The Symbolism of the Ninth Gate

The Ninth Gate is a lm by the well known director, Roman Polanski. It is billed as a raising the devil movie (as opposed to simply raising Cain). For example, the DVD's cover includes such quotes as: "The only thing more terrifying than searching for the Devil... is nding him." "Johnny Depp goes head to head with Lucifer in Roman Polanski's new thriller!" "Johnny Depp unlocks the gates to hell in Roman Polanski's newest thriller. Depp stars as Dean Corso, an unscrupulous rare-book dealer who is hired to locate the remaining copies of 'The Nine Gates of the Shadow Kingdom,' a demonic manuscript that can summon the Devil. Corso becomes embroiled in a conspiracy involving murder, theft and satanic ritual, and ultimately nds himself confronting the devil incarnate." Wow! That sounds pretty scary. Sort of like playing with re and getting burnt (pardon the pun). However... Within the community of true disciples seeking enlightenment, there is a well established tradition or standard whereby profound truths are clothed in apparently scary stuff -- what might otherwise be described as a sheep in wolf's clothing. The gist of the technique is that only those with the courage, understanding, ability to discriminate or see beyond the facade can be allowed the opportunity to discover the esoteric ("for the few") truths. For anyone else there are only left-overs, the exoteric ("for the many") apparent truths. The key factor here is that the spiritual path is only destined for those who are willing to pay attention to the man behind the curtain (a reference to the Wizard of Oz, another movie with hidden truths). That is, instead of simply blindly following the path of the Willfully Ignorant. Accordingly, an unwillingness to look beyond the cover of a book simply because its subject matter appears to be unsavory can lead to a condition where important truths can be overlooked. Admittedly, there are probably few esoteric truths to be uncovered in a movie like

Chucky battles Jason in Halloween 666. (And I apologize to everyone if I've inadvertently given some demented soul the idea for a title of just such a movie.) But well-established actors such as Johnny Depp and Frank Lagrella, and their appearance in a movie might motivate one to revisit the movie/book and take a deeper look. For example, is it possible, a Johnny Depp fan might ask, that Roman Polanski's The Ninth Gate is far more than it seems? The book, The Dumas Club by Arturo Perez-Reverte, the original engravings by Francisco Sole, and the screenplay by Enrique Urbizu, Roman Polanski, and John Brownjohn all certainly provide for "an irresistible Gothic thriller." But is there more in the movie than what might appear at rst glance? Well obviously there is, or why else would the question have been asked! Duh! On the one hand, Philip Coppens' article "The Ninth Gate Opens" does constitute an excellent treatise in providing what might be termed the exoteric interpretation of the movie (and book). His relatively brief article is well worth reading... we'll wait here for your return. Back already? Well then... Now that you're somewhat intrigued by the possible depth of The Ninth Gate, consider just a few comments by Mr. Coggen. For example, "Lucifer is said to be... quoted in the Corpus Hermeticum. Whereas... "the Hermeticum could not be further removed from demon worship." [emphasis added] "Aristide Torchia, though ctional [supposedly the author of the 'The Nine Doors to the Kingdom of Shadows', written in 1666], is created from the life of Giordano Bruno." There is no evidence the historical gure, Giordano Bruno, ever attempted to summon the devil, but nevertheless he was burned at the stake by the Catholic Church. But instead of his charred remains representing a blot upon his character, his death at the hands of the Catholic Church places Bruno in the best of company. One might surmise that upon his arrival at the pearly gates, the guardians thereof almost certainly exclaimed, "What? You were burned by the Catholics? Then welcome honored guest! Such a distinction can only add to your glory. Quickly, bring out the fatted calf, notify the heavely caterers of a great feast, and don't forget to inform the dancing girls that there services will be once again in demand!" But I digress.

Another, far more intriguing essay on the hidden merits of The Ninth Gate has been written by Laurel Whitney, and her essay is the primary content of the ten pages (being posted here with her kind permission). Ms. Whitney does an astounding job of relating the contents of the movie and the book to the Qabala, The Tree of Life, and to the general contents of this website. By analyzing the movie in considerable detail, she shows that Roman Polanski's movie is sufciently lled with symbolism and otherwise apparently insignicant detail, that it's almost certainly intended as such. The profound truths that seem to be lurking in The Ninth Gate can almost certainly have been intended by all of the creators of the book and movie. An example of such underlying meanings -- which is my responsibility and not Ms. Whitney's -- is the tendency to think of Johnny Depp's character (Corso) as intially shallow and selfserving, and by the moral standards of today, something to be avoided. However... In the movie, it is apparent that Corso lives in a relatively sparse apartment (decorated for the most part with primarily books, in effect his stock in trade). Other than his briefcase which he is never without, he has no afliations, relationships (other than business), and is quite literally unattached. His interest is not in having friends, but as he points out to a bookstore owner, but in his "percentage". One can assume, therefore, that he has no particular baggage which might hinder his quest. Losing the baggage is in fact considered one of the prime requirements for anyone seeking enlightenment. Baggage, it should be emphasized, is more than just stuff. Baggage might also be construed as emotional baggage (a failure to get ye over it), societal baggage (doing what is politically correct, i.e. not being shallow and self-serving), and paradigm baggage (the possible inability to see beyond one's current understanding of reality, and at the same time a possible unwillingness to allow radical change to occur in one's view of the world). One can hardly expect success on their Fool's Journey or Hero's Journey with any of the limitations imposed by Baggage (with a capital "B")! In the movie, the character played by Johnny Depp, Lucas Corso, has apparently rid himself of the societal baggage of doing only what is correct, i.e. not being shallow and self-serving. Corso also shows no indication of having or having had any close personal relationships, and in fact seems to be content to have sexual relations with anyone as the opportunity arises. His paradigm baggage is also apparently minimal in that revelations [pardon the pun] do not seem to dissuade him from his pursuit. Corso is, in effect, the epitome of The Fool, and like the Fool on his Journey, he carries only his sachel, and is otherwise pretty much oblivious to all the warnings of what might happen if one does not follow the straight and narrow.

It must be suggested here that someone's eagerness to please others is NOT a good sign for a person entering upon a quest to reach a higher level of existence. Instead, there has to be a willingness on the part of the initiate to do whatever is necessary to reach his or her goal -and "to hell with what anyone else thinks!" (Again, pardon the pun.) The true "Hero's Journey" is not about being a nice guy, a good provider, or a pillar of society. (Pillars, after all, are singularly inept at traveling.) One can take the path of The Fool, but where it is understood that no one expects the Fool to make a positive contribution to society. This therefore allows the Fool to be shallow -- by denition -- as well as self-serving, if only because the Fool is forgiven for all such transgressions inasmuch as, well... he's a "fool". Keep in mind also that certain authorities have attempted to incarcerate Roman Polanski for allegedly having sex with an underage female -- the latter whom may or may not have initially been a willing participant. If one assumes that consensual sex is okay, and furthermore that no one was harmed, then it's difcult to see a crime. [The caveat, of course, involved the female who was considerably underage, even if she may have looked the part.] Accordingly, the seeming contempt by the movie's "hero", Corso, of certain societal mores may have been intentional in the movie as a means of Polanski's own apparent contempt . Polanski may in fact have a better understanding of truth than we might have imagined. A QABALISTIC KEY TO 'THE NINTH GATE' Roman Polanski's Journey Beyond Evil

I. THE 'BIG PICTURE' Light Shines in Polanski's Darkness In the rst scene of the lm "The Ninth Gate", an older, very wealthy and cultured gentleman calmly commits suicide by hanging himself from the chandelier in his tastefully appointed library full of priceless rare books. Once his feet have stopped twitching, the camera pans across the shelves behind him to a vacant spot where one book is missing. As we later discover, that book is "The Nine Gates of the Kingdom of Shadows", a 17th century grimoire (1666 to be precise), said to have been co-authored by the Devil himself. Over the course of the lm, ve more people will suffer violent deaths because of their associations with this infamous book. Three of these victims are self-described Satanists: the rst, a crippled German baroness and best-selling author on the subject of the Devil, is strangled in her wheelchair and her famous library of satanic books set ablaze; another, a beautiful, iron-willed, sex-exploiting vamp, nude under her hooded black robe, is choked with her own pentacle necklace while conducting a re-lit, group Satanic ritual at her secluded French chateau. The nal victim, a billionaire business mogul, collector of occult books, and cold-blooded serial murderer, burns himself alive in a deserted Cathar castle while performing a ritual which he is convinced will summon the Devil. Now, try to imagine for a moment reading this brief outline of the setting for a horror/murder mystery lm, and thinking to yourself "Wow! This would be the perfect vehicle to introduce the general public to the principles of one of the world's great traditional spiritual teachings, the Qabalah's Tree of Life!" Personally, I still can't quite imagine how that particular chain of thought ever came together, (even the esteemed author of the book on which the screenplay was based wasn't quite *that* ambitious, although he did start the ball rolling by commissioning the series of nine symbolic engravings which appear in "the Devil's book", whose symbols tell the story of the journey on the Tree). But however far-fetched this idea may seem, the lm's co-writer and director, Roman Polanski, didn't just think it, he actually pulled it off. When it comes to popular lms with "spiritual" themes, it's impossible not to think of the most recent, high-prole example, the one in which a zealously pious director presented traditional religious imagery in what many felt was a psychologically disturbing, obsessively sadistic, ugly and dispiriting way to deliver a message which was widely perceived to be controversial, religiously polarizing and divisive. The contrast between this and Polanski's lm could hardly be greater or more ironic. "The Ninth Gate", despite the dark reputation of its director, is a quirky, unassuming but genuinely redemptive, non-denominational morality play in which almost all the parts are played by evil "satanists" and one enigmatic character in particular is widely speculated to be Lucifer "herself". Polanski's surprising twist of using over-the-top, murderous devilworshippers in an almost tongue-in-cheek way to illustrate a message of genuine, non-

sectarian spiritual hope, denitely makes for a refreshing change. In fact, I can't think of a lm that more richly deserves to develop a wide-spread, intelligent cult following. The only element missing up to now has been a publicly accessible key to the mysterious, unexplained symbolism of the engravings which appear in the lm's infamous book, which is why I decided to write this article. Two Hidden Keys to 'The Nine Gates' I saw the lm 'The Ninth Gate' the rst time mostly because Johnny Depp was in it and he can usually be relied on to pick interesting projects. The engravings intrigued me, but until I began to look seriously at their symbolism, I had no idea of how highly unusual the lm actually is. In my opinion it's one of a kind because it has done something that no other movie that I'm aware of has attempted. Although the Tarot's Hanged Man, Hermit, Death and the Fool were easy to recognize, other symbols in the series of engravings were more elusive and as I began the process of interpreting them, I wasn't sure how deep the symbolism would go or how internally consistent it would be. What I discovered went far beyond anything I had expected. What the designer of the engravings has actually done is to use a mixture of symbols taken from the Tarot and the Qabalah's Tree of Life to describe key transition points on the journey of spiritual evolution 'up' the Tree, beginning at the bottom with ego consciousness, making the crossing at the middle of the Tree into the realm of Soul to achieve the union of ego with Soul, and culminating at the top of the Tree with the wedding of Soul to Spirit and the opening of the 'Ninth Gate'. In order to understand the meaning of the engravings, we must begin to become familiar with the two occult "keys" to their symbolism: the diagram of the Qabalah's great teaching of spiritual synthesis, the Tree of Life, and the meaning of a half dozen or so symbolic gures taken from the Greater Trumps [the Major Arcana] of the Tarot which are traditionally assigned to describe the nature of certain "paths" on the Tree. Two Sets of Gates, The Choice: Light or Fire? The lm tells us there are three copies of the book "The Nine Gates of the Kingdom of Shadows", and that each book contains nine engravings, each engraving representing one of the nine gates. But as Johnny Depp's character Corso discovers, the engravings which appear in the three books are not all identical. In each book, six engravings are initialed "AT" for the book's author, Aristide Torchia, and three engravings are initialed "LCF" for "Lucifer", widely speculated to be the "co-author" of the book. All of the AT engravings are identical, but the LCF engravings contain small variations in the symbolism which greatly change the meaning of the scenes depicted. And because the engravings which are initialed LCF vary from book to book, all three books are necessary to obtain a full set of LCF engravings describing all nine gates. In order to illustrate the meaning of the variations in the symbolism of the engravings, the lm has us follow along on the adventures of two main characters. The rst, rare book dealer Corso, starts out as a paid agent of his employer, Balkan, but with the help of an enigmatic character known only as "the girl", Corso manages to make the true journey which is depicted

in the LCF engravings -- a journey from ordinary ego consciousness all the way to ultimate enlightenment and an experience of the world in the form which is symbolized in the Book of Revelation as 'The New Jerusalem'. This ultimate destination which the traveler through the LCF gates reaches is symbolically represented in the lm's nal scene in which Corso walks into a castle blazing with Light. There is a clear correlation between the order in which we see the engravings in the course of the lm and the progress which Corso is making on his journey up the Tree (through the gates). The modications which Roman Polanski and his fellow screenwriters made to the plot taken from the book are completely consistent with the symbolism of the journey depicted in the engravings, so much so that it can only have been intentional. The second main character, Boris Balkan, is a business tycoon and lecturer on occult subjects who has dedicated his life to pursuing wealth and power and has assembled the world's largest collection of books on satanism and the Devil. After managing to gain possession of one of the three copies of "The Nine Gates", he tries to use it to perform a ritual which he believes will "summon the Devil" and who will then grant him unlimited wealth and power. When his ritual doesn't work, he suspects forgery and hires Corso to track down the other two copies of the book. When Balkan nds out from Corso about the LCF variations, he begins secretly shadowing Corso, ruthlessly murders the other books' owners and steals the remaining six LCF engravings from their books which he believes will allow him to conduct a successful ritual. Finally in possession of all nine of the LCF engravings, Balkan travels to an abandoned castle apparently identical to the one depicted in the engraving for the Ninth Gate, surrounds himself with a circle of re, lays out the nine engravings in an order of his own devising and conducts a ritual in which he recites his interpretation of the meaning of the engravings. Condent of his success, he sets himself on re to demonstrate his invincibility and instead burns to death (or he would have if Corso hadn't nally shot him as an act of mercy). When Corso later asks the girl why Balkan didn't succeed, she says it was because his LCF engraving of the Ninth Gate (depicting the castle in ames) was a forgery. But is it really as simple as that? As we will see, the journey which Balkan made *in real life* followed the path described in the AT version of the engravings, and the path through the nine AT gates leads inevitably not to Light but to re. 'Mumbo-Jumbo', Ritual, or Walking the Walk Judging from ongoing comments to the boards for this lm at the Internet Movie Database (IMDb) website, there seem to be two different opinions about exactly what was necessary in order to 'pass through' the nine gates. Some, like Balkan, believe that all that was required was to possess the original nine engravings initialed by LCF, to place them in a particular order, and recite some words. I believe that to look at it in this way is to confuse the map with the territory and to risk falling into the category of 'mumbo-jumbo'. The engravings describe two possible paths which must be followed *in real life*, each path leading to radically different experiences and endpoints. There are scenes in the movie which

physically mimic the symbolism of the engravings, like the scene of Bernie the book-seller's body hanging in the pose of the Tarot's "Hanged Man" as shown in the engraving for the Sixth Gate, and the resemblances between some of the characters in the engravings and real people Corso encounters on his journey. I believe these were included to give viewers the clue that the journey depicted in the engravings was also happening in the lives of the movie's main characters. But since the journey up the Tree is one of internal spiritual evolution (in Corso's case) or the lack of it (in Balkan's), depicting it outwardly would be difcult to impossible except through the use of such periodic, symbolic clues. Not every engraving is illustrated in this literal, visual way. For some, symbolic rituals performed as part of a spiritual path may help to focus the mind, but they are certainly not required. The engravings may be valuable in their function as maps, but you still have to make the journey. In the movie, Corso is the one who successfully completes the journey because he enters into partnership with 'the girl' who helps him to follow the path which is symbolized by the LCF variations of the engravings. Balkan, the socalled 'black magician', refuses to make the journey beyond ego-dominance and tries to use the energies of the Tree to serve the desires and power drives of his own ego. Balkan's path is symbolized by the AT variations of the engravings and it ends in exactly the kind of ery destruction which the collective ego consciousness of our time is now trying to convince us is also our 'fate': Armageddon, 'the end of the world'. But as the LCF engraving of the Fourth Gate illustrates, "Fate is not the same for all" and for those who devote themselves to the real-life 'journey up the Tree' described by the LCF version of the engravings, the ultimate fruit of the Quest is nothing less than personal transformation and the experience of the world from the perspective of the Higher Self, as depicted in the genuine Ninth Gate's symbol of 'The New Jerusalem'. [emphasis added] LCF vs. The Devil -- A Case of Mistaken Identity The movie's characters all seem to agree that the purpose of the combined content of all of the LCF engravings is 'to raise the Devil'. Most of them (with the exception of Corso) take this to mean that the engravings are to be used to construct a ritual at the end of which a supernatural entity representing the force of evil in the world will appear (Poof!) and grant the one performing the ritual special powers. The main problem with this is that the symbolism of the engravings doesn't support that idea at all, but instead suggests an entirely different interpretation of the phrase 'to raise the Devil'. The symbolism used actually impressed me very much. I believe that either the illustrator was a serious student or initiate of a mystery tradition himself or he must have worked in close collaboration with someone who was. The way in which director Roman Polanski and his fellow screenwriters integrated the meaning of the engravings into his vision of the plot of the movie is also impressive and is the subject of Section VIII of this article, "The Polanski Code". The most interesting twist with the engravings is that it is the variations bearing the initials LCF which actually represent stages in the development of the very positive internal spiritual state which leads to the experience depicted in the genuine LCF engraving of the Ninth Gate, the encounter with Light. This conrms to me that, despite what any of the movie characters

might believe, LCF stands for 'Lucifer, the Light-Bearer', a symbolic gure representing a non-dual, spiritual-evolutionary force which is separate and distinct in its nature and function from our current popular conception of the degenerate symbolic gure of evil, 'the Devil' or 'Satan'. The Journey Beyond 'Evil' -- All Climbers Welcome In Torchia's AT version of the engravings, small symbolic variations describe a path which has only one nal destination, an ultimate dissolution/destruction of the same nature as the destruction of the body by re which Torchia himself suffered. If you take the time to explore the symbolism of the engravings, I believe it will be clear that although Balkan 'possessed' almost all of the necessary LCF symbols, his pre-existing mindset made it impossible for him to gain a true understanding of the meaning of the symbolism and so he made no effort to align himself spiritually with the variations depicted in the LCF engravings. His internal state, in fact, corresponded exactly to the symbolism of the Torchia version, so that even if he had possessed the genuine ninth engraving, his unevolved internal spiritual state would still have condemned him to suffer the same destructive result. The lesson is that in the determination of 'fate', it is the nature of the internal spiritual state which is the deciding factor, and the nature of your own internal spiritual state is entirely up to you and the life choices which you make. To follow Corso's successful path, at some point it is necessary to forge an alliance with your own best understanding of a Higher Power, a benevolent spiritual guiding force which can help, inspire, and challenge you to grow beyond ego consciousness and align yourself with the greater purpose, power and harmony of your own Soul. (This is the real-life equivalent of the guiding and protective function which "the girl" provides to Corso in the lm. For an analysis of her enigmatic nature and ultimate identity, see my response to the rst reader's comment in the Commentary section of this article.) Every religious tradition has its own language to describe this same process of spiritual evolution in different ways and those who have completed the journey, no matter what tradition they followed, have been unanimous in recognizing that all paths 'up the mountain' lead to the same 'Peak'. This is easy to see when you're looking 'down', but much less obvious from the ego's perspective at the very base of the mountain. The 'path of return' of the Tree of Life is one traditional way up this same symbolic mountain. The major problems come in the earliest stage of the journey in the case of those who don't progress beyond the perspective of ego and expend their energies not in completing their own journey, but in declaring that those who are following all of the other paths up the mountain are 'evil', making war on them, and trying to stamp them out. From the perspective of ego consciousness, the symbolic gure of 'the Devil' is identied with anyone-who-doesn'tbelieve-exactly-what-I-believe, and for this reason, it is in the realm of ego consciousness, the realm of the lower mind at the base of the mountain, where the concept of 'the Devil' nds its ultimate playground. This is why the teachings of Jesus the Christ, for example, require disciples rst and foremost

to love one another, to love their neighbors as themselves, to judge not lest they be judged, to love and forgive even their 'enemies' and to remove rst the 'beam' in their own eye before presuming to remove the 'speck' in their brother's eye. At the top of the mountain, in the realm of Spirit/Soul, the divisive concept of "the Devil" has no power. The realm of the domination of the ego-mind is nally left behind in the passage through the Sixth Gate, and as we will see in the analysis of the Ninth Gate, it is this very lower ego-mind which the Apocalypse of St. John rightly identies with the destructive nature of 'the Beast' and the number 666. Where's That '100th Monkey'? The analysis of the symbolism contained in the engravings and in the plot of the movie is not a simple subject, and I originally took on this challenge because of my own fairly obsessive curiosity and for my own use. But since it seems clear to me that the world as most of us know it is currently at risk of being destroyed by the raging desires and fears of a collective ego consciousness which is long overdue to be brought into balance under the guidance of the wisdom consciousness of the Soul, and since this essential transition can only happen if each one of us makes his/her own journey individually, I thought it would be worth the effort to try to describe, in the simplest possible way, what the journey represented by the symbols in the engravings is all about (for those who are not familiar with it). As some of you reading this will know, there are a great many people in this world who have already quietly and unobtrusively completed the journey which the engravings symbolically describe, and their numbers will only increase with time. No membership in any 'secret' organization is required, only the desire for a better life and a better world and the will to achieve both by working on yourself to become a better person. Once this work is begun in earnest, the spiritual development which follows is an entirely natural and spontaneous evolutionary process, and the more people who make the trip, the easier it becomes for others to follow. You may have heard of the famous case of the group of monkeys on one island who learned that washing their sweet potatoes in the ocean made them taste better. Soon all of the monkeys on the island copied their example and started washing their potatoes and at a certain point, called the 'tipping point', enough monkeys had adopted this behavior that monkeys on another island, who had no contact with the original monkeys, suddenly started washing their potatoes too. The lesson is that there is a level at which consciousness is collective, and when that '100th monkey' (as this syndrome is called) makes the transition to a new standard of behavior, everybody else evolves right along with him. As a perennial optimist, I'd like to dedicate this article to that potential '100th monkey' who may be reading this sentence right now. II. DECIPHERING THE ENGRAVINGS ! The Frontispiece Engraving -- The Serpent on the Tree The ctitious book in the lm is called 'The Nine Gates of the Kingdom of Shadows' and it

would probably be helpful to know right from the start that the journey depicted in the engravings *begins* in the 'Kingdom of Shadows', which is how many people now perceive this world, and the 'nine gates' are passed through on the journey *out* of the Kingdom of Shadows. Most of the owners and pursuers of the book never understand this and in fact believe exactly the opposite, and it is this mindset which is at least partly responsible for drawing to them their various gruesome fates. The Frontispiece engraving of the book shows a tree being struck by lightning which causes a portion of the tree to fall, while a snake with its tail in its mouth winds itself around the base of the tree. Those who are familiar with the basic teachings of the Qabalah will recognize this as a reference to the qabalistic diagram called the Tree of Life. The diagram of the Tree is made up of ten circular centers referred to as a sephira (singular) or sephiroth (plural). These are connected by 22 paths, each path corresponding to one of the 22 letters of the Hebrew alphabet and one of the 22 Trumps of the Tarot's Major Arcana. Each sephira on the Tree is related to a state of human consciousness and the lm's nine 'gates' correspond to specic points of transition which the individual traveler encounters on his journey of evolving consciousness 'up the Tree'. He will 'climb' from a state of minimal ego awareness at the very bottom of the Tree and ultimately reach the realm of Spirit and the vision of Light at the very top of the Tree, which is the opening of the Ninth Gate. A thorough study of this diagram and navigation of the experienced realities which the symbols of the Tree of Life represent might be the work of many lifetimes, but it is possible to touch the high points which are represented in the engravings of the Nine Gates and get a general idea of the territory and the journey. To help in visualizing the paths which the traveler of the engravings takes as he climbs the Tree of Life, a [more or less traditional] diagram of the Tree with the names of the ten sephiroth and the names of the Hebrew letters which are assigned to the paths can be viewed at http://www.thelemapedia.org/index.php/Image:Tree_simple.gif. [Editor's note: It might be worthwhile to print out this description of the Tree of life for use in reading this essay.] Also, as you read the interpretations of each of the Nine Gates, you might be 'mentally pronouncing' the names of the ten sephiroth many times and if you would like to pronounce them correctly, Appendix P contains a pronunciation guide. The Hebrew and Greek Letters & The 'Number of the Beast' There is a long tradition in Tarot of correlating individual cards with the meaning of Hebrew and Greek letters, each letter having a corresponding numerical value. In the descriptions for each gate, rather than reproducing the Hebrew and Greek letters which appear at the top of each engraving, I have spelled out the names of the letters instead. It's important to note that while the 22 Hebrew letters are assigned to the paths between the sephiroth on the Tree, the Hebrew letters that appear at the top of the engravings do not refer to the paths. The symbols shown are simply the rst 9 letters of each alphabet in sequence except for the Greek where a substitution has been made in the letter representing the number 6. According to the Cornell University Epigraphy Project http://132.236.125.30/

numcode.html, in order to construct a complete numerical system from Greek letters, 27 letters were required: nine letters for the single units 1-9, nine letters for the 'teens', and nine for the hundreds. Because there were only 24 letters in the Greek alphabet at the time, three obsolete letters were reinstated, including a letter variously called 'digamma' or 'stigma' to represent the number 6. The form of this letter (which we will call 'stigma') begins with a variant lower case form of sigma (with a snakelike "S" shape) which is used only at the end of a word. This variant form of sigma was modied by adding an extended, horizontal rather than curved 'cap' which is taken from the top of the letter 'tau'. So the letter representing 6, called 'stigma', is a composite of the variant form of sigma (bottom) and the form of tau (top). The regular, non-variant lower case form of sigma (roughly circular with a 'cowlick') has the value of 200. The Greek letter which appears on the engraving for the Sixth Gate is the snakelike, lower case form of sigma which is used only at the end of a word, with its curved top unmodied. Although there is a table at Wikipedia which shows this symbol as representing 6, it appears this is a misidentication based on a confusion between the similar forms of 'sigma' and 'stigma'. I have found no other reference which identies the unmodied variant form of 'sigma' with any ofcial numerical value. If this letter form of sigma has no 'ofcial' numerical value, the only number associated with it would be 18, since it is the eighteenth letter of the existing Greek alphabet. In terms of numerology, the number 18 can be represented as 1 + 8 = 9, or more provocatively, 6 + 6 + 6 = 18. This is not the technical equivalent of 'the number of the Beast' which in gematria is 'six hundred sixty-six', but I think it can legitimately be seen as a reference to it. We will have more to say about this when we come to the analysis of the symbolism of the Ninth Gate. There we may discover not only why Greek letters were prominently featured on the engravings, but also why attention may have deliberately been called to this particular variation of the Greek letter sequence which appears on the engraving for the Sixth Gate showing the symbol of the Hanged Man. With these preliminaries established, we now begin the symbolic journey of the 'Path of Return' or the 'Path of the Serpent', from the lowest point on the Tree of Life in the realm of ego, to the highest point in the Realm of Spirit, a journey which begins with the opening of THE FIRST GATE.

THE FIRST GATE Aleph (Ox) = 1st Hebrew letter * Roman Numeral I * Alpha = 1st Greek letter In the book version of the engraving, the caption is: NEM. PERV.T QUI N.N LEG. CERT.RIT NEMO PERVENIT QUI NON LEGITIME CERTAVERIT Literal Translation: "No one attains who unlawfully contends" Book Translation: "Only he who has fought according to the rules will succeed" The engraving shows a mounted knight with his right index nger to his lips making the sign for "Silence". He is riding towards a castle which has three towers. This is the LCF Version [In the two AT engravings, the castle has 4 towers] In the movie version, the caption is:

SI.VM E.T AV.VM SILENTIUM EST AUREUM Silence is Golden Beginning with the symbols which remain the same between the two versions, we have a knight, which suggests the idea that he is on a quest and perhaps also suggests all of the high moral qualities and determination to prevail which we associate with ideal knighthood. He is riding a horse which brings in the symbol of the helpful animal or being in touch with one's instinctive, intuitive sense which, in case you get lost, 'knows the way home'. The knight is approaching a castle, which is often a symbol of the location of a treasure which the castle walls protect. He has large feather plumes on his helmet, apparently ostrich plumes, which in the symbolism of heraldry represent obedience and serenity. A similar feather appears in the headgear of The Fool in some versions of the Tarot. The ostrich plume was also the feather of the Egyptian goddess Ma'at, associated with justice and truth. In the underworld, Ma'at would weigh the deceased's heart in her scales against this feather, and only the heart which was unburdened by the weight of worldly sin would escape being devoured by the crocodile-headed Ammit. The variation in the engraving in terms of the number of the castle's towers directs our attention to the difference in symbolic meaning between the numbers three and four. The classical distinction is between the transcendent or spiritual level of reality and the material or mundane level. Divinity is often expressed as a trinity, the Holy Trinity, the Triple Goddess, and in the Tree of Life symbol, the rst three sephiroth or centers of energy at the top of the tree (the Supernal Triad). The latter represents the Transcendent Source from which all of Creation is born, and the fourth sephira/center, just below it, is the rst manifest, incarnate, human-level expression of that Source energy. The number four reects the qualities of the created world: the four directions, the four seasons, and the four classical 'elements': re, air, water, earth. There are also four dimensions to everything that we are capable of experiencing in the material world: the three spatial directions (length, width and height) plus time. In the LCF version of the First Gate, the knight rides towards a castle with three towers which is a symbolic indication that the treasure which he seeks is not a mundane, material treasure, but a transcendent, spiritual one. The 'Silence' gesture is a reminder to students of spiritual wisdom traditions that not everyone in the general public is prepared to properly understand the teachings. [This is particularly true of movie critics!] In the context of the journey up the Tree portrayed in the engravings, those whose consciousness are still dominated by the perspective of the ego, represented by the lowest levels of the Tree, will interpret everything as the ego sees it. They will then assume that the goal of the quest involves personal prot and power over others -- unless the student is lucky enough to have a qualied teacher to help him or her avoid this kind of distorted viewpoint. Wisdom traditions are traditionally meant for those who have already become disillusioned

with the material world-view of the ego, and who are ready to pursue the spiritual treasure which is found on the 'upward' path on the Tree. The best translation of the 'Silence' gesture that I know is 'Don't talk about it, just do it.' In the lm, practically all of the characters except Corso have something to say about their own deluded ideas of what the engravings mean, but it is only Corso, with the help of the girl, who keeps his own counsel, quietly pursues the true journey, and ultimately succeeds. So why am I apparently breaking this rule of silence now? First, because I have made, and continue to make, my own journey on the Tree and my intuition, which I have come to trust absolutely, tells me that sharing what I have learned so far is the correct thing to do. [Editor's note: One might argue that "the girl" in the movie is doing the same.]Secondly, everything which Balkan's path of destruction illustrates is already happening in the world around us every day and there is nothing in this article that could make this situation any worse. The only antidote that I know of for the apparently precarious state of the world today is for as many people as possible to start making their own 'Journey Beyond Evil'. The lm "The Ninth Gate" seems to me to be an interesting way to introduce people to the idea of the journey and to provide a general description of the experiences which may be encountered. (Also, the truths of the Tree which I present here were discovered through long-term study and practice, a method which any sincere seeker can also follow. I am not a member of any arcane organization, don't advocate any potentially risky "short-cuts" on the spiritual path, and have taken no blood-curdling vows of secrecy.) So back to the First Gate. As for the idea that it's necessary to ght 'according to the rules', not all knights were virtuous, and for one who is on a quest for material treasure and earthly power (Torchia's version of the engraving showing a castle with four towers), and who is perhaps a member of some secret organization whose goals are equally materialistic, it's possible that according to 'the rules' which such a person would live by, leaving a trail of dead bodies behind him might be considered to be perfectly acceptable. In terms of the symbolism of the First Gate, Balkan is obviously on the path which Torchia's version of the engraving describes and, based on the decisions which he makes over the course of the movie, he is clearly convinced that following his own personal rule book is the way to 'win'. But as the motto of The First Gate warns, if he contends unlawfully, he will not attain the true high goal of the Quest. The First Gate can be associated with the lowest sephira on the Tree, Malkuth, also known as The Kingdom, the material realm. Those who follow the path symbolized by the AT version of the engraving will seek their material treasure here. Those who follow the LCF version will look to the very top of the Tree as the goal of their Quest which brings us to the next engraving, a kind of 'ash-forward' from the lowest sephira of the *human* realm of the Tree to the highest.

THE SECOND GATE Bet (House) = 2nd Hebrew letter * Roman Numeral II * Beta = 2nd Greek letter CLAVS. PAT.T CLAUSAE PATENT They open that which is closed The engraving shows a gure who is recognizable as The Hermit, the Ninth Trump of the Tarot's Major Arcana. He stands before a closed door with two keys in his left hand. His lit lantern is on the ground in front of him to the right and a small dark dog faces him to his left. The Hebrew letter Teth (numerical value = 9) appears next to The Hermit's head. It's interesting that this is the only door in any of the engravings that has a knocker, which happens to be circular, symbolizing again Spirit (the value of 'pi' being 3 plus an innite number of decimal places). The knocker suggests the activity of internal seeking which the Hermit is engaged in ("Ask, and it shall be given you; seek, and you shall nd; knock, and it

shall be opened unto you: for every one that asks receives; and he that seeks nds; and to him that knocks it shall be opened. --Matthew 7:78) LCF Version [The two AT engravings show the keys in the right hand] Beginning rst with the symbolism that remains the same in both versions of the engravings, we have the Hermit gure from the Tarot, who has two traditional possessions. The rst is his lantern which is always burning, even in daylight. This symbolizes the development of an understanding which illuminates the true nature of things, even those which you might have thought were already clearly seen by the light of ordinary consciousness, but were not. The second is a staff which is symbolically also represented as a snake. The snake is a symbol of the pursuit of knowledge and wisdom as well as the kundalini force which, turned inward and upward, empowers the inner quest. It seems at rst that the staff/snake is missing in this engraving, but it is actually present in the form of the Hebrew letter Teth. Hebrew letters have individual meanings and Teth means 'the serpent'. Since Hebrew letters are read from right to left, if you look at the shape of Teth, you will see not only that it resembles a snake but that it reects the truth that the rst movement in the 'ascent to God' is a movement 'inward', a knowing of God at the heart of our own being ("The Kingdom of Heaven is within you"). Teth is an appropriate attribution for the stage of discipleship which the Hermit symbolizes, a period of time in which attention and energy must be withdrawn from ordinary engagement with the outer world and turned inward in a quest for inner meaning and self-knowledge. Teth is also the Hebrew letter which is assigned to the nal horizontal path just below the Abyss which separates the lower seven sephiroth of the Tree from the transcendent realm of the Divine Creative forces of the Supernal Triad. The Tarot symbolism for the path of Teth will be the subject of the engraving for the Ninth Gate. The Hermit card is assigned to the path which connects the balance point of the realm of the Soul at Tiphareth/Beauty with the highest human level sephira on the Tree, Chesed/Mercy. Accordingly, what we see reected in this symbolism is the nal stage of the Quest which the knight in the engraving of the First Gate is just beginning. ????? The symbol of the dog is not in itself either 'good' or 'evil' and despite speculation which I have been seen on some threads at IMDb, there is no reason to assume that it stands for 'the devil'. In fact such an interpretation would be completely foreign to the symbolic system of the Tarot from which the gure of the Hermit comes. The dog traditionally symbolizes a domesticated, helpful form of our animal instincts which can 'smell' and warn of danger, loyally defend us against would-be attackers, nip at our heels if we don't keep up the pace, and keep us in touch with our physical, feeling side when we are in danger of getting lost in the intellect. In addition to the higher knowledge and wisdom which the Hermit seeks, he must also get back into touch with and integrate into his conscious psyche his own helpful animal instincts, which the little dog symbolizes. The two keys in the Hermit's hand also appear in several of the Tarot's major trumps, one key being traditionally silver and the other gold. This symbolism parallels other polarities like

Sun/Moon and masculine/feminine, and indicates that the Hermit must achieve a balanced synthesis of intellect and feeling, of both left and right-brain perception, and must remain open to receive inspiration from both superconscious and subconscious if he is to unlock the doors/gates which lead to true wisdom. The horizontal path of Teth connects the sephira Chesed/Mercy on the right-hand Pillar of Mercy with the sephira of Geburah/Judgment (sometimes also called Pachad/Fear) on the lefthand Pillar of Severity. When the human gure is superimposed on the diagram of the Tree, the face is looking towards you, so that the sephira of Chesed/Mercy is identied with the left arm. Although Judgment and Mercy constitute a polarity on the Tree which must be correctly balanced, Mercy is actually higher up on the Tree as it was the rst incarnate energy to be created or 'emanated' by the Supernal Triad. In order to maintain an 'upward' orientation on the Tree, to keep heading in the direction of Spirit, once an effective working balance has been achieved between them, Mercy must always be given the edge over Judgment. This is another way of expressing the Christian truth that Christ came not to destroy the law but to *fulll* it, to perfect the law it by placing it into the context of Divine Mercy/Love. In Canto IX of Dante's 'Purgatorio', the angel who guards the gate from Hell to Purgatory uses these same gold and silver keys to unlock the gate for Dante to pass, saying "From Peter these I hold, of him instructed, that I err rather in opening than in keeping fast." The Hermit holding the keys in the left hand symbolizes this same necessary preference for Mercy. In a more general context, the right hand may also symbolize what is already known and conscious and the left that which remains unconscious. The Hermit's search takes him deep into the realm of his own unconscious and the collective unconscious of humanity. The fact that he is holding the keys in his left hand also indicates that it is his true and deepest intent to seek genuine truth and wisdom, and not just to cultivate the outward appearance of being knowledgeable. The First Gate established the basic orientation of the disciple toward either material or spiritual goals. The Second Gate is a kind of 'ash-forward' which shows what the dominant attitude of consciousness must be to succeed in the quest. Although in the context of the end of the quest, the concept of Judgment will have a more evolved function, from the perspective of ego (which is the vantage point which our traveler now has), Torchia's version of the symbols, emphasizing Judgment, represents an egocentric and competitive attitude. The sephira Judgment is identied with the planet Mars, the implication being that in order for you to win, everyone else must lose. This assumption naturally generates fear (that someone else will get what you want rst), anger (at anyone who looks like they might be ahead of you or who stands in your way), and judgment (an automatic tendency to disparage and look down on others and to take upon yourself the power to condemn and execute as 'unworthy' any competitors or rivals). This represents the AT version of the keys held in the right hand (right arm, Geburah/Judgment). It's not very difcult to recognize that this is the path which Balkan took. In the LCF version, holding the keys in the left hand symbolizes an attitude aligned with the

sephira Mercy which reects the qualities of the planet Jupiter: a wise, open, generous, sharing spirit that recognizes that 'we're all in this together' and that, on a genuine spiritual path, the surest way to succeed yourself is to do your best to help everyone else to succeed along with you. Chesed/Mercy is the highest sephira in the realm of what I will call the Soul, and on the journey through the 'gates'. It is the rst path which we will encounter which will lead us from the realm of the ego to the realm of the Soul is the subject of THE THIRD GATE.

THE THIRD GATE Gimel (Camel) = 3rd Hebrew Letter * Roman Numeral III * Gamma = 3rd Greek Letter VERB. D.SUM C.S.T. ARCAN. VERBUM DIMISSUM CUSTODIAT ARCANUM

The lost word keeps the secret. In this engraving, a traveler who resembles the Tarot's Fool with his bundle hanging from the staff over his shoulder, is following a path which leads to a bridge connecting the two banks of a river. The bridge is heavily fortied with a guard tower on each bank. Above the bridge, resting on a little cloud, we see a cherub (who in the movie version resembles one of the Ceniza twins) holding a bow and arrow. The bow is drawn and the arrow aimed downward, apparently towards the near side of the bridge. We see that there is a second arrow In a quiver on the cherub's back. LCF Version [In the two AT versions, there is no second arrow in the quiver] [Editor's Note: The engravings provided by An Eclectic Historian do not show this second arrow, but the movie does show a second arrow in its LCF version. I.e. both engravings at the website are AT versions.] Beginning with the symbols which remain constant, we have the Tarot's Fool carrying his traditional sack over his shoulder -- it's an interesting detail that Corso is virtually never seen without his satchel. He is traveling towards a heavily fortied bridge which suggests that passage from one side of the river to the other may not be possible. This raises the question: What determines whether the traveler is allowed across or not? Given the two towers, it will be necessary for him to pass through a total of four doors to make the crossing. There are several clues here which tell us not only that we are in the symbolic territory of the Tree of Life, but also exactly which sephira/center and path we're dealing with. This is a complex subject, but I will try to identify only the essential elements. Please understand that there are variations in the paths to which the Tarot cards have been assigned on the Tree and I am presenting here the system that makes the best sense to me. The cherub (or Kerub) is a class of angel assigned to the sephira Yesod, called the 'Foundation' and identied with the sexual/desire nature. Just as in the engraving of the Hermit we discovered that the left hand is associated with the sephira Chesed/Mercy on the right-hand Pillar of Mercy, the sephira of Yesod/Moon/Foundation on the Central Pillar of Equilibrium is associated with the genitals. Yesod, the realm of the astrological Moon, is associated with the twin sister of Sun god Apollo, the great Moon goddess Artemis/Diana, the wild huntress with her crescent Moon-shaped bow. Yesod represents the unconscious/'astral'/dream world of desire (and fear). The angelic cherub with the bow is identical to the classical Cupid/Amor whose arrows wound the heart with Love. Once this arrow nds its mark, the 'Beloved' who is the perceived cause of this wounding becomes a mirror in which we see the qualities of our own Soul reected. In pursuing the Beloved, we pursue the Soul, and in the course of this pursuit we are drawn 'upward' on the Tree to the sephira which is the central balance point of the Realm of the Soul, Tiphareth, called 'Beauty' and associated with Love and the Heart. The symbols of the bow and arrow also refer to the "Path of the Arrow" -- the bow, visualized horizontally pointing upward at the level of Yesod, shoots its golden arrow of Will straight up the Middle Pillar of the Tree, from the astral desire world of Yesod to the central balance

point of the realm of the Soul, the sephira Tiphareth, the Heart. This, of course, is the familiar 'Saint Valentine's Day' symbolism in its pre-Christianized form. We have seen that arrows have symbolically been identied with 'will', and that there are potentially two 'arrows' at this point of transition at the Veil of Paroketh. If the arrow of the personal will takes a 'downward' alignment on the tree -- i.e. pursuing the 'four tower' material quest of the First Gate and adopting the 'right-hand' fear/anger/judgment attitude of consciousness of the Second Gate -- the hardened ego will not permit the heart to be wounded by the arrow of the Eros cherub. Without this wound, the Power of Love to draw the traveler 'upward' on the Path of the Arrow towards communion with the Soul cannot be ignited, and the Veil of Paroketh cannot be pierced (that is, the symbolic bridge in the engraving cannot be crossed). [Editor's Note: See the Qabalistic Background (the next web page in this essay) for a more detailed explanation of the Veil of Paroketh, and other Qabalistic aspects of the Tree of Life.] Instead, the traveler would see reected back at him by the watery barrier of the Veil, an illusory world corresponding to his own desires and fears and his own ego's belief system. All of the negative energy which his personal will directed outward at others would then be reected back and turned against him (downward arrow). This is why one interpretation of the engraving is a warning of 'danger descending from above'. The real danger comes from the violent projections of the ego which, reected by the Veil, only *seem* to be coming from 'above'. We see in the movie that Balkan once again proceeds condently according to his own awed understanding, following the Torchia single-arrow version of the Third Gate. In the process he leaves a trail of destruction behind him and ultimately destroys himself, all without ever leaving the illusory realm of the ego. In the Latin phrase for this Gate, which was translated as 'The lost word keeps the secret', the word 'dimissum' (lost) also carried the meaning of 'abandoned' or 'left behind'. There is another similar case of a 'lost word' in masonic mythology in which, in terms of the symbolism of the Tree, the original meaning was 'lost'/'left behind' above the Abyss and a new one had to be substituted below it. This is because the nature of reality above the Abyss is so entirely 'other' than the reality below it, that there is simply no way to 'translate' between the two without the radical change in the nature of 'being/Being' which crossing the Abyss effects. The same is true at this 'lower' barrier between ego and Soul. The power to pierce the Veil comes from 'above' and is evoked by the Love of the Soul, which is an experienced reality which no mere 'word' (ego concept) can ever connect with.

THE FOURTH GATE Dalet (Door) = 4th Hebrew Letter * Roman Numeral IV * Delta = 4th Greek Letter FOR. N.N OMN. A.QVE FORTUNA NON OMNIBUS AEQUE Fate is not the same for all. A Jester, wearing a two-'eared' cap 'n bells, stands at rest holding a serpent/staff in his right hand which balances him. He stands on a low rise of ground looking down on an irregular hexagonal enclosed maze whose shape is slightly elongated, suggesting the shape of a cofn. The entry door to the maze is closed and viewed from above, the maze is seen to be full of dead-ends. Three dice lie on the ground to the Jester's right, each with three readable sides with numbers 1, 2, and 3 showing. One die has its number 1 side up, one has 2 up, and one has 3 up. On the far back wall of the maze is an archway which opens to the outside, whose

top has ve crenelations. LCF Version [in the two AT engravings, the back archway is walled up] There are two gures in the Tarot who resemble the Jester: the Fool, whom we saw as the traveler on the path in the Third Gate engraving, and the Magician, also known as the Juggler or Magus. Both of these Tarot characters are aspects of the archetypal gure known in astrology as Mercury, and in alchemy as Hermes or Mercurius. In the symbolism of the Third Gate, we traveled the Central Pillar path from the sephira Yesod (realm of the ego) up to Tiphareth (realm of the Soul). In the Fourth Gate, we are dealing with Mercury/Hermes, associated with the sephira Hod on the left-hand Pillar of Severity, at exactly the height of the mid-point between Yesod and Tiphareth, but below the Veil of Paroketh. Hod/Mercury (ego realm) is associated with the lower mind and is the left pole of a horizontal polarity. The right end of the polarity, on the right-hand Pillar of Mercy (also at the height of the mid-point between Yesod and Tiphareth), is the sephira Netzach/Venus (ego realm), associated with ego values and lower feeling. In the passage through the Third Gate, the personal love for a 'Beloved' was the catalyst that began the quest for the Soul which pierced the barrier between ego and Soul, an illustration of the contribution of the Venus realm of lower feeling to upward progress on the Tree. Now in the Fourth Gate, we come to the role of the realm of Mercury, the lower mind. The maze is an appropriate symbol here since a maze, seen from above, is a kind of map of what will be encountered inside it, and the function of the ordinary intellect or lower mind has a lot to do with 'mapping' or dening experience. And just as the conguration of the walls of the maze limits the freedom of movement of a traveler within the maze, it is also true that life experience may be limited by the kind of conguration of the territory which the mind is capable of conceiving (or 'mapping'). It is this last truth which is the subject of the engravings of the Fourth Gate. Though the terms 'maze' and 'labyrinth' have been used interchangeably, most of us today think of a labyrinth as having a single path which winds, without obstruction, to the center, at which point you simply retrace your steps to exit. Like the one in Grace Cathedral in San Francisco, such labyrinths have become popular meditation tools. These designs, often circular, are inlaid into the oors of some medieval cathedrals including the labyrinth at Chartres outside of Paris, which was the model for the labyrinth at Grace Cathedral. This suggests that the labyrinth had a traditional spiritual application, perhaps as a symbolic pilgrimage or form of penance. The 'maze', by contrast, more often appeared in secular contexts, was often square, with passages that intersected at right angles, and was more of a left-brain puzzle, with an intricate network of intersecting passageways and many dead-ends. . Since it was a puzzle, the challenge posed by a maze was to 'solve' it in order to reach a goal which was something *other* than the place where you entered the maze. The classic method for nding your way through a maze was to keep your right hand always in contact with the wall, which ensured that you would pass through all of the passages in the maze, eventually being sure to nd the 'goal'. If we look at the maze as a symbol of the passage through life, full of unforeseen

twists, turns, and blind alleys, the 'one-hand' technique for solving the maze would parallel the gnostic belief that the individual must pass through all possible forms of experience before reaching the point where a return to earthly life would no longer be necessary. Perhaps you can see the correspondences between the round labyrinth and the three towered castle representing a spiritual goal (value of pi = 3...), and the four towered castle representing a material ego goal and the angular maze as a lower mind puzzle. If the maze is a symbolic map of earthly life, then the question becomes 'what is the goal?' The answer to that question will depend upon what level of consciousness is asked, and in terms of the engravings of the Fourth Gate, there are two possibilities: the ego consciousness of lower mind/Mercury (AT version) and the intuitive consciousness of the Higher Mind of Hermes or the Magician (LCF version). If it is the lower mind of Mercury which responds to the question, the answer will be based on the map of reality which the ego recognizes, in which all possible goals exist within the bounds of the mundane world (such goals as wealth, power, fame, celebrity, pleasure or security). Since the ego is incapable of imagining a goal that exists beyond its own mundane world, there would be no concept of wishing to pass beyond the ego realm of the maze itself and therefore no 'exit' from the maze on the ego's map of life. The traveler who chose a 'downward' orientation on the Tree (towards material goals) at the First Gate, an ego attitude of competitiveness, anger and fear at the Second Gate, and who was incapable of making the transition from ego to Soul at the Third Gate, on arriving at the Fourth Gate, would nd himself confronted by Torchia's no-exit version of the maze, a map of life which would also represent his 'fate' until such time as he might be able to evolve enough (through longer life experience) to achieve a higher perspective. The fact that the open archway is built into the structure of the maze and appears to be only temporarily bricked up suggests that this barrier is not an absolute one, but is experienced only from the perspective of the lower mind/ego consciousness which is what creates it. This engraving reects the number 6 in the sum of the numbers facing upward on the three dice and in the six-sided shape of the maze. Six is considered a number of luck and is most famously associated with the six-pointed star, the Seal of Solomon which represents balance and completion. The Seal symbolizes the union of the upward and downward pointing triangles, the union of above and below and heaven and earth as well as the Soul and ego. If you count all of the visible numbers on each of the dice, the result will be 6, 6, 6. We will understand why the illustrator associated the 'number of the Beast' with the Fourth Gate of the lower mind as well as the Sixth Gate of the transition to Soul when we come to the analysis of the Ninth Gate. Dice were among the implements found on the table of the Tarot's Magician in early versions of the Tarot, representing not games of chance but divination of the future or one's 'fortune'. At this Gate, fortune would favor the traveler who has the advantage of access to the intuitive Higher Mind functions of the Magician, the latter which come from the union of ego and Soul. Let us return to the question "What is the goal of life?". If it is the consciousness of the

Magician which responds, the answer would be to master the lessons of earthly life, to unite ego and Soul, develop the capacity for Spiritual discernment and become an effective instrument of unselsh Divine Love. Within such an expanded context, the events of earthly life are no longer experienced as being 'mundane' but are seen and understood in an entirely new light. Since the goal envisioned by the Magician requires transcending the world of the ego, the Magician's 'map' of earthly life would have to include the idea of 'passing beyond' the ego's territory and this is represented in the engraving by the open archway at the far side of the maze. The ve crenelations of the arch might represent the ve-senses which are the basis of the ego consciousness of the lower mind which is transcended beyond this passage. The references to death in the cofn-like shape of the maze and its many dead-ends, might refer to the fact that, in the context of the mundane world and from the ego's perspective, there is a sense in which 'fate' *is* the same for all: death. And it might also refer to the fact that, on the Magician's rst passage from ego to Soul, his ego's experience is one of the 'death' of its autonomy, which then gradually becomes a permanent subordination of ego consciousness to the greater power, wisdom and guidance of the Soul. Balkan's temperament will not allow him to subordinate his ego to anyone or anything, even the guidance of his own Soul, and this will prevent him from genuinely piercing the Veil of Paroketh which separates the realm of ego from the realm of Soul. However, as a student of 'black magick', he would have a distorted *concept* of the existence of powers to be acquired from traveling on the Tree, and this distorted view might represent one version of an 'exit' from the maze for him, even if an illusory one. Because Balkan's concept of the nature of the higher powers of the Tree would be limited to how they could serve his own ego goals, his interactions with the sephiroth above the Veil would actually be a kind of unreal 'shadow-boxing' with the desire and fear-generated illusions of his own imagination in which he wouldn't actually connect with the transformative reality of these powers at all. So in terms of the Fourth Gate engraving, Balkan would still be wandering around inside the ego maze but would be laboring under the illusion that he had passed beyond it. In spite of his illusions, he would still be following the path of the AT version of the engraving. The third and nal path to be traveled to pass beyond the Veil of Paroketh begins at the sephira Netzach/Venus/lower emotion, and is the subject of THE FIFTH GATE.

THE FIFTH GATE Heh (Window) = 5th Hebrew Letter * Roman Numeral V * Epsilon = 5th Greek letter FR.ST.A FRUSTRA In vain A bearded man, (a mature man, not a youth), is sitting in a room, counting out stacks of gold coins from a very large sack on the oor before him. The man is seemingly unaware of the hooded gure of a skeleton standing just behind his left shoulder and holding two symbols. In his right hand is an hourglass in which all of the sand has run out into the bottom chamber, and in his left hand he holds a pitchfork which is shaped like a trident. The trident is the traditional symbolic implement of the Western gods who rule the oceans, Poseidon/Neptune, and the powerful Indian god of destruction and creation, Shiva. This is the only engraving in which the gures are shown *inside* a structure where the door is clearly bolted (and can be

unbolted) from the inside. LCF version [in the two AT engravings, the sand is in the top of the hourglass] [Editor's Note: Both of the versions in An Eclectic Historian show the LCF version.] The symbols here seem simple and straight-forward. Storing up material riches is ultimately futile since death is certain and "you can't take it with you". But if we stop at this level of interpretation, the story doesn't go anywhere, and symbolism in the Tarot is always about the stages of a journey. There are two references to the symbolism of the Tarot in this engraving, the most obvious being Death, Tarot Key #13, associated with the path on the Tree of Life which connects the sephira Netzach/Venus (ego realm) on the right-hand Pillar of Mercy to the sephira Tiphareth/Sun (Soul realm) on the Central Pillar of Equilibrium. We have already traveled the two other paths from ego to the Soul realm in the Third and Fourth Gates. This is the last remaining path which brings the traveler to confront the watery Veil of Paroketh, the illusory barrier between ego and Soul. The Hebrew letter name of this path is Nun, which means 'sh', and the Tarot key Death is related to the water sign of Scorpio which rules the alchemical processes of transformation, the dissolution and putrefaction of the old structure, freeing up its energies and elements to be re-embodied in a new form. The second Tarot reference is to the Minor Arcana card, the Ten of Pentacles, called 'Wealth'. Pentacles are the suit representing the material element of earth. Numbered one through ten (comparable to diamonds in the modern playing card deck), they are called 'coins', 'shields', or 'disks' in some versions of the Tarot. Ten is the number of completion in the Tarot Minor Arcana in which the energy which came into existence with the Ace has expressed itself to its fullest possible extent. Once the force of the element is exhausted, the resulting stagnation begins the process of transformation, freeing the energy to take on a new form. Netzach/Venus is the realm of feeling, and we have already seen one aspect of its power in its collaboration with the sexual nature in the Third Gate where personal love for a 'Beloved' is transmuted into Love of the Soul. This reects Venus' role in relationship (Venus rules the astrological Seventh House and sign of Libra, symbolic of marriage and serious partnership). But Venus, as the astrological ruler of the Second House and sign of Taurus, symbolic of material resources, also rules the desire for and the ability to attract material wealth and it is this aspect which is considered in the engravings for the Fifth Gate. There is certainly nothing wrong with the desire to have enough material possessions to sustain and support your life, but the situation reected in this engraving is one in which the man has accumulated wealth far beyond his need to spend it. Those who have attained great wealth eventually nd that there is a point at which no amount of money is 'enough' because once you have more than you could ever possibly spend, you realize that it is money and material possessions *in themselves* which are simply 'not enough' to ll the void which is still felt inside. This is the point at which the sand nally runs out into the bottom chamber of the hourglass. The incarnating Soul has submerged itself in the values of the ego and immersed itself in the world of materiality to the fullest possible extent, and the only way forward from this point is through the death of the ego's old

materialistic value system and the birth of a new perspective which begins to recognize the value of spiritual attainments and to feel the magnetic 'pull' to make a conscious return to the realm of the Soul. Why does the gure of Death hold a trident instead of the traditional scythe? The function of the Indian god Shiva, that of transformation, has already been covered in the description of the related function of Scorpio. The symbolic gure of the devil also wields a trident-shaped 'pitchfork', though no one seems to have much insight into *why*, beyond its obvious use as a weapon with which to torment 'sinners'. But the symbolism of trident-wielding Neptune can shed some light on this. The Roman god Neptune commanded the water realm which is symbolically the realm of feeling. However, he was not associated with small bodies of water which might be compared to the feeling nature of the ego, but was the ruler of the vast, undivided expanse of the oceans symbolizing the Soul's Transcendent Higher Feeling realm in which the Soul recognizes no boundaries. Astrological Neptune represents the ideal Spiritual energies of the Soul. Once you have made the return trip which unites ego with Soul, you are aware of the world as the Soul perceives it and this is the only proper context in which the transcendent energies of Neptune express themselves in an entirely positive way. 'Below' the Veil of Paroketh, before the ego becomes consciously aware of the Soul, the ego believes itself to be the ultimate master and interprets the visions of Neptune as if they were intended for itself. This is a delusion which brings nothing but disaster. The Soul knows itself to be connected to all other Souls and knowing this, sees all other human beings as spiritual equals. The ego, catching a glimpse of the ideal Neptunian vision, yet believing itself to be separate and apart from all other selves, appropriates the divine message as if it applied to itself alone and translates it as Balkan does: "I alone have grasped the secret. I alone have fathomed the Masters grand design. I alone am worthy to enjoy the fruits of that discovery: absolute power to determine my own destiny... I am invulnerable! I am invincible! I can oat on air, walk on water! Behold, I plunge my hands in re - I feel no heat. It's miraculous! I feel nothing, nothing at all!" The lm showed us just how well this delusion worked out for him. Here Balkan demonstrates what is known as 'satanic pride' -- the Neptunian vision of the Soul subverted to serve the lower instincts and power drive of the lower mind and ego. The symbolic gure of the devil, representing unevolved, debased humanity, is usually red, the vibratory color of the lowest human energy, that of the animal instincts. It has cloven hooves, horns, and a tail, and clutches the trident of Neptune but, not being even fully human in its development, doesn't allow this transcendent energy to draw it 'up' the Tree in the direction of full humanity and union with Soul. Instead it deludes itself that Neptune's powers are its own, and attempts to use them to satisfy its animal appetites and instinctive drive for power. Only the repeated experience of disillusionment and destructive consequences can break the negative Neptunian spell and convince a 'devilish' human that he is *not* the personal equal of God.

To return to the Fifth Gate, only the individual himself can know when the sands of satisfaction with materialism have completely run out. At that moment, he will stop seeing reected back to him in the watery barrier of Paroketh the vision of his own continuing desire for material riches and possessions that only serve to feed the vanity of his ego. Once he is no longer dominated by the illusive ego desires which would draw him 'downward' on the Tree, he is free to be inspired by the true vision of Neptune. He can then direct the same powerful will that was once devoted to material goals towards the attainment of spiritual goals, until the Love of the Soul ultimately draws him 'upward' into a union of ego with Soul at the central balance point of the Tree at Tiphareth. For those like Balkan who are still entranced by the illusion that material power and possessions can provide ultimate satisfaction, as in the AT version, the sand is still in the upper chamber of the hourglass and the death/transformation of the lower mind/ego which leads to ultimate union with the Soul will have to wait until this negative Neptunian spell which deludes the ego is broken. Appropriately enough, in the Latin phrase assigned to the Fifth Gate, the word 'frustra' can also be translated as 'deceived'. The nature of the major transformation which the traveler is about to undergo from ego dominance to Soul dominance is the subject of THE SIXTH GATE.

! THE SIXTH GATE Vav (Nail) = 6th Hebrew Letter * Roman Numeral VI * Sigma = 18th Greek Letter (The Greek letter shown on the engraving is the variant form of lower case sigma used only at the end of a word. In addition to resembling a snake, this variant of sigma as the 18th Greek letter also has interesting numerological properties as the number 18 can be represented as 1+8 = 9; or as 6+6+6. We will consider the possible implications of this in more detail at the Ninth Gate.) DIT.SCO M.R. DITESCO MORI I am enriched by death. A man is hanging upside-down from the battlement of a castle wall by a noose-like rope wrapped around his right foot. The 'hangman's knot' is tied at the top loop of the rope that

encircles the crenelation thus placing the crenelation of the castle wall in the place where the usual hanged man's head would be. This is just one example of the general pattern of 'reversal' in this engraving. The man's left leg is bent at the knee at almost a right angle and crosses behind the right knee. The arms are held behind the back, apparently restrained there. The man's face is relaxed and serene and there is no sign of the effect of gravity on his hair or clothing. To his right is a closed entry door to the castle and above it and to the left is a narrow arched window opening through which a mailed right arm is extended holding an upright, aming sword. LCF Version [in the two AT engravings, the man hangs by his left foot.] Here we have the Tarot's Hanged Man, Key #12, hanging not from the usual Tau cross or tree, but from the wall of a castle on the outside. Since, in this series of engravings, the castle is symbolic of the nal goal of the quest, the traveler here is shown for the rst time to be entirely 'dependent' upon it, instead of separate from and traveling towards it, as he was in the past. This is a symbolic reection of the great change which he experienced upon passing through the Veil of Paroketh, leaving the realm of the ego and entering into the realm of the Soul. The aming sword is another symbol related to the Tree of Life and is one name given to the path of the Tree's transcendent energy which ows on a downward course to sustain all of the lower sephiroth of the Tree. This is the path which the Transcendent Creative Energy originally took from the top of the Tree to the bottom, emanating each of the centers of the Tree as it went, in the original creative process. Because it zig-zags from pillar to pillar, it is also known as the 'path of the lightning bolt', a symbol which rst appeared in the engraving of the Frontispiece showing a lightning-struck tree. Up to now, the question of whether the traveler was maintaining an 'upward' or 'downward' orientation on the Tree has been a fairly simple matter. At each of the earlier gates, the LCF version of the engraving illustrated a choice which placed the traveler on an 'upward' path. But in the Fifth Gate, just preceding this, the LCF traveler nally left the realm of ego domination and entered the realm of the Soul, and this is a transition which involves a profound reorientation of the will. The Hanged Man is now aligned with the path of the 'aming sword' in which the energy comes *from above* and as long as he maintains this orientation, the protective aming sword which is spoken of in Genesis will not obstruct him on his journey up the Path of Return to the Garden. He is no longer riding or walking up a path by his own will and energy, but has adopted a posture in which his accustomed ego-motivated activity is deliberately stilled. His feet aren't on the ground because he doesn't need to *go* anywhere in the old materialistic sense of reaching ego goals. His hands are behind his back because he doesn't have to *do* anything except learn to attune himself to his own Higher Will so that he can become a perfect instrument of the True Will of his Soul which is always in perfect alignment with the Will of God. Of course this doesn't mean that he stops all activity -- this is a symbolic representation of the inner attitude of receptivity to direction from Spirit which will, from now on, guide all

of the traveler's actions. The fact that the traveler is hanging by his right foot indicates that we are in the territory of the left-hand Pillar of Severity, whose base is the sephira Hod/Mercury (right leg). Not coincidentally, the path which connects Hod with the next sephira 'up' the Pillar of Severity, Geburah/Mars, is (in the system I have been using) assigned to the Tarot card The Hanged Man. Geburah/Judgment, whose symbol is the sword, represents purposeful Will, the faculty of spiritual/moral discernment and the ery destruction of anything which is not in alignment with the Higher Will. Geburah's destructive function parallels that of the alchemical 'solve' in the process of 'solve et coagula', in which the ego's old way of perceiving and understanding has to be dissolved before the new, more highly evolved perspective of the Soul can take its place. The related myth of Odin, who hung from the world tree for nine days in search of transcendent knowledge, reects the fact that the transition from ego-dominance to Souldominance is a process which occurs over a period of time during which the ego's impulses to action are restrained until a working attunement to the impulses coming from Soul is achieved. T. S. Eliot describes the experience of this transition beautifully in these verses from East Coker: "I said to my soul, be still, and wait without hope for hope would be hope for the wrong thing; wait without love For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light and the stillness the dancing." In terms of the structure of the Tree of Life, we are now approaching the highest horizontal polarity which normal, embodied human consciousness is able to reach: Geburah/Judgment on the left-hand Pillar of Severity and Chesed/Mercy on the right-hand Pillar of Mercy. On the upward path of return, the sephira of Chesed is the last stop before the great Abyss which separates the seven sephiroth of the lower created world from the Supernal Triad, the top three transcendent sephiroth of the Creative Godhead. The nature of Chesed has been described as the boundless outpouring of the divine desire to give. In the balance which must be achieved between Chesed and Geburah, this 'boundless outpouring' must be shaped and measured to serve the highest moral purposes of the Soul which recognizes the equal necessity and compassionate nature of intelligent restraint and generosity, each to its proper degree and in its rightful place.

Since the movie is structured to follow the progress of Corso as Balkan's agent and witness to his misadventures, it is naturally a priority to keep Balkan in the game as long as possible, right up to the nal gate, and since he reects the typical mindset of the would-be 'black magician', the romanticized idea of the 'left-hand path' of the Pillar of Severity would naturally appeal to him. He would think of it as the route which would give him the closest access to his own distorted conception of the nal goal of the quest: harnessing the Higher Will to serve the deluded purposes of the lower mind/ego. When we last left Balkan, he was still ruthlessly pursuing his ego goals and counting out his gold pieces at Netzach/Venus, unable to make the Fifth Gate transition to the realm of the Soul. So in terms of the Sixth Gate engraving, Balkan would not have achieved the inverted perspective of the Hanged Man and would instead be (symbolically) standing upright on his left foot with his bent right leg crossing it (as in the AT version). In this posture he resembles the Tarot's Emperor gure, a symbol of earthly, material, ego-based power who, in the Thoth deck, sits on a throne with his right leg crossed over his left. The route on the Tree which Balkan has actually taken so far bypasses the realm of the Soul on the Pillar of Mercy and the Central Pillar above Yesod. It begins at the bottom sephira, Malkuth, and progresses through the astral realm of Yesod, touches the lower feeling realm of Netzach (the 'left foot'), then crosses over to the 'right leg', the sphere of the lower intellect of Hod and makes an attempt to proceed up the Pillar of Severity towards Geburah/Judgment. Since this 'left-hand path' by-passes the transition from ego to Soul, Balkan never goes through the process of union with the Soul which is symbolically represented by the Hanged Man and it is his unregenerate ego alone which attempts to rise to Geburah. Balkan's goal as a 'black magician' is to use the energies of the Tree which are available to him to satisfy the materialistic desires of his ego. Whether he was somehow able to rise to the level of Geburah or only experienced the illusion of doing so as visions of his own desire were reected back at him by the watery surface of the Veil of Paroketh, the end result is the same. Balkan clearly believed that he would be 'enriched by death' in the sense that the death of his competitors would ensure that the prize he was seeking would be his alone. But the violence which he directed out towards others inevitably returned to its source to wreak its destruction on him. The genuine Hanged Man experiences the 'death' of the autonomy of his old, illusory ego identity and the ego's value system and way of seeing the world, and in compensation for this loss of the illusory personal self, he discovers the Soul, the true, eternal Self which is the heir to the entire Kingdom. This is 'The New Jerusalem' of the restored and unied Tree. The symbolic form which this reunication takes is the subject of THE SEVENTH GATE.

THE SEVENTH GATE Zayin (Sword) = 7th Hebrew Letter * Roman Numeral VII * Zeta = 7th Greek Letter DIS.S P.TI.R M. DISCIPULUS POTIOR MAGISTRO The disciple surpasses the master. A bearded, mature, crowned King and a younger man dressed as a peasant or common person (we will call him the disciple), are playing chess on a board where all the squares are black. In the background, up two steps and against the right-hand wall, a black dog and a white dog are leaping up, as if in play. The black dog is visually 'above' the white dog and their conguration suggests the yin/yang symbol. Above them is an arched window through which we see the Moon. The disciple is visually 'below' the dogs, the Moon, and the two steps. Also in the background, in the left-hand wall, is a closed door. The King is visually 'below' the door. The symbols of the Moon are also visually 'above' the gure of the King (at a higher

level in the picture). In the corner where the two walls meet is one pillar. If a line were extended from the bottom of the pillar, it would cut the chessboard in two, diagonally, into two triangles. LCF version [the two AT engravings show all-white boards] Interestingly, the movie showed the LCF version of this engraving as having an all-white board. I have no idea whether this was an error or, if it was intentional, what might have prompted the director to make this change, but I believe that the original version from the book reects the symbolism which the creator of the engravings intended, and that is the version I will use. First of all, the scene shown in this engraving can be read as a description of a portion of the Tree of Life. In the foreground and at the visual low-point of the scene is the disciple, the common man who began his journey at the lowest sephira, Malkuth. On the right-hand wall are the symbols of Tarot Key #18, The Moon, with its two dogs (sometimes a dog and a wolf) symbolizing the realm of the animal instincts. The Tarot card called The Moon also depicts an invertebrate (lobster/crab) emerging from the water, representing the astrological sign of Cancer the latter which is ruled by the Moon and symbolizes the unconscious. The two dogs, one black and one white, in their yin/yang conguration, also reect the fact that on the Tree of Life, the sephira Yesod/Moon is the balance point of the ego realm of duality. That there are two steps leading up from the man of Malkuth to the symbols of The Moon might refer to the next two sephira above Malkuth which (together with Yesod/Moon) make up the Lower Triad of the realm of the ego: Hod/Mercury/lower mind and Netzach/Venus/lower feeling. The one pillar suggests the Central Pillar of Equilibrium, on which the next sephira 'up' from Yesod/Moon is Tiphareth/Sun, the central balance-point of the realm of the Soul, whose symbol is a King. The door which appears visually 'above' the King symbolizes the mysterious 'non-sephira' Daath/Knowledge, located directly above Tiphareth on the Central Pillar of the Tree and representing the Seventh Gate which we will describe below. The next level of symbolism comes from Alchemy, specically, the 'Conjunctio', the conjoining or 'sacred marriage' of the alchemical King/Sun/Solar Consciousness/Soul and the alchemical Queen/Moon/Lunar Consciousness/ego. This is an essential stage in the production of the ultimate goal of Alchemy: the alchemical 'Gold', the Unus Mundus (Unied World), or Philosopher's Stone. This unication/integration of Sun/Moon, King/Queen, Soul/ego is also a central goal of Qabalah, represented by the symbol of Solomon's Seal, the union of upward and downward-pointing triangles. There is a tradition that when the Tree of Life was rst created, the rst and highest sephira, Kether/Crown, representing Transcendent Unity, emanated the second highest sephira, Chokmah/Father/Wisdom/Force, which emanated the third highest sephira, Binah/Mother/ Understanding/Form. These three transcendent sephiroth represent the Creative Force of the Supernal Triad/Godhead. The union of Chokmah/Father/Force and Binah/Mother/Form then created a fourth sephira, Malkuth, the Daughter. As symbolized in the myth of the Garden of Eden, Malkuth 'fell' from its original state of transcendent Unity with the Divine into a state

of created duality, and in the course of the 'Fall', the other six lower sephiroth of the Tree came into being. Tradition holds that in the process of the 'Fall', the Garden of Eden's Tree of Knowledge became the left-hand Pillar of Severity/Form, and the original Tree of Life became the righthand Pillar of Mercy/Force. The Central Pillar of Equilibrium represents the equivalent of the Buddha's 'middle way', the path of balance between the extremes of the two outer pillars. This is the path of ascent which must be followed to restore the lost unity of the original Tree. After the 'Fall', the transcendent sephiroth of the Supernal Triad were separated from the rest of the Tree by a barrier called the Abyss. In the center of the Abyss, in the place from which Malkuth fell, the diagram of the Tree shows a circle usually made of dotted lines, with no number, which represents the 'non-sephira' called Daath/Knowledge. Binah/Mother (the last Transcendent sephira above the Abyss), the non-sephira Daath, and the Abyss are all associated with the color black. Daath is also called the 'Throne of Binah'. There is a tradition that it is the destiny of Malkuth, also called the Kingdom and the Bride, to one day 'sit upon the Throne of Binah', which would bridge the Abyss and restore both the Kingdom and the Tree itself to its original state of Unity. It is said that when the energies of the lower seven sephiroth of the Tree have all been accessed, developed and integrated in the individual human Soul/ego to a point of ultimate balance, the energy of the highest Soul-level sephira, Chesed, reverses its vitalizing force from owing 'down' the Tree to owing back 'up' the Tree on the 'Path of Return'. The other levels of consciousness of the lower Tree experience this at rst as a feeling of desolation and abandonment, until at last they begin to sense the pull of the turning tide and, lled with longing to pass upward again into the Innite, they follow in Chesed's wake, turning their faces towards 'Home'. This is the moment of 'Ascension.' The ultimate union of the ego and Soul is symbolized in the conjunctio of Tiphareth/Sun and Yesod/Moon to form the six-pointed star, Solomon's Seal. Imagine that the lowest four centers, Malkuth, Yesod, Hod, and Netzach rise up as if there were a fold on the diagram of the Tree just above the Lower Triad, at the place where the Veil of Paroketh, the separation between ego and Soul, used to be. Yesod/Moon then conjoins Tiphareth/Sun in the Sacred Marriage of King/Queen-Sun/Moon, as Yesod/Moon descends 'on top of' Tiphareth/Sun (as the black dog was on top of the white dog in the Seventh Gate engravings). Malkuth, the Bride, is then positioned to sit on the Throne of Binah, resuming her original state of Unity, bridging and annihilating the Abyss, and taking the place of the 'non-sephira' previously known as Daath. Ego is wed to Soul, and the disciple of the engraving, the common person of Malkuth, having 'leaped over' Tiphareth/the King to the superior former position of Daath on the Tree, "surpasses the master". In the traditional interpretation of the symbol of the six-pointed Seal of Solomon, the upward pointing triangle is sometimes shown in white and represents Spirit while the downward pointing triangle is shown in black and represents the manifest world of matter. In my personal opinion, symbolism like this is not set in stone but is subject to interpretation depending upon the context. In the context of the Ascension of Malkuth, the downward-

pointing triangle on the Tree is the 'Ethical Triad' (Soul realm) made up of Geburah/Chesed/ Tiphareth and the upward-pointing triangle is the 'Lower Triad' (ego realm) made up of Hod/ Netzach/Yesod which, at the moment of the union of Tiphareth and Yesod and the ascent of Malkuth, assumes an upward-pointing orientation as we have seen. The ego energies of the Lower Triad have symbolically reversed themselves to join in union with the Soul energies of the Ethical Triad. Before this redemptive Conjunctio is possible, before Malkuth can bridge the Abyss, symbolically wedding 'Earth' (realm of ego/Soul) to 'Heaven' (realm of Transcendent Spirit), the Soul/ego consciousness must be capable of crossing the Abyss. Once all of the lower centers have been developed and balanced, there is only one obstacle which can prevent this crossing and it is symbolized by the same Tree of Knowledge that was the original symbolic cause of the 'Fall'. The intellectual power of the ego is based on duality, and cannot make the crossing back into the realm of Unity. In order to cross the Abyss, the Soul/ego must give up its insistence on intellectually understanding, on 'knowing' its experience in terms of duality. It must lay down the intellect, which essentially represents a voluntary temporary 'death' of the ego consciousness. This is accomplished by a deceptively simple but profound gesture of assent by the Higher Will and the capacity of the ego to recognize its relative insignicance and to kneel in genuine humility and holy awe before the threshold of the Greater Mystery. In Dante's 'Paradiso', Virgil (a master of medicine and mathematics as well as poetry), who had been Dante's guide through Hell and Purgatory, had to be left behind at the gates of Paradise not just because he was a 'Pagan', but because of the quality of consciousness which he represented. It was Beatrice, symbol of the Divine Love of the Soul who led Dante into the Transcendent Realm. In just the same way, once the last barrier of duality, the intellect, is left behind, it is the Divine Feeling nature of Chesed/Netzach which joins in ecstatic Union with its transcendent Source in a 'knowing'-by-participation in the One Ultimate Being of the Transcendent Godhead before which the Abyss, a barrier perceptible only to the duality-based consciousness of the ego, ceases to exist. What the Soul experiences as blissful union with the Love/Light of Heaven is to the intellect/ego a 'via negativa', a passage into the darkness of 'unknowing'. The ego has been predisposed to value light and to despise darkness, to see white as symbolic of 'good' and black as symbolic of 'evil'. This dualistic perspective represents a last barrier which must be overcome because in crossing the Abyss, in terms of its essence, nothing of the created world is 'left behind'. This includes the ego's idea of 'evil/ the devil', a concept which is 'redeemed' at this point in the journey when it is perceived in its ultimate nondual symbolic form as 'Lucifer the Light-Bearer', the ever-faithful servant of God and 'honorable adversary' of man. And here we have the last obstacle which a would-be 'black magician' like Balkan is incapable of overcoming. Willingly consenting to sacrice his intellect, submitting even to the temporary 'death' of the erce will and power drive of his ego, would represent the complete defeat of everything the black magician strives to attain. The ego sees only by the 'lesser light' of the intellect and the ego of the black magician, having forged no alliance with Soul, once

deprived of the intellect's light, falls into darkness and is powerless. The AT versions of the Seventh Gate engraving show a chessboard with all white squares which, in the context of the passage through the Abyss, represents the refusal/ inability of Balkan's dualistic ego-consciousness to pass into the darkness. The LCF version of the all black board represents the capacity of the Soul to value the darkness as the equal of the light. It also symbolizes the Soul's ability to continue to 'play the game' in the territory of the Abyss and the Transcendent Realm of Spirit, which the dualistic ego consciousness of lower mind experiences only as a descent into oblivion. At this point, the 'black magician' Balkan, unable to cross the Abyss or to cross over to the Soul realm of the Central Pillar and Pillar of Mercy, is left to deal with the processes of the highest sephira which he believes is accessible by those who follow the 'left-hand path'. This is the highest sephira on the Pillar of Severity/Form, Geburah/Judgment, also called (as experienced from the perspective of the unregenerate ego), Pachad/Fear, which is the subject of THE EIGHTH GATE.

! THE EIGHTH GATE Chet (Fence) = 8th Hebrew Letter * Roman Numeral VIII * Eta = 8th Greek Letter VIC. I.T VIR. VICTA JACET VIRTUS Virtue lies defeated. The original LCF engraving for this gate, as commissioned for 'The Club Dumas', (the book on which the movie 'The Ninth Gate' was based), shows a young woman in a owing gown, kneeling with her hands clasped in prayer. A knight, with a halo encircling his head, stands behind her and to her left with his sword raised up over his right shoulder in the classic pose of the Archangel Michael, apparently about to behead her. In the background behind the knight is a Wheel of Fortune with three human gures apparently attached to the outer surface of the wheel. One gure is headed up towards the top, one is kneeling on his left knee at the top of the wheel, and one is headed back down. Also in the background, behind the kneeling woman, is a castle with a closed door. LCF version [According to the book, in the two AT versions of the engraving, there is no halo around the knight's head.] This engraving was modied for purposes of the lm to show a young man who looks like Corso, wearing a monk's robe and kneeling with his hands clasped in prayer. Meanwhile a knight who looks like Balkan (with no halo around his head) stands behind him and to his left. He holds a studded mace (a large spiked club) raised up over his right shoulder, apparently about to hit Corso in the head. The weapon was most likely changed from a sword to a club because of the scene in the movie in which Corso is sitting at a table in the library of the Kessler Foundation looking at this engraving when he is hit on the head and knocked unconscious from behind. Because the symbolism of the sword is a more exact t with the symbolism of the Tree of Life, I will use the original engraving from the book to describe the passage through the Eighth Gate. The most immediately recognizable symbol, located in the background of the engraving, is the Wheel of Fortune, Tarot Key #10. Just as the symbol of the Wheel provides the visual background for the central gures of the 'executioner' and the 'victim', so an understanding of the meaning of the Wheel symbol provides the proper context in which the meaning of this particular execution is to be understood. The Wheel of Fortune card is assigned to the path which connects the sephira Netzach/Venus/ lower feeling at the bottom of the right-hand Pillar of Mercy in the realm of ego, with the sephira Chesed/Mercy/Higher Feeling at the top of this Pillar, in the realm of Soul. This path is the the right-hand Pillar equivalent of the left-hand Pillar path of the Hanged Man which was the subject of the Sixth Gate. The traveler whose consciousness reects the level of Netzach/lower feeling will nd that his

emotional response to the 'ups' and 'downs' of life is colored by his ego's assessment as to whether what is happening to him is 'just' or 'unjust'. If he believes that the experience is 'unjust', he will feel victimized by powers that are apparently beyond his control and may come to believe that there is no moral order in the world or that the world is actually 'evil'. If he believes that his experience is 'just', he may draw the conclusion that by behaving in accordance with certain rules, he can control what happens to him in the future. For example, he may expect that good behavior will result in favorable experience ('favorable' as dened by the ego, of course). Notice that the two perceptions are extreme opposites -- the belief is either that the individual has no control over what happens to him (and this is perceived as 'evil'), or that the individual has absolute control over what happens to him (and this is perceived as 'good'). From the ego's perspective, the most important thing is that it always be 'in control'. If it perceives that it is *not* 'in control', it feels that it is being 'victimized'. As the traveler crosses over into the realm of Soul and rises on the path towards Chesed/ Higher Feeling, he begins to become aware that he is being subtly guided by what seems to be the intelligent essence of a Higher Moral Organizing Principle (which some label 'Guardian Angel', 'Higher Self', or 'God'). It appears to the traveler that this Force somehow arranges to draw into his life those people and experiences which will most help him to correct his shortcomings and to develop and grow into the fullness of his highest potential. As the traveler begins to notice this pattern developing in his life, his perspective gradually shifts as he realizes that the most difcult experiences may actually bring the most valuable results in terms of his growth as a person, his spiritual development, and the ultimate experience of joy which is the fruit of this growth. At this point, the question of whether an experience is 'just' or 'unjust' loses its power to provoke an emotional response. The traveler whose feeling nature reects the Higher Feeling perspective of Chesed comes to trust in the ultimate goodness of the Higher Moral force which he understands to be guiding the events of his life and on that basis he accepts and values as 'good' whatever experience he encounters, seeing it as an appropriate learning experience -- a gift -- simply because it has happened to him. The response then becomes one of anticipating and being open to the new growth, as in: 'Okay, what is it that I don't understand now that this experience has come to teach me?' Emotional security, satisfaction and happiness are rooted in the relationship of absolute trust which exists with the 'Guardian Angel' Force, no matter what the outer circumstances of life might be. [Editor's Note: This might be best expressed by Rumi: This being human is a guest-house, every morning a new arrival. A joy, a depression, a meanness, some momentary awareness comes as an un expected visitor. Welcome and entertain them all! Even if they're a crowd of sorrows, who violently sweep your house empty of its furniture, still, treat each guest honorably. He may be clearing you out for some new delight.

The dark thought, the shame, the malice, meet them at the door laughing, and invited them in. Be grateful for whoever comes, because each has been sent as a guide from beyond.] The consciousness which passes beyond the Veil of Paroketh on all three paths, from Yesod/ Moon/instincts (Third Gate), from Hod/Mercury/lower mind (Fourth Gate), and from Netzach/Venus/lower emotion (Fifth Gate), comes to a point of union with the central balance point of the Soul, Tiphareth. Here the lower feeling experience of emotional 'ups' and 'downs' as experienced by the gures on the outer rim of the Wheel gives way to the Higher Feeling state of serenity which comes with the view from the center of the Wheel. This is the 'still point' which T. S. Eliot famously wrote of in his poem 'Burnt Norton': "At the still point of the turning world. Neither esh nor eshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it xity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance." Directly opposite the sephira of Higher Feeling (Chesed/Mercy), is the sephira of Higher Moral Discernment, Geburah/Judgment, (rst visited in the Sixth Gate), whose symbolic weapon is the sword. The sword, in the symbolism of the Tarot, represents the ability of the intellect to dissect, analyze, and discriminate in the realm of ideas. The sword in the context of the Higher Mind in the realm of Soul, also carries the meaning of moral discernment -- the ability to intuit what constitutes the highest good in any particular situation. Geburah is also a symbol of the Higher Will, the determination to live always in alignment with the Soul's best understanding of what represents the highest good. Although in the realm of the ego the perception is that in order for one to 'win' others must 'lose', in the realm of the Soul, the highest good of each individual is understood to be in perfect alignment with the highest good of all others because the Higher Moral Organizing Principle is the One Source with which all Souls are aligned, even while each follows his own highly individualized life path. The principle is one which the American writer Flannery O'Connor used as the title of one of her short stories: "Everything That Rises Must Converge". Although the ego may maintain its 'righteous' self-image by paying lip service to society's secular laws and religion-based moral codes, its internal standard of 'right' is often 'whatever I can get away with' and what is really considered 'wrong' is 'getting caught'. From the ego's perspective, what is 'good' is always dened as whatever best satises personal ego needs (sensual pleasures, material security, 'winning') and If it is necessary to lie, cheat, steal, trample on the rights of others or even kill others in order to achieve its goals, the unregenerate ego feels that these sorts of actions are simply what it takes to be a 'winner'. The belief is that 'sin' is the price which must be paid for material 'success', and it is only a short

mental trip from that belief to the symbolism of 'selling one's soul to the devil' as a way to ensure 'success' in life. From this debased ego perspective, 'virtue' is the equivalent of 'weakness', and those who are 'foolish' enough to insist on behaving virtuously are simply setting themselves up for inevitable defeat. This cynical viewpoint is reected in the AT engravings in which the gure who represents non-violent morality (in the book version the demure woman and in the lm version the monk), is executed/defeated by the knight whose superior power is based simply on the fact that he is willing to use violent means in order to prevail ('might makes right'). This is the ego's interpretation of the phrase describing this engraving, "Virtue lies defeated". In the realm of the Soul, the moral positions of the two gures are reversed because from the perspective of the Soul and its capacity for Higher Moral discernment, there are times when the social and/or religious standards which are enforced by conventional laws and moral codes are simply wrong. Unjust laws and immoral religious codes exist until more highly evolved moral discernment exposes their evil nature and demands reform. There was a time when a 'good Christian' saw no problem with owning and exploiting the lives and labor of slaves. Secular law upheld the 'rights' of slave owners and socially sanctioned religious institutions turned a blind eye to the obvious injustice. Ego justied this situation by dening slaves as 'property' and considering them to be 'sub-human'. Parallel injustices exist today. The Soul, recognizing all others as its equals, is unable to sanction this kind of legalized injustice or religious hypocrisy and must use its higher moral authority to oppose any conventional denition of 'virtue' which would accept such injustice. In the LCF version of the Eighth Gate engraving, the halo surrounding the head of the sword-wielding knight identies him as a personication of the Higher Moral function of Geburah/Judgment which is not deceived or deterred by the outward pretense of 'virtue' but strikes unerringly at the underlying injustice. From this perspective, it is the Higher Moral discernment of the Soul before which the ego's self-serving, conventional denition of 'virtue' lies defeated. This is exactly the fate which awaits Balkan if he should somehow actually venture within range of Geburah's sword. The traveler who originally began his journey at the very base of the Tree of Life in the purely material realm of Malkuth at the First Gate, has since made his way up the Tree to the very top of the created realm and now stands before the edge of the Abyss. Just below him is the nal horizontal path which connects the highest two created sephiroth, Geburah/Higher Mind and Chesed/Higher Feeling. This path is assigned to Tarot Key #8, which is called in traditional decks 'Strength' and which depicts a woman crowned with the transcendent sign of Innity, gently, fearlessly and effortlessly guiding with her hands the opening or closing of the jaws of a lion. But it is the symbolism for this card which is used in the Thoth Tarot deck (where it appears as Key #11), which best represents the passage across the Abyss for the very good reason that its creator designed it specically with that purpose in mind. Crowley renamed the card 'Lust' (qualifying this by explaining that it refers to "the lust of the Spirit') and apparently took its symbolism from the Apocalypse of St. John, although the meaning of the symbols as

popularly understood in the context of the Apocalypse is reinterpreted in a very interesting way to reect the traditional wisdom about this stage of the 'path of return' on the Tree. The card depicts a naked woman holding an upraised Grail cup in her right hand, triumphantly and ecstatically riding on the back of a seven-headed beast. And it is with this image that we come to the actual crossing of the Abyss, the removal of the nal 'veil' (the word 'Apocalypse' comes from the Greek Apokalypsis or 'unveiling'), and the opening of THE NINTH GATE.

! THE NINTH GATE Teth (Serpent) = 9th Hebrew Letter * Roman Numeral VIIII * Theta = 9th Greek Letter N.NC SCO TEN.BR LVX NUNC SCIO TENEBRIS LUX

Now I know that from darkness comes Light. According to the book 'The Club Dumas' (on which the movie 'The Ninth Gate' was based), all three engravings of the Ninth Gate contained in the three books were the same. At the very end of the plot line in the book, Corso discovers that at some time in the past, a forgery occurred but there is no information or speculation presented in the book as to what the original symbolism might have been. The book version shows in the foreground a naked woman riding on the back of a sevenheaded horned beast. In her left hand she holds an open book. Her right hand rests on the shoulder of the beast and there is an upward-facing crescent Moon in her lap. In the background on a hill is a castle engulfed in ames. The engraving as modied for the movie version shows the same scene except that the face of the woman has been redrawn to resemble the character of 'the girl' in the movie. There is no crescent Moon in her lap, and her right arm is raised, her index nger pointing to the castle which has been redrawn to resemble the actual castle used in lming the movie. In the movie version of the genuine LCF engraving, which Corso nally recovers from the Ceniza Brothers' shop, the castle is not on re, but instead is blazing with light. Whoever made the decision to contrast the AT version of destruction by re with the LCF version of blazing light in my opinion should be congratulated because this symbolism ts very well with the traditional wisdom about the ultimate experience the traveler encounters as he nally crosses the Abyss and enters into the Transcendent Realm of Unity. In the analysis of the Seventh Gate ('The disciple surpasses the master'), we learned that the 'non-sephira' called Daath/Knowledge, located at the center of the Abyss, was the original place of Malkuth/The Daughter before her 'Fall' from a state of Unity created the lower portion of the Tree. It is a Qabalistic tradition to consider the 'Fall' described in the Old Testament story of the Garden of Eden not as the Fall of man as a separate being from his Creator, but rather as the voluntary Fall of one aspect of the Divine from Unity into the realm of apparent separation and duality in search of knowledge through experience. And as each individual Soul completes its journey through the evolving states of consciousness represented by the lower seven sephiroth of the Tree of Life, as the Soul makes the crossing back into Unity, it not only reunites its individual indwelling transcendent spark of Divinity with its Source but also brings its share of the riches of the lower Tree -- the energies of The Daughter, ripe now with the fruit of life experience -- and adds this share of treasure to the great harvest of Knowledge at Daath. [data collectors all -- saith Inanna!] Crowley called the woman who rides the beast 'Babalon'. He received the vision of the symbol after he had conducted invocations using the Enochian system of magick, and the Enochian word BABALOND is translated as 'harlot'. Babalon is identied both with the returning Daughter of the lower Tree (who created the lower sephiroth in the process of her Fall and collects and returns their energies to Unity on her return) and also with the rst Transcendent sephira at the place of return, Binah, the Mother of all Form. In both contexts, her upraised Grail Chalice (on the Tarot card) represents the receptacle of all possible varieties of earthly experience. As both Binah/the Mother and Malkuth/the Daughter, She is

the 'womb' from which all of the forms of the lower Tree were born and it is She who welcomes all returning travelers back into Herself and into ultimate Union with their Source. She refuses no one, becoming One with all who cross into Unity, which is the basis of her symbolic role as 'Sacred Prostitute' [Editor's Note: From Starhawk, we have: I who am the beauty of the green earth and the white moon among the stars and the mysteries of the waters, I call upon your soul to arise and come unto me. For I am the soul of nature that gives life to the universe. From Me all things proceed and unto Me they must return. Let My worship be in the heart that rejoices, for behold -- all acts of love and pleasure are My rituals. Let there be beauty and strength, power and compassion, honor and humility, mirth and reverence within you. And you who seek to know Me, know that your seeking and yearning will avail you not, unless you know the Mystery: For if that which you seek, you nd not within yourself, you will never nd it without. For behold, I have been with you from the beginning, and I am that which is attained as the end of desire.] In her aspect as The Daughter, Babalon returns to the realm of Unity riding the 'Beast' whose seven heads are the energies of the seven lower sephiroth. In Crowley's description, the heads are those of an angel (Chesed), a saint (Geburah), a poet (Tiphareth), a sensuous woman (Netzach), a valiant man (Hod), a satyr (Yesod) and a Lion-Serpent (Malkuth). There have been many attempts to interpret the vision of the Apocalypse of St. John in terms of historical, current or future political events, and it may or may not be possible to do that. But what is certain is that it was written in the form of an encoded 'occult' document which symbolically describes a process of transformation whereby the 'fallen' consciousness of the human Soul may nd its way back to 'the Garden'. The Apocalypse is called A Revelation *to* John. According to Elizabeth Van Buren, author of 'Sign of the Dove', the true name of the Dove in Greek is Ionas. John of the Apocalypse is also Ionnes, the Dove, the one who has been initiated into the Mysteries and has received the Holy Spirit. This is not a message originally intended for the general public, but a vision received by an initiate. It was recorded in the symbolic language of initiation, coded to disguise its Gnostic elements and is seeded with Qabalistic references which survive even in translation, including a structure of 22 chapters, a number related to the 22 paths of the Qabalistic Tree. The clues as to the context in which this work is to be interpreted are there for those "who have ears to hear", a phrase which is repeated many times in the text itself, and numerical codes related to the original Greek language in which it was written are one central key to its meaning. For purposes of understanding the nature of the transformation which occurs with the opening of the Ninth Gate, we will focus on the numerical codes which were used (for

those familiar with their derivation) as clues to the occult meaning of the four beasts which the vision describes, including 'the Beast' whose number is 666. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ VII. UNVEILING JOHN'S APOCALYPSE It is now believed that St. John's Apocalypse was originally composed in Greek (not just translated into Greek from an earlier Aramaic source) which may explain why some have observed that in its structure and ideas it more closely resembles the writings of the later Greek philosophers than it does the Old Testament sources of the apocalyptic tradition of the Hebrews. The most convincing and fascinating exposition of the Revelation to St. John that I have found is based on James Morgan Pryse's 1910 book, "Apocalypse Unsealed," with updating provided by Michael Wassil. A review of the Pryse book at Amazon.com gives a good short synopsis. The following is adapted from Wassil's analysis. The writer of the Apocalypse issues his most famous challenge in these words: "He who has wisdom (the wisdom of the Greek Higher Mind, the 'nous'), let him count the number of the Beast for it is the number of man." The 'nous', a familiar term in classical Greek philosophy, referred to the Higher Mind and was considered to be the highest achievement of man. Given this clue, one familiar with Greek philosophy would automatically think of the other three of four 'somatic divisions' of the human body. Just as Qabalists equated parts of the Tree of Life with parts of the human body, Greek philosophy (with some variations) correlated four general areas of the body with four levels of human function. These are: 1) The head/brain, the center of the Higher Mind, 'the nous'. This is the equivalent of the Tree's Ethical Triad, the realm of the Soul. 2) The heart and above the diaphragm, center of the lower mind, called 'He Phren'; equivalent to the upper two chakras of the Lower Triad, the realm of the ego. 3) The region of the abdomen, the center of the desire nature, called 'Epithumia'; the equivalent of Yesod in the Lower Triad, the ego's desire nature. 4) The procreative organs, the center of the animal instincts, called 'Akrasia'. In Greek thought this was equated with the physical body, the Tree's Malkuth. The Apocalypse of St. John, not coincidentally, also refers to four 'beasts' which correlate directly with these four 'somatic divisions': 1) A Lamb with seven horns and seven eyes who is identied as 'Iesous'/Jesus which correlates with the 'Nous' or Higher Mind; 2) A monster resembling a Leopard with bear's feet, a lion's mouth, seven heads and ten horns; it is this monster in particular which is referred to as 'the Beast' which correlates with 'He Phren' and the lower ego/mind; 3) A Red Dragon with seven heads and ten horns who is named 'the Devil and Satan' which

correlates with the ego's desire nature; and 4) A Beast with two horns like a Lamb but speaking like a Dragon, identied as the 'False Prophet' which correlates with the instinctive physical self. Just as with Hebrew letters, Greek letters have a numerical value and the value of the sum of the letters in a word is recognized as a part of its meaning. The numerical value of 'he Phren' is 666. The value of 'Iesous' is 888. 'Epithumia' is 555 and 'Akrasia' is 333. There are other correspondences in the series: 'Epistemon' (intuitively wise) which is 999, 'Stauros' (the cross of matter on which Divinity is crucied) which is 777, and 'Speirema' (the serpent coil or kundalini force) which is 444. These are all considered in detail at Michael Wassil's fascinating website 'The Dance of Ecstasy'. For our purposes here, we will consider only the esoteric meaning of the four 'beasts'. ! We Have Met "The Beast" and He is Us The four beasts of the Book of Revelation, incorporated within their numeric context are: 999 - Epistemon, intuitively wise, the initiated, integrated Higher Self 888 - Iesous (Jesus), the Higher Mind/Ethical Triad, the upper three sephiroth in the realm of the Soul; symbolized by beast #1 the Lamb; and 777 - Stauros the cross of matter on which Divinity is crucied, symbolized by the cross on the Tree connecting the ego and Soul, whose center is Tipareth. 666 - He Phren, the lower mind, the upper two sephiroth in the Lower Triad, realm of the ego; symbolized by beast #2 called 'the Beast'; 555 - Epithumia, the desire nature, Yesod, the lowest sephira in the ego realm, symbolized by beast #3 the Red Dragon; 444 - Speirema, the serpent coil or kundalini force which powers the journey up the Tree. 333 - Akrasia, the body, Malkuth, the lowest sephira on the Tree, symbolized by beast #4, the False Prophet. I would like to point out here that on the engraving for the Sixth Gate, the designer used a form of the Greek letter Sigma which is not assigned a value in the Greek system of numbering but as the 18th letter of the Greek alphabet, is the numerological equivalent of 6+6+6. The subject of that Gate, symbolized by the Hanged Man, was the transition from the realm of the lower mind/ego (the functional equivalent of the Greek He Phren) to the realm of the Soul, whose balance point is at Tiphareth/The Heart, the part of the body which the Greeks identied with 'He Phren', 'the Beast', and 666. In the qabalistic system, the sephira Hod/lower mind is the functional equivalent of the Greek 'He Phren'/Beast and in the engraving for the Fourth Gate, whose subject was Hod/lower mind as symbolized by the maze, we nd the only other reference in the engravings to 6+6+6 as the sum of the visible numbers on the dice. That, in my personal opinion, is the symbolic

equivalent of what a mathematician might call 'an elegant equation'. It is also, I suspect, the reason that the designer chose to give the Greek letter sequence such a featured place on the engravings themselves. Just to be clear, we have just learned that the Book of Revelation identies "the Beast of the Apocalypse" whose number is 666, the dread gure which we now call "the Anti-Christ", as the collective consciousness of the human lower mind/ego. This Beast of our collective lower consciousness is already well on its way to destroying our world and will certainly continue to do so until we disarm it in the only way it *can* be disarmed -- one consciousness at a time. If we really love and fervently desire to see peace in the world, we must continually work to disarm our own individual, internal 'Beast'. In order to do this effectively , it is rst necessary to be very clear about what 'the Beast' actually is. 'The Beast' is that aspect of our being which, confronted by the 'First Gate', sees *value* only in material things and like Balkan, tramples spiritual values such as honesty and justice underfoot in its ruthless pursuit of personal wealth and power. 'The Beast', approaching the 'Second Gate' seeks to learn only what will give it an advantage over others and uses its knowledge of the powers of the animal instincts in order to stir up fear in others to turn them violently against each other, the better to control them and prot from the destruction. It hordes what knowledge it gains to empower itself at others' expense. 'The Beast' at the 'Third Gate' hardens its heart against the experience of real love because it must always be "in control" and so is not willing to make itself vulnerable to another. It is only willing to enter into relationships in which it is able to exercise unequal power over the other and use the relationship to serve its own needs without having to consider the needs of the other. 'The Beast' is unable to conceive of the possibility of a greater satisfaction in life than the accumulation of money and power and being able to use these to take unfair advantage of those with less money and power (which it calls "winning"). Because of this it will never nd the exit from the 'Fourth Gate's' dead-end ego-maze of the lower mind, nor will it be able to recognize the existence of spiritual treasure which is worth innitely more than the sacks of gold coins which it will forever continue to count and recount at the 'Fifth Gate'. 'The Beast', conned to the material world below the Veil, sees all others as either 'enemies' or rivals to be destroyed or victims or 'inferiors' who must be weakened and subjugated so that their existence serves only to increase the wealth and power of 'The Beast'. As we each express our individual 'Beast' consciousness in the world, it is the sum total of all of this lower ego/mind energy which *creates* and *empowers* 'Babylon the Great', the collective 'Beast consciousness'. Any political, religious or social institution which could possibly be identied by the label 'Babylon' as it is used in the Book of Revelations can only exist by gaining its power from the collective 'Beast' consciousness of all of us who continue to 'worship' the accumulation of wealth and power above truth, justice, and peace -- who continue to 'worship Babylon'. The fact that every political, religious and social institution which reects this 'Babylon' lower ego/mind consciousness in its values, is now self-destructing from its own excess of negativity is a reection of the fact that the time is now ripe for the promise of the Age of

Aquarius to begin to bloom, the age in which the spiritual energy of the era will empower the understanding and consciousness of individual "common people" like us. It is nally time for each one of us to begin to realize that blaming "the powers that be", this cabal of corporations or that religious group or the other political ideology for all that is evil in the world, is a selfdefeating mindset. None of those entities could exist in their present form in the absence of a collective human consciousness on the same moral/energetic wave-length to create and sustain them. Every religion and every political system which exists is capable of producing some version of justice, equality and peace, provided that *the consciousness of those individuals who are exercising power within those systems is not dominated by 'the Beast'*. The 'ip-side' of this truth is that even the most ideal utopian vision will end in oppression and conict if the power of the Beast is still controlling the consciousness of those trying to live out the vision. It is *not possible* to defeat the Beast in an external way "out there" in the world because "Socialists" will see the powers of the Beast being exercised by "Fascists" (and vice versa), "Republicans" will see it embodied in the ideas and policies of "Democrats" (and vice versa), and many religions will see 'the Beast' at work only within *other* religions (or in those without religion) while believing themselves to be immune from such corruption (and vice versa). The end result, as history shows us, is a combination of self-righteousness, confusion, "shadow-boxing" and denial which only empowers 'the Beast' even more. ! A Refresher Course on How to Defeat the Anti-Christ The answer to this dilemma is deceptively simple and is the great moral challenge of our time. We are entering an era when we must realize that saving the world is "an inside job". Each one of us has to recognize and disarm our potential inner Beast while at the same time recognizing, honoring and empowering the potential angel within ourselves *and all others*, no matter how different from us those others may be. In a Creation as beautifully diverse as ours, there is room to accommodate *many* different visions, once the Beast is brought under control. As the Great Soul, Mahatma Ghandi realized, "The only devils in the world are those running around in our own hearts, and it is *there* the battle must be fought." To undertake the journey up the Tree is to ght this battle on its proper and only effective ground. Only in this way can we destroy the seeds of hatred, violence and destruction which exist as potentials within each one of us *before* they can take root in our thoughts (symbolized as the "mark on the forehead" -- accepting the validity of divisive, destructive ideas), or in our emotions, our speech and our actions (symbolized as the "mark on the hand" -- acting in divisive, destructive ways as a 'vehicle' of the collective "Beast" consciousness). Not "accepting the mark" means not being manipulated by fear of economic hardship (inability to "buy or sell") into supporting employers or other organizations which feed on and/or prot from destruction, exploitation and war. It means taking a stance of quiet, nonviolent, non-cooperation with divisive and destructive agendas, whether political or religious

or, as the 'winning' formula of the Beast is presenting itself to us today: those divisive/ destructive political agendas *clothed in* politically co-opted, divisive/destructive/distorted religious language. Politicians who get elected when it takes millions of dollars to run an effective campaign, only remain successful if they serve the economic interests of the few who can afford to nancially ensure their success and by doing so "buy their votes". These wealthy few prot from the sale of armaments, "war industries", and stealing the natural resources of other nations under the pretense of political conicts *at the expense of the innocent common people of other legitimate nations*. If we hope to see a more just world, we cannot continue to allow ourselves to be duped by cynical political strategies designed to divide us so that we vote against our own best interests and continue to support those who prot from human misery. It is a *spiritual* challenge to become hate-proof, to rise above any danger of being recruited into supporting the *politics of hate* which is a necessary precursor of the *politics of prot-through-war*. This is the true function of all genuine spiritual teachings. They represent the powers of the Loving Heart and Higher Mind, the Ethical Triad, the 'Nous', 888 the Lamb Iesous/Jesus, the healing power of Divine Love which must be empowered to over-ride the instinctive drives, fears and blood-lust of the inner Beast. This must happen within the heart and mind of every individual person. None who are lovers of God can allow themselves to be persuaded by those "false prophets" who serve the Beast that war, murder and destruction can be done in God's name. The qualities which Jesus Christ dened as "blessed" in his "Sermon on the Mount", the Beatitudes, can be read as an inventory of the only "weapons" which are capable of defeating the Beast, and every one of us can quietly and non-violently take them up: 1. "Poor in spirit" - humble before God and respecting others as equals 2. "Meek" - being an instrument of God's will rst (the highest good), not your own 3. "Mourning" - due to your own spiritual shortcomings and those of the world 4. "Hungering and thirsting for justice" - not seeking unjust personal advantage 5. "Merciful" - forgiving others and so receiving forgiveness from God 6. "Pure in heart" - having simple and sincere good intentions towards all 7. "Peace-maker" - standing for true justice which is the sole foundation of peace 8. "Persecuted" - living "in Christ", you are blessed no matter what anyone says about you or does to you ("blessed" in Matthew's original Greek was "makarios", more specically translated as "possessing an inward contentedness and joy that is not affected by outer circumstances") If, by way of contrast, you consider those qualities which are the opposite of those which Jesus dened as"blessed", you have a list of the "weapons" of the Beast, the destructive powers of the spirit of the Anti-Christ. You can decide whether or not you want to empower

this spirit by allowing your own energies to align with it: 1. Arrogantly pursuing god-like powers so that you can dominate "lesser" others 2. Using your powers to achieve your personal will at others' expense 3. Valuing the corrupt state of your Soul and the world because it empowers you 4. Desiring to subjugate and exploit others and avoid facing justice for your crimes 5. Seeking vengeance on anyone who offends you or gets in the way of your prot 6. Wicked of heart: deviously arranging for all others to lose so that you can win 7. War-maker: always trying to provoke and prot from violence and destruction 8. Refusing to tolerate criticism, much less opposition; "you can do no wrong" These are very simple, straight-forward standards by which every sincere person may recognize and support true "righteousness" (whether afliated with any religious system or not) and recognize, reject, and deny support to "the spirit of the Anti-Christ", no matter how much it may pretend to be "patriotic" or "holy". It is certainly not necessary to be a Christian to understand and appreciate the power of the "blessed" qualities to heal our world, or the power of the "Anti-Christ" qualities to continue to destroy it. The coded symbolism of the LCF gates describes the qualities of the person who will be allowed to pass through them and these qualities happen to closely parallel those described in the Beatitudes. Achieving the nal goal behind the LCF Ninth Gate is symbolized in the lm by walking into a blazing Light. In John 8:12, Jesus said: "I am the Light of the world: he who follows Me shall not walk in darkness, but shall have the Light of life." Other spiritual teachings also use the symbol of Light in this way because it reects a reality which can be experienced. The coded symbolism of the AT gates actually describes a person who demonstrates all of the "Anti-Christ" qualities listed above. So Balkan, who also behaved in these ways, stands as a symbol for all of the misguided Souls, in high places and low, who are now in the process of passing through the AT/"Anti-Christ" gates. And how was the nal goal behind the AT Ninth Gate symbolized? Destruction by re. And how did Balkan end up? Right. Here we should recall that the translation of the Latin motto for the Fourth Gate was "Fate is not the same for all". According to the symbolism of the engravings, as you pass through the LCF gates, you become a part of the collective Christ Consciousness, to use the Christian term. (Christ prayed, [John 17:21], "that they all may be One, even as You, Father, are in Me and I in You, that they may also be in Us"). Still, it's important to remember that the symbolism of the "gates", like the symbolism of the Qabalistic Tree of Life, is non-denominational. Anyone who has the qualities to 'climb the Tree' or pass through the LCF gates is welcomed into the Light. The down-side of this is that if your unrepentant behavior takes you all the way through the AT Ninth Gate, no denominational label will save you from the destructive consequences of your own actions.

If, based on the quality of your own behavior, you are unfortunate enough to symbolically pass through the AT/"Anti-Christ" gates, you become a part of the collective raging-ego/AntiChrist consciousness which is currently creating great wastelands of death, destruction and misery across our world, a consciousness which eventually becomes the nal victim of its own destructive nature. Symbolically, as you pass through the AT Ninth Gate, you yourself become an Anti-Christ in the sense in which the Bible uses the word. We might even say that the spirit of the Anti-Christ is "born again" in you. To disarm this spirit, to end the duplicity, greed, and exploitation which continually fuel war, we must each recognize and disarm our personal inner "Beast" so that we may become *harmless* to *all* of the fellow human beings and fellow creatures who share our world. We must be the rst to learn to become instruments of peace and the 'leaders' will have no choice but to follow. If you have a consciousness, you have the power to begin making this change in the only place that it *can* be made, and now that you *know* that you have this power, you have no excuse for not taking it up. Now might be a good time -- if not now, when? With the help of the symbolism in the engraving for the Ninth Gate, we have now discovered that the four 'beasts' of the Book of Revelations are comprised of the seven lower sephiroth of the Tree of Life, which are the seven 'heads' of the composite 'beast' on which The Lady Babalon, the Daughter, rides back to the Realm of Transcendent Spirit to union with the great Mother of Form, thereby restoring the Unity of the Tree and redeeming Malkuth/The Kingdom from duality. "And the wolf (Beast) shall dwell with the Lamb (Iesous)...and they shall not hurt nor destroy in all my holy mountain." The source of the earlier evil functioning of the 'beasts' 666, 555 and 333 was the fact that these unbalanced lower energies were allowed to operate independently. The drives of the desire nature (333/555) and the selfserving lower ego/mind (the Beast 666) will inevitably express themselves in an unbalanced and distorted way until they come under the guidance and the polarity-balancing inuence of the redeeming Higher energies of the Soul (888). Once our journey up the Tree brings us to a point of balance and integration of ego and Soul, the former evil is overcome. The crowning achievement of this reunion is symbolized in the Apocalypse as The New Jerusalem in which the returned traveler becomes conscious of the eternal and innite Spiritual beauty which shines through all of the nite and temporal forms of the Kingdom, conrming the declaration of the Gospel of Thomas: "The Kingdom of Heaven is spread upon the Earth and (most) men do not see it." ! Getting Ourselves 'Back to the Garden' Although the ego experiences the passage into Unity as darkness/unknowing, and the Soul experiences its participation in Unity as Living Light/Love ("Now I know that from darkness comes the Light"), this is not the end of the journey. There are four Qabalistic 'Worlds' which are represented in the 'Jacob's Ladder' form of the Tree of Life as extending vertically one above the next but overlapping so that the Daath of each lower world, once achieved, overlaps and becomes a passageway to the Yesod/Foundation of the next higher world. The

Four Worlds, beginning with the highest, are: 1) Aziluth (The World of Emanation) - the eternal unchanging Divine world; 2) Briah (The World of Creation) - 'Heaven', the Throne of God and archangels; 3) Yezirah (The World of Formation) - the abode of the 'lower angels' and the Garden of Eden; and 4) Assiah (The World of Action) - the material universe in which we live. In the process of Ascension, the consciousness of the man of Malkuth/The Kingdom enters into Unity at the Daath of the material universe/Assiah and emerges at the Yesod, the Foundation of the World of Formation/Yezirah, where he sees The New Jerusalem as if it is coming down from Heaven. This is the fully sanctioned return to the idyllic state of the 'Garden of Eden' but the experience this time is perceived by the individual awareness of the fully formed Soul/ego which was developed during the sojourn through the 'fallen' world of Assiah. What was unconscious has become conscious. The fallen Daughter has risen to the Throne of Binah and become the Bride of Wisdom, wedding the Earth of Assiah to the Heaven of Assiah and at this point all of the sephira of the Tree of Assiah are integrated into One. Symbolically, the sky recedes like a scroll rolling up, every mountain and island is removed from its place (Rev. 7:14), and there is a new heaven and a new earth, for the rst heaven and the rst earth have passed away (Rev. 21: 1-2) and the holy city, The New Jerusalem, comes down out of heaven from God, so that God's dwelling place could be with men (Rev. 21:3). It must be understood that this is an *internal* revolution of consciousness which happens "in the twinkling of an eye", and results in a radically different *experience* of the world, with no external, physical upheaval required. In the old world of Assiah, the only contact with the Heaven of Briah was at Assiah's very highest Transcendent sephira, Kether, whose Supernal Light the human Soul could only receive brief glimpses of. In the new World of Formation of Yezirah, The center of the realm of the Soul at Tiphareth overlaps/is identical to the Malkuth of Briah (the 'Kingdom' of 'Heaven') and the Daath of the new world, once attained, is the passageway to the Foundation sephira of the Heaven of Briah, abode of the archangels and the Throne of God. This symbolism is another way of saying that the Divine Light of God will shine through the forms of The New Jerusalem, just as the light blazes out of the castle in the genuine LCF engraving of the Ninth Gate. And where is Balkan? You might remember that after the Fall, the Garden was guarded by cherubim and 'a aming sword'. Until Balkan freely chooses to submit his ego to union with his Soul and completes the journey through the upper paths of the Tree of Assiah, the way back to the Garden is barred to him. If he should make an illicit attempt to gain access to the Divine Light through the inadequate vehicle of his unredeemed ego, what the Soul experiences as Light will be experienced by the unredeemed ego (the ego unescorted by Soul) as Fire, as the AT engraving of the Ninth Gate and Balkan's ery fate in the movie so

graphically illustrate. There is one last question to consider. Balkan clearly played the role of the failed magician to illustrate the fate of those who attempt to use the energies of the Tree to serve the lower desires of the ego. But what roles did Corso and 'the girl' play? VIII. THE POLANSKI CODE ! ~~~~~~~~~~~~~~~~~~ CORSO'S RUN - The Journey in the Film In addition to showing the audience the symbolic images representing the journey through the Nine Gates, director Roman Polanski also presented us with two 'real-life' variations on this journey: one a truncated AT version made by Boris Balkan (which we followed during the interpretation of the symbolism of the engravings), and the other the successful LCF journey which Corso was able to make with the help of 'the girl'. Following is a summary which correlates the characters and plot points of the lm with the stages of Corso's journey as they are represented in the symbolism for each of the 'Nine Gates'. ~~~~~~~~~~~~~~~~~~ THE FIRST GATE - Malkuth/Materialism: Andrew Telfer I don't think it's a coincidence that this lm begins with an *actual* hanged man whose suicide suggests that a materialistic lifestyle is, in the end, not enough in itself to sustain the will to live. This is the ultimate dilemma faced by the knight in the AT engraving of the First Gate who travels towards the castle with four towers, symbolic of the material treasure of the purely material realm of Malkuth. Dean Corso never met Andrew Telfer, but as 'the man who had everything', yet still couldn't nd a reason to stay alive, who remained unsatised or even despaired despite his material success, Andrew Telfer provides a good example of the state of consciousness of the person who eventually feels compelled to set out on the quest for spiritual treasure. And Corso's mindset at the beginning of the lm seems to have a lot in common with the kind of bleak outlook which apparently drove Andrew Telfer to kill himself. The one thing that we know he did before committing suicide was to sell the copy of 'The Nine Gates' which he had originally bought for his wife. He knew how much she valued it, so we may assume that the Baroness Kessler was right when she said "That creature Liana married him for his money. If he ever nds out what his wife is up to at these gatherings (of the Order of the Silver Serpent), he'll probably kill himself." Corso may also have been right when he confronted Liana at the chateau: "He sold (the book) to get back at you. What happened? Did he catch you with that albino?" It seems that Liana must have managed to get Andrew to fall in love with her and then cold-bloodedly proceeded to exploit his fortune and betray his trust. So apparently it was a failure of love which drove Andrew to kill himself. And where do we nd Dean Corso at the beginning of the movie? He lives in a fairly nondescript apartment, doesn't seem particularly concerned with appearances, apparently has

no love interest in his life, and has problems with addiction, being a chain smoker and drinking not just for recreation but simply to be able to cope with his life. He admits to Bernie that he 'screwed' another book dealer by deliberately overestimating the value of a collection, a petty cruelty which brought no prot to himself except the satisfaction of knowing that it made life more difcult for his competitor. Although he has a congenial relationship with Bernie, he doesn't budge an inch when Bernie makes a friendly case for a higher percentage on a book deal. Corso practically never smiles, and seems to spend most of his time conducting his business and drinking. When Balkan guesses that he doesn't have any friends, Corso responds "That makes two of us". Corso apparently has a fairly cynical view of life, doesn't appear to get much satisfaction out of anything and shows clear signs of being depressed. When Balkan asks "Are you a religious man, Mr. Corso -- I mean, do you believe in the supernatural?" Corso replies "I believe in my percentage." Andrew Telfer owned the book 'The Nine Gates' for years but never discovered the true nature of its contents. Corso is apparently ready enough to change that when the book crosses his path, it becomes the catalyst for a series of mysterious events which intrigue him enough to put him on the 'upward' path on the Tree. This is the rst essential step in a journey which will bring him to the symbolic spiritual posture of the Tarot's hanged man and, for the rst time in his life, into a conscious partnership with his Guardian Angel/Higher Self/Soul. The First Gate engraving is the rst one that we see in the lm when Balkan is showing the book to Corso in his library and Corso is about to accept the assignment to track down the other two copies, and about to begin the journey that will ultimately take him to the very top of the Tree. ~~~~~~~~~~~~~~~~~~~ THE SECOND GATE - Chesed/Higher Feeling: Victor Fargas The symbol of the engraving for the Second Gate is the Hermit, whose inner search takes him on the path from the balance point of the Soul at Tiphareth to Chesed, the realm of Higher Feeling. Victor Fargas lives alone in his ne old family mansion which has seen better days and the almost empty main oor of his home suggests that he has survived for some years already by selling off its furnishings, artworks, and some of his collection of rare antique books. He is unassuming, kind to Corso, and philosophical about the decline of his fortune. Some have mentioned that the face of the Hermit gure in the engraving resembles Fargas, and since the Hermit's face was not modied from the original book version, this probably means that the role for the lm was cast based on this resemblance. Fargas is a cultured man, plays the violin, and cherishes his few remaining ne crystal glasses for their beauty and workmanship rather than their monetary value. His appreciation of ne music and art is a Higher Feeling function and he seems to value his occult books in the same way, as rare 'art objects', without investing himself intellectually in exploring their content. His copy of 'The Nine Gates' is a treasure of his collection for the quality of its workmanship, its notoriety and its great rarity. This is why he tells Corso that he won't sell it at any price, even though he must realize that if he did sell it, he could live the rest of his life on the proceeds.

The Baroness tells Corso that Fargas is an 'unbeliever', but this is an oversimplication because Fargas is not indifferent to the content of the book. When he asks Corso what he's looking for in comparing the two books and Corso replies "I'm not sure", Fargas says "Some books are dangerous -- not to be opened with impunity." It is as Corso is comparing the engravings in the two books that we rst see the Second Gate/Higher Feeling engraving of the Hermit, and then the Jester and maze of the Fourth Gate/lower mind, and this combination seems to reect very well the way that Fargas' consciousness looks at the book. Balkan is a good example of one way in which the lower mind/ego relates to the subject of 'the occult' (which simply means 'hidden' teachings). He embraces his own idea of it in the delusional belief that it will provide him with a secret way to get what he desires and to gain power over others. Fargas is an example of the other typical lower mind/ego reaction. He fears and avoids the subject altogether because of the common misconception that all of its students are like Balkan. Desire and fear are the unavoidable stock-in-trade of the ego and lower mind until the union of the ego and the Soul introduces into the equation the Love of the Soul which tames desire, casts out fear and greatly expands the capacity to understand. Corso begins by taking Balkan's assignment for the money (desire), and when his apartment is ransacked, Liana attacks him, and Bernie is killed and left in the pose of the Hanged Man, Corso naturally reacts with fear and wants to quit. Balkan's offer of a lot more money puts him temporarily back on the job (desire again). Then, after a Ceniza twin indirectly warns him of 'danger descending from above' just before the collapsing scaffolding barely misses falling on his head, and after he encounters 'the girl' again and understands that she will be accompanying him on his assignment, hist curiosity starts to get the better of him as he begins to realize that there may still be important dimensions of life which he hasn't yet discovered. From then on he becomes motivated more and more by a powerful Higher Mind-based will to know the secrets of the book for their own sake. Corso's feeling state vacillates between desire and fear until he sees that he is being drawn into a partnership with 'the girl' who seems to be guiding and protecting him through his adventures. At that point he begins to trust in her guidance and to go willingly wherever it is that she's leading him, regardless of the circumstances, a change which reects his transition to the value system of the Higher Feeling nature. ~~~~~~~~~~~~~~~~~~ THE THIRD GATE - Yesod/Sexuality: Liana St. Martin Telfer The information given earlier on the symbolism of the Third Gate described the ideal situation in which the sexual desire nature of Yesod collaborates with the lower feeling nature of Netzach with the subconscious participation of the Soul at Tiphareth to produce the phenomenon of 'falling in love'. Seeing the qualities of one's Soul reected in the 'Beloved' and pursuing a union with this 'Beloved' is the most common way in which the ego is led into an ultimate union with the Soul. But we actually rst see the Third Gate engraving in the shop of the Ceniza Brothers and as we will see below, this symbolically represents the perspective of the ego's lower mind. On this lowest ego level, the experience of Yesod may simply

involve a physical interaction without much personal feeling entering into it (let alone any Higher Feeling), either strictly for pleasure or as a way to achieve power, money, or some other ego goal. This was the nature of Liana's original 'relationship' with her husband and was also the basis of Corso's coupling with Liana. She was using her sexuality as bait to get Corso to help her get her book back, while he was simply giving in to the opportunity for a casual sexual interlude. He had no intention of stealing the book for her and when she found she'd been tricked, she attacked him. Just as the Ceniza twin warned when we rst saw the engraving for the Third Gate, one who ventures too far on this path for strictly ego-gratication purposes must expect the likelihood of 'danger descending from above'. In Corso's interaction with Liana, the aggressive nature of his willingness to cheat her out of the agreed 'payment' for her sexual favors was reected back to him in the form of a liquor bottle descending on his head. In just the way depicted by the LCF Third Gate engraving, Corso was eventually drawn by the girl into a partnership with his Soul. However, it wasn't until he came to the point of the Ninth Gate that he experienced the true, sacred, tantric aspect of the energies of Yesod -which drew on both the lower and Higher Feeling energies which had been kindled between them -- to carry Corso across the Abyss and into temporary ego death and union with Spirit. ~~~~~~~~~~~~~~~~~~ THE FOURTH GATE - Hod/lower mind: The Ceniza Brothers Although we don't actually see the engraving for the Fourth Gate of Hod/lower mind until Corso visits Fargas, the subject itself is raised just before that when Corso makes his trip to Toledo, Spain to the workshop of the Ceniza twins. Director Roman Polanski included an interesting detail in the lm which is repeated in a slightly different form both times that Corso is walking down the alley towards the Ceniza Brothers' shop. On his rst visit, we hear a woman's voice calling out from somewhere on the right side of the alley and then a young boy comes running from Corso's left and crosses in front of him, answering "Si, si, mama!" When Corso returns the second time, we only hear the young boy's voice calling "Si, si, mama!" This might simply be something which has a personal meaning for Polanski. But the fact that it was repeated twice gives it some importance and it can also be seen as reinforcing another clue which he gave us about the symbolic identity of the Cenizas, the fact that they are twins. 'The Twins' is a name associated with the astrological sign Gemini which is ruled by Mercury and symbolizes the lower mind. Mercury, also known as Hermes, is sometimes called 'the puer', symbolically a boy or youth who doesn't grow up. Gemini traditionally rules the Third House of an astrological chart, just to the left of the bottom center point of the chart, and just to the right of the center point is the Fourth House which is traditionally ruled by the sign Cancer, the sign of the Moon, which is associated with the Mother. The Ceniza Bros. shop was located to the left of the alley from where the boy ran and the twins' trade also involved books and the written word, both ruled in astrology by Gemini and Mercury and symbolized in Qabalah by Hod/Mercury/lower mind.

We have already covered Corso's transition from lower mind to Higher Mind but there is one more symbolic point here. The Ceniza Brothers' shop (as a symbol of Gemini/lower mind) was the source from which Liana originally acquired her copy of the book, the same copy which ended up in Boris Balkan's hands. As one of the twins observed when Corso told him of the book's new owner, "Each book has its own destiny." Apparently it was the destiny of the Ceniza Brothers' copy of the book to be owned by people who saw it and valued it only from the perspective of the lower mind and used it only to serve the desires of their egos and since Balkan had it with him in the castle, its nal end, like his, was complete destruction by re. As we will see when we get to the Eighth Gate, the Baroness at least made an attempt to develop her Higher Mind functions though she ultimately failed and she never made the transition from lower feeling to Higher Feeling. And judging by the position of the book where Corso left it on the Baroness' desk, we can assume that it too was entirely consumed by re. Fargas saw his copy and valued it from the perspective of the Higher Feeling function of the Soul, and from what we saw of him, seemed to have developed at least that half of the functions of the realm of the Soul. Perhaps this is why his copy was only half burnt. The Ceniza Brothers' shop will play one last symbolic role when Corso returns to nd the genuine Ninth Gate engraving, representing the nal stage in the transformation process which will be described in "Is that it?" We will consider then one possible reason why Polanski directed one of the twins to drop ashes all over the book when Corso rst brought it back to them. ~~~~~~~~~~~~~~~~~ THE FIFTH GATE - Netzach/lower feeling: Bernie the Bookseller We rst see the engraving for the Fifth Gate when Corso brings the book to Bernie's and asks him to hide it for him. Corso's apartment had been ransacked while he was at the research library where he had just briey seen the same mysterious girl who was at Balkan's lecture. Corso wasn't sure at that point who was after Balkan's book, but it was clear to him that somebody was. Bernie was impressed by seeing the infamous book whose value he estimated at 'a million dollars' and as he leafed through it, we saw the Frontispiece, the Fifth Gate engraving of the man counting out his gold with Death lurking over his shoulder, and nally the Hanged Man of the Sixth Gate. We talked about the transition from lower feeling to Higher Feeling when we discussed the Second Gate above, but Corso's reaction to Bernie's death was the rst time that his previously dominant ego-based, lower feeling value system, centered on prot, was challenged by the shock of a personal loss. When Corso came out of the bookshop after nding Bernie hanging like the Hanged Man, he was clearly shaken, enough to call Balkan to tell him he was quitting. Only when Balkan told him to 'add another zero' to the dollar amount of his fee, was the nancial incentive impressive enough to keep him on the job. Corso's motivation shifts away from the nancial when he partners with the girl, (and as we will see, this is correlated with the Sixth Gate symbolism of the Hanged Man). Money nally becomes completely irrelevant to him at the point when, not yet having received his check for

his assignment, Corso pulls a gun on Balkan at the castle in an effort to take the engravings away from him. As Balkan understands, Corso is unable to use a gun in cold blood (having developed too strong a Higher Feeling function), and he is nally only able to shoot Balkan as an act of compassion when he sees that Balkan is burning to death. ~~~~~~~~~~~~~~~~~~~ THE SIXTH GATE - Tiphareth/The Soul: 'The (Mysterious) Girl' From the time that Corso rst meets with Balkan, takes possession of the book, and accepts his assignment to track down the other two copies, the character identied only as 'the girl' is always somewhere nearby. She's at Balkan's lecture, at the research library, and we see her feet outside the window at Bernie's when Corso stashes the book there. [She's the one squashing out a lighted cigarette which had just been dropped, while the litterer was most likely 'the albino'.] We don't see her in Toledo, but she apparently was there since Corso runs into her on the train from Toledo to Sintra. This is the point at which he nally understands that she will be accompanying him on his journeys [albeit for reasons he doesn't yet understand. Corso is assuming that she is working for Balkan, but later at the St Martin Castle, when he accuses her of having been working for Balkan, she answers, "I thought you were the one working for him."] On the plane from Sintra to Paris, Corso makes one of several attempts to get the girl to explain to him who she is and what role she is playing. When he asks her who was responsible for Fargas' murder, she says "He's dead - who cares?" He replies "I do, It could have been me." Girl: "Not with me to take care of you." Corso: "Oh, I see, you're my Guardian Angel then?" Girl: "If you say so." Corso: Someone's playing a game with me." Girl: "Of course. You're part of it, and you're getting to like it." Earlier, she told him that she was a student "in a way", and we see her reading a book on how to inuence people. This is pretty much all that she tells Corso about herself, but in the context of the journey described by the engravings, her role is clear. At rst, when Corso is dealing with the ego functions of the lower mind (the research library and the Ceniza Bros.), lower feeling (Bernie) and sexuality (Liana), the girl either seems absent or Corso only catches glimpses of her and when he tries to nd her, she disappears . But from the time that he visits Fargas, representing the rst Soul level sephira of Chesed/ Higher Feeling, the girl starts to take charge of Corso's journey and they begin to act as a team. At rst the girl plays a protective role and does the bulk of the ghting but gradually, although it's clear that she is always potentially stronger than Corso is, he grows into being more of an equal partner. By the time they arrive at Liana's chateau, Corso is the one taking the initiative. When the albino is escorting them at gunpoint down to where he is instructed to kill them, it is Corso who throws him down the stairs and knocks him unconscious. Corso does this all on his own, a milestone which the girl acknowledges with obvious approval and satisfaction. In the context of self-defense, this is a legitimate exercise of the power of Geburah. Earlier, when Corso rst expressed his admiration and gratitude to the girl for ghting for him

against the albino down by the river, we saw the bond of Higher Feeling growing between them. It was at this point that the girl looked lovingly at Corso and drew with her ngers three vertical lines on his forehead with her own blood, the central line extending down his nose. There is a long spiritual tradition of marking the forehead as a sign of spiritual protection and initiation in both Eastern and Western traditions and three vertical marks on the forehead is the traditional Hindu sign of initiation of those who worship God in the form of Vishnu, the Preserver, whose qualities (like those of Chesed) are kindness and mercy. Such marks are also worn as a reminder of the consecration of the body as the temple of the Spirit, and in Corso's case might represent a sign of his initiation into Higher Feeling and the realm of the Soul. [Corso's blood stained forehead is not immediately cleaned.] In the context of the Tree of Life, the three symbolic marks might also refer to the three Transcendent Creative energies of the Supernal Triad (which, when the body is superimposed on the Tree, are located in the head). The elongated center mark might symbolize the Central Pillar which extends downward from the highest central sephira of the Godhead, Kether/ Crown, representing the route of the path of return which Corso is traveling. The girl begins as a symbolic gure who models for him the qualities of the Soul which he will gradually grow into, but once Corso has achieved the union of his ego and Soul, the inter-dimensional gure of the girl remains a symbol of the non-dual Spirit. It is his union with her in this capacity which will carry him across the Abyss and into union with the Spirit with the opening of the Ninth Gate. ~~~~~~~~~~~~~~~~~~~ THE SEVENTH GATE - Daath/Ascension: Corso & The Girl, Inc. We rst see the Seventh Gate engraving (the disciple surpasses the master) after Corso has made an end-run around the erce, hyper-vigilant secretary at the Kessler Institute and is showing the Baroness the variations in the engravings. "Variations?" she says, "If that were true, it would be a revelation..." which, given the symbolism of the Ninth Gate engraving, is an interesting choice of word. The integration of ego and Soul which is depicted in the engraving actually represents a consolidation of all of the functions of the seven lower sephiroth of the Tree. Since we are now describing Corso's journey, all of these energies would be a part of his consciousness and this integration would prepare him for a entirely new way of experiencing life. Corso demonstrated his determination to go beyond the world as he had been capable of understanding it in the past when, after the interrupted ceremony at the chateau, he *had* to chase after Balkan as the latter left with the engravings on his way to the castle. The fact that, as the girl pointed out, he was now 'out of a job' meant nothing to him compared with his desire to *know*. Corso has a nal moment of doubt about the girl because she stopped him when he tried to prevent Balkan from strangling Liana. It's true, as the girl said, that since Balkan had now killed someone in front of witnesses, Corso would be 'off the hook' for Balkan's earlier murders of Fargas and the Baroness, but there is also a symbolic aspect to this death. In terms of Corso's experience with her, Liana represented the negative exploitation of lower feeling and sexuality to serve the purposes of ego. Now that Corso has achieved the

union of ego and Soul and become conscious of his Higher Feeling function, this is a kind of experience which will no longer be possible for him. It is an interesting detail that Corso gets into Liana's car to chase Balkan but the girl makes no move to go with him and only hands him his coat and satchel. Still dressed in his black ceremonial robe disguise, Corso peels out to chase Balkan but when Balkan fords a large stream, Corso's borrowed car stalls out in the middle of it. Symbolically, the 'vehicle' of a socalled 'devil-worshipper' is not adequate for the journey which Corso is destined to take. He abandons the car, takes off his robe, discovers Liana's gun in the pocket of his coat, and returns to his hotel to regroup. Corso gets his shoes cleaned for a fresh start, gets directions and makes his own way to the castle, rst hitching a ride on a truck which is hauling large logs, a symbolic equivalent of Corso's own present condition: a resource which has grown to maturity over many years until it was ready to be harvested, stripped of its non-usable parts, and is now on its way to undergo a metamorphosis of form to become part of an entirely new structure. Corso then continues in the back of a small truck carrying sheep and hay. This is perhaps a reference to the Nativity, since the goal which Corso is approaching is a signicant new birth into an experience where, like a baby, he will be starting over 'at the bottom' again. The symbol of Tiphareth/Soul in his present world is that of a King, while in the new world which he will enter, it is the King as Divine Child. Corso covers the last distance on foot, arriving at the castle just as night is falling, a reection of the black color of Daath and the symbolic state of darkness in which he will nally cross the Abyss at the Ninth Gate. ~~~~~~~~~~~~~~~~~~ THE EIGHTH GATE - Geburah/Higher Mind/Will: Baroness Kessler & Secretary We get a brief rst glimpse of the engraving for the Eighth Gate ("Virtue lies defeated") in Balkan's private library when Corso rst accepts Balkan's assignment. We next see it when he visits the Baroness at the Kessler Institute, and he is in fact looking at this engraving when he is knocked unconscious from behind. It is my understanding that the decision to modify the engravings to resemble lm characters wasn't made until after lming for the movie had already started, so it's possible that the casting director for the movie may have had this in mind, but to my eye, Simone, the Baroness' formidable secretary-from-hell, bears an uncanny resemblance to the strapping swordsman in the original book version of the engraving. This is only tting since she is a very effective example of one of the major functions of Geburah/Higher Mind: a vigilant, unbending, militant determination not to allow anyone undeserving to proceed any higher on the path of return. In the context of the individual's Geburah function, this would be the faculty of mental and moral discernment, not accepting, condoning or acting on unworthy ideas. I'll just mention one other symbolic touch which Polanski added concerning Simone. When Corso arrives for his original appointment, we see that the secretary has an orange, and as he's leaving, we see that she has peeled the orange and makes a tentative effort to hide it as he walks past. On Corso's second visit, as he's running down the stairs away from the re, he

literally runs into Simone who is returning from lunch and knocks a bag of oranges from her hands, sending them bouncing down the stairs. Following the rule that when some apparently random detail is repeated twice it may not be random, I looked for some symbolic function of oranges and found it in the context of the Godfather movies where it serves as a warning of imminent death. If you enter the words "Godfather," "oranges," and "symbols" in a search engine, you'll nd examples and discussion about this death symbolism. I thought this was particularly ironic since it is a widely held opinion that the lm many believe to be Polanski's masterwork, 'Chinatown', would have won the Oscar for Best Picture of 1974 if it hadn't been up against Godfather II that year. Perhaps this was Polanski's way of having a little fun with one of Coppola's recognized 'serious' symbolic devices. In the 'Ninth Gate', Simone doesn't die but the Baroness does. There are indications that the Baroness had attempted to develop her Higher Mind functions. She apparently studied the book over a period of years, calling her knowledge of it "profound". She wrote a biography of its author, and her copy of the book was stuffed full of notes. The latter might be an indication also of her apparent lack of a developed Higher Feeling function since she seemed to have no appreciation of the artistry which the book represented in its workmanship and didn't respect it as an art object. But though you might expect a student of an 'occult' subject like 'the devil' to have at least a passing familiarity with the symbolism of the Tarot and the Tree of Life, the Baroness apparently never understood the true meaning of the engravings. Perhaps her preconceived ideas and romantic notions about having 'seen the devil' when she was fteen years old prevented her from coming to any deeper level of understanding. She tells Corso that her younger years were devoted to something very similar to the kind of theatrical rituals that we saw at Liana's chateau. It's not clear whether the Baroness became disenchanted with this before or after she sustained her crippling injuries, or if she just decided that her 'orgy days were over'. She ended up devoting her life to using what knowledge she had to making large sums of money writing books about 'evil' and 'the devil' -and thereby subverting her Higher Mind function to serve her lower feeling material desires. The Baroness would be a mirror image of Fargas' equally one-sided development except that she seemed to experience a failure of the will to move forward in the development of Higher Mind. She gave up and settled for exploiting her partial knowledge for money, and I see this failure of will reected in her crippled body and particularly in her partially amputated right arm, the arm which should be wielding Geburah's sword. This is poignantly obvious in the scene in which she sharply orders Corso out of her ofce, pointing her poor stump of an arm towards the door. Simone seems to be the human equivalent of a prosthesis, the Baroness' 'good right arm'. At the beginning of the lm, Corso was apparently so disinterested in the subject of metaphysics that Balkan's lecture actually put him to sleep. But maybe it was just Balkan's particularly shallow and skewed viewpoint that didn't appeal. By the time Corso arrives at Liana's chateau, he is completely motivated by his desire to know the secrets of the book and is willing to do whatever it takes (within the limitations of what his Chesed Higher Feeling

function will permit) to achieve that. His one Geburah failure, a lack of discernment, is what makes him susceptible to being knocked unconscious from behind in the Baroness' library. Corso had enough clues by then to have gured out that Balkan was closely following him and was probably responsible for the murder of Fargas. He knew that the LCF engravings had been removed from the Fargas copy of the book before it was burned, and that Balklan was an obvious suspect. Balkan knew that Corso was at the Institute during the lunch hour when the secretary was absent [he had in fact told Corso to go there at that time], and Corso's intuition should have told him that Balkan wouldn't settle for a simple description of the variations in the Kessler copy. Even if, at this point, Corso also suspected the 'albino', Corso still should have thought to take more precautions than he did. In the description of the engraving of the Hermit, we noted that in addition to the inner knowledge that the Hermit seeks which leads him to the Higher Feeling function of Chesed, he also needs to integrate into his consciousness his natural animal instincts which warn of danger, as symbolized in that engraving by the little dog. We see that Corso has not yet accomplished this when, despite the fact that his life has been threatened more than once, he sits with his back to the door in a strange place and apparently doesn't register the approach of danger which should have been signaled to him by his aura/energy body in the form of a prickling feeling at the back of the neck. After he regains consciousness and escapes the re -- as he is across the street recovering at the fountain -- we see a larger, more imposing version of the Hermit's little dog standing nearby, apparently giving Corso a hard look and a message which I will translate here from the original canine body language: 'Tsk-tsk. If you want to fare better in the future, you'll have to remember to pay more attention to me." ~~~~~~~~~~~~~~~~~ THE NINTH GATE - Crossing The Abyss: Corso & The Girl, a joint venture Corso's rst stop, after he accepts the assignment from Balkan to examine the other two copies of the book, is a research library where we see him looking rst at the Frontispiece engraving of Balkan's book and hear him translating to himself 'Sic Luceat Lux, Thus let the Light shine'. Next he removes a large volume from the shelf, sees 'the girl' facing him as she replaces a book directly on the other side of the stack, and when he opens his volume, we see the engraving for the Ninth Gate in which the woman riding the Beast resembles the girl. And although it is the AT version of the engraving that we see then, with the castle in ames, in the genuine LCF engraving which Corso recovers at the very end of the lm, it is the Light which the Frontispiece is referring to which we see shining from the castle. The girl appears as a more-than-human but personalized symbol of the spiritual evolutionary force which accompanies Corso from the very beginning of his journey to discover the meaning of the book to the point at which she takes him 'across the Abyss' in front of the aming castle. She then directs him to the location of the genuine Ninth Gate engraving, and it is Corso alone who makes the journey 'back from enlightenment", which is the subject of

"Is that it?" below. In addition to the progression from re (AT) to Light (LCF), there is another very interesting and parallel symbolic detail in the Crescent Moon which, as the book puts it, 'hides the woman's sex' in the AT engraving, but which disappears in the genuine LCF version. I understand the Moon in this context as the balance point (Yesod/Moon/Sexuality) of the Lower Triad of the Tree, representing the perspective of the ego's sexual, lower feeling and lower mind functions. As we saw in the discussion of the Third Gate, without the participation of the Higher Feeling function of the Soul, the sexual energies serve only the desires and purposes of the ego, and their energetic 'frequency' is conned to a level at which they symbolically create heat but no light. Once the union/Conjunctio of ego/Moon/Yesod and Soul/Sun/Tiphareth has been achieved, the engagement of the energies of the Higher Mind and Higher Feeling nature raise the frequency of the sexual energies to the point of being able to carry the traveler who is prepared to undergo this experience, across the Abyss and into ultimate Union with the Transcendent energy of Spirit under the guise of its last and nest veil of form: Supernal Light. This ascent of the sacred kundalini energies which the ego calls 'sexual' but which express themselves at all levels of human experience (as conceptualized in the interdimensional energy system of the chakras), is the goal of the Eastern practice of Tantra. But as symbolized by the kundalini serpent on the Tree in the Frontispiece, this energy also rises naturally as the journey up the Tree progresses whether special practices are followed or not. In the context of this higher experience of the sexual energies, the ego's typically either repressed or prurient attitude towards the subject of sexuality is no longer present and so the Moon, its symbol, no longer appears in its previous strategic location in the genuine LCF engraving. As Corso leaves the castle after the re which Balkan set has spread, we see seven separate ames shooting out of the castle windows behind him, perhaps symbolic of the full function of the seven lower sephiroth of Corso's inner Tree which he has now attained. As Corso and the girl engage all of these energies in raising the kundalini force through the seven interdimensional chakras, we see the emergence of three new ames in the castle behind them, symbolic, I believe, of the union of Soul and Spirit, the union of the seven lower sephiroth with the three Transcendent energies of the Supernal Triad of the Tree. This represents the reuniting of all of the energies of the Tree with the 'crossing' and annihilation of the Abyss. In interpreting the expressions which we see on Corso's face and the variations in the ways in which the girl appears to him, remember that there is a part of him, his ego function, which temporarily enters into darkness at the crossing of the Abyss which the ego/lower mind experiences as 'death'. When this function 'resurrects', it will take a new form, as we will see next in The 'Journey Back From Enlightenment'. ~~~~~~~~~~~~~~~~ "IS THAT IT?": And What's With All The Shells? - The Journey Back From 'Enlightenment' From the dramatic high point of the Conjunctio with the blazing castle in the background, the

lm next takes us to ordinary daylight and the mundane front seat of a car which, for the rst time, Corso is driving with the girl as a passenger. Corso has apparently recovered from his metaphysical rite of passage, but this appearance is deceiving. He will be in a state which is a psychologically protective form of denial and the spiritual equivalent of physical 'shock' for at least several days during which time he will act as if everything is 'back to normal' while being acutely aware, deep within his own psyche, that it is not. Corso asks, almost ippantly, "Is that it? Is the game over?" The girl answers that it's over for Balkan but not for him. Corso asks why Balkan didn't succeed. The girl explains that the Ninth Gate engraving was a forgery. Corso immediately responds "Where's the real one? I want it." And as the audience metaphorically leans forward as one, in anticipation of this long-awaited moment of revelation, the girl says "You're running low on gas" and they pull into a Shell station. (What?!) The unsubtle appearance of the Shell logo in the lm has been speculated about at IMDb, and it may be true that Polanski received a handsome fee from Shell for product placement. But if so, I have to give him credit for using Shell to achieve his own purposes as much as Shell used the appearances in his lm to achieve theirs, because, in the context of Corso's journey of return on the Tree of Life, the word 'shell' has another meaning. There are various versions of the symbolic location and function of the shells (called 'klippoth' in Qabalistic tradition). Some see them in the form of a 'shadow Tree' in which each sephira has a corresponding 'shell' version whose energy is fatally unbalanced so that it produces evil effects instead of good. Others see the lowest world of Assiah (the Tree of the material world on which Corso has been journeying) as itself representing the realm of shells since the Divine energy which originally descended from its Transcendent Source has reached, in Assiah, the point of maximum incarnation into form. At this lowest level of the Tree, the Divine nature of Creation may be virtually undetectable from the perspective of ego consciousness and the world, as the ego experiences it, may appear to be something more akin to Hell. The fear of Hell and the desire to escape it was certainly a motivating factor for Christians in medieval times who made long journeys to certain spiritual destinations in order to atone for their sins or gain spiritual merit. The large scallop shell which the Shell company adopted as its logo is also probably the best-known form of pilgrim's badge which signied that a Christian had completed a pilgrimage to the popular shrine of St. James (in Spanish, Santiago) at Campostella, Spain. So to recap, the rst two associations with this shell symbol are to an experience of a form of 'Hell on Earth' and a determination to undertake a sometimes arduous journey in order to escape 'Hell'. The rst time that we see the shell symbol is on the grounds of the Fargas mansion where it is a central decorative motif on the fountain/pool where Fargas' body was discovered. The second time is on a small sign outside Corso's hotel in Paris where he goes to visit Baroness Kessler. In both cases, Corso was leaving behind the ego's perspective of this world as a form of 'hell realm', and making a journey that would help him to escape the ego realm of 'Hell'. Fargas represented the function of Higher Feeling, Corso's rst contact on his journey (other

than the girl) with the realm of the Soul, and the Baroness represented at least a partial achievement of the function of Higher Mind, also in the realm of the Soul. And now the third encounter with the shell symbol comes as Corso is preparing to make a transition which will take him out of the world of Assiah, the realm of shells, entirely. This refueling stop also gives the girl an opportunity to disappear, since Corso now has everything he needs in order to complete his journey and must proceed from this point on his own. She leaves him one last direction on where to nd the genuine Ninth Gate engraving, in a note written on the forged copy and stuck under his windshield wiper, saying "Ceniza Bros." As the Phoenix From Its Ashes, So Rises "The Star" As Corso is walking down the alleyway to the Cenizas' shop, we hear once more the young boy's voice, 'Si, si, Mama' but it sounds farther away this time, almost like an echo or a memory, and when Corso arrives at the shop, he sees that it has been vacated and is being dismantled. All the books are gone and the two workmen who are removing a last tall bookcase (men with different last names, so they are not twins), don't speak Corso's language and have nothing useful to tell him. The answer he's looking for comes unexpectedly from *above* the place where the previous books were. As the bookcase is tipped over, a paper oats down from its top -- the genuine engraving of the Ninth Gate showing an 8-pointed star (or Sun, which is also a star) shining from the castle. 'The Star' is the 17th Trump of the Tarot's Major Arcana, and is traditionally represented as an eight-pointed star accompanied by the naked gure of a woman with two pitchers, one pouring water into a pool and the other pouring water onto the land. This is a symbol of uncertain derivation which can be seen as the agency of Soul uniting the realms of matter and Spirit -- just as the Soul mediates between the ego realm of matter and the Supernal realm of Spirit on the Tree. The eight-pointed star is a symbol of fullness and completion, and has been associated with the eight basic trigrams of the Chinese 'I Ching' whose combinations produce the full cycle of 64 hexagrams. These hexagrams represent all possible interactions between the dual, polar energies of active/solar yang (solid line) and receptive/lunar yin (broken line), all of the interactions still being recognized as reections of One underlying Unity. The eight-pointed star is also traditionally used in representations of the Star of Bethlehem (the birth of the Christ child who was both human and Divine) and is identied with regeneration and rebirth into Spirit. Its related form, the octagon, is considered the intermediary form between the square and the circle (symbolically uniting the four and the three, matter and Spirit). It is also the traditional shape of baptistries and baptismal fonts in which the body is sealed with the sign of Spirit through the agency of water. So in addition to the symbol of Transcendent Light/Spirit emanating from the (material) castle in the genuine engraving, we have a reference which is, signicantly, not to the transcendence of matter and ego, but rather to the underlying *unity* of ego/Soul/Spirit and of the outer material form of Creation and the Divine Creative energy which informs and animates it. Why did the Ceniza brothers forge the ninth engraving? 'The twins', as a symbol of the sign of Gemini, represent the ego's lower mind, the duality consciousness of the Beast, and from the

perspective of this lower mind -- in terms of its autonomous existence -- the end of the journey *is* annihilation. Polanski gave us a clue to this in the name Ceniza which means "ash" and in the one twin who smoked and rather spectacularly dropped ashes all over the precious book. At that time, only one victim, Bernie, was associated with Corso's relationship with the book, but there were four more yet to come: Fargas, Baroness Kessler, Liana, and Balkan himself. The number ve in this context perhaps symbolically relates to the ve physical senses on which the consciousness of the lower ego mind is based as it was in the case of the ve crenellations which marked the exit from maze of the lower mind in the engraving for the Fourth Gate. Considering that Aristide Torchia, the author of the lower mind/AT versions of the engravings -- and all three of his books -- were reduced to ashes, (except for the Higher Mind/LCF engravings which were rescued by Corso), it may be more than coincidence that there is a Spanish idiomatic expression "tener el cenizo" which means to have bad luck or to be jinxed. In the Christian Ash Wednesday liturgy of repentance (from the Greek 'metanoia', a change of mind and heart), when a cross of ashes is inscribed on the forehead, we are told, "remember that you are dust and to dust you shall return". This is a reminder to the consciousness of the lower mind/ego/body to align itself with the purposes of Soul in preparation for its Easter resurrection into Spirit. When consciousness no longer looks out from the limited vantage point of the lower mind, but from the enlightened perspective of the Higher Mind, the shop of Gemini, which represents the old limited vision, is symbolically vacated -- its view of the world is no longer adequate. Only once this shift has occurred, is the true vision revealed from a symbolically 'higher' source (the genuine Ninth Gate engraving oats down from the top of the bookcase, *above* where the books used to be). The castle which Corso enters at his journey's end is a version of the symbol of The New Jerusalem. Like "Solomon's Temple", the Temple "not made with hands", it exists at once as both "Macrocosm" (the perfect Creation) and "microcosm" (the individual enlightened consciousness). The essence of our Being and of the created world has always been Divine. Only the temporary, limited perspective of our ego-bound consciousness has prevented us from experiencing this truth. Once Corso is able to look at last through the eyes of the Spirit/ Soul, he experiences what was always there for those 'with eyes to see': the Divine Light of Heaven which continually blazes from the heart of all created forms. 'The Kingdom of Heaven is spread upon the Earth...' (The Gospel of Thomas) I believe that Francisco Sole, the designer of the original engravings, Arturo Perez Reverte, the author of the book 'The Club Dumas' and Roman Polanski, both as director of the lm 'The Ninth Gate' and as co-writer of the screenplay with John Brownjohn and Enrique Urbizu -- all deserve our gratitude for their parts in making available to a wider audience the basic outline of this inspired and inspiring traditional wisdom teaching. The simple interpretation which I have given only barely scratches the surface of the riches to be found in the study of the Tree of Life. There are lots of resources on the Tarot and Qabalah

available online and I encourage those of you who found this analysis interesting to begin your own journeys of exploration. I believe there is only one ultimate and sure solution to the precarious state of the world as it appears today, and that is the spiritual evolution of consciousness, one person at a time. If you have ever felt the desire to become part of the solution, I hope you will feel inspired to take up the essential portion of world-changing power which has been entrusted to you, and begin. COMMENTARIES

Posted 2 February 2007 by Mercurio: There is a dualistic approach in Ms. Whitney's essay in which there are only two real alternatives -- i.e. the good guys and the bad guys. While this duality may be reected in the nature of the two versions of the engravings, the author has made a perhaps unwarranted leap in her interpretation of these two possibilities. On the one hand, there is the undesirable version, what the author might describe as the "egodominated" individuals, who "expend their energies not in completing their own journey, but in declaring that those who are following all of the other paths up the mountain are 'evil', making war on them, and trying to stamp them out. From the perspective of ego consciousness, the symbolic gure of 'the Devil' is identied with anyone-who-doesn't-believe-exactly-what-I-believe, and for this reason, it is in the realm of ego consciousness, the realm of the lower mind at the base of the mountain, where the concept of 'the Devil' nds its ultimate playground." This path does in fact appear to have all the ingredients to lead one to ery demise. But then the author takes a Devil-may-care turn and decides that for a " successful path", "it is, necessary to forge an alliance with your own best understanding of a Higher Power, a benevolent spiritual guiding force which can help, inspire, and challenge you to grow beyond ego consciousness and align yourself with the greater purpose, power and harmony of your own Soul."

This sounds very much like: Failure on the path is destined for "anyone-who-doesn't-believeexactly-what-I-believe," i.e. if you're not willing to accede your destiny to a higher power, some ill-dened divine spirit with which to direct your life... you're in a heap of trouble! It's the old "Let not my will, but thy will be done" scenario. There is an inconsequential difference between selling one's soul to the Devil, and selling one's soul to some "Higher Power." The author also spends considerable energy in relating the "successful path" to various artifacts of Christianity. While she appears to be highly tolerant of other religions or paths to the "peak", the fact remains that many mainstream religions have lost a great deal of credibility in terms of acting in the best interests of its supplicants. Taking bits and pieces of different religious hints of wisdom may be more a matter of interpretation than of pragmatic fact, but does not justify the author's interpretation that one must still look to a Higher Power for marching orders. It might be well to remind ourselves that as the author points out in one of the engravings: "Fate is not the same for all. For those who devote themselves to the real-life 'journey up the Tree' described by the LCF version of the engravings, the ultimate fruit of the Quest is nothing less than personal transformation and the experience of the world from the perspective of..." one's very individual, egotistical Higher Self? Perhaps the third alternative -- or another interpretation of the "successful path" -- is to be found in one achieving their own sovereignty -- not at the expense of others, but purely as a personal quest. This is not the goal of nding some Higher Power to blindly follow, but instead to become a Higher Power. It's not about stomping on others to reach such a goal, but to follow a path that is individually empowering (and not purely a power greather than others). It is entirely possible that "the girl" who assists Corso is one who may have found her path (possibly with the help of another) and who is now simply "paying forward" her debt to her benefactor(s) by helping Corso. The key is that instead of acknowledging servitude to some alleged Higher Power -- or even to some fashionable moral code -- perhaps the true divinities of the universe are more likely delighted at one of their "children" coming of age and taking charge of their own destiny. After all, the key to universal enlightenment is diversity, with the paths taken -- and even the diversity of goals -- being the critical factor. Keep in mind that Roman Polanski is not, judging by his movies, someone who is preaching the texts from some established, mainstream religion. He may very well being following his own path -- one that does not necessarily conform to the standards of polite and politically

correct society. Clearly, his hero, Dean Corso, is not a prime example of the righteous and compassionate disciple. Roman has instead embedded Corso with a shallow, self-serving personality, who even in the last moments of the movie has not hinted at his intentions or motivations in following the path through the Nine Gates. It is just entirely possible that Polanski's suggested path -- as exemplied by Corso -- may be one of several "successful paths" in becoming a Higher Power. Author's Reply: Hi Mercurio, Re: We Don't Need No Stinkin' "Higher Power"! (Just a little levity) Thanks very much for the feedback and the opportunity to clear up the question of what I mean by a "Higher Power". I realize that this term may be understood in different ways depending on the experience of the reader and clearly I should have been more specic about it in the article. When I wrote the sentence that contains that term, I was thinking of it in the context of the symbolism of the lm and the function of "the girl." She seems to me to be a pretty good symbolic representation of what the experience of a "Higher Power" is like in the context of the journey of spiritual evolution "up the Tree". You're right that there is a basic perspective of duality in the analysis of the engravings (because there are two versions of each engraving), but I wouldn't characterize the choices as "good guys" versus "bad guys". Balkan is portrayed as fairly villainous for the sake of the drama, but Corso isn't particularly "good" by most standards . And of course it *is* possible to be a relative "good guy" at the level of ego, until you're ready to move on. I would dene the choice as one between the viewpoint of the ego which is *not* ready to evolve versus the viewpoint of the ego which *is* ready to begin the evolutionary journey. Just to recap, the symbolism of the AT engravings illustrates a perspective on life and way of being which acts to restrict your consciousness to the level of the separative ego which always manages to nd some "other" whether individual, group, or organization, to ght against. The symbolism of the LCF engravings reects a perspective and way of being that will take you beyond the separative ego's dualistic perspective and eventually into the conscious experience of Unity which is how the initiated "Higher Self" or "Soul" experiences the world.

Three Developmental Stages of Consciousness Although the two sets of engravings represent two categories of traveler (the ego that is ready to evolve and the ego that is *not* ready to evolve) there are actually at least *three* stages of consciousness which are represented in the lm and on the Tree (to the best of my knowledge). 1) First there is the ego's duality consciousness which is experienced "below the Veil". This is symbolically represented by the lower Triad of Yesod, Hod and Netzach (and in the lm by Corso acting on his own, and in the engravings by the First, Third, Fourth and Fifth Gates). 2) Second, there is the awakening consciousness of what I have called the "Soul". This is symbolically represented by the Ethical Triad of Tipareth, Geburah and Chesed (and in the lm by Corso acting in partnership with "the girl", and in the engravings by the Second, Sixth and Eighth Gates). 3) And third, there is the enlightened consciousness which comes when the "Soul" is initiated, consciously experiencing its identity with Transcendent Spirit by symbolically "crossing the Abyss" (represented in the lm by an enlightened Corso walking into the castle blazing with Light and in the engravings by the Seventh and Ninth Gates). It is at the second stage of developing consciousness that the "sticky terminology" problem arises. At this second stage of spiritual evolution, consciousness has begun to break through the rst-stage illusion that the separative ego represents the totality of its identity, but has not yet achieved the third-stage Unitive vision which comes with the awakening to enlightened consciousness (crossing the Abyss and passing through the Ninth Gate). In this in-between second stage, the individual consciousness encounters the experience of becoming aware of an entirely benevolent guiding "Presence" Who is *felt* as being very personal, loving, powerful and protective, and *more than human*. In my own experience, this "Presence" also had a "feminine" nature and I think the character of "the girl" in the lm is actually a pretty good representation of this. In all my studies, I had not come across any reference to the existence or function of such a Presence in this context and so I had no preconceived idea about it. Even today I have no handy terminology to draw on to dene my experience of it. "Higher Power" was the closest non-denominational term I could think of I think it was very wise of Polanski not to give that enigmatic character a name or to try to

explain her nature or function. The way the function of "the girl" changes over the course of the lm until she eventually disappears is a very accurate representation of my own experience of the mysterious appearance of this sense of a "Higher Power" and its gradual disappearance as a perceived "separate entity". Although this Presence is at rst experienced as being separate from your own accustomed identity, this is only because the perspective of your consciousness has not yet expanded enough to include the potential powers of your own Soul and Spirit as a part of your recognized self. At this second stage of the development of consciousness, "the girl" or the "Presence" seems to be a "Higher Power" -- it represents your perception that these Soul and Spirit powers are separate from you but in a form that remains close to you and plays a guiding/supportive role in your life. These Soul/Spirit powers are perceived as separate from you only until your consciousness expands enough to encompass and integrate these powers and recognize them as your own. The nature of the perceived reality is always a function of the stage of evolution of the consciousness doing the perceiving. Whose Will Be Done? In terms of the symbolism of the engravings, it is Love which draws the traveler upward through the Veil and into a more conscious partnership with his own Soul. The vehicle which inspires this Love may be a romantic Beloved, or a religious/spiritual gure of some kind, depending on the temperament of the traveler. The important thing is that whatever form the perceived Beloved takes, it must be able to represent (or to use the terminology of depth psychology, "carry the projection of") the energies and powers of the Soul. The Beloved exerts an irresistible magnetic attraction on the traveler because he rightly feels that it "belongs to him". *It is an unconscious, as-yet-unrecognized part of himself*. Only if a Beloved, whether perceived as human or spiritual, is able to represent to the traveler the energies and powers of his own Soul, will that Beloved have the power to draw the traveler through the Veil and into an experience of his own Soul. There is never any question of the traveler surrendering his will to anyone or anything other than the power of Love whose Source is his own Higher Self and this experience can only occur when the consciousness has reached the developmental stage at which it is prepared to begin the journey. Because it is this powerful experience of Love which motivates the traveler's journey, the transition -- from relying on the drives of the separative ego to guide his decisions, to assuming the "rooted in Heaven" posture of the Hanged Man which looks to the higher, wider Vision of the Soul for guidance -- is an entirely voluntary and joyful one. The face of the Hanged Man is serene because he is experiencing, for the rst time, a part of his own being

which was lost to him below the Veil. The Higher Will which he learns to align himself with is still *his* ; it is different only in that it reects the Will of his Higher Self, that part of his being which is larger and more all-encompassing than his separative ego alone was capable of recognizing. "Who Is The Girl ?" The answer to the most frequently asked question about the lm, "Who is 'the girl'?" depends upon what level of consciousness is responding to the question. 1) At the beginning of the lm, Corso's consciousness is focused at the level of the ego and from the perspective of the ego's duality-consciousness, the girl is at rst assumed to be an ordinary person -- until she demonstrates the uncanny ability to disappear in mysterious ways. Although the girl represents the potential powers of Corso's own Soul and Spirit, he is at rst entirely unaware of this. At this stage, she appears to him as a mysterious presence which intrigues him but which he can only catch eeting glimpses of as long as he is preoccupied with the concerns of his ego. 2) As Corso is drawn in by the mystery of the fact that the symbolism of the engravings is beginning to appear in his "real life", the girl also begins to play a larger role in his adventures. They become "partners", which represents the point at which Corso's consciousness passes through the Veil and he begins to experience his life in a different way -- because of the presence and inuence of the girl. Corso gradually begins to grow into the ability to exercise the powers of his own Soul, symbolically represented on one level as his evolution from something of a wimp who relies on the girl to do his ghting, to a take-charge guy who saves his own life by throwing the murderous "albino" down the stairs. As he grows into his powers, the function of the girl gradually changes until she nally represents for him the bridge to a conscious experience of Transcendent Spirit , which is the last as yet unrealized potential aspect of his Identity. 3) It is only when Corso makes the transition from the perspective of the lower ego-mind of Hod to the enlightened Mind of the initiated Higher Self (represented by the Star in the genuine Ninth Gate engraving) that the girl disappears. When Corso walks into the castle blazing with Light, all of the functions which the girl has represented to his evolving consciousness have now been integrated into his own larger Identity. I tried to convey this idea at the very end of the article in these terms:

"The castle which Corso enters at his journey's end is a version of the symbol of The New Jerusalem. Like "Solomon's Temple", the Temple "not made with hands", it exists at once as both "Macrocosm" (the perfect Creation) and "microcosm" (the individual enlightened consciousness). The essence of our Being and of the created world has always been Divine, and only the temporary, limited perspective of our ego-bound consciousness has prevented us from experiencing this truth." When Corso walks into the Light, he does not become the personal equivalent of the Transcendent Godhead, but becomes consciously aware of his ultimate *identity with* that Transcendent level of Being, while still remaining an individual, embodied expression of it. Corso is and always was his own "Higher Power", he just wasn't aware of the higher levels of his Identity *in those terms* until he "grew into" them. Although this Presence is at rst experienced as being separate from your own accustomed identity, this is only because the perspective of your consciousness has not yet expanded enough to include the potential powers of your own Soul and Spirit as a part of your recognized self. At this second stage of the development of consciousness, "the girl" or the "Presence" seems to be a "Higher Power" -- it represents your perception that these Soul and Spirit powers are separate from you but in a form that remains close to you and plays a guiding/supportive role in your life. These Soul/Spirit powers are perceived as separate from you only until your consciousness expands enough to encompass and integrate these powers and recognize them as your own. Beyond Duality and Sectarianism The two spiritual traditions which I am personally most familiar with, Christianity and Buddhism, both contain symbolism which can be read to reect the experience of the same journey which Corso undertakes in the lm. Of course, this in no way means that all who contributed to these teachings would agree with this assessment or that every individual who is involved in a form of Christian or Buddhist practice will be able (or willing) to see their religious symbolism in this way. The nature of perceived reality is always a function of the stage of evolution of the consciousness which is doing the perceiving. You don't get the Unitive view from the Mountain Peak until you reach it ; you can't reach the Peak without going through all of the learning stages of the journey ; and each stage is a necessary and positive step towards the goal. I personally was completely disillusioned with Christianity as it is now being taught

before I encountered my own rst awakening experience and it was only *after* this that I was able to see and appreciate the truth at the core of the symbolism. But at that point, it was also clear that the same truths were reected at the core of many other symbolic systems as well. From the perspective of the top of the mountain , just as it's easy to see the core of truth in every religious tradition , it is also easy to see how these truths have been co-opted and distorted by individuals and institutions reecting the power-driven consciousness of the egomind/"Beast". I used Christian references in the article rst of all because this is the spiritual tradition that I'm most familiar with and I thought that might also be true for many readers; second, because the symbolic gure of "the Devil" seems to have been greatly shaped and empowered by the lower ego-mind's interpretation of the Christ message (some even claim that traditional Christianity "created" the idea of the Devil in the form in which we now think of it); and third, because it's impossible to ignore the way in which the idea of the "AntiChrist" scenario is now being used to inuence political decisions in a very "Beast-like" way. At the beginning of the journey, when the traveler's consciousness is focused at the level of the ego-mind, there is no way for him to avoid the fact that his understanding of Christianity -- or any other religious tradition -- is distorted by the dualistic nature of his consciousness. At the same time, he doesn't have the perspective necessary to recognize that this distortion of his understanding even exists. As long as he remains satised with the value system of the ego-mind, he will have no motivation to journey in search of something else. So the ideal state of mind to prompt a traveler to begin the journey would be one in which he had either "lost faith" in any traditional religious system or never had such "faith" to begin with. This is why I think your point about Corso not conforming to the "politically correct" (or "religiously correct") stereotypes of a "spiritual seeker" is an important one. You don't really have the drive that it takes to begin the journey up the Tree until you are no longer able to achieve any meaningful satisfaction from ordinary ego pursuits -- including the distorted egolevel practice of traditional religions -- and this "I can't get no satisfaction" state of mind is not a happy place to be, as Corso's demeanor at the beginning of the lm demonstrates. But the good news is that the presence of a sense of frustration means that you have a reservoir of untapped energy ready to empower you, and being in a state where you don't have anything to believe in, where you have no serious investment in any particular world-view, is a form of "beginner's mind" -- the necessary emptiness which is required in order to be open to receive a radically new vision. Bearing all this in mind, I admit that there is a potential down-side to my decision to include references to Christian symbolism in the article, since a large part of the target audience I'm

hoping to reach, if they're just beginning the journey or are still in its earlier stages, would probably nd these references distasteful, based on their present dualistic understanding of Christian symbolism and their experience of the way that many so-called "Christian" institutions have distorted and co-oped it; (I have certainly felt that way myself). But those who are farther along on the journey or have had a rst glimpse of the view from the Mountain Peak will recognize the parallels that I've drawn with the journey on the Tree and I think maybe it's important to le the idea away in the back of your mind that at later stages of the journey, you will see the symbols of Christianity and other traditional religions from a very different perspective, one which recognizes their redemptive qualities, even in the distorted form in which they rst appear to the consciousness of the ego-mind. And the same situation applies when it comes to understanding the nature of the Unitive consciousness which is the goal of the journey. Contrary to many traditional religious notions, the Unity which the traveler achieves on crossing the Abyss is not a state in which there is only Light and no Darkness (which would mean the end of the "Earth Game"). As the Jungians would say, the goal is Wholeness rather than some version of the ego's dualistic notion of one-sided "perfection". My favorite quote on this subject comes from Alan Watts and goes like this: "No one can be moral that is, no one can harmonize contained conicts without coming to a working arrangement between the angel in himself and the devil in himself, between his rose above and his manure below. The two forces or tendencies are mutually interdependent, and the game is a working game just so long as the angel is winning, but does not win, and the devil is losing, but is never lost." I hope this attempt at explanation may have defused some of your objections. I think we're actually pretty much on the same page except for a difference in the perceived denition of the term "Higher Power" (which I hope I've cleared up), but if you should still have doubts, I would welcome the opportunity to try to address them. Thanks for the feed-back, :) Laurel Andrew If you look closely at the engravings from the movie, you will see that the people in them resemble or take on the likeness of the actors in the movie. The Girl character is most

noticeable in the ninth engraving, but, on closer examination, you will see that the old man holding keys in the second engraving has similar facial features to Fargas; the man aiming the arrow in the clouds looks blatantly like the Ceniza brothers in the third engraving; and in the eighth engraving, the praying man is clearly Corso, and the man swinging the mace at the back of his head bears the facial likeness of Balkan. There are larger images available on Google Image search where you can see these features more clearly. Anoush Jay Sansom Not sure if Im seeing things that arent there, but did anyone else make the connection that the Old City of Jerusalem has nine entrances, or gates, one of which is bricked up as it is believed that the Messiah will return through this gate? This seems to have parallels with the illustration of the 4th gate, and would further explain why Balkan is unable to enter. This interpretation is supported by the fact that the key engravings are split into 3 books. If you follow up some biblical references to the Whore of Babylon you will nd; The Woman is Split into 3 Divisions (Revelation 16:19) Another name given for her is Babylon and it is said that The Woman sits on 7 Mountains (Revelation 17:9) and that she is located where Jesus was crucied (Revelation 11:8). Jerusalem is built on 7 hills Mount Zion, Mount Ophel, Mount Moriah, Mount Bezetha, Mount Acra, Mount Gareb, and Mount Goath and it is of course where Jesus is sais to have been crucied. This seems to point to the idea that Corso is somehow chosen to be the one to pass through the ninth gate. Whether he is a heavenly or diabolical messiah is still open to interpretation.