The Golden Dawn

by Israel Regardie

  When you are using a name and drawing a sigil from the rose, you must remember that the Sephirah to which the rose and cross are referred is Tiphareth, whose position answers to the position of the heart, as if the rose were therein. It is not always necessary to formulate before you in space the telesmatic angelic figure of the name. As a general rule, pronounce the name as many times as there are letters in it.

  Further on Telesmatic Figures

  As before taught the names of all angels and angelic forces terminate, with few exceptions, in either AL or YAH. The divine name AL belongs to Chesed and it represents a good, powerful, and mighty force, but of somewhat milder operation than the name YAH. Since not only the angels but even devils are said to draw their force and power directly from the prolific source of the divine energies, therefore frequently to the names of evil spirits is AL added. The name YAH is added to the name of an angel or spirit who exercises only a good and somewhat beneficent office.

  This being understood, these two terminations being rather in the nature of incidental attributions than of essential distinction, they need not be taken too much notice of in the construction of a telesmatic image.

  In building up such an image, you can either imagine it astrally before you or paint the actual resemblance. Care should, however, be taken to pronounce the divine names belonging to the world under which the telesmatic image under course of construction would fall. Thus to Atziluth are allotted deific names. To Briah, archangelic and so on. It is also useful to employ the Sephirotic names which are comprised in the special world to which the telesmatic image is allotted.

  It is well to note that the four worlds themselves formulate the law involved in the building up or expression of any material thing. The world of Atziluth is purely archetypal and primordial, and to it, as before said, deific names are applied. Briah is creative and originative, and to it certain great gods called archangels are allotted. Yetzirah is formative and angelic orders are allotted thereunto. Assiah which is the material world consists of the great kingdoms of the elementals, human beings, and in some cases of the Qlippoth—though these latter really occupy the planes below Assiah.

  From these remarks it will be seen that a telesmatic image can hardly apply to Atziluth; that to Briah it can only do so in a restricted sense. Thus a telesmatic image belonging to that world would have to be represented with a kind of concealed head, possessing a form shadowy and barely indicated. Telesmatic images, then, really belong to Yrtzirah. Therefore it would be impossible to employ the telesmatic image of a divine name in Atziluth, for it would not represent that in the world of Atziluth, but rather its correlation in Yetzirah. In Assiah you would get elemental forms.

  The sex of the figure depends upon the predominance of the masculine or the feminine in the whole of the letters together, but a jumble of the sexes should be avoided in the same form. The image built up should be divided into as many parts as there are letters, commencing at the upper part and so on in order. In addition to this method of determining the sex of the telesmatic image of a name, certain names are inherently masculine, others feminine, and some epicene, irrespective of the mere testimony of the letters.

  Sandalphon, for instance is thus analysed:

  Samekh:

  Male

  Peh:

  Female

  Nun:

  Male

  Vau:

  Male

  Daleth:

  Female

  Nun:

  Male

  Lamed:

  Female

  Therefore masculine predominates, and if it were an ordinary name you would make a masculine form out of it. But as this name is especially applied to the feminine kerub, it is an exception to the rule; it is an archangelic name, belonging to the Briatic world and not merely an angelic name relating to Yetzirah. Sandalphon is also called Yetzer, meaning “left,” and its letters are: female, female, and male, so that, in this case, it may be any of these.

  The seven letters composing the name Sandalphon are thus adapted to the telesmatic image.

  Samekh:

  Head. Would represent a beautiful and active face rather thin than fat.

  Nun:

  Neck. Would be admirably full.

  Daleth:

  Shoulders of a beautiful woman.

  Lamed:

  Heart and chest, the latter perfectly proportioned.

  Peh:

  Hips strong and full.

  Vau:

  Legs massive.

  Nun:

  Feet sinewy and perhaps winged.

  If it be desired to build up an elemental form out of this name a very peculiar figure would result.

  Samekh:

  Head fierce, but rather beautiful.

  Blue

  Nun:

  Neck with eagle’s wings from behind.

  Blue-green

  Daleth:

  Shoulders feminine, rather beautiful.

  Green-blue

  Lamed:

  Chest of a woman.

  Emerald

  Peh:

  Strong and shaggy hips and thighs.

  Red

  Vau:

  Legs of a bull.

  Red-orange

  Nun (final):

  Feet of an eagle.

  Green-blue

  This, it will be seen, is almost a synthetical Kerubic figure. This figure may be represented, as it were, with its feet on the earth and its head in the clouds. The colours in the scale of the king would synthesize as a delicate and sparkling green.

  The uncovered parts of the body would be blue, the countenance belonging to Sagittarius would be almost that of a horse. The whole form would be like that of a goddess between Athor and Neith holding a bow and arrows, that is if represented as an Egyptian symbol.

  If again we endeavour to translate this name into symbols on a Tattwic plane, we get the following:

  Samekh

  comes under

  Fire

  Nun

  comes under

  Water

  Daleth

  comes under

  Water of Earth

  Lamed

  comes under

  Air

  Peh

  comes under

  Fire

  Nun

  comes under

  Water

  These would be synthesized thus: a silver crescent on a red triangle placed over a yellow square. All three would be charged and enclosed within a large silver crescent.

  Now, taking an example, the telesmatic image appertaining to the letter Aleph. This on the Briatic plane, would be rather masculine than feminine and would be resumed by a spiritual figure hardly visible at all, the headdress winged, the body cloud-veiled and wrapped in mist, as if clouds were rolling over and obscuring the outline, and scarcely permitting the legs and feet to be seen. It represents the spirit of ether. In the Yetziratic world, it would be like a warrior with winged helmet, the face angelic but rather fierce, the body and arms mailed and bearing a child—the legs and feet with mailed buskins and wings attached to them.

  In Assiah, this same letter Aleph is terrific energy and represents, as it were, mad force (the shape of the letter is almost that of a swastika). On the human plane, it would represent a person who was a lunatic and at times given to frightful fits of mania. Translated to the elemental plane, it would represent a form whose body fluctuated between a man and an animal, and indeed, the Assiatic form would be a most evil type with a force something like that compounded of that of a bird and that of a demon—an altogether horrible result. The letter Aleph represents spirituality in high things, but when translated to the plane contiguous to or below Assiah is usually something horrible and unbalanced, because it is so opposed to matter that the moment it is involved therein there is no harmony between them.

  Radiating forces of divine light, otherwise called angelic forms, have not gender in the grosser acceptation of the term, though they can be classed according to t
he masculine and feminine sides. As, for example, in the human figure, sex is not so strongly marked in the upper part, the head, as in the body, while yet the countenance can be distinctly classed as of a masculine or a feminine type. So, also, on quitting the material plane, sex becomes less marked, or rather appreciable in a different manner, though the distinction of masculine or feminine is retained. And herein is the great error of the phallic religions—that they have transferred the material and gross side of sex to divine and angelic planes, not understanding that it is the lower that is derived from the higher by correlation in material development, and not the higher from the lower. Gender, in the usual meaning of the term, belongs to the elemental spirits, Kerubic forms, fays, planetary spirits, and Olympic spirits—also to the Qlippoth in its most exaggerated and bestial aspects, and this is a ratio increasing in proportion to the depths of their descent. Also, in certain of the evil elemental spirits, it would be exaggerated and repulsive.

  But, in the higher and angelic natures, gender is correlated by forms, either steady and firm or rushing. Firmness like that of a rock or pillar is the nature of the feminine; restlessness and movement, that of the masculine. Therefore, let this be clearly understood in ascribing gender to angelic forms and images. Our tradition classes all forces under the heads of vehement and rushing force, and firm and steady force. Therefore a figure representing the former would be a masculine and that representing the latter, a feminine form.

  But for convenience in the formation of telesmatic images of ordinary occult names and words, the letters are arranged in masculine and feminine classification. This classification is not intended to affirm that the letters have not in themselves both natures (seeing that in each letter as in each Sephirah is hidden the dual nature of masculine and feminine) but shows more their tendency as regards the distinction of force beforementioned.

  Those, then, are rather masculine than feminine to which are allotted forces more rapid in action. And those, again, are rather feminine than masculine which represent a force more firm and steady whence all letters whose sound is prolonged as if moving forward are rather masculine than feminine. Certain others are epicene, yet incline rather to one nature than to another.

  Telesmatic Attributions of the Letters of the Hebrew Alphabet

  Aleph.

  Spiritual. Wings generally, epicene, rather male than female, rather thin type.

  Beth.

  Active and slight. Male.

  Gimel.

  Grey, beautiful yet changeful. Feminine, rather full face and body.

  Daleth.

  Very beautiful and attractive. Feminine. Rather full face and body.

  Heh.

  Fierce, strong, rather fiery. Feminine.

  Vau.

  Steady and strong. Rather heavy and clumsy. Masculine.

  Zayin.

  Thin, intelligent. Masculine.

  Cheth.

  Full face, not much expression. Feminine.

  Teth.

  Rather strong and fiery. Feminine.

  Yod.

  Very white and rather delicate. Feminine.

  Kaph.

  Big and strong. Masculine.

  Lamed.

  Well-proportioned. Feminine.

  Mem.

  Reflective, dream-like; epicene, but female rather than male.

  Nun.

  Square determined face. Masculine, rather dark.

  Samekh.

  Thin rather expressive face. Masculine.

  Ayin.

  Rather mechanical. Masculine.

  Peh.

  Fierce, strong, resolute. Feminine.

  Tzaddi.

  Thoughtful, intellectual. Feminine.

  Qoph.

  Rather full face. Masculine.

  Resh.

  Proud and dominant. Masculine.

  Shin.

  Fierce, active, epicene. Rather male than female.

  Tau.

  Dark, grey, epicene. Male rather than female.

  (These genders are only given as a convenient guide.)

  Summary

  In the vibration of names concentrate first upon the highest aspirations and upon the whiteness of Kether. Astral vibrations and material alone are dangerous. Concentrate upon your Tiphareth, the centre about the heart, and draw down into it the white rays from above. Formulate the letters in white light in your heart. Inspire deeply, and then pronounce the letters of the name, vibrating each through your whole system—as if setting into vibration the air before you, and as if that vibration spread out into space.

  The whiteness should be brilliant.

  The sigils are drawn from the lettering of the rose upon the cross,43 and these are in Tiphareth, which corresponds to the heart. Draw them as if the rose were in your heart.

  In vibrating any name, pronounce it as many times as it has letters. This is the invoking whirl.

  Example: The Vibration of Adonai Ha-Aretz.44

  Perform the Banishing Ritual of the Pentagram in the four quarters of your room, preceded by the Qabalistic cross. Then in each quarter perform the signs of the Adeptus Minor, saying I.A.O. and L.V.X., making the symbol of the Rose Cross as taught in the paper describing the Rose Cross ritual in Volume III.45

  Pass to the centre of the room and face east. Then formulate before you in brilliant white flashings the letters of the name in a cross—i.e., both perpendicularly and horizontally as a picture before you extrinsically:

  Telesmatic Image of Adonai ha-Aretz

  Formulate the perception of Kether above you, and draw down the white light about this cross. Then, taking a deep inspiration, pronounce and vibrate the letters of the name. Flashing brilliant white light should hover round them. This is the expanding whirl in the aura.

  Having gained the whiteness, then form the telesmatic image, not in your heart but before you, extending it and encouraging the ideal figure to expand and fill the universe. Then immerse yourself in its rays—and absorbing, also be absorbed by, the brightness of that light until your aura radiates with its brightness.

  These, then, are two processes: The invoking whirl related to the heart. The expanding whirl related to the aura.

  ADNI makes the figure from head to waist; HA ARTZ from waist to feet. The whole name is related to Malkuth, matter, and Zelatorship.

  Aleph.

  Winged, white, brilliant, radiant crown.

  Daleth.

  Head and neck of woman, beautiful but firm, hair long, dark and waving.

  Nun.

  Arms bare, strong, extended as a cross. In the right hand are ears of corn, and in the left a golden cup. Large dark spreading wings.

  Yod.

  Deep yellow-green robe covering a strong chest on which is a square lamen of gold with a scarlet Greek cross—in the angles four smaller red crosses.

  In addition a broad gold belt on which Adonai ha-Aretz is written in Theban or Hebrew characters.

  The feet are shown in flesh colour with golden sandals. Long yellow green drapery rayed with olive reaches to the feet. Beneath are black lurid clouds with patches of colour. Around the figure are lightning flashes, red. The crown radiate s white light. A sword is girt at the side of the figure.

  Further Concerning the Formation of Telesmatic Images 46

  Translate the letters of the name of each Sephirah into the numerical equivalents which will be yielded by reference to the Qabalah of Nine Chambers. If these letters and numbers are again translated into their Yetziratic attributions and combined with the lineal figures represented by the numbers, an analysis of the name is obtained compounded of two scales of interpretation.

  For instance, in the case of Kether, the letters are Kaph, Tau, Resh. Kaph is referred in the Sepher Yetzirah to Jupiter, Tau to Saturn, and Resh to the sun. Again, the lineal figure of Kaph, which reduces to the number two by Aiq Bkr or the Qabalah of Nine Chambers, will be the cross. Tau reduces to four, whose lineal figure is the square. Resh reduces also to two, symbolized likewise by the cros
s. There are three letters in the name Kether—which itself, as a whole, may be symbolized by a triangle. If the above symbolic lineal figures are placed within the lineal figure of the whole name, the triangle, “a species of Hieroglyphic form of each Sephirah will result. This may again be represented by a cognate angelic form, as taught in the formation of sigils from the rose.” The Yetziratic attributions will yield the information as to what colours, symbols, etc. are to be used in formulating the image.

  The same principle applies to the remaining Sephirotic names.

  [contents]

  41. Note by JMG: See Rose Cross Lamen diagram, color insert page 12.

  42. Note by Regardie: If the reader will draw a rose, copied from the complete symbol of the Rose Cross, about three-and-a-half to four inches in diameter, and trace the above sigils on a piece of fairly transparent paper placed over the rose, he will learn for himself how these sigils are drawn. He should experiment tracing half a dozen or so of these.

  43. Note by JMG: See Rose Cross Lamen diagram, color insert page 12.