The Temple of Set II

by Michael A Aquino

  jackal) to symbolize Anubis? It is because no one canine could symbolize the Principles of the neter. And this answer

  is important, because it topples any notion that the neteru were born out of the symbol or anything as crude as

  “animal worship”. The truth is that the symbol must fit the neter, not the reverse. So various characteristics of

  canine orders were used to define the various aspects of the black jackal, because the neter has multiple functions

  which come under basically two names: Anpw (Anubis) and Upuat. Often these two functions were shown as

  separate entities (which still confuses Egyptologists), but both names belong to the same neter and identify a

  particular functional aspect. To grasp the Principle one must first know that we are, in discussing the black jackal,

  simultaneously discussing alXemical processes.

  Consider the purely “jackal” aspect when seeking the metaphysical reality of the symbol. A jackal is a carrion-

  eater which rips the body into pieces, buries the pieces, and leaves them alone until they rot. In eating the putrefied

  flesh, the jackal changes it into life-giving food, and this the jackal does by its special digestive process. “What would

  be poisonous for almost all other creatures in him becomes an element of life through a transformation of elements

  which are bringing out this decomposition.” 136 Hence the jackal function is the digestion/transformational process.

  Another symbol of the jackal is the hieroglyphic sab, which means “judgment” or “the judge”. This is because in

  eating, it (the jackal) performs a precise, innate discrimination, separating out the elements capable of

  transformation and future evolution from the elements that are untransmutable within their present cycle”. 137

  The jackal instinctively knows the precise time that he must devour the carrion or it will become indigestible.

  This is symbolic of the initiatory phases of the Elect which offer either transformation or irreversible chaos, and of

  which I wrote on the first page of Key #1.

  It is important to know that each of us has a microcosmic version of each of the neteru within us, making us

  each a pantheon, even though we individually may manifest specific single neteru. This shall be dealt with in more

  detail in a later Key, but it is important to bring it up now to help clarify the paragraph above. It is the jackal

  function which identifies the exact process and timing of the Principle of Xeper in the Æon.

  To appreciate and use the magical functions of the black jackal (or any other neter), one must understand their

  functional aspects, for therein is revealed their use and part in the Great Work of Xem.

  Anubis Anthropomorphic

  The top section of the Stele shows Anubis as having the body of a man and the head of the black jackal. This

  symbolism defines the manifestation of the Principle of Anubis as was recognized by Set on XIII:11.11.

  In Egyptian art we can find Anubis shown both as a black jackal and anthropomorphically, but this was not

  done by whim or accident or for æsthetics. One can, in studying the ancient art, easily see that few things were done

  for æsthetics, in fact it would at first glance appear that they deliberately tried to do things that are æsthetically

  wrong, but that is not the case either. In his book on sculpture, Frank Eliscu says this of design: “Standards of taste

  136 Isha Schwaller de Lubicz, Her-Bak “Chick Pea” .

  137 Robert Lawlor in R.A. Schwaller de Lubicz, Symbol and the Symbolic.

  - 333 -

  and ideals of beauty have changed continuously over the ages, but the tenets of good design remain firm and are the

  foundations of all art.” Then we can turn around and read of various Egyptologists reporting that the ancient

  Egyptians seemed at times almost in defiance of design principles and tenets in their architecture and other art

  forms. Yet who is left unmoved by their superb craftsmanship, and by an almost uncomfortable feeling of those

  ancient artists having struck some distant but familiar chord within?

  As the chord chimed within, I personally began to understand that the anthropomorphic symbolism defines the

  neter being manifest in functional form through an agent (with Anubis that agent is myself). The neter actually

  defines itself through the agent.

  What does Anubis have to do with Set? The neteru are aspects of the Ageless Intelligence, yet each neter is a

  Principle unto itself, enjoying co-consciousness, not unlike man with his several “I”s. Within each of us there is the

  true being with its various aspects or interpretations/definitions of itself as it considers itself, and as it relates to the

  environment around it. Soon, if these aspects become functional enough, they will actually acquire qualities,

  characteristics, and even aspects of themselves. It must be remembered however that these are aspects of the true

  being, not the being itself. The problem in man is that he has not consciously created these aspects, nor is he master,

  i.e. ordered in and of his self. Each “I” aspect has become more or less an entity unto itself, and often these aspects

  pull against each other instead of establishing a co-consciousness and working through and with a joint effort of will

  toward the creation of a self order.

  Linking with a neter gives distinction to our own particular Setian essence, and manifesting this neter is in

  essence manifesting an aspect of Set or a Principle of the Ageless Intelligence. So as not to confuse this with

  possession, let me point out that this manifestation does not forfeit any part of our own will or being. We are merely

  bringing into our own realm the functional relationships of Set with his Elect. Our individual quests are to Xeper ir

  Xem.The black jackal-headed man symbolizes the manifestation of the neter Anpu/Apuat ( Upuauat). The working

  (left) hand of the entity holds aloft the uas scepter before a trapezoidal structure, and with the authority of the word

  the structure becomes a gate and the way is opened. The title of this aspect of the neter is “the Opener of the Way” or

  Apuat. This aspect is manifest through my V° work of opening the way to Xem. The functional hand of the entity

  holds the left hand of the Initiate and guides him through and along the way to Xem. This aspect of the neter is “the

  guide and escort” and is manifest through my function as High Priest of Set.

  Once entered, the trapezoid becomes a hall through which all aspirants to Xem must pass. This is the hall of

  judgment, and within it stands Maat, neter of truth and justice. This particular Maat is the aspirant's individual

  maat or individual truth, and her function is to determine the balance or imbalance of the self who is being led

  through initiation. If this Maat’s feather is balanced by the heart of the aspirant, then the aspirant will recognize the

  macrocosmic Maat, for his own maat will reflect her. And then the Initiate may continue toward Xem; his own truth

  is understood. In Maat's right hand is the scales of justice, for justice is the activity of truth. In her left hand she

  holds the anX, which is offered to the Initiate who passes through. It is the essence of his being.

  Beyond this hall is another gate, which opens to a new chamber. Beyond the gate is the scarabæus, indicating

  that only the Becoming of what is beyond will bring it into being. The Initiate who has reached this point has Come

  Into Being as a true god. The Initiate is now of the Magistry as well as of the Priesthood of Set, and here begins his

  Great Work. This chamber is the naos, the “holy of Holies”,
the secret shrine of the gods (old and new). This is the

  realm of Xem.

  Above the Scarabæus (or Xepera) is a cartouche, which is in the place of the dung-ball. A cartouche is the shen

  symbol upon which is written the hieroglyphic spelling of a name - in this case it is the name of the god who has

  Come Into Being. Let me very modestly define a shen as a “mirror reflecting infinity”. With that in mind I shall

  further say that this particular shen is inscribed with “neter Xem whose name is unknown”. This cartouche then

  states that this god who has Come Into Being does not yet know his true name; he is in his twilight.

  The next figure is atop a rather oddlooking base which symbolizes the three main parts of the Temple of Set.

  Temple of Set here means both the initiatory cooperation and the individual Initiate who is in himself a Temple of

  Set. The left side of the base shows a pylon ( bexnt), and this is the mundane aspect of the Temple. This is the only

  part of the Temple that is seen from without, and it serves to allow or to block entry. This was the first gate through

  which the Initiate had passed.

  The right foot of the figure (who is shown moving toward the Initiate) is supported by columns which compose

  the peristyle or outer temple. This is the lay membership; those from whom the Elect will be found, those who

  prepare for the second gate.

  The left foot of the figure is supported by a black trapezoidal structure, which is the hypostyle or inner temple. It

  is the realm of Darkness, the Priesthood of Set. The second gate is the entrance to the hypostyle, and the work

  toward Xem occurs within.

  The figure is the god Xem. He is the true being who has reached full potential. He has accomplished the Great

  Work, and has Become a new kind of being. He is the one who has evolved from man the animal to magician to royal

  man to divine man. He is shown faceless, for none may know his name - not even himself until he has Become his

  name. The symbolism of the beard on his chin indicates his godhood. In his right hand he grasps a rolled and sealed

  papyrus upon which is written his name and its hidden meaning. He extends the papyrus toward the approaching

  Initiate, for he is the Initiate ahead of his self - awaiting completion of the Great Work. His walking motion toward

  the Initiate is as a reflection of the Initiate's transformation. He is the IAM.

  - 334 -

  Upon the figure’s head is a crown, which is the symbol of the naos, with its walls being two feathers of maat; for

  it is the Great Work within which shall crown him upon his Coming Into Being. Upon completing the Great

  AlXemical Work, the figure will hand the Initiate the papyrus. Having read it, the Initiate and Xem will be one, and

  he shall know his name.

  The dark column behind Xem blocks vision to that which is beyond, for what is beyond shall only be known by

  those who have Become Xem and found their names.

  The left hand of Xem grasps the anX, for he holds the true essence of his being.

  On several different occasions I have compared Xem to the Statement of Leviathan in the Diabolicon, and in

  doing so I was specifically referring to the transformation of the Black Flame into the glory of its perfection. It is

  interesting to note that one of the definitions of Xem (according to both Budge and de Lubicz) is “a very hot fire,

  burning intensely”, and it was compared to the Setian fire!

  A power superior to man gave the primordial names to things in such a way that the names are

  necessarily right. The rightness of the names makes the nature of things visible. One can absolutely say that

  when the names are known, the things are equally well known. - Plato

  The sages of Egypt appear to me to have shown a consummate knowledge or a marvelous instinct when

  in order to reveal their wisdom to us, they did not resort to letters to express words and statements

  representing sound and expressions but portrayed objects by hieroglyphs and in their mysteries

  symbolically assigned an emblem of its own to each of them. So each hieroglyph constituted a type of

  knowledge or wisdom and presented the thing visually as a synthesis without discursive conception or

  analysis. This synthetic idea was then reproduced in other signs that developed it, expressed it discursively,

  and enunciated the reasons why these things are made as they are when their beautiful arrangement

  arouses admiration. - Plotinus

  There is no difference, as a matter of fact, between the texts called hieroglyphs and most of the precepts

  of the Pythagoreans.

  There is nothing more characteristic of Pythagorean philosophy than the use of symbols, such as those

  employed in the celebration of the mysteries. It is a language that includes both silence and speech ... What

  is said is very clear and obvious to those who are used to this language; it is obscure and unintelligible only

  to the uninformed. The apparent meaning of these symbols is not the true one, but in it one must search for

  what they seem to conceal. - Plutarch

  - 335 -

  A52: The Book of Opening the Way: Key 5

  - by Ronald K. Barrett V°

  XIV/1979

  In the discussion of Xem thus far, the Word had been approached from mostly its direction as regards the

  individual Initiate. This was initially necessary [and will be again] so that the direction of the collective effort can be

  gained through the individual effort. Let us now begin to approach discussion of the collective effort, so that we

  might know what that effort is moving the Elect toward, what the “realm” of Xem is about, and what our mutual

  aspirations and efforts should be.

  As has been stated in the first four Keys, the individual effort must lead the evolving magician into a state of

  higher being that is constantly evolving; there is no stopping point. As this occurs, one experiences many changes in

  and around the self. One also notes that reality is mostly perceptual, and that when the individual reality is

  combined with the perceptual realities of other Elect individuals, some rather complicated situations and

  circumstances begin to occur. This is purely the nature of the work, for there is no predestination in alXemy, and

  magical creation establishes the real.

  While the magician experiences complications and perceptual changes in and around the self, the magician also

  begins to notice changes involving others. Once cannot really do anything about the changes that occur to others,

  but one can and must do something about those that involve oneself. Willed evolution involves not only one’s own

  Coming Into Being as Xem, but also involves and determines one’s relationship and role or function with the realm

  of Xem. It must be remembered that Xem is dual in concept, for the Word at once defines the individual being and

  the realm of beings, all of which are becoming cooperatively.

  The Xem Working laid the blueprint for the Coming Into Being of Xem. It is not a blueprint or prophecy of what

  will be, but rather for what can be, and the Principles involved are essential to individual and collective concepts of

  Xem - one aiding the other. For this and any future discussion of Xem to be of any value, there must be a climate

  within the Temple of Set and among the Elect - both individually and collectively - which is responsive to the

  changes which will become evident as the Keys are added.

  This brings up the essence of Key 5, which was revealed very early in the Xem Working, and which can be stated

  in
a strangely simple statement: “Higher man must conquer fear.”

  As Black Magicians we pride ourselves in being able to meet and cope with the forces of change. We realize the

  need of hauling in our anchors, of being flexible and unfixed, of refusing to become locked into the death-grips of

  stasis. All these things we recognize in principle, but the degree of which the Principle of change has become truth

  for us is determined by our willingness to work it when inevitable change presents itself.

  The Temple of Set began on an axis of change, whether we measure from 1904 EV, I AS, or X ÆS. Every time

  the full implications of the changes were realized and/or discovered to be somewhat more than what was

  anticipated, a few magicians were lost along the way. Ironically the change that they could not or would not effect

  affected them. It will always be one way or the other. Magicians must either crest the magical current of the Æon

  and cause/will changes for and in their selves as the current crashes through what “is”, or they will be sucked under

  by the force of it and very likely suffer magical death by being bashed against the eroding rocks of false security and

  illusioned permanence.

  The “way” itself is change - transformation. This is in reality/truth/ maat what initiation is - initiating change.

  Change is the most significant cause of fear, because the process is frightening and difficult; and the result is

  unknown. One of the hieroglyphic translations of the Word Xem is in fact “unknown”. [Consider the faceless/name-

  unknown god on the Stele of Xem.] With this in mind, it is easy to see why the magical formula of the Æon can be

  disturbing or even terrifying to anyone except the most zealous and adventurous.

  When we used to stand before the altar and open the gates, those were the gates to change which opened. On

  XIII:11:11 when the gates were opened, never to be closed again, it was constant change that was opened and which

  is ever beyond those gates and through which the way that Anubis leads or guides extends. Fear is the condition that

  blocks the way of change. Xeper means change through will, and Xem is the result of that change, but only when it is

  according to the will and when the resulting condition and being is higher or evolved - as opposed to just being