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Set-Tetu-Ra
(@set-tetu-ra)
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Joined: 3 weeks ago
Posts: 41
05/02/2020 1:55 pm  

"This Line Drawn is a Key"

93!

For the record this is me reworking something I read elsewhere, I did not discover this.

AL III,47: "This book shall be translated into all tongues: but always with the original in the writing of the Beast; for in the chance shape of the letters and their position to one another: in these are mysteries that no Beast shall divine. Let him not seek to try: but one cometh after him, whence I say not, who shall discover the Key of it all. Then this line drawn is a key: then this circle squared in its failure is a key also. And Abrahadabra. It shall be his child and that strangely. Let him not seek after this; for thereby alone can he fall from it."

In the original manuscript we can see this line drawn across the page at the time of writing. This line covers/creates the following letters:

s(h) t B e t i s a y f a

When we separate these two "words" based on capitalization we get "s(h)t" and "B e t i s a y f a".

S(h)t = SET = שׁט = atu XX + atu XI = 31.

B e t i s a y f a = בהטישׂאיפא
= 2+5+9+10+300+1+10+80+1 = 418 = Abrahadabra

"And Abrahadabra [is also the key]"

Without Zeros
2+5+9+1+3+1+1+8+1 = 31 = SET

Thus we have a solution to the identity of Aiwass: SET = Abrahadabra = SET.

To add, Set was originally the sole/main son of Nuit, and was the "midnight sun" who ruled the night as the Imperishable Stars while defending Ra from Apep.

"There is a splendour in my name hidden and glorious, as the sun of midnight is ever the son. The ending of the words is the Word Abrahadabra."
Set-Aiwaz, AL III:74-75

93, 93/93!

"seek me only! Then the joys of my love will redeem ye from all pain."

10 = 1 & 0


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Behemoth
(@behemoth)
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Joined: 3 months ago
Posts: 14
05/02/2020 10:03 pm  
Posted by: @set-tetu-ra

"This Line Drawn is a Key"

For the record this is me reworking something I read elsewhere, I did not discover this.

To add, Set was originally the sole/main son of Nuit, and was the "midnight sun" who ruled the night as the Imperishable Stars while defending Ra from Apep.

"There is a splendour in my name hidden and glorious, as the sun of midnight is ever the son. The ending of the words is the Word Abrahadabra."
Set-Aiwaz, AL III:74-75

93, 93/93!

 

I think the majority of folks posting here on Lashtal are familiar with these Keys being ShT, Set, 31, AL, LA, Not etc. I also myself started a thread of pestilence not long ago that talked about the ShT/AL/31 connection and RPSTOVAL.

 

The word "B e t i s a y f a" has popped up in some old Lashtal threads I've found from time to time and on some other thelemic forums, but even if the word does add up to 418, I still don't understand it constituting much of a key if it is just a word that happens to add up to 418.

 

You mentioning Set as defending Ra from Apep is a familiar scene, especially the deciption in the style where he is on board of the Sun boat of RA.

 

This also reminded me one of my own futile "line drawn" solutions I tried to work out years ago, but the degrees did not quite add up with the line drawn in Liber Al's grid page. I might as well share it anyway, it having some relevance to this topic.

 

My attempt at "the line drawn" was to try fit it with other keys and especially regarding the 31/AL/LA Key, of which Crowley claimed to Frater Achad in a telegram: "Your key opens Palace" & "all solved" (regarding the line drawn, circule squared and abrahadabra).

 

I think personally all of these must have some sort of a reasonable connection with the line drawn and relevance with each other if some sort of a definite solution for the line drawn will be found some day.

 

The Sun's Boat, usually decipted as Crescent Moon, especially called that by the Egyptians, is sometimes decipted as lunette/crescent.

 

In latitudes of about 30 degrees and that cover Egypt especially, the crescent can assume the following shape (remiscient of a "boat of the sun" in terms of symbolism ):

 

The Book of the Law and circumstances surrounding it's receiving were described as Crowley as the "Equinox of the Gods". There is a highly eccentric book called "The computation of 666: And its relation to antichristian systems, but having reference to a person, the coming Antichrist, who is to be overthrown by the Sun of Righteousness" which was released in 1891, and from which I got some of my ideas trying to solve the line drawn mystery.

 

I must quote some concepts from it to point out the circle squared in it's failure which also is featured on the grid page:

(if we are to regard the circle squared as something other than simply the pi equation of Crowley and perhaps having some relevance to the line drawn. The Quartered Circle (or Circled Cross) having also much relevance for the four solar stations or four seasons/four cardinal directions or division of time and seasons itself):

 

There are not thirty exact days in a month, nor are there twelve exact months in a year. Still less does a year, that is, the true solar year, consist of exactly 360 days. Still less does a year, that is, the true solar year, consist of exactly 360 days. There are fractions over in each case. These fractions were entirely avoided by the ancients. Fractions were not necessary for their calculations. The cycle was viewed as dying in the fractional period, and rising again, till after so many repetitions of the original cycle a new entire cycle had been made up of the franction.

 

Much interests, therefore, arises out of balancing-point of these two great forces. The great principle of gravitation is founded on the fact that there are in nature two great forces - Repulsion and Attraction. We see this illustrated in the course of a bullet fired straight from a rifle into the air; it speeds straight along until, by the resistance of the atmosphere, its own force is exhausted, and yielding to the attraction of the earth, it falls. The two are equalised at the equinoxes. This equalisation was called the Balance, and has given its name to the sign, "Libra" (the Balance).

 

Crowley viewed LA/31/NOT as one of the Keys to Liber L and it was the very addition of Aleph / 1 that was the key so that even the title of the book was changed from Liber L to Liber AL.

 

My own "attempt" with the "Line drawn is a key" was somewhat inspired by the motion demonstration of the book I quoted above and especially if we are to consider the Libra/Balance (or Lamed) and what the addition of 1 does to such Balance.

 

The book goes on to describe/demonstrate:

As the sun occupies 6 signs on each side of the equator, his entry into the 7th is the Balance. And who can deny that at that moment a vital change takes place on the earth? If any doubt this, let him compare the condition of vegetation in the months between spring and autumn with that which exists in the mouths between nutumn and spring. Dupuis recognised this, and saw in it the great basis of the week. He thought it was the origin of the sabbath. And he is so far right that it forms one great basis in nature for the week; for 7, the number by which all vital functions are regulated, is the emblem of completion and of rest, and the very though of rest implies that there has been previous labour, previous movement.

 

 

But to illustrate this thought or the cross or balance, let us take a balance, first premising the simplest of all its forms, the Tau, or T, itself. Let us suppose a perfectly even rod, A C B D, exactly poised upon the line E F at F. Now impart to it a gentle motion by pressing it down at one, say, B D, and let it swing. The end, A C, will swing up into the air, and the end, B D, which has been pressed will fall downwards until 7/12ths of the rod be on the side of the balance you have pressed, and 5/12ths only on the other.

 

That will bring the points, E F, and G all into a straight line.

 

Thus:

 

At this point the movement will be reversed, the scale will commence to readjust itself, and the rod will osicillate till the original force of the pressure be quite exhausted and teh equilibrium be restored.

 

Thus 7, and not 6, is the number expressing movement. The sun's entrance into the seventh sign completes the action both ways. The system of the ancients took full account of all this. This addition of 1 arising out of movement was carried through the whole. Thus the 6 signs became 7; the 12 signs became 13; the 18 signs visible at a time became 19.

I've also included in the post the "line drawn" from Grid Page of Liber Al for reference next to the description of the picture demonstration from the book:

Why I am bringing this up some may ask? Because it was the simple addition of 1 to L and AL/LA being the so-called "master" Key of Liber Legis.

 

Motion & Rest are the keywords here. For example, in the Book of Lies Chapter 31 that deals with the concept of LA or "Not" (that is the Key of Al), the opening lines are: "IT moves from motion into rest, and rests from rest into motion. These IT does alway, for time is not. So that IT does neither of these things"

 

This is also the first chapter where we encounter the concept of "IT" in the Book of Lies and this chapter also described Crowley as to refer to the Hebrew word LA, which means "not".

 

Sadly, if I remember correctly (as it was few years ago), trying to work out the (not so perfectly straight) line drawn in Liber AL grid page did not fulfill the demonstration of Balance/Libra or even imply Equinox or such turning point from rest to motion or motion to rest, even though the line does begin from row 1 and ends up on row 7. Then again, the grid itself was superimposed on the page years after the original writing/dictation and line drawn without the grid numbers and alphabet.

 

Crowley also sent Achad the mysterious telegram after receiving Frater Achad's 31/LA revelation. "Your Key Opens Palace", so what did Crowley mean by that? "Thou knowest Not, your Key opens Palace".

 

I personally have never seen any other Thelemic writers or commentators bringing this connection up in regards to the "Palace of the 4 gates" mentioned in Liber Legis. In the book "The computation of 666" where most of the material of this post is from, such palace of the 4 gates is also mentioned, or the descriptions of the royal city and of its wondrous Palace of Righteousness. (The writer also makes it have some sort of connection with the Abracadabra triangle)

 

The following quotes are from the Buddhist text MAHÂ-SUDASSANA SUTTA that details the The Great King Of Glory. The Great King of Glory most likely refers to the Sun and deals with the Sun Myth in Buddhist flesh or context, so to speak:

 

To the royal city Kusâvatî, Ânanda, there were Four Gates. One gate was of gold, and one of silver, and one of jade, and one of crystal. At each gate seven pillars were fixed; in height as three times or as four times the height of a man. And one pillar was of gold, and one of silver, and one of beryl, and one of crystal, and one of agate, and one of coral, and one of all kinds of gems.

 

The royal city Kusâvatî, Ânanda, was surrounded by Seven Rows of Palm Trees. One row was of palms of gold, and one of silver, and one of beryl, and one of crystal, and one of agate, and one of coral, and one of all kinds of gems.

 

And whoever, Ânanda, in the royal city Kusâvatî were at that time gamblers, drunkards, and given to drink, they used to dance round together to the sound of those palms when shaken by the wind.

 

The ground-floor, Ânanda, of the Palace of Righteousness, in height as three times the height to which a man can reach, was built of bricks, of four kinds. One kind of brick was of gold, and one of silver, and one of beryl, and one of crystal.

Contrast those descriptions with the description of the Palace from Liber AL I, 51:

There are four gates to one palace; the floor of that palace is of silver and gold; lapis lazuli & jasper are there; and all rare scents; jasmine & rose, and the emblems of death. Let him enter in turn or at once the four gates; let him stand on the floor of the palace. Will he not sink? Amn. Ho! warrior, if thy servant sink? But there are means and means. Be goodly therefore: dress ye all in fine apparel; eat rich foods and drink sweet wines and wines that foam! Also, take your fill and will of love as ye will, when, where and with whom ye will! But always unto me.

 

Both have precious gems, four gates or entrances, floor of silver & and of gold. Even some drunkards! Also the emblems of death are relevant for the MAHÂ-SUDASSANA sutta itself deals with the death of Buddha, or sinking of the sun by some interpretators.

 

Probably coincidence, but Crowley also mentions Buddha's attendant Ānanda (who the sutta is dedicated to begin with) in his new commentary to the verse AL I,51 where the Palace of the four gates is mentioned: "By Paul sat Buddha smiling, Ananda's arm about his neck"

 

One of the first translations of this texts into English describes it as:

Turning now to the Sutta itself, we find that the portion of the legend omitted in the Gâtaka throws an unexpected light upon the tale; for it commences with a long description of the riches and glory of Mahâ Sudassana, and reveals in its details the instructive fact that the legend is nothing more nor less than a spiritualist's sun-myth.

 

It cannot be disputed that the sun-myth theory has become greatly discredited, and with reason, by having been used too carelessly and freely as an explanation of religious legends of different times and countries which have really no historical connection with the earlier awe and reverence inspired by the sun. The very mention of the word sun-myth is apt to call forth a smile of incredulity, and the indubitable truth which is the basis of the theory has not sufficed to protect it from the shafts of ridicule. The 'Book of the Great King of Glory' seems to afford a useful example both of the extent to which the theory may be accepted, and of the limitations under which it should always be applied.

 

It must at once be admitted that whether the whole story is based on a sun-story, or whether certain parts or details of it are derived from things first spoken about the sun, or not, it is still essentially Buddhistic. A large proportion of its contents has nothing at all to do with the worship of the sun; and even that which has, had not, in"

 

MAHÂ-SUDASSANA sutta also has an interesting ending in regards to IT/LA/NOT that deals with the concepts of rest & motion:

 

"How transient are all component things!
Growth is their nature and decay:
They are produced, they are dissolved again:
And then is best, when they have sunk to rest!"

End of the Mahâ-Sudassana Sutta.

 

 

Behold now Behemoth, which I made with thee; he eateth grass as an ox.


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