Typhonian Ordo Templi Orientis
LAM: The Gateway
© Michael Staley
Crowley's portrait of Lam, entitled 'The Way', was first published in
1919 as a frontispiece to his Commentary on Blavatsky's The Voice of
the Silence. However, nowhere else in Crowley's work is there a mention
of it until 1945, when a diary entry records Kenneth Grant's interest.
It is clear, however, that the portrait arose in connection with the
Amalantrah Working of 1918-19, when Crowley lived in New York.
Unfortunately, the Record of that Working which survives consists of
the first six months only. Nevertheless, it is clear from a study of
this surviving material that the portrait of Lam embodies the
quintessence of the Working.
Thou Voice of the Silence,
Glyph of Hoor-paar-kraat:
The Dwarf-Self, the Hidden God.
Gateway to the Aeon of Maat!
I evoke Thee! I evoke Thee!
With the mantra Talam-Malat,
The absence of Crowley's exegesis on Lam gives us a great deal of
freedom and creativity to discover the implications for ourselves, and
to use them as magical and mystical tools in our initiation. The
portrait was republished in Grant's book The Magical Revival in
1972, and several times since — see, for instance, the Statement on
Lam by the O.T.O. published in Starfire Volume I number 3
There is much material on Lam in the more recent books by Grant;
however, a definitive interpretation has yet to emerge. This is
because we are dealing with something that is living and growing, rather than a
matter simply of academic study.
Nevertheless, a broad outline is emerging, enough to make clear the
primary function of Lam as the Gateway to wider and deeper ranges of
consciousness — our extra-terrestrial, pan-dimensional Reality. In
fact, anything whatsoever can function as the Gateway to those
dimensions. The supreme glyph of Enlightenment is the lightning-flash,
the swift awakening to Reality, which illuminates the landscape
previously shrouded in darkness. The lightning flash can be triggered
at any time, and by anything, when the conditions are propitious. The
accumulation of glamour around the Cult of Lam makes it a Gateway which
is pre-eminently accessible, however. The association with The Voice
of the Silence makes it clear that Lam is a glyph of that Voice — the
Babe in the Egg, Harpocrates, the God of Silence. This is Hoor-paar-kraat,
the dwarf-self or Hidden God which is the Holy Guardian Angel. Here is
a deep and powerful link; Hoor-paar-kraat is the copula with the
unbroken, ever-coming substratum of consciousness which is Maat or the
Tao, and of which we are terrestrial refractions. It is because of the
intimate, intrinsic nature of this connection that every Initiate needs
to forge his or her own link with Lam, and thus to develop an
idiosyncratic Cult of Lam. The evocation reproduced at the outset of
this essay is an example, being part of the present author's Lam
sadhana, encapsulating the awareness of Lam outlined above.
Crowley gave the portrait to Kenneth Grant in 1945. Since then the
significance of Lam has become more apparent. This significance can be
glimpsed in the Amalantrah Working, but its applications reach well
beyond; were this not the case, then Lam would be nothing more than an
exotic curio in the museum of Crowleyanity. The emerging Cult of Lam is
of central importance to Starfire; for now, though, this article
looks at some of the seeds in the Amalantrah Working and related
areas. Appended are two accounts of contemporary Lam Workings which have
been submitted to us [on-line is only ONE appendix]. The first of
these draws on Enochian approaches; the
second makes use of the magical technique outlined in the
on Lam published in the third issue of Starfire.
Crowley went to the United States in 1914, at the outbreak of the First
World War, and stayed there until 1919. This period covers the core of
his initiation into the A.·. A.·. grade of Magus. These years were
marked by an ever-deepening insight into and affinity with Taoism, as
is made plain in the course of the Preface to his Tao Teh Ching
— actually a revision of James Legge's earlier translation. This insight
saturates Liber Aleph, The Book of Wisdom or Folly, the
manuscript of which was almost complete by the opening of the Amalantrah
Working. Liber Aleph is a central work of Crowley's, where he makes clear
the deep affinity between Taoism and Thelema; without an appreciation of
this affinity, Liber Aleph appears as little more than a
scattering of aphorisms. The Amalantrah Working needs to be seen in the
context of this initiation.
According to Crowley's account, the Working arose spontaneously. He
was living with a mistress at the time, Roddie Minor. One of her
indulgences was opium, the opulent visions of which she related aloud.
On one particular occasion, her apparent ramblings struck Crowley as
bearing on the Abuldiz
Working of some years previously, and after
some astral investigation he decided that there were indeed threads of
the earlier Working which were being picked up; thus opened the
Amalantrah Working. Crowley inaugurated regular sessions, which
usually took place at the weekends. He seemed interested primarily in its use
as an oracle for his affairs over the forthcoming week. Although there
were many such short-term oracular pronouncements, there was also a
wealth of more substantial material.
Amalantrah is the name of the entity with whom Crowley trafficked over
the course of the Working. Communication was never direct, but via a
medium or Seer who was sensitised by sex, drugs and alcohol in various
combinations. Because of the effects of these preliminaries, the
earthing of the communications was sometimes poor, their expression
rambling and diffuse; the wheat needs to be separated from the chaff,
therefore, when considering the Record. The Seer was usually Roddie
Minor, although on a few occasions other women did assume the Office.
The visions often opened in a woodland Temple which was perceived
astrally by the Seer; this Temple was sometimes peopled by apparent
doubles of those participating, and included on occasions absent
Several of the early visions are very suggestive of the portrait of
Lam. Consider, for example, the following:
I began by asking for a vision containing a message. I first heard
gurgling water and saw a dark farmhouse in among trees and green
fields. The house and other things disappeared and a dark yoni appeared
just where the house had stood. I then asked where will a message come
from? Immediately soldiers with guns appeared lounging about the place,
and a king on a throne where the house had stood. I then asked again
for a message and saw an egg in which were many tiny convolutions of
some flesh-like substance which would form something. The egg was
placed in an oblong as in a picture. Around it were clouds, trees,
mountains and water, called the 'four elements'. A camel appeared in
front of the whole picture. I next tried to find out who the king was.
He looked more like Prof. Shotwell than any one else. That is, he was
'simple, democratic' and very learned and fine. He was certainly not a
king belonging to any kingdom limited by a country's borders, but he
was a king of men, or a king of the world. I asked his name and the
word 'Ham' appeared between the egg in the oblong and the soldiers
around the king.
The Egg is a commonly-occurring glyph throughout the visions of the
Amalantrah Working. It is of course a glyph of birth — the egg
which contains the potential of all that is to come. There is a reference in
one of the visions to Geburah 'applied to' the egg. Geburah is in this
context the sword which cleaves the egg, or the lightning flash which
sunders it, giving birth to the potential secreted within. Since
elements of this particular vision are the foundation for much of the
subsequent analysis, an extract from the Record
follows. In this extract, 'T' is Therion, and 'A' is Achitha, the motto
of the Seer, Roddie Minor. 'The Wizard' is Amalantrah. 'Arcteon' is the
motto which was given to Charles Stansfeld Jones by Amalantrah. The
bracketed material in the Record indicates both lacunae and asides by
Crowley or others.
[Saturday] 27th April 1918 10.08 p.m. Wizard very serious and looks at
Achitha in a very contemplative mood. Seems to approve. Turtle is most
prominent thing in Temple. Child is there, lion and Barzedon. Arcteon
has a very prominent place; he is a tall man that always appears in the
The references to the lotus flower in association with the egg, and
later the child, are significant. They suggest the Babe in the Egg,
Harpocrates, often depicted as seated upon a lotus flower. The mountain
is a symbol of initiation, of communing with the gods; examples are
Mount Arunachala and Mount Kailas, and the story of Moses ascending the
mountain to receive the Word of God. The Hebrew letters Gimel and Lamed
give GL, which means 'spring, fountain'. The portrait of Lam shows
clearly a mottled emanation or umbra from the top of the egg, like the
dappled effect of a fountain in sunlight, or the 'fountain of dew'
which showers from the Sahasrara chakra when the Fire Snake streaks up
the Sushumna. The original publication of the portrait in 1919 did not
show this, presumably because it was too subtle for the reproduction
techniques then prevalent; subsequent publications in
The Magical Revival (1972), Outside the Circles of Time
(1980), and Starfire
Volume I number 3 (1989) show it clearly, however. The Record of the
last surviving session of the Working makes further reference to Gimel
and Lamed, as the following extract shows:
T: 'What is the work of this weekend?'
T: 'Geburah applied to what?'
A: 'The egg. The egg is resting on the point of mountain tops, very
sharp. Water around, lotus flowers on it.'
T: 'Egg is symbol of some new knowledge, isn't it?'
A: 'Gimel. Lamed.' (= spring, fountain.)
T: 'What does that mean?'
A: 'I don' t know; followed symbol of mountain and lotus flower.'
T: 'How are we to break open the egg?'
A: 'In plain language it means Thou art to go this Way.'
T: 'That isn't plain language. How are we to get this new knowledge?'
A: 'Don't ask questions too fast. Sow the wild oats; go into
the (...) into the Mother ... (T[herion]: You bet, you bet.)
(A[rcteon]: I think you're both getting off the trolly.) ... to be
T: 'What about the Mass of the Holy Ghost?'
A: 'That hasn't anything to do with it. You've shattered everything.
have to establish connection all over again. Going into the Mother
to be born again, you get a New Life and then the Earth is covered with
wonderful flowers, and bees come to the flowers to get honey to store,
and the honey is stored elixir. I see a hill very steep. (I think (...)
is played out.) Mother standing (...) down watching child. I don't know
if she's going to save it or go after it or what. Lotus flower on water
[Sunday] 16th June 1918 9.00 P.M. Wizard very natural — usual folk
Here Gimel and Lamed are again mentioned, this time as the two sides of
Perfection which are integrated in Adam Qadmon, the Perfect Man. This
reference to Perfection suggests the Tao; it also suggests Maat as the
Perfect Aeon. Gimel and Lamed when enumerated in full are 83 and 74
respectively, and combine as 157, the number which Crowley assigned to
his reworking of Legge's Tao Teh Ching translation. He completed
the reworking during his Magical Retirement at Oesipus Island in the summer
of 1918; and he relates in the published Preface how he evoked
Amalantrah to elucidate certain obscure passages. The attribution of
157 to his Tao Teh Ching, then, gives us further confirmation of
the Taoist substratum of the Amalantrah Working, and reinforces
the identification of Perfection with the Tao.
T: 'Symbol for next week?'
A: '245.' (perfect man; gall; RVCH AL (Spirit of God).)
T: 'Explain, please.'
A: '83 explains one side of it.' (83 = dew, wave etc.) '74 explains
rest.' (74 = ??? etc.)
83 = Gimel 74 = Lamed
33. Spring, fountain. Perhaps all means the way is clear.
The portrait of Lam shows a well-developed Ajna chakra, which can also
be seen as a stylised ankh. Together with the pattern of the
umbra mentioned earlier, the shape of a cup or chalice is clearly delineated.
GL also means a 'bowl' or 'chalice'. This suggests that if Gimel and
Lamed are the two sides of Perfection, then Perfection is the Supreme
Chalice or Graal, the Cup of Babalon, the Womb of the Mother. This
interpretation is underlined by a passage in Crowley's Commentary to
Liber LXV (The Book of the Heart
Girt with the Serpent):
Pe is the letter of Atu XVI the 'House of God' or 'Blasted Tower'.
The hieroglyph represents a Tower — symbolic of the ego in its phallic
aspect, yet shut up, i.e. separate. This Tower is smitten by the
Lightning Flash of illumination, the impact of the H.G.A. and the
Flaming Sword of the Energy that proceeds from Kether to Malkuth.
Thence are cast forth two figures representing by their attitude the
letter Ayin: these are the twins (Horus and Harpocrates) born at the
breaking open of the Womb of the m other (the second aspect of The
Tower as 'a spring shut up, a fountain sealed').
This passage underlines the mention earlier of Geburah 'applied to' the
egg, the lightning flash being in this context a type of Geburah. We
have, then, an identity between the Tao and the Cup of Babalon, both
being Perfection; and, of course, 'The Perfect and the Perfect are one
Perfect and not two; nay, are none!" (AL I.45). The reference to 'a
spring shut up, a fountain sealed' is from the Song of Solomon:
A garden barred is my sister, my bride, a spring shut up, a fountain
This indicates a pregnant womb, rather than a celebration of virginity:
to shut up or seal is to obstruct something which has formerly flowed.
It is, then, an apt phrase to be used by Crowley in the context of the
quote above from his Commentary to Liber LXV. Moreover, it
recalls a passage from Kenneth Grant's The Magical Revival:
Crowley used the sevenfold star as a basis for the Seal which he
designed for the Great White Brotherhood. The major emblem of the
Silver Star is thus the sevenfold seal upon the Yoni of the Star
Goddess. In the yonis or triangles appear the seven letters of the name
B.A.B.A.L.O.N. Centrally, a vesica is shown, blocked or barred,
indicating the presence of the secret seed; the point has become the
line, the diameter has become the circumference. This seed is the
'hermit', the hidden, masked, anonymous male essence in the process
of begetting its image as the Sun-son upon the mother goddess. This is
therefore the Seal of Set who opens his mother's womb, as Sothis the
Star opens the Circle of the Year.
(Grant, The Magical Revival, p.48)
Set is Hoor-paar-kraat, the 'secret seed', the Hidden God, released
from the egg by the shattering force of the lightning flash of
illumination. In Olla, Crowley defines Silence as the Path of
the Lightning Flash. Silence in this context is not simply the absence of
noise or movement: it is the 'still, small voice' from which
manifestation unfolds, the potential which gives rise to the actual,
the noumena which underlies phenomenon. The Egg of Silence is typified
by Lam; to embark on the Cult of Lam is therefore to evoke the Hidden
God, the Holy Guardian Angel. This is Initiation, the journey inwards
which is simultaneously the journey outwards, for the microcosm and the
macrocosm are not two but one. Lam is the Gateway to Outside — those
tranches of consciousness which lie beyond the bounds of what we
consider to be ourselves.
This Gateway, and these tranches, are nothing new. The goal of all
magical and mystical traditions is Gnosis — the awakening to Reality.
The nominalisations of this goal are legion, but all paths lead to
Rome. Similarly, each Initiate will have his or her own Gateway, but
each Gateway will open out onto the same Reality.
Let us now analyze briefly the evocation which was reproduced at the
outset of this essay.
Crowley's association of the portrait of Lam with The Voice of the
Silence identifies it as a glyph of that Voice. The association is
underlined by the assignation of 71 to both the portrait and the
Commentary, as is made clear by the inscription which accompanied the
portrait as originally published:
Thou Voice of the Silence ...
LAM is the Tibetan word for Way or Path, and LAMA is He who Goeth, the
specific title of the Gods of Egypt, the Treader of the Path, in
Buddhistic phraseology. Its numerical value is 71, the number of this
A metathesis of LAM is ALM, also 71, a Hebrew word meaning silence,
silent'. The Silence is the noumenon which underlies and infuses
phenomena, the continuum of which all things soever are simultaneously
facets and the whole. The Silence is the quietness at the heart of
noise, the stillness at the heart of activity, the being at the heart
of going, and the emptiness at the heart of matter. These
juxtapositions may seem merely revelling in paradox; the fact is,
though, that reason is a tool of limited application, and paradox is a
means of pointing beyond apparent contraries. The 'Way' or 'Path' is a
reference to the Tao. The 'Treader of the Path' is the Initiate,
treading the path of initiation. This brings to mind the concluding
lines from "Pilgrim-Talk", in Crowley's The Book of Lies:
O thou that drawest toward the End of The Path, effort is no more.
Faster and faster dost thou fall; thy weariness is changed into
Initiation is the realisation that we are all jivanmukta,
whilst yet living; further — that the only thing to be liberated from
is the idea that we are not already liberated.
For there is no Thou upon That Path: thou hast become The Way.
Glyph of Hoor-paar-kraat:
Hoor-paar-kraat is the unmanifest twin of Ra-Hoor-Khuit, manifestation.
The distinction between these twins is figurative only; they are
aspects of each other, neither separate from the other. The term
'Dwarf' Self' is often used: 'dwarf' in the sense of yet to manifest,
adolescent, prepubescent, yet to flower. This is the Hidden God, a term
used throughout the Egyptian Book of the Dead to glyph the sun
in the Underworld or Amenta, the potential which is at the heart of
florescence. Yoga is Union; not the union of opposites, but the
unveiling of the union which has always existed, veiled by the illusion
of limitation. Hoor-paar-kraat is a term often used synonymously with
the Holy Guardian Angel.
The Dwarf-SeIf, the Hidden God.
Hoor-paar-kraat may be seen in terms of the Tetragrammaton, the
Hé final, Horus or Ra-Hoor-Khuit being the Vau. This identifies
Hoor-paar-kraat with the Aeon of Maat, the continuum or
extra-terrestrial reality, a Communion in which we are at once
Celebrants and that which is celebrated. As Treaders of the Way, we are
not something separate which merely traverses from one point to
another: we are the Way.
Gatesway to the Aeon of Maat!
Taking the above ideas together, we can see, therefore, in what sense
Lam is the Gateway. The portrait of Lam arose from the Amalantrah
Working, and is a glyph of that Working. Lam is the Voice of the
Silence, the Silence which is the extra-terrestrial continuum of
consciousness of which manifestation is a facet. The Aeon of Maat is
not a span of time, nor an initiation to which we might attain by
virtue of intense and protracted contortions of the mind and body, but
is here and now — the Ever-Coming One.
I evoke Thee! I evoke Thee!
the mantra Talam-Malat ...
The mantra 'Talam-Malat' celebrates the Gateway, and is uttered several
times before it lapses into silent vibration. 'Talam' is the semenhoney
offered in the Mass of Maat; the word is a fusion of Lam and Maat. Its
number is 81, KSA, the full moon which is both the flowering of the
lunar cycle and the point of return to the New Moon; similarly, Maat is both
the flowering of the Aeonic cycle and the point of return to the
Pralaya or dissolution. The second half of the mantra, 'Malat', a
mirror image of the first half, emphasises this sense of
The use of this mantra stems from the culminating moon of a Working,
based on Crowley's Liber Samekh, which I undertook several years
ago after sensing a summons to the Knowledge and Conversation of the Holy
Guardian Angel. The number 81 emerged into awareness, and it seemed to
be a perichoresis of several elements — my growing interest in Lam, the
mysteries of Maat into which I was then gaining an insight, and my
Angel. The mantra 'Talam-Malat', then, concentrates and celebrates the
common nature and indeed identity of the Angel, the Aeon of Maat, the
Tao, and extra-terrestrialism. This insight was, and is, a matter of
experience; once tasted, the nectar is not only never forgotten, but is
This brings us to the prime consideration of the Cult of Lam, which is
that though Lam is the Gateway to our extra-terrestrial reality, that
Gateway is intrinsic to the individual Initiate. Similarly, the key
that unlocks the Gateway is necessarily of a unique pattern, and must
be discovered by the Initiate in the course of direct magical and
mystical experience, The Cult of Lam focuses upon the techniques for
discovering the pattern. However, these techniques can never be a
universal template; rather, they are but a basis upon which the
Initiate rears his or her own Temple of Illumination, the inner shrine
of which is Silence.
The Cult of Lam, then, is a quintessence of the Typhonian tradition,
which is concerned with trafficking with that which lies Outside of the
terrestrial vehicle, and hence uniting the terrestrial and the
extra-terrestrial. The practical Keys which facilitate this alchemy
will be explored in future articles.
Lam and the Art of Archery
'Is a God to live in a dog? No! but the
highest are of us'.
The following material has been drawn from explorations of the Enochian
System, and can be of use in contacting Lam. There seem to be several
Aethyrs particularly appropriate to the contact with LAM and the
energies of the Aeons of Horus and Maat. There are also some elemental
spheres within the watchtowers themselves which seem appropriate to
contact with LAM. The first account is of a journey to the Aethyr VTI,
the Aethyr of Change. Its numeration in terms of the Enochian letters
is either 133 or 139, the former reducing as 7 x 19. This is the
Aethyr where the Initiate discovers the nature of his or her 'Covenant with
God'. The Covenant is LAM; it reflects the particular direction of the
Initiate's arrow of Will within the continuum of Maat. Before moving to
the vision of this Aethyr, a few signposts are appropriate.
'The Tao of Heaven is like an arrow, yet it
'Happy are they that have known me for who I am. And
glory unto him that bath made a gallery of my throat for the arrow of
his truth, and the moon for his purity'.
BAG, the Aethyr of Doubt = 19;
BABALON (Babelon) = 114 = 6 x 19;
133/139 = 7 x 19;
SHAITAN = 133/139;
OVOF, Magnify = 133;
418 = 22 x 19.
Journey to VTI: The Aethyr of Change
After repeating the appropriate calls, I began to stare into the large
calcite crystal upon the table which served as an altar. I could see
stars in space, and after repeating the word OVOF [Magnify] several
times I felt myself to be floating in space. There was a large star
towards which I was being drawn. I passed through the coronasphere of
the sun, but felt no discomfort. I found myself in a bright but misty
void within the star. A beach appeared in the mists and I walked up
onto its sands. At the edge of the beach was a wood of large oak trees
which I quickly entered. I moved deeper and deeper into the woods, and
the light from the star cast strange long shadows which seemed to point
the way into the heart of the wood. A grove appeared; and within that clearing was a
beautiful waterfall, which bubbled into a stream and then wove its way
towards the beach, disappearing out of sight. I bathed in the
waterfall. I realised suddenly that I was being watched, and noticed
that there was a cave behind the waterfall. In the twilight I could see
the radiant image of a woman; she stood in profile, half-clothed in the
shadows, beckoning me to enter within. I penetrated the veil of the
waterfall and took her hand. She led me down a long tunnel that seemed
to go far underground. Finally we came to two large doors with an
elaborate seal upon them. My guide vanished into the shadows, and an
impressive warrior-like angel clothed in samurai-like clothes appeared
before the door, blocking my way. He had fiercesome flashing eyes, and
106 arrows pierced his chest like a pin cushion. The Barbs protruded
from his back, and his chest was a mass of feathers, the feathers of
MAAT. In one exotic flashing, flowing movement without any break, he
fixed his eyes unflinching like a cat, whilst his hand selected the
arrow for me and placed it upon his bow, and he drew and fired at my
heart. As the arrow entered my heart I was shaken with pain and
pleasure; I realised in a blinding gnosis that these arrows had been
dipped in the Holy Graal of the Scarlet Woman, and this was the poison
of Babalon which would lead me to the GRAAL and to the Abyss in search
of the Philosophers Stone (the antidote, if you like). The poison would
eventually bring about the death of my personality in the Abyss, but it
also connected me to the bloodline of those who seek the path which
leads to LIT: and beyond to LIL — LIL-LIT (H). I saw then that the
Elixir of the Poison of the Arrow (MAL is 'an arrow' in Enochian) is
What follows is information which has been received as a result of
expeditions to Aethyrs, both alone and in groups, over the past few
months. he Aim was to achieve deeper knowledge of the function and
operation of LAM with regards to the Great Work and our respective true
selves. These are he results.
I realised later that this occult attack had come from the Governor
called Ranglam. But I had forgotten about the arrow by now, as the seal
had been broken and the doors to the underground chamber opened. I
entered within; the atmosphere was very dark and deathly quiet. At the
end of the room stood a Stone throne, and a presence sat upon it. I
stared to perceive who it was, but as I tried to focus on the face it
started to distort. I could see two red eyes staring back at me, and
felt intensely that this was myself in the future as yet not formed,
as yet unborn, unseen and unheard; but I had been marked and I would
return. At this point I withdrew from the vision, realising that I
could go no further at that time. I believe that the presence here
encountered was the LAM, the face of the Monad that only becomes really
apparent in this Aethyr of LIT.
Egregore Chain No. 1: LAM (104) + AIWASS (156) + OLUN (158) = 418
LAM is the duality of creation, QAA (52), the arrow and the target.
Aiwass on this basis is the threefold aspect of creation, the
fulfilment and the synthesis of the aspiration of the arrow towards
heaven. AIWASS + OLUN = 314 = KAL (to manifest, or precipitate). KAL is
derived from KALZ which means 'the Firmament' and is itself a factor
doubt. KALZ = 323 = 17 x 19. Hence we can derive from this the formula:
KAL LAM = 418 = KAL MAL (Sigil Earth of Water, Water Tablet)
OLUN: OL (to make = 2 x 19) + UN (title of the first enochian letter) =
120 = OM, Understanding, and GRAA the Moon. Hence OLUN can he defined
as to make the understanding of the Moon, or to make a hole which is
receptive to understanding. OLUN seems to be very like TIAMAT or
Manifest LAM = 418: Manifest the Arrow.
KAL = 314 = BUTMONI (Their mounts) 2 x 157. ZORGE (Love) = 151/157.
Hence we can see that the marriage of AIWASS and OLUN creates
manifestation and expresses the duality of Love and its division. Out
of their mouths spill the duality of the word which is divided, but
which becomes reconciled through the Love of LAM: the arrow joins them.
The arrow of truth is the arrow of Eros, the arrow of LIT — the Aethyr
without a supreme Being. OLUN is the act of drawing the Bow, LAM is the
face behind the Arrow, and AIWASS is the act of aiming and fixing the
target which depends upon light.
Egregore Chain No. 2: MAAT (111) + AIWASS (156) + BEAST (37) + BABALON (114) = 418
MAAT (111) + AIWASS (156) = 267, YRPOIL, 'division';
BEAST (37) + BABELON (114) = 151, ZORGE/SALOME, 'love';
YRPOIL (Division) + ZORGE (Love) = 418.
Hence 'I am divided for love's sake, for the chance of union'. But how
can this union be accomplished? How can the duality be reconciled? The
answer is through the introduction of a third variable, which is Love:
the Love of the Beast for Babalon, and of Maat for Aiwass. It is interesting to
see how Aiwass appears on both these maps. He seems to represent on the
one hand in the first map the Magus, and Logos of the Aeon; whilst in
the second one he is the Demiurge, with the path of the Hierophant (Man
of Earth) connecting these two maps together.
But what exactly is an egregore chain, and how does it work? It can be
defined as the group spirit (super-consciousness) of all the members of
a particular Order. The F.S. (Fraternitas Saturni)
use this notion very effectively; members need not be present in the workings or rituals of
other Order members in order to gain access to the egregore. It is
analogous to the running of magical computer programs across a network
of adepts or members, in order to access necessary gnosis and guidance
from the Secret Chiefs. This can be done using these egregore maps
because they express the laws of Creation and the Fall through their
symbolism. They allow people to free themselves from the lust of result
by the externalisation of the Holy Guardian Angel into the egregore;
thus, in the process of trying to communicate with the Secret Chiefs,
the nature of the Angel is encountered in the process. It also helps to
align groups to the Great Work more effectively, diminishing group
Babel that hinders us from uniting with Babelon. Babel is a negative
build up of Shaitan energy that restricts the flow of Will. This is the
division that must be overcome with Love. When working alone, the triad
seems to be the most natural pattern to assume. For example, I take the
form of Aiwass through atavistic assumption, and through OLUN my anima
manifests the Child that is Lam, the fruit of my will, the Hidden God.
In pairs, OLUN + AIWASS relationships form, with Lam being the
invisible unifier or copula between them.
The Bow is formed of a branch of the Tree of Knowledge of Good and
Evil. The String is the golden thread, the Sutrat-man that connects us
from incarnation to incarnation, from past to future; it is the
knowledge which we retrieve from Choronzon through the ABRAHADABRA
process. The String is the Serpent of Time, Apep, that must be
overcome. The frequency of the string as it resonates is the song of
the true self, and is but part of the music of the spheres. The tension
of the Bow is the force of Shaitan that tries to resist the Initiate
drawing it back and seeing his or her origin. Shaitan does this by
creating a sevenfold veil of doubt which must be transcended. The Bow
may now be opened which itself creates a division, a window to the void
through which we can find the path. This takes the strength of a Lion
or a Dragon (OLUN). To open the bow is to weave a vortex, a voracious
devouring of chaos and cosmos. The Daughter of the Flaming Sword is
often depicted holding the mouth of a lion, as if to control it, to
stop her being consumed. But the opening of the bow is the opening of
the mouth of the Dragon, whereby one is consumed with fire (spirit).
The Bow is now fully extended and becomes a Circle, with the heart of
the Initiate at the centre: Hadit joins with Nuit. (Nuit is often
depicted holding two arrows in early Egyptian icons, one of which
points upward, the other downward). Now we aim without aiming; to
forget the arrow (MAL) is to remember LAM: the Target is our
intention. We lilace the arrow, symbol of our will (AIWASS) and its ultimate
fulfilment, upon the string; and, dissolving ourselves in samadhi upon
a sevenfold doubt, we loose the arrow in a moment of pure folly. The
feathers of the arrow are plucked from the headdress of MAAT; these
feathers form a cross pattern as they resolve themselves in a circle
which becomes the Mark of the Beast. One of these feathers of MAAT is
used to weigh the heart of the Initiate in the 17th Aethyr TAN, the
Aethyr of the Balance.
A suggested LAM Visualisation
Imagine you could remember all your past incarnations in full, through
different races, sexes, cultures, planets and even solar systems.
Imagine yourself turning around to look behind in a moment of
paranoia-critical, and seeing all those incarnations. The fear and
disgust of past acts, pain and death must be transcended in doubt and
magnified, so that the covenant becomes manifest. Try to synthesize all
these shades; though they be divided, this is the mystery of Babalon
that you must overcome with Love. Then, through a process of Magical
forgetfulness, forget the arrow and give birth to LAM: a bi-sexual
humanoid entity which glows with orgone light energy and is the sum of
your past and the root of your future. This image is nameless, the
Bornless One; hence it is attributed to the Fifth Aethyr, the Aethyr
which is without a supreme Being; but it is also a servant of the
STARFIRE I;5, 1994
London WC1N 3XX
Tradução portuguesa: LAM: O PORTAL
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