AN ELEMENTARY ANALYSIS OF

BATHYLLIC -

THE LANGUAGE OF THE SAPPHO-CALYPSO ANGEL IN

LIBER XXX AERUM VEL SECULI SUB FIGURA CDXVIIITHE 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 AetherCrowley's translation

OMARI (I am) the harlotTESSALA (that) shakethMARAX, Death,TESSALA (this) shakingDODI givingPHORNEPAX. The Peace of Satiate Lust.AMRI There jettethRADARA ImmortalityPOLIAX (From my) skullAMARNA (And) musicPILIU. (From my) vulva.AMRI There jettethRADARA ImmortalityPILIU (From my) vulvaSON; Also.MARI (For my) whoredomNARYA (is a) sweet scentBARBITON (like a ) seven-stringed instrumentMADARA played (unto)ANAPHAX God the InvisibleSARPEDON the all-rulerANDALA 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 GLIDESNU (INTO THE) HEAVENARENU HOME,OLVAH. GLIDES.DIRAESEU SEDUCINGLY [note the Sappho connection]ADIKA THE MENTRILA [definition?]VA OF PARETANU THE BEGOTTEN ONEPOLIAX OF THE HOLY HEADPOLIAX OR SKULLIN TAKESVAH HOLD

RAH (OF THE) SOFT TISSUESAHUM SUBTLYSUBRE PLYINGFIFAL. (ITS) SHUTTLELERTHEXENAX. LIGHT FOLLOWS THE EXPLOSION.MAMA THE SOFTRA-LA TISSUESHUM CLEAVING (TO)FIFALA SHUTTLEMAHA. 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 Crowley's translationMU SILENCEPA THE MOONTELAI CEASETH (HER MOTION)TU THATWA ALSOMELAI (WAS) SWEETA,A,A. IN THE AIR, IN THE AIR, IN THE AIR

TU WHO FU WILLTULU SHALL ATTAINTU WHOFU WILLTULU SHALL ATTAINPA (BY) THE MOONSA (&) BY MYSELFGA (&) BY THE ANGEL OF THE LORD.

Part IIQWI NOWMU SILENCETELAI CEASETHYA ANDPA THE MOONMELAI (WAXETH) SWEETU,U,U (IN THE HOUR) OF INITIATION (etc)>SE THE KISSGU (OF) ISISMELAI (IS) HONEYEDPE MY OWN FU WILLTELAI IS ENDEDFU (FOR) WILLTU HASLU ATTAINED

Part IIIO BEHOLD CHI THE LION-CHILDBALAE SWIMMETH (IN THE HEAVEN)

WA ANDPA THE MOONMALAE REELETH.UT! UT! UT! (IT IS) THOU! (IT IS) THOU! (IT IS) THOU!GE; TRIUMPH;FU THE WILLLATRAI STEALETH AWAY (LIKE A THIEF)LE THEFU STRONG WILLMALAI (THAT) STAGGEREDKUT! (BEFORE) RA-HOOR-KHUIT!HUT! HADIT!NUT! NUIT!

Part IVAL TO THE GODOAI OAI [note: reversal of formula of IAO implies roughly the general mystical

As opposed to the general magical process - Crowley's note]REL BEMOAI PRAISETI! TI! TI! IN THE END & THE BEGINNING! (Etc)WA ANDLA MAY NONEPELAI FALLTU WHOFU WILLLATAI ATTAINWI THE SWORDNI THE BALANCESBI 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 EnochianBathyllic 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 AIRADALA GOETH [note: probably refers to "going" as the Active power]ADIKA MENTRILAAHUM SUBTLYAL (TO THE) GOD [obvious correlations to CCXX]AMARNA MUSICAMRI JETTETHAN NOWANAPHAX GOD THE INVISIBLEARENU HOMEBALAE SWIMMETH (IN THE HEAVEN)BARBITON SEVEN-STRINGED INSTRUMENT; [possibly denotes the

subtle body]BI CROWN [as in Kether]CHI LION-CHILDDIRAESEU SEDUCINGLYDODI GIVINGFIFAL SHUTTLEFIFALA SHUTTLEFU (STRONG) WILL; WILL (as subjunctive)GA THE ANGEL OF THE LORDGE TRIUMPHGU ISISHRILIU THE SHRILL SCREAM OF ORGASMHUM CLEAVINGHUT HADITIN TAKESKUT RA-HOOR-KHUITLA (MAY) NONE [obvious correlation to NOT of CCXX]LATAI ATTAINLATRAE STEALETH AWAY (LIKE A THIEF)LE THELERTHEXENAX LIGHT FOLLOWS THE EXPLOSIONLU ATTAINEDMADARA PLAYEDMAHA PUMP OUT EVERY DROP OF WATER FROM THE WELLMALAE REELETHMALAI STAGGEREDMAMA SOFTMARAX DEATHMARI WHOREDOMMELAI SWEET, HONEYEDMOAI PRAISENARYA SWEET SCENTNI BALANCES [ie Scales, as in Libra]NUT NUITO BEHOLDMU SILENCENU HEAVENOLVAH GLIDESOMARI HARLOTPA THE MOONPARETANU THE BEGOTTEN ONEPE MY OWNPELAI FALLPHORNEPAX THE PEACE OF SATIATE LUST.PILIU VULVAPOLIAX SKULL, HOLY HEADQWI NOWRADARA IMMORTALITYRAH SOFT TISSUES (see also MAMA and RA-LA)RA-LA TISSUESREL BESA MYSELF>SE KISSSARPEDON (GOD) THE ALL-RULERSON ALSOSUBRE PLYINGTELAI CEASETH (HER MOTION), ENDEDTESSALA SHAKETH, SHAKINGTI IN THE END & THE BEGINNINGTU THAT, WHO, HAS

TULU ATTAINU (IN THE HOUR OF) INITIATIONUT! (IT IS) THOU!VA OFVAH HOLDWA ALSO, ANDWI SWORDYA AND