oh thou Daimon of delusive delight
careening in your silent mental flight
fill my mind’s night with thy delusive Light
and my words with Divinized David’s Might!

give thou me the Red of the apple tree
hid deep in the orchards of En Gedi!
give thou me the White which adorns the free
as they dwell ever in eternity!

Illumine thou the dreaded Tartaros
filled with laments of oblivion’s ghosts
weeping for their now-forgotten sorrows

Illumine thou the Purgatorial Coasts
where the soul’s purple robes are paled of Shame
and are made the same as the Starry hosts

illumine thou the Firmament of Flame
where dwell seraphim and spirits of light
who ever worship the Christ’s secret name

reveal to me the mysteries of Rust,
and the long lost verses of Orpheus.
the ancient city which dwells in the Dust
seen only in the eye of Morpheus.

imbue my heart with Dawn’s own innocence,
with shining eyes lit until the evening.
in the night invite the Glowworm’s image
to enlighten the face of Erebus
which holds every star above the earth.
make my words as delicate as the dove
but ever drunken on divinity.

envelop my flesh with experience,
face and form transformed as in my dreaming
develop with deep darkness my visage,
my voice made the sounds of storms roaring thus
I may rejoice as they who know not birth.
then I may sing to the king whom I love,
Of Virgin womb, Bridegroom and Trinity.

come then! Daimon of delusive delight
with a strangeness seen not by human sight
of fiendish flowers infected with blight
fill my mind’s night with thy delusive Light
shining brighter than the empyrean height
of ultimate rewards of the Upright
fill my words with Divinized David’s Might!
fill my words with thy daimonic insight!
for then will be sacrificed as I write
I

the Sapphire lion sings invocations to spirits of the glass dome,
the jade Dog howls as incense smoke rises, trigrams are traced from Great Yu’s tome.

the shores of parting pour their nectar as the palace beyond night opens,
blossoms of light whiten the ocean’s face as Chang’e reveals her Specter 

Vapors of cinnabar redden the fading white breath of the first titan,
the blooming flowers brighten the prayers in his mouth given to seven. 

the First father is bowed before, all impure winds are banished below earth 
and the dreams behind the scarlet door reflect for the half mirror’s own mirth 

perfumed priests wearing yellow caps roar a thousand thunders and thousand wheels
but the autumn silence wraps an earthenware vessel in ancient white seals

no one mentions the Toaden tears of poor Li-he, I wish to call his Ghost
then we could share a roast of green Fox liver and laugh without any fears 

may your rancorous bone house not be a place of misery but of rest
may you come to me as a guest, as your name Changji, I have not forgot

(Note, written precisely 200 years after his death upon the anniversary.)

Jewels grow upon the juniper tree
Obscure and occult to all but the birds,
Hovering in the heavens, flying free
Never knowing sadness, they speak the words
“Keep not your wings, for amethyst and jade
Even now shines in the harsh northern lands.”
Avarice filled avians fill the glade
To taste the treasure, the birds come in bands
Singing skylarks and the cackling goose
Ivory gulls of the icy snow world
So many, even the sanderlings whose
Delicate dappled wings in winds are whirled
East and westward. each and every kind
All arrived around the fruit trees that shined
Dreamily, as if jewels in the mind

Poem 1:The praise of the Idolater 

frankincense, Storax and balsam most precious 
burn before the altar of chemosh Bel 
“before ba’al burn, before him! the jealous! 
bring your sons to burn! for Ba’al the jealous!” 
frankincense, Storax and burning blood I smell 

before ba’al, his priests pray and cast their spell
his open burning mouth, eyes of green beryl 
“bow before me” and before ba’al I fell
before burnt balsam and babes, to him I fell 
“praise him, the terrible, at your own peril “ 

i saw them dancing there, in their apparel 
his insignia, his signet and sigil 
glowed with the same glory of his green beryl 
they led me away, away from the vigil 
I heard them as I left “praise the green beryl 
i heeded them as I left, I praised ba’al 

frankincense, Storax and balsam I still smell 
as I left the temple of ba’al chemosh
honored by frankincense, Storax and balsam.
with frankincense, Storax and balsam I fell

Poem:2 The Lament of the Idolater 

the bitter smoke I smelled, the burning temples 
pylon and pillar are burnt into piles ashed 
destroyed by devils, Israel, the rebels
Israel, nation of devils and rebels 
even bel, everlasting Ba’al chemosh, smashed 

his crimson carbuncle teeth fallen and cracked 
his priests lay pierced, pouring forth their crimson blood 
even his holy place, his face was attacked 
his temple, this, his holy place was attacked 
his incense and his jewels lay mixed with mudd 

Israel, the rebels, return in a flood 
carrying away the precious water stones
the Gold articles, the gems mixed with the mud
may chemosh mangle them, may Mosh have their bones
ba’al chemosh, who’s beryl eye sits in the mud 
mosh with your jaw, mosh with your maw, chew their bones 

hear me, hear my cry, as I cry out with groans 
mosh with moans, chemosh, many must be mangled 
all their young strangled and smashed against the stones 
hear my lament, Lord, bash them against the stones

Poem 3:The conversion of the Idolater

the fumes of frankincense, Stacte and galbanum 
flew High as I hid away, to Yah’s temple 
trumpets roaring, lambs blood pouring, their custom 
“shout for the shining ephod!” as was custom 
a ghost was about that place, something special 

“I must remember this is the false devil 
the temple of Israel, foe of ba’al” 
but the ghost grabbed my soul, caused me to revel
the ghost of God grasped my soul, my soul revels 

I knew now we were the rebels, our temples 
Baal was the devil, Praise be to elohim
El who dwells in me, who’s eyes are not pebbles 
rebuke from me the idol devils, like dreams 
vanish then, like dreams, destroy the stone idols 
idols of stone, be broken into pebbles 

the fumes of frankincense, Stacte and galbanum
live while the lies of idols, like a man’s dreams
are crushed like pebbles, like his false stone temples
his priests pierced, praise be to Yah, Yah, halluyah

the Ocean’s Roar 
rages before my eye.
the moon on High
heaves the waves to the shore.

lightning bellows 
slashing the sky open,
the clouds Broken, 
the burning voice echoes. 

the white waves howl
as a whip beaten beast 
never released 
who can do not but growl 

my lips whisper
“the force of the breaker
formed by my creator
will not make me quiver”

Seven are the Secret name I

The following poem was constructed for a longer poem but due to the density of it I think it Merits an elaboration on the various hidden aspects  of its construction.

First the poem called “Sweven Sweven Sweven”

I Sing a Song of Sweven

Seven are the Secret names
Written in the White Welkin.
Ere Eternity the flames
Veiled in the black Void of Sin.
Eons pass, Evil conceals.
Nails of Night pierce Sacred Skin.

I Sing a Song of Sweven

Seven are the Sacred Seals
Wet With the blood of the lamb.
Each man Earns what he reveals,
Vanity Views not I am.
Each who Earns the holy Stamp
Negates his Name, like Abram.

I Sing a Song of Sweven

Seven Spirits of the Lamp
Weave the Wyrd into a Web
Elder than the Evening Camp.
Visions of Verses of Geb
Envelop all of Elphame.
Now Not even Naught shall ebb.

First the basics, Sweven means a dream or a vision, each stanza produces an acrostic of “SWEVEN” and this word is played/rhymed in the first line of each stanza with seven” of which each line is 7 syllables long. 

On an aesthetic level let us break down each stanza.

“I sing a song of Sweven”

Saving the letter mysteries for later, this line is repeated three times, it connotes that the next stanza will be a “Sweven” a dream or a vision. The full acrostic because of this line becomes “I dream, I dream, I dream” these mirror the Hebrew god name AHYH AShR AHYH(I am who I am or your preferred translation) and the Trinitarian formulation of Jacob boehme, within Kabbalah AHYH is God in his transcendental nature, which through self relation and unfoldment (AShR, which is symbolically like a mirror) he comes to know himself in the Temporal and immanent, and he is both, This is God as both the man, the mirror and the man reflected in the mirror. (This reflecting the tantric doctrine of the trika unity of Shiva, shakti and Anu)  

I sing=creation as an act of speech, the Singer being the Father. AHYH

A Song=the creative words itself, the speech which creates and pervades creation, the Logos, Christ, the way by which the father/singer reveals himself by his mirror/song, AShR 

Of Sweven=within the system of boehme, Paracelsus, tantra and so forth, the world of shakti, the Holy Spirit, is the entirety of creation, the holy Spirit being the life which pervades material existence, invisibly, thus it is invisible just as the father is, but because it is so all pervading, whereas the father is hidden in transcendental darkness, the Holy Spirit is hidden in blinding immanent Light. As the creation is the will of the godhead and his will pervades and formulates it, it is a dream, a “Sweven, for what is a dream but ones Ego and mental processes echoing and folding into themselves creating a object world out of its own subjective materia? This idea of the world as dream and pervaded by Godhead is almost universal. This would constitute the final AHYH of the AHYH AShR AHYH formula. 

This God name, AHYH AShR ahyh contains within it the entirety of the Supernal three sephiroth in unity. (Roughly speaking, binah being emptiness/absence, which is married to being/fullness/presence, this intermingling generates representation which is Nondual to knowledge, which is a reflection of kether/truth which is pure becoming/absolute becoming, to quote Schiller “ the play impulse would aim at the extinction of time in time and the reconciliation of becoming with absolute being, of variation with identity.” The play impulse being the harmonization of the sensual and formal within Schiller, effectively the absolute in hegel 

In any case, this line like all of the lines of the poem has precisely 7 syllables, 7 in the Christian tradition has a number of meanings, some of which will be elaborated upon in the Analysis of each line. Fundamentally it represents the 7 days, 7 planets, 7 churches, 7 7 angels, 7 names of God and the 7 spirits before God’s throne, to summarize it represents perfection, in the sense of complete rational manifestation. A complete harmonization of actuality with potential/essence. 

In this specific example, it represents the 7 remaining lower sephiroth of the tree of life, which constitute the entire range of phenomenological experience. (Various other essays explain this.) 

Thus the rhyme of Sweven with seven signifies the union/harmony the manifest world, creation, perfection, the creation power of god and the Holy Spirit.

Thus the first line contains within it the Trinitarian Godhead, the doctrine of Lila, the doctrine of AHYH AShR AHYH and the entirety of creation brought to perfection.

The following stanzas are thus elaborations upon the parts of godhead and their interactions and movements within time, the first Stanza representing the unknowable transcendental nature of Godhead, specifically  the Father.  

“Seven are the Secret names” 

there are various mysteries hidden in the alliteration and pseudo-alliteration but those shall be explained later.

As previously noted, the mystery of seven, but the name is Hidden, the seven names are clearly the seven divine names which rule over the manifest/phenomenologically relevant sephiroth, they are hidden/secret because they are at this point in creation hidden within the Ain Soph, within the darkness of the father, not yet lightened by the creative logos bringing them into manifest creation. 

“Written in the White Welkin”

Written=inscribed, in Hebrew mysticism because of the correspondence of the word for soul with ink, written signifies that it is a part of the soul or essential essence of a thing. Thus, written means dwelling within the essence/heart of.

“The white welkin” 

Welkin is a middle/old English word meaning heaven, specifically Sky, white herein is another obscure Hebrew reference, The “true Torah” according to lurianic Kabbalah is not the actual book, but rather the black of nothingness/ain written upon the white of soph/limitation, producing the endless and limitless, “black fire on white fire” as the Talmud calls it, thus this is all of the divine properties and aspects of god and creation written in the true Law, the transcendental being of the Father.

“Ere Eternity the flames “

Ere eternity meaning, before eternity. Temporal and dividable time begins within the kabbalistic and hermetic systems in Saturn/binah, whereas eternal and undividable time (Olam, the Aeon of Aeons) begins with Kether, which is signified by its partzuf/countenance (think a kind of symbolic anthropomorphic representation of the alchemical processes) of Atik Yomin, the highest and first of the partzufim, thus before eternity would signify before Kether, once again, pointing to Ain soph.

“The flames” the flames of course being the true Torah previously described as the names, the totality of the divine attributes, names, titles, potential of creation and so forth. 

“Veiled in the black Void of Sin.”

A mysterious doctrine from the core of my own developments but largely reflected in the Christian and tantrik tradition, veiled denoting hidden, hiding, not revealed, not processed.

“Black” denotes the lack of color, lack of possibility of perception (light denoting truth, knowledge, etc) 

“Void” denoting emptiness

Thus the black void is the emptiness and lack of perception that occurs because of Sin, one may ask why is sin occurring at this level? It is because in my model, Sin is identical to the universality/invisibility/lack of knowledge of god, Sin is the hiding place of the Good and the veil worn by the Good, this is key to my interpretation of the Dionysian doctrine of the self penetration of nothingness by nothingness.

As such, simply put, the totality of the divine attributes were hidden in the transcendental mystery of the divine nature.

“Eons pass, Evil conceals.”

Eons=aeons, periods/divisions of time, which is to say, the process from Ain soph all the ways down to binah occurs, time is divided, as such the hiddenness of godhead is revealed/appears within time.

It is revealed as Evil, which as previously stated conceals, conceals what? The divine attributes and Will of God, in fact this evil begins with the first evil, the sin of adam(and of Satan) thus, this line brings us through the entirety of the creation process prior to the Christ.

Note, within Christian thought history is divided into three phases, the creation, the fall and the redemption.  As such, so also are the stanzas divided into three phases, as evil and temporal time has been ushered in, in order that this line be perfect and the father be revealed in the Son, the next line naturally must be of redemption and the opening of the nature of Christ.

“Nails of Night pierce Sacred Skin.”

The final line of the stanza, The first meaning is easy and clear, the redemption/overcoming of sin and evil occurs through the nails piercing the skin of the savior, the Christ. But this is intensified if we look deeper.

“Nails”

Within the Hebrew alphabet, The letter Vav(letter V/W/U) means “nail” however, Vav is one of the letters of the Hebrew name of God jehovah/YHVH.

YHVH is interpreted in lurianic Kabbalah according to the partzufim doctrine and also in hermetic alchemical literature as being the following.

Y=the Father 

H=the mother 

V=the Son 

H=the daughter 

This four fold family-marriage being a circle, a eternal recreative logarithmic spiral. 

The father denotes Chokmah and the father himself, especially as the partzuf Abba(father)

The mother denotes binah and in this regard the holy Spirit in appearance as the shekinah, but especially as the partzuf Ima(mother) 

The Son represents the sephira Da’ath(knowledge gnosis, which descends as tiphereth=beauty within creation) he Christ as manifesting messiah, and especially the partzuf of zeir anpin (means small face, to denote how it reflects arich anpin, the large face, which is the outer/external form of Atik Yomin) 

The daughter represents Malkuth, shekinah descended among creation, the manifest church, the anima Mundi/spirit of the world, the material world and especially the partzuf Nukvah(the Bride, the partner of zeir anpin, each of the partzufim have alchemical relationships.)

“Night”

Night in Latin is NOX, night in the thelemic system and within some portions of Christian mysticism denotes the Supra-divine light of the godhead which is invisible/non-perceivable to man, it is the night which shines brighter than day light. 

Finally, knowledge by its nature must be a multiplicity whereas the totality of knowledge constitutes truth, truth is kether(truth=AMTh=441=21×21) 

And the manifest reflection of kether, Daat, which is knowledge which manifests through the rational as tiphereth (meaning beauty, harmony, reason, etc.)  must reflect truth through the parts of knowledge.

Thus “nails of night” denotes gnosis, all knowledge, the multiplicity of information manifest from the mysterious portion of the godhead.

“Pierce sacred skin”

Pierce denotes integration, penetration, absorption and so forth through a phallic allegory, 

“Sacred”

Sacred means to be set apart, to be special 

“Skin”

The flesh/skin which is “the concrete coincidence of immanence and transcendence in the phenomenon of the lived body”(see merleau ponty, M C Dillon etc) the locust of perception, the invisible and all present center of phenomena, thus it is pierced, the perception of man and his being is pierced/penetrated by the gnosis.

It is “sacred “ because the flesh is Nondual to the ego, which is the unique-within-phenomena, this is why a name of daat is I AM I(which equals 61, same as Ain) thus 

“Nails of night pierce sacred skin” at once means Christ is placed upon the cross for the sins of man, but also the descent of gnosis from in high into the perception and flesh and ego of man and broadly speaking humanity.  

Thus, the transcendental darkness of the father’s unknowable alien nature is ended and replaced with knowledge of the son, thus the next “Sweven” song begins.

“Seven are the Sacred Seals”

As this is now the stanza of the Christ, the Son, the manifesting/revealing of the divine nature of godhead, it begins with a reference to the Seven seals of revelation, now denoting revelation of spiritual mysteries as a whole. 

“Wet With the blood of the lamb.”

Another reference, we read in the book of revelation only the lamb can open the seals, and he appears as a slain yet living lamb who has seven horns and seven eyes, thus the mysteries of all creation are revealed by the manifesting power of Christ as both messiah who reveals the literal seven seals, and our metaphorical seven seals (all divine attributes) being revealed by the Christ as Logos.

“Each man Earns what he reveals,”

Again, another apocalyptic reference to the judgment of man, this line has a double meaning.

The first=each man earns (gains in terms of knowledge) what he reveals (of his hidden potential, of the will of God he enacts, how much he mirrors the Christ in his daily life.)

The second=each man has fallen into judgment of God in accordance to what God shall reveal they have done and not have done, and they must sit and understand they deserve it.

“Vanity Views not I am.”

Elaborates on the judgment seat meaning, those who are Vain, which is to say, those who obsess over the external form and for their own pride shall not view, shall not experience the nature of harmonious love and unity with Godhead, with “I Am”(AHYH) 

Note vanity here is obviously in reference to the Ecclesiastes usage, vanity being a translation of “hevel” which means breath, but specifically it is breath used up as if a cold day and then you see it fade away, thus it means passing, transience. Thus those who cleave to transient things and not the eternal things, these do not gain experience of the eternal nature of AHYH.

“Each who Earns the holy Stamp “

Again reference to revelation especially 9:4 and others, each man who has abided in the will of god is stamped/sealed in an opposite way to the mark of the beast. 

“Negates his Name, like Abram. “

The final line references both revelation a final time but also links it to the Old Testament and the name through which it connects us to the creation world and thus the final stanza.

Revelation 2:17

17 He who has an ear, let him hear what the Spirit says to the churches. To the one who conquers I will give some of the hidden manna, and I will give him a white stone, with a new name written on the stone that no one knows except the one who receives it.’

Thus the redeemed are changed and transmuted in nature/being, negating their old existence and gaining a Nondual existence with God with a new name. This reflects how Abram (high father, high exalted) becomes Abraham (father of multitude/many) in Genesis 17:5

And just as we have changed from the father in exaltation (Christ as the visible image which brings glory to the father) to the father as father of the multitude (all men, creation, etc) so also do we transition into the final stanza denoting being, creation and the Holy Spirit 

“Seven Spirits of the Lamp”

This line has a changed from the other two opening lines, instead of the seven being analyzed “seven are the names, seven are the seals” it is the spirits which are in activity, performing an action. This denotes how the Holy Spirit is active in creation as the paraclete, how in the tantric systems this is identical to shakti, the energetic and activity aspect, the seven spirits of the lamp is also a revelation reference which also exists in the Old Testament thus linking the last line and this first line.

 Isaiah 11:1-2

11 And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots:

2 And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord;

Revelation 4:5: And out of the throne proceeded lightnings and thunderings and voices: and there were seven lamps of fire burning before the throne, which are the seven Spirits of God

Revelation 5:6: And I beheld, and, lo, in the midst of the throne and of the four beasts, and in the midst of the elders, stood a Lamb as it had been slain, having seven horns and seven eyes, which are the seven Spirits of God sent forth into all the earth.

(The holy Spirit descending upon Christ occurs at his baptism, see Matthew 3:13-17)

These seven are the seven faculties and aspects of the One Holy spirit, who illuminates creation by his very existence, by his Being nature. His light. 

These seven denote the following.

Fear=yirah=Bhairava=Fearful-realization, but also the fear of a son towards his father 

Knowledge=daat=to know=gnosis, experience 

Power=geburah=Divine supremacy, Phenomenal Laws 

Counsel=etsah=design/purpose=all things having intentionality and Logical structure within phenomena 

Understanding=Binah=BNYH=BeN-Yh, the son of the father YH, therefore the mutual interrelation shared by the entire divine structure, non-separation, understanding.

Wisdom=Chokmah=cognizance=Consciousness as nondual to Awareness=perfect intentionality=Wisdom 

Spirit of The Lord=Ruach YHVH=his presence within creation.

Thus, this line denotes the holy Spirit As the part of divinity which dwells ever in creation, which causes the divine aspects of godhead to materialize as sensuous forms and is Nondual to these sensuous forms.

>Weave the Wyrd into a Web 

What is the Wyrd? In Anglo-Saxon culture it fundamentally is identical to the Moirai/three fates, but also the thread/fate itself. The Wyrd is the web of all interrelations in space-time, all relationships. Wyrd itself by etymology means “becoming, to turn, turning, twisting, rotating” thus the holy seven fold spirit of God weaves (makes Affixed, patterns) the Wyrd(becoming, into being.) into a web(a set structured ordered cosmos of relationships)

“Elder than the Evening Camp.”

Elder than the evening camp, or simply put, older than civilization, older than the placing of men in tents and camps and structuring, older than any human or non divine structuring. 

Thus this line denotes that the holy Spirit structured and has structured the cosmos since the beginning of temporal time.

Visions Of Verses Of Geb

We move into the final revelation in which temporal time itself is infused with the hidden divinity, visions(unveiling, revelations) of verses (allegorically songs, ultimately knowledge/gnosis ) of Geb(geb meaning earth, but being the Egyptian deity of deified earth.) occur. 

Which is to say, all men begin to see the divinity which pervades immanent within the creation upon the final apocalypse.

“Envelop all of Elphame.”

Continues the previous narrative of the unveiling of the holy Spirit in creation, now normative earth is called Elphame, meaning the dwelling of elves, within some strands of medieval and sabbatic thought, it is said that 1/3 of the angels sided with God, 1/3 sided with Satan and the final 1/3 chose neither side.

In this theology, Satan and the devils are cast into the subterranean prisons and into hell, whereas the undecided angels fall to the earth, being undecided they serve the earth spirit itself or their Grigori master, shemyaza, and these angels of neither heaven nor earth, ultimately become servants and lords over the local regions of the earth, forgetting their natures and becoming the fey, elves, elemental spirits and so forth. 

Key in this is the mystery of elphame becoming ALPhYM (Alphym), ALPh=Aleph,111, the Nondual unity of Godhead, YM=a suffix which denotes multiplicity, multiplicity, example El=God Elohim=Gods

Thus Alphym=the Nondual unity of Godhead manifest as the multiplicity, and this equal 161, the gematria value of Adam kadmon, which is the primal man, the man from Heaven, all of creation as the soul of Adam.

“Now Not Even Naught shall Ebb.”

Alphym being attained, Now(as in, the manifest moment in time.) not even (creation and non being have been reconciled. 

Not even naught (ain ) shall ebb(change) denoting that all of the hidden aspects of Ain, God in his most Supra rational form have become fully material, rational and manifest. Thus Heavenly Zion upon the Earth. Is attained. 

Final gematric notes. 

The first stanza contains 13 (when counting both true and pseudo forms ) of alliteration, denotes both Achad(the unity of godhead ) and AHBH(divine love) 

The second stanza as reflection of the first also Contains 13 alliterations. (Note 13+13 is a common formula for describing the god name YHVH, Love and unity conjoint under one name.) 

The final stanza has 19 alliterations, the value Of IT(a name of Kether) but more importantly the same value as the Hebrew terms meaning “union” “concealing “ and most importantly “breathing” this word CVh is actually the proper name of Eve, thus this stanza is the fullness of creation, humanity, the female shakti, the breath, the harmony of union and concealing and so forth, all being realized in the final stanza.

Thus the 3 stanzas when taken together have 13+13+19 alliterations, which is 45, 45 is ADM, Adam, which means both literal Adam but also the earth. 

Uncounted would be the repeated “ I sing a song of Sweven “ lines, each of which has 3 alliterations to signify the triune Godhead.

Each stanza when counted with the “I sing a song of Sweven” has exactly 49 syllables, 49 is 7 x 7, 49 is also the amount of gates of wisdom/loagaeth within the enochian system of magic, these gates being actually 49 divisions of speeches that god gave which formulated the structure of every particular thing. It would also denote absolute perfection and perichoresis. 

Similarly when counted as a whole it has 147 syllables, which has many idiosyncratic meanings to me concerning my own system of mysticism but in general, it would denote perichoresis of creation with the Triune Godhead.

Finally it has precisely 454 letters, this is the same gematria as Signet ring, which is in western ceremonial magic the symbol of authority, divine providence and the symbol of the unity of man with God. 

I passed among silver trees

who’s fruits singed gold songs

abounding in the never old

dreams of the daily born dancing Dawn 

the sky image drawn 

of the softest smile 

ever forgotten 

and yet remembered 

silent slithers the secret serpent 

the Wolf Wails in the wintry wastelands

terrible talons toy with dead flesh 

but All-blest sees the eye of the Heart

soft and plain is the scent 

which renders the heavens Rent

beauty lays herself bare 

if you look without a care 

The poem has precisely 111 syllables which is the same as “Aleph”‘’s full value in Hebrew gematria, Aleph is the highest Nondual point in Kabbalah denoting the prime causation, the Nonduality of creation and God, the Breath, silence and so forth. It is also the value of “pele” wonder, the wondrous, a name of God denoting the unspeakable and ineffable nature of the Godhead.

The name of the Poem is “For the one sleeping gently upon a bed of stone” this is a reference to an actual vision I had but also explicitly the Daughter, malkuth, the Anima mundi which rests in creation hidden among the natural world. It is shekinah and also the adept in ignorance. Persephone and hidden Anima, all of these and more are unified in the concept of “Aura Aurelia” see the apprenticeship of Jarno Augustin for a complete aesthetic elaboration upon the mysteries of Aura.

The first Stanza has precisely 29 syllables, 29 is the gematria value of “hadit” the thelemic Godform denoting the Nondual unity of the first cause with being, how divinity is hidden within the interior of all things, it is coupled with the second stanza which has 20 syllables, 20 is the gematria value of the letter Kaph which is the wheel of fortune in the tarot which is another way of speaking of the world of appearances, the external world, the world that ever changes.

Thus the first and second stanza are a marriage of the internal divinity and the external world of appearances. Together they have 49 syllables, 7 denotes completion within hermetic Kabbalah, 49 is 7 x 7 which is thought to be how the interior of each of the 7 planets/days/aspects of creation are filled with the various modifications of the other seven, which is to say they exist in perichoresis and reflection. Thus the two stanzas being coupled denotes the entirety of creation as 49, which is harmonious with their meaning as the units of 29 and 20.

The specific imagery of the first two stanzas are drawn from a spiritual vision I actually had, Trees in Kabbalah denote the Spiritual being of individuals, the “golden Fruit” would be the spiritual fruition, the divinity in harmony with these spiritual lives, the harmony of Gold and silver is symbolic of the alchemical marriage of the sun and moon, which is also the marriage of chokmah and binah, thus symbolically both kether and Da’at, thus it is both “never old” because it is beyond transience as this is the internal world where spirit is married with divinity, yet this Nondual unity dreams (maya, the illusion world is a dream, relative experience, partial experiences and change are symbolically the dream world in various occult and religious systems)  thus as Kether it is never-Old,

But also the unity dreams of the “daily born dancing Dawn” (da’ath) which is to say, the progression of Time understood as a ever-renewal process in which constantly is reborn the eternal Being of nature, which is the dance of creation, 

the maya Dance of shiva, which is the Dawn due to the symbolic nature of the sun/tiphereth As the harmony/reason that pervades nature, this is because the sun is always reason in Kabbalah, Hegel defines reason as the philosopher stone hidden in creation in his philosophy of right. 

This leads us into the dream itself, which is the second stanza, “the sky image” 

What is a sky image, it is an image seen in the sky, a cloud. Which is a reference to how this world of relative experience is ever passing like the clouds, but yet the image drawn is ever but one image.

The softest smile, smiles denote denote friendliness, harmony, friendship, symbolically the smile of the sky is the crescent Moon, the moon is in the Hebrew and hermetic systems the absolute symbol of the illusionary world, because unlike the other planets it’s changes and movements are so much more constant that it even changes its form, this along with its control over the tides and associations with lunacy would denote the Moon as the ultimate symbol of conceptual transience, the paradox being that change does not change, transience is not subject to transience. 

Thus the two lines, ever forgotten and yet remembered which is a reference to platonic Anamnesis, the forgetting and Remembering of the platonic world of forms, the eternal world. Thus the illusionary world of Vision itself is being used to remember and return to the primal friend, the eternal god, the illusion itself is pointing towards the true nature of reality. This is followed through with the third stanza.

The Third stanza is written in lines of 9 syllables each, 9 is the number of the moon in hermeticism, Renaissance astrology and Kabbalah because it is the 9th sphere in the chaldean order when you count the sphere of stars and the prime mover, thus 9 the illusionary force becomes the primary momentum force of the stanza, prior the other two stanzas were written in different syllable counts, the first stanza not being uniform in syllable account to denote the chaotic unity which pervades the pre-manifest kether-tohu-wa-bohu, they are unified as elements in one part but not in harmony. The second stanza is 5 syllables long, 5 denotes the pentagram which is the 5 elements which compose reality, solid liquid, gas and plasma and the invisible spiritual harmony which pervades these all, this is spirit fire water air and earth, these also correspond to the name of God which rules over creative force in the natural world ALHYM(Elohim) and this corresponds to the sphere of gross phenomena in Kabbalah, gevurah. In any case the third stanza is 36 syllables long, 36 is the number of mercury which is the medicine, the changing force, and represents the power of magical change, the transmutation of forces. The transmutation subject is the change of illusions into the eternal reality. 

The stanza describes three forms of earthly life which denote the three worlds which man lives in physically and mentally, The Serpent representing the subterranean Zones, the horrible and darkest aspects of man’s conditions; reptilian and aquatic life. 

The Wolf in broader Semitic and European culture denotes hunger and striving, wailing denotes suffering as does the wasteland and winter, the wolf denotes the mammalian but also the daily mundane life of man. 

The Talons spoken of Allude to the avian creatures but also the numinous experiences that man may experience, those terrible spiritual/emotional moments which leave us without understanding, lost at the mercy of the sublime, the entirety of this stanza is demonstrating the sublime through the Sublate to demonstrate the unity of opposites, further each line contains a secret spiritual quality.

The secret serpent is esoterically the serpent of kundalini which is the concreted awareness of man, which slithers up the spine towards the pure consciousness which is in tantra understood to be shiva, kundalini in tantra being Shakti, the Mother goddess who is creation and the spirit of creation. 

The Winter Wolf in the wasteland is another way to speak of that same force which is denoted by the Norse as Fenrir or as Jotun, the Wild and untrappable chaotic forces of nature and of man’s nature, the atavistic libidinal force which is the heart of creativity and the essence of Will, this is further an allegory for the Nietzschean idea of asserting your Will, your Voice in a empty place, filling it with your self nature, ensouling meaning into the empty world.

The Terrible talons are esoterically the conception of this world as if a puppet show with the puppets being the flesh and the player being the puller of the strings who is unknowable, this is again another tantric allegory. 

This stanza uses alliteration 11 times, 11 in thelema denotes magical change and the harmony of the individual with God because in thelema the pentagram and hexagram are microcosm and macrocosm which when conjoint yield 11, which can either be added to itself as 2 yielding multiplicity or negating itself yielding 0 which is absolute emptiness, thus it is the number of the man-God, the messiah who is equally the unity of heaven and the multiplicity of creation, this in hermetic Kabbalah is the sun-tiphereth which is correspondent in man to the Heart. 

This brings us to the final line of the third stanza,

“ but All-blest sees the eye of the Heart” 

The terrible imagery of the three lines are contrasted with the true view of their interior, as all-blest spiritual mysteries, what means eye of the heart? 

Eye denotes sight, perception, understanding, Heart denotes the interior of man, harmony in man, balance point, his inmost soul and Love. Thus the eye of the heart is the sight of the spirit, the sight of true reality, of the internal world, it is also a play on words as it is sight internal, it is “insight” so this fundamentally is “Wisdom” thus the man-God brings us to wisdom, which is Kabbalistically the man-God son messiah partzuf of Zeir anpin leading us to the “Father” Partzuf of chokmah in Kabbalah, harmony/beauty leading to wisdom.

Thus the Final stanza is approached, it has a syllable count of 26, 26 is YHVH the True name of God in the Old Testament, YHVH denotes the four worlds of Kabbalah which relate to four phenomenological levels and the four Aristotelian causes, further if you divide the letter “Aleph” it is made of the letter Vav and two yod’s, meaning Aleph is esoterically identical to YHVH in extension, thus the entirety of creation is understood as the expression of the glory of God. 

The first two lines are 6 and then 7 syllables long, 6 in normative Christian belief denotes man and imperfection, 7 Denotes perfection and divinity. Their union is 13, 13 is the Gematric Value of AHBH which is Love, 13 is also the value of AChD, Unity, thus it is a common lurianic formula to say that Love+Absolute unity=26=YHVH, thus the third and fourth line are also 6 and 7 lines Long precisely. 

“Soft and plain is the scent” is a reference to Taoism especially the Tao te ching which tells us the way of Heaven is so subtle and so Nondual that it has no rough qualities, it isn’t shocking but rather it is the most plain, the most universal, the most tasteless and senseless experience possible, thus this subtly is contrasted with “renders the heavens rent” which is to say, causes them to be violently ripped open, which is to say, clinging to the most universal and subtle opens the experience/perception to the Nature of God in the most potent and visceral way possible.

This is finally all completed in the last two lines in which the entire formula is stated, 

“Beauty lays herself bare” beauty as in harmony of parts gives its essence, what it discloses, its interior (which is Kabbalistically understood to be the nature of tiphereth which means literally beauty’s former nature closer to God, Da’ath, knowledge, Knowledge of God) 

“If you look without a care” which is to say, if you have perception without Care, but Care in this sense is the heideggerian Care structure, which is the buddhist skandas/desire aggregates, thus the final line is saying if you look at all of this world in purity of mind and perception without the flaws of clinging to partiality, to particulars, you can attain true knowledge of God as the universal Absolute. 

The whole poem is Four stanzas to denote the four Kabbalistic worlds, each stanza is 4 lines each to denote the interpenetration of the four worlds within each other. This would also equal 16 lines thus the 16 kalas which are the sum of all possible experiences in tantra. 

Being summarized the Poem is an invocation of the entire tree/cosmology as one Nondual perichoretic harmony.

I passed among silver trees
who’s fruit singed gold songs
abounding in the never old
dreams of the daily born dancing Dawn

the sky image drawn
of the softest smile
ever forgotten
and yet remembered

silent slithers the secret serpent
the Wolf Wails in the wintry wastelands
terrible talons toy with dead flesh
but All-blest sees the eye of the Heart

soft and plain is the scent
which renders the heavens Rent
beauty lays herself bare
if you look without a care

He is there hidden softly

amber paradise hidden in disguise,
my eyes only see you when they are closed.
but softly then falls a dew from the skies
and your guise is disclosed.

dimly a little light flickers in me,
the leperous blight is washed from my heart.
scales of night no longer obscure my sight,
and the dark is torn apart.

gently shimmers the shining silver star,
my skin is anointed with sinless blood.
tears of illumination from afar
gently engulf me in a flood.

a fantasy of meaningless sounds

when the low hanging sky
is pierced by those talons
ashen with old decay

the sounds of birds in bliss
twist into a dark hiss
and those demonic cries

encircle the child’s heart
and he drinks the fel ooze
leading him to Lethe

though he lives he forgets
and the dark slime slithers
and within him begets

a heart shaped eidolon
erasing the image
he had of his true heart

this is the translation
the hiss of damnation
is misheard salvation

the devil’s iron claws
is naught but your own flaws
when you reject God’s Laws.

Short prayer

holy is his wounded head
and sacred his damaged face
which for us was torn and bled

A longer prayer

my Lord and my God, I believe in you
and i believe in your every Word
I believe in the sorrow you went through
I believe the wonderful tales I heard

when I was just a child, you knew me fully
and you rested your spirit into my heart
Lord let me come and worship you purely
Holy God never let your presence depart

all day my soul roams to quench its thirst
but everything makes the hole feel worst
but I remember this world is cursed
and return to he who loved me first

Thank you for who you are my holy one
and Thank you for the salvation you won

Death cannot cause me any fear
though this my body be absent
my Lord’s spirit shall be so near
and in heaven I’ll be present