Analysis Of Bathyllic Language By Lb

AN ELEMENTARY ANALYSIS OF

BATHYLLIC -

THE LANGUAGE OF THE SAPPHO-CALYPSO ANGEL IN LIBER XXX AERUM VEL SECULI SUB FIGURA CDXVIII THE VISION AND THE VOICE -2ND AETHER By Fr. LVX/NOX © 1996 July 1996 e.v. 1500 words PART I. THE BATHYLLIC TEXTS IN PARALLEL A. First Song from the 2nd Aether Crowley's translation OMARI (I am) the harlot TESSALA (that) shaketh MARAX, Death, TESSALA (this) shaking DODI giving PHORNEPAX. The Peace of Satiate Lust. AMRI There jetteth RADARA Immortality POLIAX (From my) skull AMARNA (And) music PILIU. (From my) vulva. AMRI There jetteth RADARA Immortality PILIU (From my) vulva SON; Also. MARI (For my) whoredom NARYA (is a) sweet scent BARBITON (like a ) seven-stringed instrument MADARA played (unto) ANAPHAX God the Invisible SARPEDON the all-ruler ANDALA that goeth along (giving) HRILIU the shrill scream of orgasm. [also >The Voice of the Dove=attributed To Netzach=] b. BRIEF PASSAGE IN BATHYLLIC Crowley's translation AN NOW (IT) OLVAH GLIDES NU (INTO THE) HEAVEN ARENU HOME, OLVAH. GLIDES. DIRAESEU SEDUCINGLY [note the Sappho connection] ADIKA THE MENTRILA [definition?] VA OF PARETANU THE BEGOTTEN ONE POLIAX OF THE HOLY HEAD POLIAX OR SKULL IN TAKES VAH HOLD RAH (OF THE) SOFT TISSUES AHUM SUBTLY

SUBRE FIFAL. LERTHEXENAX. MAMA RA-LA HUM FIFALA MAHA.

PLYING (ITS) SHUTTLE LIGHT FOLLOWS THE EXPLOSION. THE SOFT TISSUES CLEAVING (TO) SHUTTLE PUMP OUT EVERY DROP OF WATER FROM THE WELL. [appears to be a technical term not easily translated to English]

Note: this passage evidently refers to a high mystical process but full explication would have to be undertaken in reference to the entire experience of the 2nd Aethyr, which is beyond the scope of this current study. c. 2ND SONG OF THE 2ND AETHYR Part I MU PA TELAI TU WA MELAI A,A,A. TU FU TULU TU FU TULU PA SA GA

Crowley's translation SILENCE THE MOON CEASETH (HER MOTION) THAT ALSO (WAS) SWEET IN THE AIR, IN THE AIR, IN THE AIR WHO WILL SHALL ATTAIN WHO WILL SHALL ATTAIN (BY) THE MOON (&) BY MYSELF (&) BY THE ANGEL OF THE LORD.

Part II QWI MU TELAI YA PA MELAI U,U,U >SE GU MELAI PE FU TELAI FU TU LU

NOW SILENCE CEASETH AND THE MOON (WAXETH) SWEET (IN THE HOUR) OF INITIATION (etc) THE KISS (OF) ISIS (IS) HONEYED MY OWN WILL IS ENDED (FOR) WILL HAS ATTAINED

Part III O CHI BALAE WA PA MALAE

BEHOLD THE LION-CHILD SWIMMETH (IN THE HEAVEN) AND THE MOON REELETH.

UT! UT! UT! GE; FU LATRAI LE FU MALAI KUT! HUT! NUT!

(IT IS) THOU! (IT IS) THOU! (IT IS) THOU! TRIUMPH; THE WILL STEALETH AWAY (LIKE A THIEF) THE STRONG WILL (THAT) STAGGERED (BEFORE) RA-HOOR-KHUIT! HADIT! NUIT!

Part IV AL OAI REL MOAI TI! TI! TI! WA LA PELAI TU FU LATAI WI NI BI

TO THE GOD OAI [note: reversal of formula of IAO implies roughly the general mystical As opposed to the general magical process - Crowley's note] BE PRAISE IN THE END & THE BEGINNING! (Etc) AND MAY NONE FALL WHO WILL ATTAIN THE SWORD THE BALANCES THE CROWN

Note: The 2nd Song as above is incorporated wholesale into LIBER LXVI (STELLAE RUBAE) where it is designated as "the infernal adorations of OAI". In that context OAI appears to represent the Averse (as opposed to the Right), rather than the Mystical vs the Magical. PART 2. COMMENTARY Sappho-Calypso. Calypso was a figure (in the astral plane?) in Homer's Odyssey, in the episode involving the Sirens. Crowley's comment in VISION AND THE VOICE indicates he takes Sappho and Calypso to represent all such seductive and deadly things, and since this is part of the nature of BABALON (the magician's marriage with whom is the subject of ARN, the 2nd Aethyr), the Angel of this Aethyr takes a similarly seductive form. Crowley remarks of the song that "once one has heard it he is lost". Bathyllic and Enochian Bathyllic is an angelic language that occurs only in the 2nd Aethyr of the 30 Aethyrs traversed by Crowley. The existing passages in the language appear to consist of two songs plus one other brief passage of speech. Crowley in his note says the language he recorded is "commonly referred to" as Bathyllic but I cannot locate a reference to this language either in his BK 4, CONFESSIONS, or a general occult dictionary. The Shorter Oxford provides no clue to the word stem "bathy".(?) No record exists of any Bathyllic (non-English) alphabet - Crowley transcribed his vision directly from the language he heard into English letters. His exploration of the Aethyrs however was based on (and expanded on) those of Dee and Kelly, and some connection between the language spoken by the 2nd Aethyr Angel and Enochian seems likely. In particular the -ax suffix of some words recalls Enochian. Further research is required to elucidate any similarities or overlaps which may exist. No indication of Bathyllic pronunciation is given in Crowley's text and this may be also a matter for experimentation and possibly comparison with Enochian and/or the Barbarous Names of Evocation.

Bathyllic Grammar The suffix - ax seems to denote nouns, e.g. Anaphax, marax, phornepax, poliax - but not all nouns are so denoted, e.g. piliu, omari. Note that Whoredom is Mari and Harlot is Omari. The >O= prefix may possibly denote a specific relating to general concept of the word without the prefix. Generally connectives (a, the, of, in, etc), though some correlates to these words exist, appear to be used infrequently in Bathyllic. This constitutes a similarity with Enochian (though the same could be said of many languages including Coptic etc) An ending in >a= appears to denote some verbs, e.v Andala, Madara, Tessala, but some nouns end with >a= as well - Amara, Narya, Radara. The high preponderance of short 2- and 3-letter words in the second song is curious and may indicate a more >poetic= or >condensed= form of Bathyllic than that found in the 1st Song. However, this is speculative. Arranger's Notes Crowley provides complete translations of each Bathyllic passage, in English, but not word-for-word. This was attempted by the present writer in order to create the Bathyllic dictionary. In the analysis of the First Song we were helped considerably by the fact that some words appear twice in this short passage. From the repetition of Tessala, the phrase Amri Radara, and Piliu it was easy to deduce that these represented Shaking, (there) Jetteth Immortality, and Vulva respectively. The similarity of Mari and Omari and their cognate meanings further solved the equation. Phornepax suggested itself as a portmanteau construction - the suffix "pax" is also peace in Latin, and "Phorne" suggests the Latin fornix, fornicatio - to fornicate, which carries the idea of Satiate Lust. Hriliu was already known to mean "the shrill scream of orgasm" from its context in the Gnostic Mass. With these words identified, it was a comparatively simple matter to fill in the gaps. Analysis of the passage and the Second Song proceeded along similar lines. Herewith we present the first known comprehensive compilation of Bathyllic words with their English equivalents, which may form the basis for further experiments with Bathyllic vocabulary in relation to 2nd-Aethyr explorations. In the second song there are some inconsistencies. It seems strange that there are three different words for attain -LATAI, LU and TULU - and this may be due either to defective analysis of the text, or to partial ignorance of Bathyllic grammatical construction. PART 3. BATHYLLIC-ENGLISH DICTIONARY A IN THE AIR ADALA GOETH [note: probably refers to "going" as the Active power] ADIKA MENTRILA AHUM SUBTLY AL (TO THE) GOD [obvious correlations to CCXX] AMARNA MUSIC AMRI JETTETH AN NOW ANAPHAX GOD THE INVISIBLE ARENU HOME BALAE SWIMMETH (IN THE HEAVEN) BARBITON SEVEN-STRINGED INSTRUMENT; [possibly denotes the subtle body] BI CROWN [as in Kether] CHI LION-CHILD DIRAESEU SEDUCINGLY DODI GIVING

FIFAL FIFALA FU GA GE GU HRILIU HUM HUT IN KUT LA LATAI LATRAE LE LERTHEXENAX LU MADARA MAHA MALAE MALAI MAMA MARAX MARI MELAI MOAI NARYA NI NUT O MU NU OLVAH OMARI PA PARETANU PE PELAI PHORNEPAX PILIU POLIAX QWI RADARA RAH RA-LA REL SA >SE SARPEDON SON SUBRE TELAI TESSALA TI TU TULU U UT! VA VAH WA

SHUTTLE SHUTTLE (STRONG) WILL; WILL (as subjunctive) THE ANGEL OF THE LORD TRIUMPH ISIS THE SHRILL SCREAM OF ORGASM CLEAVING HADIT TAKES RA-HOOR-KHUIT (MAY) NONE [obvious correlation to NOT of CCXX] ATTAIN STEALETH AWAY (LIKE A THIEF) THE LIGHT FOLLOWS THE EXPLOSION ATTAINED PLAYED PUMP OUT EVERY DROP OF WATER FROM THE WELL REELETH STAGGERED SOFT DEATH WHOREDOM SWEET, HONEYED PRAISE SWEET SCENT BALANCES [ie Scales, as in Libra] NUIT BEHOLD SILENCE HEAVEN GLIDES HARLOT THE MOON THE BEGOTTEN ONE MY OWN FALL THE PEACE OF SATIATE LUST. VULVA SKULL, HOLY HEAD NOW IMMORTALITY SOFT TISSUES (see also MAMA and RA-LA) TISSUES BE MYSELF KISS (GOD) THE ALL-RULER ALSO PLYING CEASETH (HER MOTION), ENDED SHAKETH, SHAKING IN THE END & THE BEGINNING THAT, WHO, HAS ATTAIN (IN THE HOUR OF) INITIATION (IT IS) THOU! OF HOLD ALSO, AND

WI YA

SWORD AND