kaos

Tyson is a little clueless regarding some particulars, which leads me to question the
depth of his investigation. For instance, he is baffled why Dee would exchange the
colors of the “Clothes of Passage”, East and West, North and South, when he engraved
Kelly’s vision of the Watchtowers. The answer is simple: if one sets a crystal sphere in
the center of the diagram, and views it through the sphere, the colors appear in their
proper quarters. It seems to be a way of “encoding” the relationship between the “inner”
and “outer” worlds. I think that this particular instance of this device is not unique in
Dee’s work.
The title is a bit of a misnomer, as it’s a more in-depth treatment of the subject than
the beginner might hope. For this reason alone I think it might be of some value to
your investigations. It is not one I’d personally recommend, but by the same token I’ve
found it very useful to read as many different books on the subject as possible as I’m sure
you will agree. The only interpretation of the Enochian corpus that is of any real value
is the one you build for yourself in your own head, by definition constructed piecemeal
from the works of others. Hope this helps, despite my answering both yes and no.
Take care, SATYR
PS—If Tyson is correct about “The Apocalypse Working” (p 274), then the world
ended shortly after dawn in Mountain View, California, on 20 June 1990, the first time
I ever did a Watchtower ritual using all 18 elemental Keys, in sequence.
The Egyptian parallel: Set and Nephthys
Hi Joel—How, exactly, Lilith ties in with Babalon I’m not entirely sure. I am tempted
to say that they are both the Harlot, there being similarities in the Zoharic passages I
sent you with the Babylon of Revelation. I suspect there may have been some influence
of the latter on the former, given the chronology, but it’s all theory and conjecture. Now,
it’s fairly obvious from the text of Revelation that Babylon is, in fact, Rome: She sits on
seven hills, the ten horns are the ten Caesars (if memory serves), etc. But this imagery
comes out of a Jewish tradition, and is being recorded by (presumably) a Greek-speaking
Jew. So we should expect the image to somehow trace back to Mesopotamia, along
with many other aspects of Judaic theology.
I was surprised at the similarities of Samael/Lilith to Set/Nephthys, once I started
reading Budge. I can’t rule out at this point an Egyptian influence on the Lilith “myth”.
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