QABALAH No.

1 An approach to learning the Tree of Life through MEDITATION Drawn from the classes of Bill Heidrick for O.T.O. (Romanian version) Copyright !"#$ and $%%$ &y Bill Heidrick

Do what tho' wilt shall &e the whole of the (aw.

CO)T*)T T+B(*, Title page Blank Diagram of the Tree of (ife Content Ta&le -ntrod'ction Diagram of the &asic Tree of (ife The .inim'm to &e learned. The Tree of (ife .editation /or perpet'al 'se. Diagram of the 0ephiroth 1ith the letter paths in .e2la. The 0ephiroth on the Tree of (ife Diagram of the (etter 3aths 1ith the 0ephiroth in .e2la. The $$ letters of the He&rew +lpha&et Diagram of the Tree of (ife in (ight 4se to test yo'r memory. The $5 3aths of 1isdom Diagram of the 0acred )ames on the Tree of life 4se to gain skill with the He&rew words and letters. 3ron'nciation 6'ide The 7ircher Tree.

Introduction: .ost mystics8 rit'alists and occ'ltists say a lot a&o't 9a&alah: &'t remarka&ly few do anything with it. 4ntil the mid !"th cent'ry8 works on this s'&;ect ro'tinely <'oted from a&o't si= Renaissance te=ts &y non>9a&alists or simply salted fragments of this ancient mental mysticism a&o't their works. Barrett8 in his Magus made practically as many He&rew spelling errors as he made reference to 9a&alah (tr'e especially of the modern editions). /. D?Olvet p'shed firmly into new work8 &'t his &ooks are too diffic'lt for the st'dent. (evi made genero's 'se of old work and did innovate8 &'t his style is am&ling at &est. .athers provided a vademec'm in the introd'ction to his Kabbalae Unveiled8 &'t that was a gross plagiarism of 6ins&erg?s essay on the s'&;ect >>> again a rehash of old tradition8 no e=planation and no new work. /rom .athers work8 myriads have arisen. Dion /ort'ne re>drafted the material with some highly s'spect additions8 &'t her work led directly to this one and to all h'manistic approaches to the Tree of (ife. 7night8 6ray8 Case and many others have prod'ced e=cellent introd'ctions to this living form of the Tree. The 6olden Dawn doc'ments8 for which all Occ'ltists owe a greater de&t than can ever &e repaid to /. -. Regardie8 provided the seed from which all 6oyim 9a&alah of modern times has grown. +leister Crowley f'rther developed and pop'lari2ed the 9a&alah thro'gh his Equinox8 Konx Om Pax8 777 and many other works.

@et8 a pro&lem remains to confront the st'dent. )o work presently e=ists which com&ines system with knowledge. There has &een no really st'dent>oriented 'se of the organi2ational principles of 9a&alah to teach itself in all these works. .any st'dents are led astray &y s'ch a'thors as H?(evi and Aain thro'gh ignorant &'t pla'si&le claims and ela&orate concoctions. -n the !Bth Cent'ry8 the works of ('ria were very st'dent oriented &y the lights of those times8 &'t they were in He&rew and &efore the present approaches to the Tree. This present work is a contri&'tion toward a new literat're of 9a&alah8 the meditative work&ook. 6ray &egan this with his Office of the Tree of Life8 and Case foreshadowed it in his &ooks and lessons. The present a'thor hopes to aid others to a rapid assimilation of the Tree of (ife into their work. The meditations in this small &ook are of two kinds, 3erpet'al (the first one) and ed'cational (the rest). The content page will incl'de some hints8 where they can &e fo'nd easily. /or the rest8 apply yo'rself and look for res'lts. .ake 'se of note &ooks. 0eek f'rther 'se of words yo' find here in other te=ts. *=pect to take a year &efore yo' gain strength in the s'&;ect >>> &'t e=pect immediate res'lts too. 4se the diagrams as aids and as p'22les. The diagrams are caref'lly chosen to promote Cpainless memori2ationC of the necessary He&rew and the more &asic correspondences. Copy the diagrams (yo' can do this in yo'r &rowser software &y saving these graphic files to harddisk)8 print them o't and paste them in yo'r note &ooks. .ake additions to those note &ook diagrams as yo' learn more a&o't the Tree here and elsewhere. 7eep the &lank ones &lank in a portion of yo'r note&ook and 'se them to drill yo'r memory with a check against the filled>in diagrams. )ote that He&rew reads &ackwards from *nglish (right to left): and learn to recogni2e the letters and important words on sight. 9a&alah is sacred and the letters are Holy.

The Tree of life Meditation. (Taken from the .0 of The oad to the !un8 +ppendi= *. Copyright eneral In!truction!: 0tand erect8 facing *ast8 or imagine yo'rself in s'ch a position. 3lace yo'r arms loosely at yo'r sides and &ecome calm. -nstead of standing8 a f'll lot's asana may &e ass'med (3admasana). !. 0ay C.alk'tC (!% on the Tree) and vis'ali2e a sphere of earthly colors immediately &elow yo' and s'pporting the weight of yo'r &ody. This is the place of all material things. $. 0ay CTawC (path 5$ on the Tree) and vis'ali2e a &eam of indigo light reaching from the earthly sphere &elow yo' to the height of yo'r loins. This vertical &eam comm'nicates 'pward the sense e=periences of the material. 5. 0ay C@esodC (") and vis'ali2e a sphere of violet light s'rro'nding yo'r se='al organs. This is the place of all dreams an fantasies derived from e=periences in the world of matter. D. 0ay C0hinC (path 5!) and vis'ali2e a red &eam of light rising at an angle from the earthly sphere &elow yo' to the level of yo'r right hip. This is the path where&y all rational impressions of the physical world are comm'nicated 'pward. E. 0ay CReshC (5%) and vis'ali2e a &eam of orange light rising at a low angle from the violet sphere at yo'r loins and going to ;oin with the red &eam on the level of yo'r right hip. This is the path that comm'nicates all rational impressions of the dream conscio'sness to higher levels. &y Bill Heidrick8 !"BD)

F. 0ay CHodC (#) and vis'ali2e an orange sphere of light s'rro'nding yo'r right hip. This is the lower seat of reason in which the mind form'lates a rational conception of the physical. B. 0ay C9ofC ($") and vis'ali2e a &eam of red> violet light rising from the earthly sphere &elow yo' and going at an angle to the height of yo'r left hip. This is the path that comm'nicates emotional impressions of the physical world to the higher levels. #. 0ay CT2addiC ($#) and vis'ali2e a &eam of violet light rising at a low angle from the violet sphere at yo'r loins and ;oining the red>violet &eam at yo'r left hip. This is the path where&y emotional impressions of the dream conscio'sness are comm'nicated to higher levels. ". 0ay C3ehC ($B). This is a &eam of red light that travels hori2ontally from the orange sphere at yo'r right hip to ;oin the other two &eams of light at yo'r left hip. This path comm'nicates &etween rational 'nderstanding of the physical and emotional wisdom of the ways of the physical. !%. 0ay C)et2achC (B) and vis'ali2e a green sphere of light on a level with yo'r left hip. This is the place of emotional perfection of the things of the physical in conscio'sness. !!. 3a'se and consider the vis'ali2ations and their significance. !$. 0ay C+yinC ($F) and vis'ali2e a &l'e>violet &eam of light rising at an angle from the orange sphere at yo'r right hip to the level of yo'r heart. This is the path where&y rational conscio'sness of the physical world is elevated to higher levels. !5.

0ay C0amekhC ($E) and vis'ali2e a &l'e pillar of light rising from the violet sphere a&o't yo'r loins to yo'r heart. This is the path where&y dreams and fantasies are elevated. !D. 0ay C)'nC (path $D) and vis'ali2e a &l'e>green &eam rising at an angle from the green sphere of light at yo'r left hip to the level of yo'r heart. This is the path where&y emotional conscio'sness of the physical is elevated to higher levels. !E. 0ay CTipheretC (F) and vis'ali2e a yellow (or golden) sphere of light a&o't the center of yo'r &ody and yo'r heart. This is the place of 'nderstanding of life in the physical world and life in higher mental worlds. !F. 0ay C.emC ($5) and vis'ali2e a &l'e vertical &eam of light rising from the orange sphere on yo'r right hip to a point on yo'r right sho'lder. This is the path where&y the lower rational conscio'sness of the physical world is elevated to the level of moral rational conscio'sness. !B. 0ay C(amedC ($$) and vis'ali2e a &eam of green light rising at an angle from the yellow sphere at yo'r heart to the level of yo'r right sho'lder. This is the path where&y conscio'sness of life as it is rises to the level of 'nderstanding life as it sho'ld &e. !#. 0ay C6e&'rahC (E) and vis'ali2e a red sphere of light a&o't yo'r right sho'lder. This is the place of rational conscio'sness of what is ;'st and good. !". 0ay C7ophC (path $!) and vis'ali2e a violet &eam of light rising vertically from the green sphere at yo'r left hip to a point on yo'r left sho'lder. This is the path where&y the emotional comprehension of the physical is elevated to emotional comprehension of all things physical and not physical. $%. 0ay C@odC ($%) and vis'ali2e a &eam of yellow> green light rising from the yellow sphere a&o't yo'r heart to the level of yo'r left sho'lder. This is the path where&y the life e=perience is elevated to emotional perfection. $!. 0ay CTetC (!") and vis'ali2e a hori2ontal &eam of yellow light passing from the red sphere at yo'r right sho'lder to yo'r left sho'lder. This is the path where&y the rational 'nderstanding of rightness in all things is elevated to emotional comprehension of perfection of all things. $$. 0ay CChesedC (D) and vis'ali2e a &l'e sphere of light a&o't yo'r left sho'lder. This is the place of emotional perfection8 the place of yearning for 'nion with the a&sol'te. $5. 3a'se and consider what has happened to this point. $D. 0ay CChetC (!#) and vis'ali2e a yellow>orange &eam of light rising vertically from the red sphere at yo'r right sho'lder to the right half of yo'r &rain. This is the path where&y all reason ret'rns to its archetype. $E. 0ay CAainC (!B) and vis'ali2e an orange &eam of light rising from the yellow sphere at yo'r heart to the right half of yo'r &rain. This is the path that comm'nicates the whole life e=perience &ack to the place of perfect reason. $F. 0ay CBinahC (5) and vis'ali2e a &lack sphere that radiates as tho'gh it were light and that envelopes the right half of yo'r &rain. This is the place of perfect 'nderstanding8 not 'nderstanding of partic'lar things8 &'t of all e=istence. $B. 0ay CGa'C (!F) and vis'ali2e a &eam of vertical red>orange light rising from the &l'e sphere at yo'r left sho'lder to the left half of yo'r &rain. This is the path where&y all emotion ret'rns to its archetype. $#. 0ay CHayC (!E) and vis'ali2e a red &eam of light rising at an angle from the yellow sphere at yo'r heart to the level of the left half of yo'r &rain. This is the path where&y all the life e=periences are elevated to the place of emotional perfection &eyond all physical things. $". 0ay CDaletC (!D) and vis'ali2e a &eam of hori2ontal green light passing from the &lack sphere on the fight half of yo'r &rain to the left half of yo'r &rain. This is the path where&y all rational perfection is 'nited to all emotional perfection.

5%. 0ay CChokmahC ($) and vis'ali2e a gray sphere of intense light a&o't the left half of yo'r &rain. This is the place of energy and a&sol'te emotional wisdom. 5!. 0ay C6imelC (!5) and vis'ali2e a &l'e &eam of vertical light rising from the yellow sphere at yo'r heart and going to a place ;'st a&ove yo'r head. This is the path where&y the whole view of life is 'nified. 5$. 0ay CBethC (!$) and vis'ali2e a &eam of yellow light rising at an angle from the &lack sphere of light at the right half of yo'r &rain and going to a point ;'st a&ove yo'r head. This is the path where&y p're reason is 'nified. 55. 0ay C+lephC (!!) and vis'ali2e a &eam of yellow light rising at an angle from the gray sphere of light at the left half of yo'r &rain and going to a point ;'st a&ove yo'r head. This is the path where&y p're emotion is 'nified. 5D. 0ay C7eterC (!) and vis'ali2e a sphere of flawless white light directly a&ove yo'r head. This is the place of perfect 'nity. 5E. 0ay C+in 0oph +'rC (%%%) and vis'ali2e a vast and &o'ndless dimness. This is that which is limitless light in seeming darkness. This is the place &eyond the One and the .any. 5F. 0ay C+in 0ophC (%%) and vis'ali2e a deeper darkness &eyond the first. This is the place of no limitation8 that which is &eyond all light. 5B. 0ay C+inC (%) and vis'ali2e an impenetra&le and endless silent darkness. This is the place of no>thing &eyond all else. 5#. 0ay nothing and vis'ali2e nothing. This is no place at all. 5". 1hen a s'&;ective eternity has passed away8 say C*heiehC (meaning C- +.C) and vis'ali2e the white sphere of 7eter a&ove yo'r head. This is the ret'rning to &eing from that which is &eyond &eing. D%. 0ay C@ahC (meaning CH* or 0H* -0C) and vis'ali2e the gray sphere of Chokmah at the left half of yo'r &rain. This is the going forth from 'nity to d'ality and the drawing forth of power. D!. 0ay C@ahweh *lohimC (meaning CH* or 0H* *H-0T0 +0 TH* .+(* +)D /*.+(* 6OD0C) and vis'ali2e the &lack sphere of Binah at the right half of yo'r &rain. This is the m'ltiplication of &eing to prod'ce the 'nity that is fo'nd in the many things e=isting in one creation. This is the gathering of power to work wonders. D$. 0ay C*lC (meaning CH* -0 6R*+TC) and vis'ali2e the &l'e sphere of Chesed at yo'r left sho'lder. This is the going forth of all forms into the creation of the 'niverse. This is the power of life in creation. D5. 0ay C*lohim 6i&orC (meaning CTH* .+(* +)D /*.+(* D*-T-*0 +R* .-6HT@C) and vis'ali2e the red sphere of 6e&'rah at yo'r right sho'lder. This is the limitation of forms for the prod'ction of a partic'lar creation. This is the power to control 'ltimate manifestation. DD. 0ay CIehovah *loah Ga>Da?atC (meaning CH* or 0H* -0 D*-T@ +)D 7)O1(*D6*C) and vis'ali2e the yellow sphere of Tipheret a&o't yo'r heart. This is the assem&ling of the creative force in a perfected image of the e=istence to come. This is the assem&ly of a life. DE. 0ay CIehovah T2a&aotC (meaning CH* or 0H* -0 03(*)DORC) and vis'ali2e the green sphere of )et2ach at yo'r left hip. This is the m'ltiplying of developed forms for incorporation into physical creation. This is the place of nat'ral love. DF. 0ay C*lohim T2a&aotC (meaning C.+(* +)D /*.+(* D*-T-*0 +R* 03(*)DORC) and vis'ali2e the orange sphere of Hod at yo'r right hip. This is the limitation of developed forms for the prod'ction of a partic'lar physical creation. This is the place of magical selection of what will happen in the world. DB.

0ay C0haddai *l ChaiC (meaning C+(.-6HT@ 6OD (-G*0 /OR*G*RC) and vis'ali2e the violet sphere of @esod at yo'r se='al organs. This is the going forth of the final imp'lse of creation into the created physical 'niverse. This is the place of cons'mmation of magical acts. D#. 0ay C+donai .elekh Ha>+ret2C (meaning C(ORD 7-)6 O/ TH* *+RTHC) and vis'ali2e the earthly sphere of .alk't &eneath yo'. This is the created physical 'niverse.

The "ephiroth on the Tree of Life. !%8 $%8 5% or D% meditations for as many days. eneral In!truction!: -f yo' do all D%8 start with -G. Do those ten from !% to !. Then do --- on ten separate days. -- is ne=t >>> spend a lot of time on each and write down ideas on each >>> ten days minim'm. Take the ten statements in - and try to see how each one matches yo'r e=periences for the same n'm&er in --8 --and -G. Take ten days with this too. -f yo' do less than D%8 choose in sets of ten and do all ten in each set. +lternative, Do -G>!%8 --->!%8 -->!% and -> !%. Then do -G>"8 --->"8 -->" and ->" >>> keep this 'p 'ntil yo' have done all D% or as many as yo' can. -. .editations for +TA-(4TH. test Ten levels of conscio'sness reaching from earth to p're spirit. !%. 3hysical sensation. ". Dream8 imagination. #. Reasoning a&o't material things. B. *motional feeling a&o't material things. F. 3erspective on life. E. Reasoning a&o't right and wrong. D. /eelings of spirit'al well>&eing. 5. Gery a&stract reasoning. $. *=citement witho't known ca'se. !. 3eacef'l feeling and knowing a&o't the 'nity of all that e=ists. --. .editations for BR-+H. +nswer these ten <'estions. !%. 1hat do my senses give to meJ ". 1hat do my dreams and imaginings do to meJ #. 1hat do - learn &y sensing and imaginingJ B. 1hat pleas'res and discomforts do - receive from my sensesJ F. 1hat do my answers to <'estions K!% thro'gh KB tell me a&o't the life - leadJ E. 1here are my feelings of right and wrong different from the life - leadJ D. How do - change my ideas of right and wrong so that - can live a good life and &e happyJ 5. 1hat do - 'nderstandJ $. 1hat do - &elieve witho't 'nderstandingJ !. How am - like all that e=istsJ ---. .editations for @*TA-R+H. /oc's yo'r mind on these colors and places. !%. *arth colors and the place where yo' live. ". Giolet and the places where yo' rest and play. #. Orange and the place where yo' work. B. 6reen and the place where yo' were a child. F. @ellow and a place where yo' felt very s'ccessf'l. E. Red and a place where yo' felt the need to do yo'r &est.

D. Bl'e and a place where yo' are loved. 5. Black and a place where yo' learned deeplyJ $. 6ray and a place where yo' were sec're and a&le. !. 1hite and a place that makes the world and yo' feel right. -G. .editations for +0-+H. Do these things. !%. Take a long walk. ". 6o to a movie. #. .ake some 'sef'l o&;ect. B. Take care of a plant or animal. F. *=plain to someone why yo' are doing this meditation. E. Read a &ook yo' don?t link. D. 1rite a &etter &ook or story. 5. (earn something new and diffic'lt. $. *=ercise 'ntil yo' almost drop. !. 0it still in a dark room for one ho'r or more witho't sleeping.

The ## Letter! of the He$re% Alpha$et. $$8 DD8 FF8 or ## meditations for as many days. eneral In!truction!: -f yo' do all ##8 start with -G and do those from K5$ to K!!. Then do ---. Then do --. - can &e a review of corresponding meditations in --8 --- and -G >>> or8 if yo' can8 try to meditate on the a&stract ideas and shapes of the He&rew (etters in -. *ach meditation sho'ld take place on a separate day. .inim'm time for all >>> ## days. -f yo' do less than ##8 choose in complete sets of $$ each. +lternative. Do all the 5$?s in -G8 --8 -- and -. )e=t do all the 5!?s >>> keep this 'p 'ntil yo' have done all ## or as many as yo' can. 0'ggestion, @o' will have an easier time with the color meditations in part --- if yo' paint with them first. + simple water color set is <'ite cheap. The colors with 'n's'al names for the letters, 8 8 8 8 8 8 8 8 8 8 L . make a rain&ow from p're red for thro'gh the other spectral colors in order to &l'ish>violet for . The color of is crimson8 an e<'al mi=t're of the colors of and 8 &'t it m'st either &e mi=ed with white or dil'ted so that it isn?t darker than either of those two. -f yo' wonder what e=act colors the old Order of the 6olden Dawn 'sed in its work8 yo' might consider &'ying a set of t'&e water>colors sold &y 1insor L )ewton (TD of *ngland >>> the CDesigners 6o'acheC series &y this company are are act'al ones 'sed &y the Order of the 6olden Dawn in the late !"th cent'ry. These partic'lar colors are availa&le in most art stores in the 40+ and many other co'ntries. They can &e &o'ght in sets to red'ce cost8 &'t they are e=pensive. -. .editations for +TA-(4TH. The letters of the He&rew alpha&et in their nat'ral order. +leph Gal'e as a n'm&er, ! Bet Gal'e as a n'm&er, $ 6immel Gal'e as a n'm&er, 5 Dalet Gal'e as a n'm&er, D Hay Gal'e as a n'm&er, E Ga' Gal'e as a n'm&er, F Aain Gal'e as a n'm&er, B Chet Gal'e as a n'm&er, # Tet Gal'e as a n'm&er, " @od Gal'e as a n'm&er, !% 7oph Gal'e as a n'm&er, $%

(amed Gal'e as a n'm&er, 5% .em Gal'e as a n'm&er, D% )'n Gal'e as a n'm&er, E% 0amekh Gal'e as a n'm&er, F% +yin Gal'e as a n'm&er, B% 3eh Gal'e as a n'm&er, #% T2addi Gal'e as a n'm&er, "% 9of Gal'e as a n'm&er, !%% Resh Gal'e as a n'm&er, $%% 0hin Gal'e as a n'm&er, 5%% Taw Gal'e as a n'm&er, D%% -f yo' don?t already know the so'nds made &y these letters8 don?t worry a&o't that now. .ainly 'se the shapes of the letters for meditation. Try to learn how to draw them acc'rately >>> they can &e written fairly easily if yo' 'se an Osmiroid or a 3latign'm &rand fo'ntain pen with an Co&li<'e italicC ni& >>> availa&le in art stores. The right ink to 'se is a self>cleaning &rand like 0heaffer C0kripC. The inks sold &y the pen companies themselves for 'se in these pens tend to &e too thin. --. .editations for BR-+H. +nswer these <'estions ($$ <'estions n'm&ered 5$ to !! to aid in relating them to the diagrams and to other material here.) 5$. Taw, 1hat do the words, CTotality of the material 'niverseC mean to yo'J 5!. 0hin, 1hat do the words, C3're8 'nrestricted forceC mean to yo'J 5%. Resh, 1hat do the words, C.ind8 a&le to attach meanings to thingsC mean to yo'J $". 9of, 1hat do the words, C*volving meaning thro'gh formC mean to yo'J $#. T2addi, 1hat do the words, C.editation draws wisdom from o&;ects8 e=periences or states of mindC mean to yo'J $B. 3eh, 1hat do the words, C*=perience &'rsts 'pon awarenessC mean to yo'J $F. +yin, 1hat do the words, CGision of limitations is limited visionC mean to yo'J $E. 0amekh, 1hat do the words, C-mprove &y testing and trialC mean to yo'J $D. )'n, 1hat do the words, CTransform from one form to anotherC mean to yo'J $5. .em, 1hat does, C0'&stance witho't formC mean to yo'J $$. (amed, 1hat does, C3erfect &alance attained &etween <'alitiesC mean to yo'J $!. 7oph, 1hat does, C/orms progress thro'gh cycle after cycle toward perfectionC mean to yo'J $%. @od, 1hat does, C/iery power of creationC mean to yo'J !". Tet, 1hat does, C3ower that comes o't of nat'reC mean to yo'J !#. Chet, 1hat does, CContain &'t permit e=pressionC mean to yo'J !B. Aain, 1hat does, CDivide all that can &e dividedC mean to yo'J !F. Ga', 1hat does, CReveal the f'ndamental 'nity of all that e=istsC mean to yo'J !E. Hay, 1hat does, C+lteration of form to promote orderC mean to yo'J !D. Dalet, 1hat does, C0hifting imagesC mean to yo'J !5. 6imel, 1hat does, C/ormless material e=istenceC mean to yo'J !$. Bet, 1hat does, C+ way of doingC mean to yo'J !!. +leph, 1hat does, C+&sol'te8 'nconditioned e=istenceC mean to yo'J ---. .editations for @*TA-R+H. Gis'ali2e these colors and images, 5$. Taw Bl'e>violet a child?s first &reath. 5!. 0hin Red hot s'mmer and cold winter. 5%. Resh Orange a't'mn winds and spring &ree2es. $". 9of Red>violet spirits gather 'nder the .oon. $#. T2addi Giolet glass chimes in the wind. $B. 3eh Red so'nds of &attle and prayer. $F. +yin Bl'e>violet chill and s'dden warmth in still air. $E. 0amekh Bl'e ripples in a pool. $D. )'n Bl'e>green a storm with s'nlight thro'gh openings of clo'ds. $5. .em Bl'e fog creeping across a mo'ntain. $$. (amed 6reen clo'ds gather a&ove a lake. $!. 7oph Giolet the sky changing thro'gh the fo'r seasons.

$%. !". !#. !B. !F. !E. !D. !5. !$. !!.

@od Tet Chet Aain Ga' Hay Dalet 6imel Bet +leph

@ellow>green @ellow @ellow>orange Orange Red>orange Red 6reen Bl'e @ellow @ellow

th'nder. steam &'rsting from the gro'nd. wind &lowing inside a cave. wind howling aro'nd &'ildings and great stones. wind>carved stone. a d'st storm. a soft &ree2e carrying the fragrance of flowers. the calm eye of a h'rricane. d'st devil or f'nnel clo'd. air moving in light g'sts from changing directions. -G. .editations for +0-+H.

Do these things, 5$. Taw 5!. 0hin 5%. Resh $". 9of $#. T2addi $B. 3eh $F. +yin $E. 0amekh $D. )'n $5. .em $$. (amed $!. 7oph $%. @od !". Tet !#. Chet !B. Aain !F. Ga' !E. Hay !D. Dalet !5. 6imel !$. Bet !!. +leph

.ake a list of people yo' o&ey and people who o&ey yo'. .ake a decision a&o't something yo' have &een avoiding. 6et some s'n. 1rite down a dream. 6o to a place where yo' have never &een &efore. 1atch the dawn. (a'gh at yo'rself. /ind one thing that makes yo' angry. 3lant a seed. Remem&er a time when yo' changed yo'r mind. Balance a coin on its edge. .ake a &et. *nter a dark room and find yo'r way &y to'ch. *at something yo' have never eaten &efore. Read a poem alo'd to someone. 0mell a new fragrance. (isten to m'sic that yo' haven?t heard &efore. 6o to see something new. Draw a pict're. 1rite down yo'r oldest memory. Gis'ali2e the face of someone who died. Do something new and &ea'tif'l.

The &# path! of 'i!do(. 5$8 FD8 "F or !$# meditations for as many days eneral In!truction!: -f yo' do all !$#8 start with -G8 do all those in order. Then do ---. Then do --. Take the 5$ descriptions in - and relate them to correspondingly n'm&ered meditations in --8 --- and -G. Do the meditations in order. -f yo' do less than !$#8 choose in complete sets of 5$ each. +lternative, do all the !%?s in -G8 ---8 -- and -. Then do all the 5$?s, then all the "?s and so on8 tracing yo'r way 'p the diagram of the Tree of (ife &y taking all the paths 'p to each 0ephiroth in order of descending n'm&er val'e. 0econd alternative, +ssem&le another set of !$# meditations from the correspondingly n'm&ered items in CThe 0ephiroth on the Tree of (ifeC and CThe $$ (etters ...C Third +lternative, 6et a copy of Crowley?s Liber 777. )otice that the n'm&ers on the right side of every page are from the same set of 5$ 'sed here. *ach col'mn in 777 contains a list of things which are identified &y the n'm&ers in the right hand margin. 4se this &ook to set'p meditations for yo'rself similar to the ones given here.

-. .editations for +TA-(4TH. Ten levels of conscio'sness (0ephiroth) connected &y twenty>two intermediate states of conscio'sness (He&rew (etters). Together8 these form the traditional CTree of (ifeC first p'&lished in this form &y +. 7ircher in !FE5 e.v. and s'&se<'ently 'sed &y the Order of the 6olden Dawn and +leister Crowley in C3ath working8C Tarot and many other &ranches of Occ'lt and .ystic arts. !%. 0ensory awareness. 5$. Development of int'itions from K!%. ". 5!. 5%. #. $". $#. $B. B. $F. $E. Dream8 -magination8 astral travel. Rational analysis of K!% awareness. Rational analysis of K" conscio'sness. (ogical8 practical 'nderstanding of how to deal with the physical (!%) and the mythical ("). *motional reaction to K!% awareness. *motional reaction to K" conscio'sness. 4nion of rational8 material 'nderstanding (#) with emotional8 material wisdom. *motional8 practical wisdom concerning the physical (!%)8 the mythic (") and the analytic (#). Reali2ation of the limits of K# material conscio'sness. 4nification of the elements of dream8 imagination and astral awareness into a f'll conception of (ife. /eeling that something m'st &e &eyond simply physically ind'ced emotion (B). Conscio'sness of the patterns and goals of (ife. Thinking a&o't the methods of day>to>day living (#) and their effects on others. Thinking a&o't the patterns and goals of (ife (F) and their effects on others. Conscio'sness of &etter patterns and goals for life >>> rational moral planning. /eelings of a less selfish sort &egin to override the more self>oriented8 material reaction emotions of KB. The perspective on one?s own life (F) grad'ally shifts to incl'de the lives of others. -deas of how to live &etter &egin to change into ideas on how to help others to reach a &etter life. Contentment with personal e=istence is one with conscio'sness of8 and love for8 other e=istences. Rational methods are a&stracted from KE conscio'sness. 3atterns of e=istence are a&stracted from KF conscio'sness. The highest8 most a&stract rational conscio'sness.

$D. F. $5. $$. E. $!.

$%. !".

D.

!#. !B. 5.

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!F. !E. !D. $. !5. !$. !!. !.

*motional feelings &ecome 'nified. Conscio'sness of life &ecomes a&stracted into conscio'sness of vitality. Rational conscio'sness (5) seeks a higher state of conscio'sness. +wareness of great power and vitality in all. The perspective on life changes into awareness of the totality of e=istence as One. Rational awareness rises into 'n<'estioning appreciation of the One. The vital essence of emotion ($) rises in recognition of the One. +ll e=istence is One >>> Beyond this are the three veils of negative e=istence. These three pass the e=treme limits of h'man comprehension of infinity. --. .editations for BR-+H. +nswer these thirty>two <'estions (the n'm&ering of the <'estions is the same is in -8 a key to the diagram rather than a simple co'nt.) @o'r answers are less important than the state of mind yo' enter while trying to answer. !%. -f yo' ;'st felt from yo'r senses8 witho't thinking8 what wo'ld it &e likeJ 5$. 1hen yo' look o't a window8 what do yo' day>dreamJ ". -f yo' co'ld &e any&ody8 what kind of person wo'ld yo' like to &eJ 5!. 1hen yo' last made a mistake8 what did yo' learnJ 5%. 1hat have yo' learned from a dream or day>dreamJ #. How do yo' get from yo'r ho'se to the nearest &eachJ $". How do yo' feel when yo' pick a roseJ $#. Did yo' ever cry or get angry while reading a &ook or watching a movieJ $B. Have yo' ever gotten conf'sed &y yo'r head wanting one thing and yo'r heart wanting something elseJ B. 1hat was it like the last time yo' felt ;'st plain happy. $F. Do yo' know any 'n;'st lawsJ $E. 1hat was yo'r latest wish that came tr'eJ $D. 1hat was it like when yo' last tho'ght a&o't something very privateJ F. 1hat do yo' doJ $5. 1hy do people sacrifice themselves for idealsJ $$. 1hat a&o't slaveryJ E. 1hat is a holy warJ $!. 1hy do parks e=ist when city land is so val'a&leJ $%. Have yo' ever given directions to a strangerJ !". -f yo' co'ld speak to everyone8 what wo'ld yo' sayJ D. 1hen yo' feel happy8 how do yo' want others to feelJ !#. 1hat is the difference &etween thinking and (ogicJ !B. How many religio's &ooks do yo' know that are &iographiesJ 5. 1hat is mathematicsJ !F. 1hat is crowd conscio'snessJ !E. Have yo' ever gotten stage fright and gone on talking anywayJ !D. Have yo' ever made a mistake that worked o't &etter than what yo' wanted to doJ $. Have yo' ever &een so e=cited that yo' forgot where yo' wereJ !5. Did yo' ever think that the whole world was yo'r home and every&ody liked yo'J !$. 1hy is a collection of skills often called a single disciplineJ !!. 1hat is e=citementJ !. 1hy do we have words like C4niverseCJ ---. .editations for @*TA-R+H. O&tain a CThoth Tarot DeckC &y /rieda Harris and +leister Crowley. Gis'ali2e each of these images.

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!%. 5$. ". 5!. 5%. #. $". $#. $B. B. $F. $E. $D. F. $5. $$. E. $!. $%. !". D. !#. !B. 5. !F. !E. !D. $. !5. !$. !!. !. !%. 5$. ". 5!. 5%. #. $". $#. $B. B. $F. $E. $D. F. $5. $$.

+ yo'ng woman crowned and veiled. Thoth +t' K HH-8 The 4niverse. + &ea'tif'l naked man8 very strong. Thoth +t' K HH8 The +eon. Thoth +t' K H-H8 The 0'n. + hermaphrodite. Thoth +t' K HG---8 The .oon. Thoth +t' K -G8 The *mperor. Thoth +t' K HG-8 The Tower. + &ea'tif'l naked woman. Thoth +t' K HG8 The Devil. Thoth +t' K H-G8 +rt. Thoth +t' K H---8 Death. + ma;estic king. Thoth +t' K H--8 The Hanged .an. Thoth +t' K G---8 +d;'stment. + mighty armed warrior in his chariot8 armed and crowned. Thoth +t' K H8 /ort'ne. Thoth +t' K -H8 The Hermit. Thoth +t' K H-8 ('st. + mighty crowned and enthroned king. Thoth +t' K G--8 The Chariot. Thoth +t' K G-8 The (overs. + dark and pregnant woman wearing a crown of &lack pearls. Thoth +t' K G8 The Hierophant. Thoth +t' K HG--8 The 0tar. Thoth +t' K ---8 The *mpress. + &lack &earded man sits astride a great gray horse. Thoth +t' K --8 The 3riestess Thoth +t' K -8 The .ag's. Thoth +t' K %8 The /ool. +n ancient r'ler seen in profile. -G. .editations for +0-+H. Do these things, 3ick 'p a cl'mp of moist earth and smell it. (isten caref'lly to a TG set for at least half an ho'r witho't once looking at it. T'rn off the so'nd on a TG set and look caref'lly at the pict're for at least half an ho'r. Call telephone information and ask for yo'r own n'm&er and address >>> even if yo' haven?t got a phone. Read a children?s story and write a&o't it as if it were a news story. .ake a detailed plan for tomorrow. 0pend a half ho'r in a dark garden at midnight. 0tand naked &efore a mirror and ga2e into yo'r reflected eyes. Copy a page from a &ook &y hand and immediately &'rn the copy. 0pend half an ho'r at noon in the same garden yo' 'sed for K $". *nter a room which has a closet. 0it there and slowly say one h'ndred times, CThere is a monster l'rking and waiting to gra& me in that closet.C T'rn off all the lights8 close yo'r eyes and go into the closet. >>> Try holding an ice c'&e while yo' say the words. 6et some of yo'r favorite food or drink. 1ait 'ntil yo' are h'ngry or thirsty: then taste &'t do not eat or drink. +fter an ho'r yo' may eat or drink something else8 &'t not yo'r favorite that day. -f yo' like meat8 sit &efore some cooked meat: imagine the &irth of the animal: then eat. >>> -f yo' don?t eat meat8 sit &efore a vegetarian meal: imagine someone in another co'ntry dying of starvation: eat the food. Rest today and think of the 0'n that shines e<'ally on all. Drink a glass of water and then wash the glass. Gisit a co'rtroom while a trial is taking place.

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E. $!. $%. !". D. !#. !B. 5. !F. !E. !D. $. !5. !$. !!. !.

-magine yo'rself on trial. Read a &ook &y a prisoner who was later released. >>> for e=ample, +ngela Davis8 +n +'to&iography: the Bi&lical Book of Io&: .ein 7ampf &y Hitler: the second vol'me of The .emoirs of Iac<'es Casanova. 6o to a p'&lic place like a s'&way station or a &'s terminal. /ig're o't the ro'tine of the place. 1rite a set of helpf'l instr'ctions on how to 'se the services offered. Take some coins. 1alk downtown. 3't them in parking meters (if legal where yo' live ... otherwise8 p'rchase a news paper from a vending machine and leave it 'nread on top of the machine.). /eed a wild animal or &ird >> not a pet or a 2oo animal8 &'t a ho'se mo'se will do for the animal. 1ear yo'r &est formal clothing. Read or write a love letter. /ind a &ook (go to the li&rary for it if necessary) that gives instr'ctions for delivering a &a&y. Read it. 0how someone how to do something. +side from knowledge and skill8 what makes an e=pert different from an ordinary personJ >>> e=plain this to someone or write it as an essay. Talk serio'sly to a plant for at least fifteen min'tes. Tape record this (&orrow a recorder if necessary) and play it &ack. 1rite a description of a familiar o&;ect. R'n aro'nd8 ;'mp8 yell8 dance to lively m'sic8 have someone tickle yo'. -mmediately8 sit down and write another description of the same o&;ect. Rela= in a warm &ath for a co'ple of ho'rs. Try to imagine what is involved in s'pplying everyone in yo'r city with food8 power and water. Try to find o't who is in charge. Delegate yo'r a'thority today.

)*ON+N,IATION

+IDE

to the principal He$re% %ord! u!ed in the!e Meditation!. 3roper pron'nciation of the words for the several parts of the Tree of (ife re<'ires some effort. There are two common methods for prono'ncing He&rew8 the +shkena2ic or 6erman style and the 0ephardic or 0panish style. The s'ggestions given &elow are for 0ephardic pron'nciation. 0ephardic is closer to the ancient He&rew than is +shkena2ic. 3ath !%8 .+(74T8 8 meaning C7ingdomC. .al>"oot >>> a as in &ard. oo as in moon. The last sylla&le sho'ld &e lo'der. 3ath 5$8 T+18 8 last letter8 meaning CCrossC. Tav >>> a as in father. v like CwC in *nglish. 3ath "8 @*0OD8 8 meaning Cfo'ndationC. @e>!od >>> e like the first e in &elieve. o like in &ore. The last sylla&le sho'ld &e lo'der. 3ath 5!8 0H-)8 8 meaning CToothC. 0hin >>> !h like in wish. i like in police.

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+lternatively, 0in >>> ! like in sin. i like in police. 3ath 5%8 R*0H8 8 meaning CHeadC. Resh >>> e like in &et. sh like in wish. 3ath #8 HOD8 8 meaning C6loryC. Hod >>> o like in &ore. 3ath $"8 9O/8 8 meaning CBack of the HeadC. 9of >>> o like in &ore. 3ath $#8 TA+DD-8 8 meaning C/ish HookC. Tsa>#e >>> a like in father. e like in &et. The last sylla&le is lo'der. 3ath $B8 3*H8 or 3e >>> e as in met. +lternatively, e as in &et. 3ath B8 )*TA+CH8 8 meaning CGictory thro'gh *nd'ranceC. $e>T2ach >>> e as in met. a as in &ard. ch like c" in C-%KMC (This ch so'nd is not in standard *nglish). +ccent the first sylla&le. 3ath $F8 +@-)8 8 meaning C*yeC. &>@in >>> & like in &ard8 &'t with a glottal stop8 not normal to *nglish8 from an interr'ption of &reath. ' like in yes. i like in &it. +ccent the first sylla&le. 3ath $E8 0+.*7H8 8 meaning C3ropC. !a>.ekh >>> a like in &ard. e like in met. +ccent the first sylla&le. 3ath $D8 )4)8 8 meaning C/ishC. )oon >>> ;'st like the *nglish C)oonC. 3ath F8 T-3H*R*T8 8 meaning CBea'tyC. Tip>E>Ret >>> i like in &it. Both e?s like in met. +ccent the middle sylla&le. 3ath $58 .*.8 or 8 meaning C1aterC. .em or .eym >>> e like in &et. 3ath $$8 (+.*D8 8 meaning CO= 6oadC. La>.ed >>> a like in father. e like in met. +ccent the first sylla&le. 3ath E8 6*B4R+H8 8 meaning C0everityC. 6e>Boo> a >>> e as the first in &elieve. oo as in moon. a as in father. 8 meaning C.o'thC.

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+ccent last sylla&le. 3ath $!8 7O3H8 8 meaning CClosed HandC. 7af >>> a like in father. 3ath $%8 @OD8 8 meaning CHandC. @ad >>> a like in father. +lternately, @od >>> o like in &ore. 3ath !"8 T*T8 8 meaning C0erpentC. Tet >>> e like in &et. 3ath D8 CH*0*D8 8 meaning C.ercyC. %he>0ed >>> %h is a co'gh>like so'nd. Both e?s are like in met. +ccent first sylla&le. D+?+T8 8 meaning C7nowledgeC. #a>+t >>> a do'&le CaC so'nd like that in &ard. These two CaC so'nds are separated &y a Cglottal stopC8 a s'dden interr'ption of &reath &y very &rief closing of the epiglottis. This 'ni<'e so'nd is not 'sed in *nglish speech8 &'t is sometimes 'sed in 6erman and in many other lang'ages. 1hen the (etter +yin occ'rs in the middle of words8 it almost always re<'ires this effect. +ccent the first sylla&le. 3ath !#8 CH*T8 8 meaning C/enceC. Chet >>> %h is a co'gh>like so'nd. e is like e in &et. 3ath !B8 A+-)8 8 meaning C0wordC. (a>@in >>> a like in &ard. i like in &it. +ccent the first sylla&le. 3ath 58 B-)+H8 8 meaning C4nderstandingC Bi>na >>> i like in police. a like in father. +ccent last sylla&le. 3ath !F8 G+48 8 meaning C)ailC. Gav >>> I'st like *nglish C1owC &'t 'se an a like in father in place of the CoC 3ath !E8 H*H8 8 meaning C+ir HoleC. He >>> e like in &et. 3ath !D8 D+(*T8 8 meaning CDoorC. #a>let >>> a like in father. e like in met. +ccent first sylla&le. 3ath $8 CHO7.+H8 8 meaning C1isdomC. Chok>Ma >>> ch is a co'gh>like so'nd. o like in &orn. a like in father. +ccent last sylla&le. 3ath !58 6-.*(8 8 meaning CCamelC. )i>.el >>> i like in &it. e like in met. +ccent first sylla&le.

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3ath !$8 B*T8 8 meaning CDwellingC. Be>'t >>> e like in &et. ' like in yes. +ccent last sylla&le. 3ath !!8 +(*3H8 8 meaning CO=C. &>lef >>> & like in father. e like in met. +ccent the first sylla&le. 3ath !8 7*T*R8 8 meaning CCrown. Ke>Ter >>> e as in met. +ccent first sylla&le. *or the meanings of the #ivine names +hich follo+, consult the -arenthetic notes in .The Tree of Life Meditation./ 0n -articular, the names .1ehovah. and .'ah+eh. -resent great -roblems in -ronunciation/ *or a detailed discussion of these t+o, consult the O/T/O/ $e+sletter, 2 3 and/ The -ronunciations given belo+ for these t+o #ivine names are re-resentative, not definitive/ There are t+elve ma4or traditional +ays to -ronounce these names, and many more less usual -ronunciations/ *H*-*H8 . E>He>@e >>> /irst E like in met. 0econd e like the first e in &elieve. Third e like in met. +ccent the first sylla&le. @+H8 @ah >>> a like in father. @+H1*H *(OH-.8 . @e>5eh >>> Both e?s like in met. 5 like + in +ind. >>> meaning CHe is.C +lternatively, @e>5oh >>> e like in met. o like in &orn. 5 and accent 'nchanged. >>> meaning C0he is.C *lo>6im >>> E as in met &'t shorter. o as in &ore. i as in police. +ccent last sylla&le in &oth words. *(8 . *l >>> E as in met. *(OH-. 6-BOR8 .

/or *lohim8 see a&ove note. 6i&>7or >>> i like in &it. o like in &ore. +ccent on last sylla&le. I*HOG+H *(OH Ga>D+?+T8 > . @e>Ho>5ah >>> e like first in &elieve. o like in &ore. a like in father. >>> meaning CHe isC. +lternative, @e>Ho>5oh >>> prono'nced the same8 e=cept the second o is like in &ore. Both alternatives have the 5 like an *nglish C1ahC so'nd. Both take the accent on the third sylla&le. *lo>6a >>> E like in met &'t shorter. o like in &ore. a like in &ard.

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+ccent last sylla&le. Ge>#a>at >>> e like first e in &elieve. Both s?s like in &ard8 &'t see the note a&ove on CDa?atC for the necessary glottal stop. .iddle sylla&le accented. I*HOG+H TA+B+OT8 . @e>Ho>5ah or @e>Ho>5oh8 CHe isC or C0he isC8 respectively. 0ee CIehovahC8 ;'st a&ove. Tse>Ba>Ot >>> e like first in &elieve. a like in father. o like in &ore. +ccent third sylla&le. *(OH-. TA+B+OT8 .

0ee a&ove for pron'nciation, C*lohimC and CT2a&aot.C 0H+DD+- *( CH+-8 . 0ad>#ay >>> /irst a like in father. 0econd a like in &ard. +ccent last sylla&le. *l >>> E is in met. Chay >>> %h is a co'ghing so'nd. a as in &ard. +DO)+- .*(*7H H+>+R*TA8 > . +do>$ay >>> & as in &ard &'t shorter. o as in &ore. (ast a as in father. +ccent second sylla&le. Me>(ek >>> Both e?s like in met. +ccent first sylla&le. Ha>&>Rets >>> Both a?s like in father. e like in met. +ccent first sylla&le. 7y no+, the reader has had a chance to try these -ronunciations, and is 4ust -ossibly a bit discouraged/ &ctually, once a start has been made at boo"8taught -ronunciation of 6ebre+, the +orst is over/ $o+, but not +hen you made your first attem-t, there are a fe+ sim-le tric"s to getting the sounds -ut together right/ *irst, do each syllable se-arately, as though they +ere distinct +ords/ !econd, try the accent by ma"ing the unaccented syllable +ords more quiet and the accent syllable +ord louder/ *inally, build fluency by saying the entire +ord as a smooth sound instead of distinct syllables/ Pic" an English +ord to get the feel of this final stage/ Ta"e an English #ictionary, and -ractice -utting +ords you already use together by the -ronunciation guide 4ust after the first listing of the +ord in the dictionary/ 'ou +ill find yourself ma"ing the same natural errors in accent and fluency +ith these common +ords that you are ma"ing +ith 6ebre+/ The .feel. of the clumsiness of the -ronunciation is the same for English as it is for 6ebre+/ Li"e+ise the .feel. of a +ell -ronounced +ord is the same/ Exam-le9 Ta"e the English +ord9 .!uccess. & good dictionary +ill +rite9 .:s;"8ses<=.///.;. +ill be an u-sidedo+n .e. as an aid to -ronunciation/ The front of the dictionary +ill ex-lain the sounds made by things li"e the u-sidedo+n .e. symbol and the other sound symbols/ The a-ostro-he :<= symbol comes 4ust after the accented syllable :0 have used an underline here instead=/ Pretend that you have never used the +ord before and try it/ 0f it comes out9 !uc"8ces, you +ill be able to hear yourself enough to see ho+ to ma"e the +ord sound more correct/ >or" on the 6ebre+ until it .hears. li"e English to you/ There is one more tric" to this that is a bit harder, but +hich +or"s for some -eo-le/ 0f you are not sure of several minor differences in -ronunciation for a given +ord, sim-ly try to say them all at the same instant/ The resulting stress usually -roduces an odd t+isting in the mouth +hich more nearly du-licates native s-eech sounds than any -urely academic methods can -ossibly manage/ ;;;;;;;;;;;;;;;;;;; 7y all means "ee- at it, and if a great vasty boogy a--ears and says9 .#id som<body call ma nom?., be -olite but firm/ &s" it if it<s ever been in 1erusalem and continue accordingly/

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