A-Ω: Greek Vowels and the Chaldean PlanetsDecember 17, 2009

tags: Agrippa, Alphabet, Central Principle, Chaldean, Corpus Hermetica, Greek Magical Papyri,

Hanged Man, initiation, Inversion, Occult, Orientation, planets, Reflection, Traditionalism, Vowels

In the Papryi Graecae Magicae (P.G.M) we find a truly unique record into the ancient practices of

Greek, Egyptian, Jewish, Gnostic and early Christian magic. Collectively, the P.G.M. refer to a cache of

ancient papyri of spells and rituals dating between the 2nd Century B.C.E. and the 5th Century C.E. In

them, we find a wide range of magical practices from folkloric remedies and love spells to full-fledged

exorcisms, summonings, and elaborate rites of initiation.[1]

Particularly interesting to students of western esoterica is the frequent recurrence of two practical

techniques: 1) self-identification with the deity, and 2) the vibratory use of long “untranslatable” vowel

formulas identified as voce magicae or nomina barbara.[2]

Both these techniques remain prominent in the modern currents of western magical traditions under the

practice of assuming godforms and the vibration of divine names.[3] Indeed, these practices may be

considered universal and likely traced back to the teachings of a primordial tradition preceding all

archaeological notions of history, at very least we have early material records of a parallel tradition

arising in the east with the vowel mantras of the Vedic schools and practices of becoming the deity

during worship.[4] Regarding the voce magicae of the P.G.M specifically, there is a fair amount of

historic literature that traces these practices to the rituals and priestly tradition of Ancient Egypt;

according to the chroniclers of the ancient world, the priest of the Pharaohs were rumored to perform

unparalleled magical acts through invoking the harmonies of the seven vowels.[5]

First origin of my origin, AEHIOYΩ, first beginning of my beginning PPP SSS PHRE,

spirit of spirit, the first of the spirit in me, MMM, fire given by god to my mixture of the

mixtures in me, the first of the fire in me, EY EIA EE, water of water, the first of the water

in me, OOO AAA EEE, earthy substance, the first of the earthy substance in me, YE

YOE…

Magical invocations such as the introductory line of the Mithras Liturgy (P.G.M. IV. 475-829) quoted

above drew on the sound of the letters and the sacred science of hermetic vibration to align the

practitioner to the metaphysical principles of the operation. Such voce magicae were conceived as the

vibrational manifestation of the very principle in question. In some instances the sounds may have

been designed to mimic elements of Nature, such as the sound of wind(i.e. PPP SSS PHRE) or the

tune of water (OOO AAA EEE). In others, like the various permutations of the the seven vowels

(AEHIOYΩ) and the commonly repeated divine names of IAΩ and IEOU, the vowel sounds were the

magical formula used to invoke the power of the “seven Immortal Gods of the Universe”.[6]

From the writings of Aristotle and Hippocrates we know that as early as the 4th Century B.C.E. the

Greek initiates attributed the seven vowels to the seven heavens and planets.[7] Manly P. Hall (1901-

1990) in his Secret Teachings of All Ages[8] discusses the correspondences:

The Greek initiates also recognized a fundamental relationship between the individual

heavens or spheres of the seven planets, and the seven sacred vowels. The first heaven

uttered the sound of the sacred vowel Α (Alpha); the second heaven, the sacred vowel Ε

(Epsilon); the third, Η (Eta); the fourth, Ι (Iota); the fifth, Ο (Omicron); the sixth, Υ

(Upsilon); and the seventh heaven, the sacred vowel Ω (Omega). When these seven

heavens sing together they produce a perfect harmony which ascends as an everlasting

praise to the throne of the Creator. (See Irenæus’ Against Heresies.)

However, the actual correspondences used by these initiates were never recorded, so posterity was left

playing a guessing game as to which vowel represents which planet.

Considering that Greek astronomy was heavily influenced by the Egyptian and Chaldean astronomers

before them, we can safely assume that the planets were arranged in the Chaldean order that

predominated the traditional teachings of the ancient world (Moon, Mercury, Venus, Sun, Mars, Jupiter,

Saturn).[9] We will address the question of whether the order should be taken as ascending or

descending shortly. The other assumption taken by most scholars is that the vowels were considered in

their alphabetic order, but as Joscelyn Godwin points out a tonal or harmonic order may have been

more inline with Pythagorean doctrine of Harmonia. [10]

Hall, while admitting the lack of textual evidence, proposes a Moon-Alpha order based on the

alphabetical ordering of the vowels and the Chaldean planets in ascending order from Moon to

Saturn.”Although not so stated, it is probable that the planetary heavens are to be considered as

ascending in the Pythagorean [Chaldean] order, beginning with the sphere of the moon, which would

be the first heaven.”[11] This is the same system proposed by the 18th Century French scholar Abbé

Jean Jacques Barthélemy[12] and followed by the majority of vowel-planet correspondence systems .

[13]

However, the German occultist and magician Henry Cornelius Agrippa (1486-1535) proposed a

different system in his De Occulta Philosophia.[14] Without the textual tradition to preserve the

correspondences used by the Greek initiates, Agrippa turned to the Hebrew alphabet and initiatic

tradition of the Kabbalah to provide the framework. He had very high regard for the antiquity and

symbolism of the Hebrew letters, and in particular of the inherent 3:7:12 division of the alphabet in

which (and together with the ten digits) the initiate found the esoteric keys of the universe (see

Concerning the Trees). Agrippa’s correspondence was likely influenced by the highly meditative and

magical text of the Sefer Yetzirah where the seven Hebrew Double Letters( ב ג ד כ פ ר , ת , , , , , ) map

in their alphabetic order to the seven planets in their descending order of emanation (Saturn, Jupiter,

Mars, Sun, Venus, Mercury, Moon). This Saturn-Bayt order is the predominate system of

correspondence between the seven Doubles and the seven planets in traditional Kabbalah;[15] and,

through applying the same formula (alphabetic letters to descending planets) to the Greek vowels and

Chaldean planets, Agrippa arrived at the Saturn-Alpha order .

Vowel(Saturn-Alpha) (Moon – Alpha)

A , α Saturn Moon

E , ε Jupiter Mercury

H , η Mars Venus

I , ι Sun Sun

O , ο Venus Mars

Υ , υ Mercury Jupiter

Ω , ω Moon Saturn

Regardless of the Alpha orientation (Moon-Alpha or Saturn-Alpha), the Sun and the vowel Iota in

both systems remain unchanged. The Sun’s position as the fourth and central planet in the Chaldean

order defines it as the central pivot between what modern astronomy understands as the inner planets

(Venus, Mercury, Moon/Earth) and outer planets of the solar system (Mars, Jupiter, Saturn) . This

Central Principle is precisely what we find expressed in traditional glyph of Sol( ) as a literal

expression of the center point (•) within the circle (O). This concept is reiterated in philosophical

assertions such as found in the Corpus Hermetica, “And round about the Sun, and dependent on the

Sun, are the eight spheres…” [16] Whether these esoteric teachings of the Sun-Center were interpreted

in terms of a modern heliocentric solar system- though interesting and highly suggestive - is irrelevant.

[17] As we have already discussed in Sun: IGNIS CENTRUM, the initiates into the Mysteries would

have seen this as a reference to a metaphysical principle beyond the manifested solar orb and pertaining

to the traditional doctrine of the sacred Center and the Divine Seed within. [18]

This brings us to question how the Chaldean order was defined in the first place. Seems strange that we

would still entertain a system based on a simplistic geocentric model of the universe. Equally

perplexing is how this primitive system could seemingly predict a heliocentric solar system through the

elegant symbolism of the Central Principle. The answers lie in how this order was created, or rather

discovered. The Chaldean Magi derived this order from their empirical observations of the sidereal

cycles of the planets. As such, it is perhaps one of the most pure and unbroken traditions of sacred

science as the arrangement was learned from the planetary rhythms themselves.

Planet Sidereal Cycle

Moon 29.5 days

Mercury 88 days

Venus 224.7 days

Sun 365.25 days

Mars 687.1 days

Jupiter 12 years

Saturn 29.5 years

Seen from our vantage point on Earth, the Moon takes the shortest time to complete a cycle around the

zodiac and Saturn takes the longest. The sidereal cycle observed for the Sun is actually the Earth’s

periodic orbit around the Sun and acts as the base rhythm of 1-year (365.25 days) by which we identify

the outer and inner planets. For this reason whether we assume a heliocentric or geocentric position the

principle of Sun-Center holds true. Thus, from our terrestrial orientation we perceive the universe in the

Moon-Alpha direction and the orb of the Sun is the fourth and central planet because it is a reflection

of our position on Earth.

We must take a moment to observe the natural synergy between Moon and Saturn as the Alpha-Omega

of the Chaldean planets. This speaks volumes in the language of traditional symbolism where Moon is

synonymous with ‘Life’ and ‘Nature’ . [19] Saturn, on the other hand, has been identified with edge of

the heavens and the thresholds of space, time, and timelessness (see The Eternal Chronos). Most

humans in antiquity would only experience one or two Saturn cycles in their lifetime and the planet

was logically equated with ‘Death’ and the Omega point of the mortal human experience. [20] More

importantly, however, Moon and Saturn in their sidereal cycles share the same numerical rhythm

(29.5) but at different magnitudes (days/years). This is a truly remarkable and beautiful manifestation

of the Alpha-Omega principle - it teaches how Unity can be separated and polarized merely through

the perception of space and time.

In the Saturn-Alpha order recorded by Agrippa we find an

inversion of the human perspective. The orientation reflects the Alpha and Omega axis upon itself, it

switches from the perspective of a human looking out at the Heavens to the Creator overlooking His

creation…This orientation is a system the promotes the return to Center as opposed to Moon-Alpha

that speaks to movement towards the periphery and circumference of the circle. The return to Center is

a descending act related to the “entering the cosmic cave” or the “passage through the underworld” in

the mythic narrative of the Solar Hero (Osiris, Dionysus, Mithras, Apollo, Christos, etc.). This chthonic

act parallels the initiatic practices of descending into one’s own being in order to awaken the Divine

Seed of the Heart.[21] In Traditional schools this has been identified as the principial act of initiation,

and according to Julius Evola (1898 – 1974) this act implied by alchemical aphorism of the “Gold

hidden within Saturn” is “one of the first and fundamental operations in the initiatic art: the

transferring of the sense of the Self into the region of the heart.”[22] In the two systems of

orientation(Moon-Alpha and Saturn-Alpha) we find insights into two branches of spiritual practice;

the former best equated with the path of mysticism and dissolution into the All, and the later to that of

initiation and spiritual immortality through Unity with the All.

This inversion is not only referenced in the Mysteries of the Greek and Hebrew

Alphabets, but we also find it in the rich symbolic language of the Tarot and in particular the 12th

trump- The Hanged Man. There is much to contemplate regarding the abundant alchemical and magical

symbolism of the trump, but this is beyond the present scope. At a very topical level what we are

presented with is a symbol of the initiate reversing his orientation to the natural world. [23] The

inversion takes place in the 12th trump representing the 12 constellations of the zodiac (time) and the

12 edges of the cube (space). In older versions of the card such as Le Pendu in the Tarot de Marseilles,

the cross bar from which the figure hangs is supported by two vertical poles each with six stumps, as if

their branches have been cut off – a clear metaphor to breaking free from the 12-pronged structure of

the universe. We should also note that this trump precedes the 13th and most misunderstood card,

Death. The exoteric and ominous nature of this major arcana is a far cry from the esoteric traditional

symbolism as representing the “passage through the underworld” and the metaphorical death preceding

initiatic resurrection. [24] Playing on the double meaning of the Greek verb τελευτᾷν (‘to die’ and ‘to

be initiated’), Plutarch wrote ” to die is to be initiated into the Greater Mysteries.”[25] What we are

referring to is not physical death, but rather a philosophic “Death” pertaining to the orientation of one’s

sense of Self away from the limits of physical existence and into the realm of transcendent principle;

the inversion of perspective as represented by Saturn-Alpha and The Hanged Man trump is the

necessary stage preceding this Great initiation.

This Alpha=Omega inversion and the doctrine of transcending the space-time dimension is

preserved(among many other places) in various Medieval and Renaissance paintings and engravings of

the Heavenly Spheres- classified as ‘hermetic’ or ‘alchemical’ in nature. These depict an archetypal

Man (often depicted as androgynous to illustrate transcendent Unity) standing atop the earth with his

head in the Saturnine heavens. Other variations display the figure standing in the 8th Heaven of the

fixed stars above the 7th Heaven of Saturn, or even more reduced versions simply depict the figure

standing atop the sphere of the heavens. Regardless of the artistic variations all forms of this symbol

share the theme of the philosophic Man-God or Solar Hero triumphing over the material world.[26]

Resurrected beyond the confines of space-time and liberated from the karmic cycles of life and death,

the Solar Hero now peers through the universe with the eyes of immortality… his orientation is none

other than Saturn-Alpha.

While the uninitiated masses made offerings to and worshiped the exoteric face of individual deity(ies)

and the Solar Hero(s) of the prevailing mythology in an attempt to gain worldly favors and a rewarding

afterlife, the initiates of the Mysteries recognized in these mythological images and storylines symbolic

concretions of greater esoteric truths.[27] Under the doctrine of Pythagorean Unity and the divinity of

the human soul, the initiates of such traditions sought to achieve apathanatismos (‘deification of the

Self’) by aligning themselves with – and becoming – the Solar Hero.[28] This was accomplished by a

life-long devotion to the Mysteries and their teachings where the mythological narratives of the Solar

Hero were revealed as parallel allegories to the spiritual development of man. These Mysteries were

committed to instructing the initiate in the disciplinary techniques and practices to silence the desires of

material orientation and to experience the subtle realities through awakening the Divine Seed of the

Heart.[29] Via the magical and meditative practices of self-identification with the deity and the

vibration of vowel mantras and other voce magicae as preserved in the P.G.M., the initiate learned to

transform his/her perspective to one of transcendent Unity (read Alpha = Omega) and elevate their

consciousness to a higher ontological level of experience …we may say, that such practices were

intended to liberate the initiate from the confines of space-time and to evoke a transformation in the

initiate’s sense of Self from mere mortal to living God.

While, at a philosophical level, Agrippa’s Saturn-Alpha system seems to best align with the

traditional doctrine of initiation, we cannot conclude that it was the system used by the Greek initiates

in practice. That the Chaldean order from a descending perspective was used is highly likely due to the

importance placed on the doctrine of the Center and the centering implication of Saturn-Alpha, but

ordering the vowels in alphabetic order is suspect given the musical nature of the sounds produced.

Perhaps in this light, and for practical application we should not correspond the vowels to their

alphabetical order, but rather according to their natural acoustic pitch.[30] This would place the vowels

in an empirically derived hierarchy based on the frequency of their pitch, letting the vowel sounds

themselves dictate their position, and is very inline with the process used to arrive at the Chaldean

ordering of the planets. When in doubt let the universe speak for itself.

Vowel (Saturn-Iota) (Moon-Iota)

I , ι iː Tree Saturn Moon

H , η eɪ Day Jupiter Mercury

E , ε ɛ Bed Mars Venus

A , α æ Cat Sun Sun

O , ο ɔ Cold Venus Mars

Ω , ω ɔː Law Mercury Jupiter

Υ , υ u You Moon Saturn

We find that when the Greek vowels are arranged in Tonal Order the systems cannot be described as

Alpha oriented, since both orientations yield Sun-Alpha. Instead we are presented with Moon-Iota and

Saturn-Iota orientations depending on whether the initiatic (or inverse) perspective is taken.

As to which system of correspondence is “correct”, it is impossible to say for sure. They all speak to

key universal truths and each is valid in its own right. However, in practice, I strongly suspect that the

Tonal Order to the descending planets (Saturn-Iota) best aligns with practices of the Greek initiates,

particularly when we consider the symbolism of the planets in light of the seven subtle centers of occult

corporeity (i.e. chakras). We must remember that as arrays of principles reflect into different states of

subtle existence their ordering tends to change, we see this with the arrangement of the Chaldean

planets which yield the Saturn-Alpha or Moon-Alpha systems reproduced above. However, when we

consider these in terms of harmonics, and in particular the scale of perfect fifths, the order is mixed and

yields the harmony of the spheres manifest as time in the ordering of the week (Saturn, Sun, Moon,

Mars, Mercury, Jupiter, Venus). This was represented by inscribing the seven planets in a circle

connected by the Heptagram, each planet links to the third planet from its position resulting in the

seven pointed star connecting the planets in their weekly order.

We are left with various gateways to unravel the Mystery of the Vowels and the power of the “seven

Immortal Lords of the Universe”. Through the principles of inversion and reflection, the planets and

vowels re-orient themselves as they manifest at different ontological levels; and in each manifestation

they yield further insights towards the transcendent principles of our universe. Ever so slightly the Veil

is parted for those who have the will and desire to Know.

First origin of my origin, AEHIOYΩ…

Notes

1. Hans Dieter Betz (ed). The Greek Magical Papyri in Translation: Including the Demotic Spells

(Chicago, IL: University of Chicago Press, 1992).

2. Laurel Holmstrom. Self-Identification with Deity and Voces Magicae in Ancient Egyptian and

Greek Magic

3. See Aleister Crowley. Magick: Book 4, Liber Aba (York Beach, ME: Weiser Books, 1994) and

Israel Regardie. The Golden Dawn: The Original Account of the Teachings, Rites & Ceremonies

of the Hermetic Order (St. Paul, MN:Llewellyn Publications, 2002[1971]).

4. Julius Evola. The Yoga of Power (Rochester, VT: Inner Traditions, 2005).

5. Joscelyn Godwin.The Mystery of the Seven Vowels (Phanes Press,1991).

6. Hans Dieter Betz (ed). The Greek Magical Papyri in Translation: Including the Demotic Spells

(Chicago, IL: University of Chicago Press, 1992):48-50.

7. Kierren Barry. The Greek Qabalah (York Beach, ME: Weiser Books, 1999): 35 -50.

8. Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).

9. Anthony Aveni. Behind the Crystal Ball: Magic, Science and the Occult from Antiquity through

the New Age (New York, NY: Crown Publishing, 1996).

10.Joscelyn Godwin.The Mystery of the Seven Vowels(Phanes Press,1991).

11.Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).

12.Abbé Jean Jacques Barthélemy. Les voyages du jeune Anarchasis en Gréce(1787)

13.Kierren Barry. The Greek Qabalah (York Beach, ME: Weiser Books, 1999): 35 -50.

14.Henry Cornelius Agrippa.Three Books Of Occult Philosophy. Trans. J. F. Edited by Donald

Tyson (St. Paul, MN: Llewellyn, 1993).

15.See table in Concerning the Trees and Aryeh Kaplan’s translation and commentary on the Sefer

Yetzirah (York Beach, ME: Weiser Books, 1993)

16.Corpus Hermetica, Libellus XVI.

17.See argument in Rene Schwaller de Lubicz. Sacred Science: The King of Pharaonic Theocracy

(Rochester, VT: Inner Traditions, 1982)

18.In particular see René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis,

2004) and Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art

(Rochester, VT: Inner Traditions, 2005).

19.See Moon: The Hook of Consciousness and Julius Evola. The Hermetic Tradtion:Symbols and

Teachings of the Royal Art (Rochester, VT: Inner Traditions, 2005).

20.Anthony Aveni. Behind the Crystal Ball: Magic, Science and the Occult from Antiquity through

the New Age (New York, NY: Crown Publishing, 1996).

21.René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis, 2004).

22.Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art (Rochester, VT:

Inner Traditions, 2005) and quote with original italics from UR Group. Introduction to Magic

Rituals and Practical Techniques for the Magus (Rochester, VT; Inner Traditions, 2001): 55

23.See Arthur E. Waite. The Pictorial Key to the Tarot : XII The Hanged Man [1911] and Paul

Foster Case. The True and Invisible Rosicrucian Order (York Beach, ME: Weiser Books, 1985).

24.Arthur E. Waite. The Pictorial Key to the Tarot:XII Death [1911].

25.Plutarch. Fragments also see Albert G. Mackey.The Symbolism of Freemasonry (1882).

26.See Joseph Campbell. The Hero’s Journey: Joseph Campbell on His Life and Work, 3rd edition,

Phil Cousineau, editor.(Novato, CA: New World Library, 2003). and Joseph Campbell. The

Hero with a Thousand Faces (Princeton, NJ: Princeton University Press, 2008).

27.Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).

28.In particular see René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis,

2004) and Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art

(Rochester, VT: Inner Traditions, 2005).

29.ibid.

30.Joscelyn Godwin.The Mystery of the Seven Vowels (Phanes Press,1991).