images. When one attempts to fulfil desire on its own plane, great emphasis is placed on the action or ‘doing’ aspect of the human will. Unwitting obsession is all too frequently the result. The magical power of the 24th path is that of Necromancy.[1]


Notes

1. Abridged from the entry for the 24th path of Scorpio, The Flaming Sword Sepher Sephiroth [Ordo Astri].

© Oliver St. John 2013, revised 2019

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Babalon Unveiled!

Babylon the Great and the Sphinx of Egypt

In the region of Old Cairo, or Keraha-Babylon, there are remains of a colossus that once stood in the vicinity of the ancient Egyptian temple of Babylon. The mighty image was of Hathoor, as can be determined by the intact base of her ruined crown. By historical accounts, there is a meaningful association between Hathoor (or Isis) and the sphinx that guards the nearby pyramids. The association will become self evident as we proceed with our investigation.

Babylon Unveiled: Hathoor, Egyptian Goddess of Love

The ancient Egyptian city of Keraha-Babylon is east of the Giza plateau, north of the modern city of Cairo. It is of great historical significance, for its situation on the Nile meant it was both port and fortified gateway to the old sacred road to On, or Heliopolis (Egyptian Aunnu). The pyramids and sphinx of the Giza plateau are in full view of the gateway to On. Additionally, the temple of Per-Hapi on the Nile port, south of Keraha, at one time contained a line of sphinxes, among other extraordinary relics found scattered throughout the region.

This article is abridged from the book, Babalon Unveiled! Thelemic Monographs. The book is a collection of 36 monographs, of which ‘Babalon Unveiled!’ forms the centrepiece. The description and cover art can be viewed here at Ordo Astri.

The name of the Sphinx of Egypt is Harmachis, as borne forth on its own stele, called the Dream Stela. The vastly antique statue depicting the woman and lion in one image is otherwise known as Hrumachis or Hormaku. The great statue of Hathoor, crowned with the sun, gazes eternally at the Sphinx of Egypt, her child-star, consort and divine image. While this may be construed metaphorically, it was a literal fact while the colossus, Babylon the Great, stood at the gates of On.

Babylon as Alchemical Catalyst

Babylon was the pre-historical name of the great centre even before it was called Keraha. The name of Babylon owes to a corruption, or linguistic simplification, of the ancient Egyptian name: pr-hpi-n-iunu, ‘Nile temple of the nome Aunnu’. A nome is an ancient Egyptian earth location regarded as sacred centre. According to the Pyramid Texts the name Keraha refers to the field of the battle between Horus and Set.

Per Het Hathoor Temple HieroglyphicsLeft: Per Het Temple of Hathoor Logogram

The battle becomes self-explanatory when it is considered that Keraha marks the exact division or boundary between the two lands of Khem, Upper and Lower Egypt. It is the geographic meeting or union of the red and white crowns of the North and South. Over long ages of time the symbolism of the union of the red and white has become embedded in magical and alchemical literature as the mystic marriage or royal wedding of Sol and Luna. The Persian temple of Babylon was known to the Arabs as Qubbat Babylon, ‘cupola of Babylon’, a fire temple. The cupola, a square tower with a rounded dome, is frequently used in alchemical literature to signify the furnace or athanor.

In modern times, the alchemical texts have been misconstrued. A rudimentary and false explanation of the secrets of alchemy as either pertaining to occult mysteries of physical sex or to psychological process has resulted in ludicrous attributions. For example, the athanor has been associated by Aleister Crowley and others with the male sexual organ whereas it is in fact a feminine symbol. The cucurbit, while seemingly an emblem of the female, is better understood as the containing principle of the entire occult anatomy.

Babylon: Lost Word of the Aeons

The rationalisation of the fragmentary knowledge that survived the fall of Egypt to be filtered through the distorting mirror of uninitiated scholarship has continued to the present day. The ‘lost word’, far from being recovered, is buried more deeply than ever in the substratum of human consciousness. Nonetheless, through the dark ages of man’s reign on earth, the living voice of Babylon the Great, whom we know as BABALON, emerges from the depths, calling us to truth and justice.

I was sent forth from Mystery,
And I will come to them that reflect upon me,
For those that seek me, shall find me.
Behold me, ye who reflect upon me,
And listen to me, ye that have ears to hear!
Ye who have waited for me, take me to yourselves,
And do not banish me from your sight.
Do not say hateful things of me, do not hear them spoken.
Do not be ignorant of me anywhere or at any time.
Be vigilant! Do not forget me.

The Gnostic scripture, Thunder Perfect Mind, was undoubtedly received in oracular fashion. By the time the biblical New Testament gospels were composed, the ancient Egyptian language was forgotten along with the secrets veiled by its hieroglyphs. Scriptural editors were influenced by military asceticism.

Babylon the Fallen

Mighty Babylon, gigantic symbol of the spiritual authority of the ancient Egyptian priesthood, was long ago desecrated by a Persian king who thought that treasure might be buried underneath! According to the book of Revelation, 14: 8:

And there followed another angel, saying, Babylon is fallen, is fallen, that great city, because she made all nations drink of the wine of the wrath of her fornication.

Thus the irony deepens, for to religious zealots down the ages it is Babylon that symbolises the pride and arrogance of materialism. Perhaps the adultery, confusion or mixing up of things, was after all on the side of scriptural scribes. The mythical ‘fall’ of Babylon the Great may now be seen as having its origin in literal fact.

Babalon and Ouarda the Seer

Liber AL vel Legis is a contentious oracle since a religion has been formed around it, and its so-called prophet, Aleister Crowley. However, there most certainly was a pythoness that brought forth luminous shards of the ancient Egyptian wisdom, albeit heavily cloaked in Crowley’s conceit once he had determined that it might place power in his hands. It is likely that Rose Edith Kelly (Rose Crowley) had far more to do with the transmission and writing of Liber AL than is evident from the account given by Aleister Crowley. It has been suggested we might rename the oracular book in question as the Book of Ouarda the Seer, or of Soror Ouarda, 576, for that was Rose’s magical name.

Babalon Unveiled: Ouarda the Seer (Rose Edith Kelly)Rose was by all accounts the medium and intelligence for the transmission activated through the Stele of Revealing in the Cairo museum in 1904. We know that Aleister Crowley needed her help when he wished to change some of the wording after the transmission, even though he later claimed she had not even been present in the room when the book was received! Babalon appears in two aspects in the Book of the Law. Firstly, in cosmic form as Nuit, and secondly as the Scarlet Woman or soul, who may ‘fall’ or undergo resurrection. The words that Crowley wanted to change were from Nuit, Liber AL, I: 26:

And the sign shall be my ecstasy, the consciousness of the continuity of existence, the unfragmentary non-atomic fact of my universality.

Crowley received permission (presumably) to change the last five words to, “the omnipresence of my body”, a rather trite theological intervention compared to the vitality of the original phrase. Although superficially the meaning is the same, the neologism ‘unfragmentary’, used in conjunction with ‘non-atomic’, specifically declares the geometry of space-time as non-Euclidian and the atomic world as a mere conventional illusion. Since Einstein produced his theory of relativity the instruments of material science have proved, for example, that starlight bends around the gravitational field of the sun. The curvature of the sun’s rays forms a timeless, dimensionless sphere of sensation around the star. This is comparable to the naked splendour of the body of Nuit, which is the ancient Egyptian principle of universal containment.

Babalon: Heart and Soul

Moving forward to the present time, Babalon figures prominently in certain theurgical rites. For example, in the reformed Ritual of the Pentagram, Nuit assumes four faces about the circle of the place. In the South, attributed to elemental fire and the zodiacal sign of Leo, Babalon stands guard. She is also regarded as Mistress of Magick. It is in her name that the temple is opened and closed. The Communion Mass, which involves three primary symbols of Incense, Light and Wine, is dedicated to Hormaku, the Sphinx of Egypt and the image of the Hermetic Light as magical child.

Babylon Unveiled: Hathoor (Jeff Dahl)Babylon the Great of Egypt, our Lady BABALON, as we know her through our rites and ceremonies, oracles, dreams and aspirations, is the heart and soul of the ancient Egyptian civilisation. She stands forever upon the threshold between the two lands, union of the red lion and white eagle, the kingdom of earth and that of heaven, body and soul, mind and heart. Empirical evidence supports the ideal, echoed down the ages through countless instances of inspired writing and thought, that those who put in place the magical science and art of Khem were not human, but an elder race of which very few on earth may now bear the image. The continuity of existence was therefore known aeons before Einstein produced his theories for the assistance of man’s self-destruction. The surviving remnants of the Egyptian arts declare a doctrine that is both rational and non-rational. Long ages before the general law of relativity was known by science, the priesthood of Set understood that the geometry of space-time is non-Euclidian. It is not the phallus of Osiris that is the ‘lost word’, but the soul of Nature that is as yet unknown to those who dwell in darkness and ignorance. We call this Thelema, which is the living seed of creative power latent within the dwarf-soul or star of man.

While man sleeps, a myriad of forms arise to bewilder and enchant him. Yet these forms, each masking the formless reality of bornless space, may equally enslave man or illumine the path to enlightenment and ultimate liberation. We may suppose the motive for founding upon the earth an exact mirroring of the complexities of nature was inspired through love. The mirror of the black land of Egypt expresses truth through mathematics, astronomy, hieroglyphics, art, gods, magical rites and ceremonies. Those preeval seers, skrying across aeons of time, could doubtless foresee that the race of humans is predoomed to spread violence, warfare, contagion and disease across the entire planet. Out of love, they planted the seeds of the soul’s salvation deep within the hidden matrix of our existence. The Gnosis is in itself indestructible. While the colossus of Babylon-Hathoor was pulled down and broken into fragments by slaves of a mad king, her temple yet stands, inviolate until the end of time. And, as according to all ancient wisdom sources, the end is with the beginning.


© Oliver St. John 2018, 2020
This article is an abridgement. The fulll length essay, with annotations and citations, appears in the book, Babalon Unveiled! Thelemic Monographs.

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The Violin—AD 2040

The Violin: What kind of future does music and performance arts have now that Surveillance Capitalism is the enforced economic model of the 21st century? The scene of this short story is a town or city anywhere in the world in the year 2040.

The Violin

A woman and a small child were walking past the administration centre. There were little glass cages at intervals, and each one of them had a person inside it working various machines and devices. At the end of each row stood a security guard with a black helmet and visor and an automatic weapon slung across his shoulder.

Violin Player by Sonja Brzk“What is that strange noise?” piped up the child.

“Oh don’t pay any attention”, said the woman, “it’s just an old man, he must be at least sixty years old. He is mad. Don’t worry; security will take him away soon. He’ll be restrained, retrained or recycled or something, I expect.”

“But what is that little curved box that is making the noise?” continued the child. “The man has a sort of stick thing that he moves up and down to make the noise.”

“It’s a … a vio…” She struggled to remember the word. “A violin”, she said finally, and then again with emphasis. “A violin.”

“But it’s making me cry”, said the child.

“Don’t worry”, said the woman, “You’ll soon forget it. Look, a long time ago, in history back in the dark dangerous ages, people played music on things made of wood, with strings. They were not safe things at all. And there was a thing called … a piano. Yes, a piano, it was a really big box on legs, with black and white teeth.”

“It sounds horrid”, said the child.

“Yes, it was”, said the woman. “Look”, she lowered her tone, “in those days people were never safe. They used to touch other people all the time, and get very close to them. They even shared their houses with other people. Great crowds of them would gather, sometimes to listen to what they called ‘music’, like the frightful noise that old man is making. Of course, they all carried terrible diseases, all of them, but they didn’t care and so the dead bodies were piled up in heaps in the streets all the time. Oh, it must have been awful. And then the music made them cry and laugh and make another kind of noise called ‘singing’. You can’t imagine what the noise was like. Oh, and even worse than that! Little children like you did not have official guardians and carers to look after them, they had a thing called a ‘mother’. They were so unhappy you couldn’t believe. I only learned that when I did my advanced level degree (oh it was tough, that degree). Now listen, I have said too much. You will soon forget it and will be happy and serene again. You have ten more examinations to complete next week and a whole series of genetic modifications and upgrades, let’s not forget. You are too emotional, something will be done about that; it is not safe. Be thankful for the Great Year 2020, the beginning of our Golden Age. Real music is the little jingle you hear on your body receiver that tells you when to wake up and when to go to sleep, when to work and when to play. It tells you everything you need to know; when you are allowed to speak to other people and when you are not allowed. It’s all so easy for you now, you just click on the Obedience button and it tells you what to do.”

Edvard Munch 1893 The Scream“Did I have a mother, guardian?” asked the child.

“Please don’t be so disgusting”, said the woman, “I will have bad reports made on me. Don’t ever say such things. Of course you never had a mother, darling. Don’t even think about it. I wish I hadn’t said anything now.”

The woman stopped and straightened her uniform and looked at the small panel on her wrist. “It’s time for your next guardian to take over the shift, our fifteen minutes is up. Here she comes now. Don’t forget, work hard, be obedient, stay safe and pay attention to the latest security updates. And look, see now, that noise has stopped. They’ve taken him into custody for his own safety.”


Notes

© The Violin—AD 2040 is a short story by Oliver St. John. It will form part of a collection entitled The Future Now.

The first illustration is ‘Violin Player’ by Sonja Brzk. The second illustration is ‘The Scream’, by Edvard Munch. Painted in 1893, it is considered to be the primary influence on German Expressionism in art.

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