The Hieroglyphic Monad of John Dee
Theorems I-XVII: A Guide to the Outer Mysteries
by Teresa Burns and J. Alan Moore
John Dee’s Hieroglyphic Monad remains one of the most enigmatic works in the history of western Hermeticism. The best introduction still is C.H. Josten’s, which declares unequivocally that it is a work of alchemy, suggests many possible contexts, but adds that the “specific message which Dee tries to convey by his symbol of the Monad, and by his treatise thereon, is lost. His explanations are sometimes explicitly addresses to a mystae and initiati whose secrets we do not possess.”[1]
Composed by Dee in 12 days, the Monad was clearly accompanied by an oral teaching, and in his later writing Dee reminds the Court of his providing part of that instruction to Queen Elizabeth and perhaps, King Maximilian.[2] Dee himself called the Monad a magic parable, and for many years there was certainly a group of initiates that understood it well. Frances Yates has argued that the “more secret philosophy” behind the Rosicrucian manifestos “was the philosophy of John Dee, as summed up in his Monas Hieroglyphica.”[3] The Chymical Wedding of 1616, which Adam Mclean has noted is structured as an “elaborate Hermetic allegory” of inner transformation,[4] displays the Monad glyph prominently next to the first poem; Jacob Boehem’s 1625 Clavis and Ananasius Kirscher’s 1650 Obeliscus Pamphlicus also show this glyph and exhibit ideas strongly influenced by Dee’s work. The American alchemist and first governor of Connecticut, John Winthrop, used the Monad symbol as a bookmark, as did his son and grandson.
By the time 20th century scholars became interested in the Hieroglyphic Monad, those who understood the work seemed to have died with its secrets. The author of the first scholarly biography of Dee, Peter French, suggested that a major concern of Dee’s magical parable was the “Gnostic ascent to the One. . . The process of man’s spiritual transformation is therefore the deepest subject of this work, rather than the mundane alchemical quest for gold.”[5] Yet like C.H. Josten before him, and a series of commentators since, French felt that, “Dee wrote within an oral and secretive alchemical tradition that has probably been permanently lost.”[6]
Has it been? As the community of scholars and esotericists studying the Monad starts to overlap more each year, perhaps we have enough old information coming to light that we can resurrect this hidden teaching. Certainly at least part of the oral teaching has been hiding in plain site, within the very stream of the western mystery tradition that the Hieroglyphic Monad gave birth to.
We think that teaching can be recovered simply by looking at what contexts Dee wrote in and where parts of those contexts survive. Let us make the not-so-radical assumption that the work encodes many different levels of information at once, and describes many processes at once, and one of those is the process of initiation. Therefore the more one wants to understand the other processes, the more the student must actively participate in that initiatory process and discover the magical correspondences. Today, we have enough other works available to “rediscover,” on our own, what likely were two of the core oral teachings that accompanied the Hieroglyphic Monad: precessional astronomy and tantric gnosis.[7]
Fleming took the code number 007 from John Dee, a mathematician, astronomer, astrologer, occult philosopher, imperialist, who used it as a code name when working as a spy for Queen Elizabeth I.[13] Fleming was reading a memoir on the life of Dee during at the time he set off to write Casino Royale.
-- James Bond, by Wikipedia
In fact, we contend that the process of carrying through a study of this work through to the point where a true understanding begins to enfold is in itself an initiatory process. Just as Renaissance actors used an elaborate three-dimensional mnemonic system to remember their lines, the student of the Monad needs to build up an at least three-dimensional, moving system of correspondences and how those correspondences transform into others, to start to understand the work.
Our goal in this commentary is to assist you on your own journey of discovery and apotheosis. This isn’t a cook-book guide. It’s a series of suggestions about how Monad might unpack through Theorem XVII, the Theorem which reprises the Sign of the Adept and so stands at the gate to most complex understanding of the Mysteries.
One of the secrets of that art known as physical alchemy known to the true initiate is that the Great Work cannot be achieved by physical, external, or mental means alone, but requires that in parallel to the physical processes of the alchemist’s laboratory and mental gyrations of the student’s mind a holistic inner alchemical transformation takes place within the entirety of the alchemist himself or herself. It is through the catalyst of inner transformation that the external process can be fulfilled. Thus also it could be said that the truest understanding of that which this work holds in potential or the truest understanding which lies latent with this corpus cannot blossom without similar inner transformative process in the mind and psyche of the student. The process by which this structure is built through the theorems presented, when accompanied by the proper focus and laid upon a firm, well-prepared foundation, is in itself an alchemical process in which the passages are contemplated and an understanding begins to dawn in the mind of the initiate.
Because of this, to read the Hieroglyphic Monad and not understand at first is to be expected; yet to read it with the wrong contexts is to invite misreading, confusion or the conclusion that the glyph really means nothing at all. For John Dee, to whom mathematics, magic, and divine cosmology were inextricably intertwined, any set of complex symbolic teachings would have to start with the same axioms and they would need to build consistently through all three fields. If we, as readers, start with different axioms, the transformation his work tries to trigger will never take place. For instance, if one searches through Dee’s lines and circles knowing nothing about geometry—or perhaps worse, thinking one knows, but superimposing a modern conception of math and numbers onto the ancient Greek perception, his geometry will make no sense, and one might simply conclude Dee didn’t understand numbers.
While we may discuss mathematical concepts in this guide, we want to do so within the western mystery tradition. If one knows nothing about that tradition -- and many who have written on Dee have at best only a very superficial grasp of it -- reading the Hieroglyphic Monad through Theorem XVII would be akin to reading through the Golden Dawn Outer Order rituals or worse, the cipher manuscript they came from, [8] and wondering why they make no sense. They do make sense if a person has the right context; they don’t if one doesn’t.
Theorem XVII and the Analysis of the Key Word
To give an extended example of this, let’s look at one place where we are certain part of Dee’s teaching has been transmitted, in the Golden Dawn’s analysis of the keyword, an encapsulated ritual utilized in the 5=6 initiation, the consecration of the Vault of the Adepti, and in many shorter Adept-level rituals. Most notably, the INRI/LVX transformation is part of what symbolically opens the Vault of Christian Rosenkreutz. It has as its only known source the Hieroglyphic Monad, yet many who are familiar with or participate in these ceremonies seem unaware of this connection. Perhaps this is because one must understand the Monad through Theorem XVII to really understand the keyword analysis, and the few who study it in that much detail often lack the right contexts.
For the Adepti, we’ll start this commentary at Theorem XVII, then circle back to the frontispiece and opening theorems.
If one compares Theorem XVII and the Analysis of the Keyword, there at first seems little similarity:
Theorem XVII
As is evident from the sixth theorem, FOUR right angles can be considered to be in our CROSS, and the preceding theorem teaches that the sign of the QUINARY can be attributed to each one of them, the right angles of course being arranged in one way, but maintaining another position. The same theorem explains the production of the hieroglyphic symbols of the number FIFTY. Thus, it is very clear that the CROSS generally denotes the DENARY; and that in the order of the Latin alphabet, it is the twenty-first letter (whence it was the case that the wise ones called the Mecubalists signified the number twenty-one with the same letter); and finally, it can be considered very simply to be seen as one sign, no matter what kind of, and how much, other power it has. From all of these things together, we see it can be concluded by means of a very good cabbalistic explanation that our CROSS can signify to initiates, in a remarkably shortened way, the number TWO-HUNDRED-FIFTY-TWO. Namely, FOUR times FIVE, FOUR times FIFTY; TEN; TWENTY ONE; and ONE, add up to TWO-HUNDRED-FIFTY-TWO; which number we can deduce in still two other ways from our previous [statements]. Thus we recommend to cabbalistic Tyrians that they scrutinize this same [number], studying it in such a brief space, concluding the varied, skillful production of this Master Number to be worthy of the consideration of philosophers. I will not conceal from you here another memorable initiator to the mysteries. Our CROSS having suffered itself to be divided into two different letters, and as earlier we considered their [i.e. the letters’] numerical virtue in a certain way, we will now compare in turn THEIR VERBAL POWER WITH THAT CROSS, because from this may be born LUX (LIGHT), a WORD we perceive with the highest admiration, finally and magisterially (through the harmony and agreement of the TERNARY in the unity of the word).
From the Golden Dawn Adeptus Minor Ritual
Chief: Let us analyze the Key Word I.
Second: N.
Third: R.
All: I.
Chief: YOD.
Second: NUN.
Third: RESH.
All: YOD.
Chief: Virgo, Isis, Might Mother.
Second: Scorpio, Apophis, Destroyer
Third: Sol, Osiris, Slain and Risen.
All: Isis, Apophis, Osiris -- I.A.O.
All separate Wands and Cruces, and give Sign of Cross.
All: The Sign of Osiris Slain.
Chief: L - The Sign of the Mourning of Isis.
Second: V - The Sign of Typon and Apophis. (With head erect.)
Third: X - The Sign of Osiris Risen. (With head bowed.)
All: L V X,(Lux) the Light of the Cross. (Saluting Sign and head bowed.)
If one looks closer, and knows from earlier in the Monad that the “Cross” is X, the Quinary is Roman Numeral V, and Fifty in Roman numerals is L, we see Dee giving the LVX sign backwards.[9] Signing it backwards, just as an English or Latin writer would think of Hebrew as written “backwards,” or right-to-left, suggests a particular context. His use of the word “Mecubalist,” from Hebrew Mekubalim, suggests an even more particular context within Jewish mystical thought, just as his use of “Tyrian” near the end suggests a multitude of classical literary, Norse pagan, and Gnostic Christian contexts.[10] Those contexts, in different ways, suggest a four letter word turned into three; also, Theorem XIII (noting that 13 can become 1 + 3 or 4), as we’ll see later, could be interpreted as INRI. For a student of Dee’s, those meanings would already be part of the set of correspondences built up before getting to XVII, where INRI becomes LVX.
LVX, of course, is how the Latin word lux, or light, was spelled during the Renaissance. INRI is traditionally looked at as the initials of the Latin phrase placed by the Romans at the head of the cross on which Jesus was crucified, and stands for “Iesus Nazarenus Rex Iudaeorum,” or "Jesus of Nazareth, King of the Jews". Regardie points out that medieval alchemists suggested it meant “Igne Nitrum Renovatur Integra,” or “The whole of Nature is renewed by Fire,”[11] and indeed that could stand as a brief statement of one of the meanings of the entire Monad: the Sun and Moon as understood by previous theorems, plus the Cross of the Elements, are renewed by Fire as symbolized by the glyph of Aries.
And thus I went out in that night (it was the second night of the year 1914), and anxious expectation filled me. I went out to embrace the future. The path was wide and what was to come was awful. It was the enormous dying, a sea of blood. From it the new sun arose, awful and a reversal of that which we call day. We have seized the darkness and its sun will shine above us, bloody and burning like a great downfall.
-- The Red Book: Liber Novus, by C.G. Jung
Bridges and Weidner point out a more Rosicrucian version, “Isis Naturae Regina Ineffabalis,” or “Isis the Ineffable Queen of Nature.”[12] Noting the influence of the Monad upon Rosicrucianism, we might suspect this same interpretation could be found in this work. In fact, each of these interpretations can be equated to different levels of understanding the first 17 theorems, if one wants to look for them.
On the most basic level, the letters LVX are all parts of the cross:[13]
Dee equates light, and the LVX keyword as sign of the Adept, with the number 252, which by the end of Theorem XXIII of the Monad he will have equated with the philosopher’s stone, and with the sign of the Cross. He attributes the Cross to the “DENARY,” suggesting both the Pythagorean tetractys and the ten Sephiroth of the Tree of Life, and cryptically explains that this should be clear because the cross (X) is the 21st letter of the Latin alphabet. Some of the best Dee scholars and Judaic cabbalists have puzzled over this,[14] but the answer is clear if one understands Hermetic cabbala and geometry implied in previous theorems: INRI transforming to LVX would take place at the sixth Sephirah, Tiphareth, and if one takes the Sephiroth usually referred to Tiphareth (Yesod through Chesed) plus the “non-Sephirah” Da’at and connects them, one draws a hexagram or hexagon with Tiphareth in the middle. Similarly if one folds these into a cube, it has six faces. Noting the importance of all of these sixes, we observe: 1 + 2 + 3 + 4 + 5 + 6 = 21.
If one has built upon these geometries enough to see a 5:6 proportion developed throughout the preceding theorems, in particular in how the Pythagorean decad and Cabbalistic ten Sephiroth transform into systems based on twelve [15] (5:6 :: 10:12) one suspects 5=6 and the rank of an Adept carries additional significance that modern-day Adepts may have lost. The six-faced cube, incidentally, is one of five regular Platonic solids.
INRI turns into 252, and therefore the Cross, in yet another way, through a combination of Pythagorean mysticism and gematria. The gematria of I + N + R + I, yod nun resh yod, 10 + 50 + 200 + 10 yields 270, a rather significant precessional number. But if we remember that to the Pythagoreans, the Decad (10) was simply a higher form of the Monad, and we collapse this higher form into one unit, we have 1 + 50 + 200 + 1 = 252.
What else of the number 252? What are the two other things we should be able to “deduce” from his “previous statements”? Perhaps, as Josten noted, that 22 + 23 + 24 + 25 +26 + 27 = 252.[16] Secondly, it is the product of the three types of letters in the Hebrew alphabet: three mothers, seven doubles, and 12 simples, 3 x 7 x 12 = 252. Thus Dee equates the 252, the Light of the Cross, and the Philosopher’s Stone to the entire Hebrew alphabet, which of course to a Cabbalist signifies the entire represented powers of creation.
Then, Dee says “I will not conceal from you here another memorable initiator to the mysteries,” yet he seems to conceal it after all, telling is only that “Our CROSS having suffered itself to be divided into two different letters, and as earlier we considered their [i.e. the letters’] numerical virtue in a certain way numerical virtue in a certain way, we will now compare in turn THEIR VERBAL POWER WITH THAT CROSS, because from this may be born LUX (LIGHT), a WORD we perceive with the highest admiration, finally and masterfully (through the harmony and agreement of the TERNARY in the unity of the word).”
If the Adepti manipulate sections of the cross as we did with LVX, they may find two Hebrew letters whose sound, when put in the context of a particular stream of Greek alchemy, becomes I A O.[17]
Making the Key Word Meaningful
While playing with letter and number combinations can be a lot of fun, it won’t feel profound unless one understands the myriad of correspondences that are supposed to be built into it. Thus we offer this guide to looking at the frontispiece and first sixteen theorems.
While many of us fall into the habit of thinking we know much more now than those in days past, its crucial to understand that Dee’s hypothetical 15th century student would have had a much broader frame of reference, in terms of languages and allusions to classical literary and mathematical texts, than we have now. Dee himself had by far the largest library in England, and a study of what books he was collecting just prior to writing the Monad leads to interesting speculations.[18] We know he also was copying manuscripts he never recorded in his library lists, perhaps because the works themselves would have been too heretical. [19] We know he was fascinated by caballistic correspondences: though his only work on cabbala, Cabalae Hebraicae Compendiosa Tabella, has been lost, its title suggests it was something along the lines of Aleister Crowley and Allen Bennet’s “Sepher Sephiroth.” If something in the Hieroglyphic Monad seems like an allusion it probably is; if you see caballistic correspondences beyond the obvious, you’re certainly not imagining them.
As you study the Hieroglyphic Monad, you’ll notice that while the theorems in one sense build logically one to the next, in another way many of them ask the reader to cycle back through the whole group. Piece by piece, they build a structure which superficially has its representation in the glyph of the monad, but the body of knowledge represented by this work and indeed by the glyph itself is not to be understood by superficial information alone. As the glyph which embodies the core of the instruction to be had in this work is assembled piece by piece, so too is the inner teaching, the deeper mystery, which is to be found within this work, assembled in the mind of the initiate.
This guide will attempt to take you through in an accelerated form a few layers of the learning cycle which culminates in the keyword LVX. To attempt to fully unpack the wisdom available is far beyond the purview of this article and indeed were one to be thorough, it would fill volumes. Therefore in this article we will attempt to investigate but a few layers out of the many, and to help the reader to begin his or her own journey of discovery and transformation. In particular, we want to suggest the “building blocks” in the first ten theorems, and point to places in those which follow where one might be able to discern the references to the ancient Eleusianian or Samothracian mysteries, and references to precessional astrology.
The Frontispiece
Study the frontispiece, and note in particular the contexts Dee sets up in it. The Monad appears in an egg between two pillars. Before jumping to the egg in Theorem XVIII, just notice what is most obvious visually: it is the “middle” between two pillars.
The odd statement on the garland suggests we must play with language as much as geometries (especially since Dee, in his letter to King Maximillian, asserts that Latin, Greek, and Hebrew alphabets each have significant geometries.) [20] The best way to render this line in English, “Mercury becomes parent and the king of all planets when perfected by stable, pointed Stilbon,”[21] helps most students’ understanding not at all unless the associations of Mercury and Stilbon are explored.
The odd language use suggests several contexts. As the notes in the accompanying translation point out, Dee writes “” in Greek, which must be transliterated to Roman letters to read Stilbon, “shining one,” the god of the wandering star Hermaon or Mercury. Yet, as the translators comment, “it also makes us think of Latin stilus, which can refer to a stake, staff, or pale, a pointed implement used for writing or for style in speaking. . . [r]ecall that Tehuti/Thoth is often shown with a writing implement, and becomes the Greek Hermes/Mercury. Thus Dee’s odd language nods to the Emerald Tablet of Hermes Trismegistus as a governing context for the work.” It also suggests a transformation between Mercury and the Sun which won’t become clear until much later, because the usual “unperfected” understanding would be that the Sun, not Mercury, is “Father” or “King.”
While we don’t plan to refer to each note of the accompanying translation in this guide, we hope the brief analysis above does suggest to the reader one of the most important ways in to understanding the Monas: word-play. Dee was writing to someone who read not only Latin but Hebrew and ancient Greek, and further, was familiar with particular texts in those languages that have come to influence the core teachings of the western mystery tradition.[22] The best way to explore Dee’s language play is to attempt one’s own translation, but if that isn’t possible, the student has many resources available to at least explore word etymologies and which classical writers make frequent use of his terms.[23]
In Dee’s letter to Maximilliam, he refers to the Monad symbol as “my London Seal of Hermes,”[24] again suggesting the context of the Emerald Tablet . Further, he expects his reader to know that the word monad, Latin monas from Greek , (pronounced monas) means a unity, singularity, or point. This is likely the “one” in the Emerald Tablet [25] and certainly the basic unit (often directly translated as “monad”) in Pythagorean, Platonic, and Euclidean thought. The fundamental unit in Euclid’s Elements is the monad, and Euclid devotes all of Book VII to exploring its meaning. Dee, of course, wrote the preface to the first English translation of Elements, so one should become familiar with that work, in its ancient rather than modern context. Geometric images, to Euclideans and Pythagoreans, were sacred images and manipulating them was a way to evoke the divine in one’s own mind.
The numbers 1, 2, 3 4; then 1 and 4, on the frontispiece likely both suggest the Pythagorean tetractys, which will be referred to indirectly in many theorems.
The Tetractys
The bottom line of a tetractys add up to 10, 1+2+3+4=10, just as there are ten points; the top point, 10 or the Decad, is simply a higher order Monad. The irregular spacing of these numbers on the frontispiece has made some suspect a cryptogram, [26] if so, we’d suggest that the cryptogram is simply “LVX” written in yet another way. Note that both the ten points of tetractys and the sum of its first line make 10, X; 1 and 4, as 1 + 4 = 5, to V, and both together (10 x 5) to 50, or L. We have LVX again, backwards.
At the bottom of the frontispiece, we find a quote from Genesis, part of the ten-fold blessing of Isaac to his duplicitous son Jacob. Thus yet another context is suggested; knowing Dee’s other interests, we might be much more successful looking for Gnostic or caballistic explanations of passages in Genesis rather than mainstream Christian ones.
Many have noticed that the Monas glyph appears on both versions of Dee’s Propaedeumata aphoristica. Dee wrote the first version as part of a letter to Gerard Mercator in 1558; his revised edition was published in London in 1567. It is available in an excellent English translation by Wayne Shumaker which includes, from a history of science rather than Hermetic perspective, analyses of Dee as a mathematician, and the aphorisms as understood through the lenses of applied mathematics, physics, geocentric astronomy, and astrology. We hope someday someone who understands the Monad through the lens of Hermeticism well enough to explicate all 24 theorems will have the time to back through these 120 aphorisms and add to Shumaker’s commentary.
Theorems I-III and I-X
Given the contexts set up on the frontispiece, we might expect to find references to the Pythagorean tetractys, especially since one explanation of that sacred figure is that the first row represents zero dimensions (a point); the second, one dimension (a line segment running from the first point to the second), the third, two dimensions (a plane, defined by a triangle or three points and sharing the same shape as the tetractys in 2D); and the fourth, three dimensions (a tetrahedron, defined by four points and sharing the same shape as the tetractys in 3D). We might also expect to find references to the cabbalistic Tree of ten Sephiroth; we might expect references to Genesis, and we would certainly expect references to the Emerald Tablet .
I.
To fully comprehend the ideas in this group of theorems, and indeed the whole Monas, one must constantly cycle back through, so that later understandings also change how one understands what is read before. Theorem I, therefore, starts with what we are able to see: a line and a circle, or the first two dimensions and how they create the third. We don’t “see” a point, so we can’t start with it.
II.
Here Dee introduces the idea of a point, and in doing so invites us to cycle back through Theorem I. He equates it to a point of light, or a spark of consciousness. If we think of many of his theorems as energy transformations, here we also have the idea of energy that has been localized, and is no longer a stream or ray, and he would find support in the modern notion that the tiniest quantum particles are energy that is vibrating in one place and not streaming in motion.
Macrocosmically, the monad, the beginning point for manifestation, is light localized to a point. It takes on dimensionality by becoming a stream, or an infinite flow of points, thus giving us a line (first dimension). An infinite flow of lines give us a plane, or the second dimension. The circle, the most “perfect” figure in plane geometry, can’t be defined without either. So far, Dee’s explication could be straight out of Euclid, though one may cycle back for other interpretations later on.
III.
Now the two-dimensional “circle’ becomes a sphere, and so the Earth. Dee’s “light” alludes to the fiat lux of Genesis and thus the creation of all things from light. One might want to further explore the different meanings of “circle” and “sphere” to ancient writers, for they carry layers of significance lost in our modern notion of these as “only” geometric objects. At the very least, “circle” and “sphere” both involve movement and an unending, usually sacred, cycle.
Because this theorem says that this middle point can also represent the earth, Dee is making the point or monad the top of the tetractys or decad, and further suggesting that the “Earth,” composed of the monad/decad, is referred to the tenth Sephirah, Malkuth.
As he is introducing the idea of the Sun, Moon, and other Planets completing their paths around the earth, Dee seems to be suggesting a geocentric view of the universe, and indeed, many very good writers have assumed, from this Theorem and XVIII, that this was his view. They neglect to note what should be obvious to Hermeticists: that if “I” am the spark of consciousness, that spark will be the center. Similarly, those of us who study astrology today do not think the Sun revolves around the Earth, but we know we have more accurate charts when we know the exact location on Earth to draw the chart from. “Earth,” or a point on Earth, is the frame of reference, the point from which other phenomena are observed and upon which other forces act.
It is very important to keep this idea in mind when working through the later Theorems, especially if you try to project these concepts onto the Tree of Life, or that Tree onto a Sphere. You are not attempting a diagram of the solar system; you are attempting a diagram of how consciousness comes into manifestation.
It his later theorems and in the Propaedeumata aphoristica, Dee will want us to understand that cosmic forces influence us in the same proportions that they stand in relation to us, that we can observe from our central “point.” We do not observe from the point of reference of the Sun, but from wherever we are on earth. We are analyzing our own being and consciousness from the geometries we reflect from our vantage point on Earth.
Finally, note that here and in most places Dee capitalizes SUN and MOON, which throughout also refer to the marriage of Sun and Moon in the Emerald Tablet .
Mind in Eclipse, by Charles Carreon
Our true nature abides
Like the sun in eclipse,
Obscured by the dark disc
Of a coal-eyed moon.
The only difference is this --
The sun is obscured by a stone,
While the shadow cast
by flesh and bone
Upon the inner eye
Is at most a figment,
At worst a lie.
IV
This theorem starts to test our ability to visualize the Monad in three dimensions and rotate it around so it is viewed from different perspectives. The moon would “appear” to be superior from the point of the observer: it is placed there not because it is superior, but because it looks that way from Earth. It “appears to the ordinary person” that the Moon emulates the size of the Sun because the Full Moon looks the same size as the Sun.
Yet the face, or semi-sphere, always reflects the light of the Sun—it does not generate light.
The next lines, that the Moon desires to be impregnated by the Sun, should be cycled back to when one has a greater understanding of what “Sun” and “Moon” may mean in the Emerald Tablet , but on the most simple level we have a description of the phases of the Moon: saying it desires to be impregnated (in appearance) by the light of the Sun means it wants to become full and look like the Sun.
Of note, the Moon in Dee’s Monad looks like Diana’s Bow, the first phase of the Moon after it has conjuncted the Sun and disappeared (the New Moon), then reappeared as a tiny sliver in the sky.
V
Note that this Theorem, V, refers to light, the essential element of alchemy. The capitalized “LVX” for “light” in the Latin original of Theorem V also implicitly refers us to the LVX analysis in Theorem XVII, or begins an idea that the later Theorem completes.
Five also refers us to Venus and the Pentagram, which is formed in the sky if one watches solar conjunctions of Venus and the Sun from the Earth.
Finally, by equating the creation of the first day and night with the “LVX” of the philosophers, Dee implies that alchemy involves the measurement of time and space, and so introduces the idea of precessional astronomy. Cabbalists and fundamentalists have argued about the meaning of the Hebrew word for “day,” the former arguing that that this word meant not our current conception of day, but a unit measurement of time: a day, week, era, age. Following this interpretation, we should look at numbers in terms of spatial and temporal unit measures.
VI
As V refers to the Pentagram and Venus, VI will refer to the Hexagram and Mercury, as the pattern of conjunctions between Mercury and the Sun, viewed from earth, form a Hexagram.
In certain ways the first ten Theorems can be referred to the Sephiroth and their places on the Tree, [27] but notice this isn’t apparent until VI, which would correspond to the sixth Sephirah, Tiphareth. This is important because it again suggests our frame of reference.
Tiphareth represents the highest level of manifestation that we can perceive from our own consciousness. The light of Kether reaches us through Tiphareth, which is why it is often referred to the Sun. We can’t see the center of the galaxy, but we can see the Sun, even though all the power that the Sun wields comes from the center of the galaxy. We can understand what we can’t see, but first have to understand what we can see. So in one sense Theorem I starts with what we can see, but in another, Theorems I-V are all the abstractions you have to set things up until you get to what you can really see. So we know that the “Sun” and “Moon” in first 5 theorems will likely be concepts we’ll later return to, with new definitions.
For instance, we know the “one thing” or monad of the Emerald Tablet has the Sun as its Father and Moon as its mother; or is the product of the marriage of the Sun and Moon. This Theorem, referring as it does to the Sun and the Moon and a uniting point, suggests at least one type of union at Tiphareth.
In this context, the reference to “body, mind, and soul,” directs us to the nephesch, ruach and neschamah, the three parts of the soul to cabbalists. One is invited to meditate further upon what, beyond 3 + 4 = 7, Dee means when he tells us that the septenary manifests from the ternary and quaternary. Remember that “seven” was the usual count of both planets and alchemical metals.
Dee’s comment about the octad won’t make sense until one has built a structure beyond Theorem XVII, but his suggestion, in the context of precessional astronomy, may be that the ancient Magi had never observed something in the sky, even though they may have calculated it.
VII
At first this Theorem seems like a reprise of what has come before. The four lines and the language of “flowing” might remind us of the four rivers of Eden in their esoteric or cabbalistic context. But very subtly, Dee is returning to the idea of the pentagram: by displacing the central point from the cross, we now have five. This central point, recall, was the point of origin from which the line and plane was formed, and in effect governs the four elements as Dee has equated them to the lines. Because all four elements flow out of the original creative light, and because the displaced central point gives us the fifth point, we can infer a pentagram with the crowning point of Spirit, which then governs the four elements.
VIII
We have another reference to the tetractys in theorem 8, whose number refers us also to the octad or octave. The Pythagoreans had both a tetractys of addition, which Dee refers to directly by again noting a connection to the denary (1+2+3+4=10), and a more complex tetractys of multiplication,[28] whereon the fourth level, referred to the third dimension, contains the first two cubic number: 2 x 2 x 2 and 3 x 3 x 3. The first of these, 23, equals 8.
X, the 21st (3 x 7) letter of the Roman alphabet, gives us another of the letters in our keyword.
IX
The double reference to the SUN and MOON return us to the Emerald Tablet and the one, or monad, having the Sun as its father and Moon as its mother. Dee suggests we see the “Sun” and “Moon” both as circles which conjunct the cross; if we expand from two dimensions to three, we have two spheres.
Nine also refers us to the ninth Sephirah, Yesod, associated with generation, and the synthesis of the influences of all the other Sephiroth. It constitutes the “foundation,” or formative blueprint, for the manifest world in Malkuth. Note that Theorems 6, 9, and 10 refer directly to Sephiroth as usually numbered, which the other theorems in 1-10 do not, perhaps because the 6th, 9th, and 10th Sephiroth are on the Middle Pillar.
If we start to conceptualize a three-dimensional Great Tree from the information presented thus far, we have two spheres, the Sun and the Moon, with the axis of the Middle Pillar running through their central points, conjuncting the cross.
X
This theorem sets up the 10:12 or 5:6 ratio explicitly in the first line, by using the odd Latin Dodecatemorii instead of the more usual zodiacus. It likely refers us to works on the geometric solid dodecahedron as well as the zodiac; thus time and space measures continue to coincide and the unit numbers significant to one are significant to the other. This word and number play invites us to consider how spatial and temporal units of twelve divide and govern our understanding of the 10th Sephirah, Malkuth, the manifest Kingdom.
Within this manifestation, fire is the penetrating, fructifying, purifying force. Dee’s wordplay further equates fire with Hermes [29] and the symbol for Aries, the first sign of the zodiac. Dee makes it clear he is using the sign for Aries, rather than “Aries” itself, in any of its many references.
Theorems XI-XVI
From this point on, our guide can only be as clear as your understanding of the first ten theorems. Wherever Dee’s meaning is not clear, we again suggest looking at his wordplay, cycling back through the earlier theorems, and trying to visualize in three dimensions what he is talking about.
XI
When Dee speaks of “the time of 24 hours, in the mode of the equinox,” he again suggests numbers that are temporal unit measures and so alludes to the precession of the equinoxes.[30] The “most secret proportions” of “our” earth are these precessional numbers. Note also that the Monad has 24 Theorems.
Eleven also refers to the “non-Sephirah,” Da’at or Knowledge. Sometimes Da’at is numbered only when Kether is not, suggesting it is the faculty by which we experience gnosis of all we can’t see, and that mystical state by which an individual experiences the unity of all of the Sephiroth.
From this point of Gnosis, one can now conceptualize a Great Tree whose “axis” runs from Kether to Malkuth, and whose proportions are precessional numbers. At Malkuth, it must intersect with the Cross of the Elements, which again divides time and space in terms of precessional numbers: four directions, four seasons; and so on.
XII
In this Theorem and the one which follows, Dee’s language use and literary allusion become particularly dense. [31] He creates a Latin word where he can find none that express his meaning, and here and below, drops in a word from ancient Greek next to the Latin Opus, or work, possibly suggesting the origins of his ideas in Greek alchemy.
Dee provides glyphs of the planets and says they are all made from parts of the glyphs for Sun and Moon. Remembering our 10:12 proportion, and that Theorem X discussed mainly measures of 12, we might want to refer Theorem XII back to 10 and see what happens. If we have Great Tree of ten Sephiroth with the “Sun” and “Moon” as two spheres on the Middle Pillar, then all of the other planets, lying as they do “off” of the main axis, only exist as polarities or aspects of these energies.
His order of planets in this section has puzzled many, and should be returned to after one understands Theorem XVIII. They seem to correspond to the Four Elements, but only if we associate the fourth revolution with water; and could connect to the Four Ages of Lead, Tin, Gold, and Silver, but only if we somehow make the Moon and Mercury refer to Tiphareth or the Sun. The word “revolution” suggests temporal measurements, and indeed if one returns to these glyphs after further study, one may find that each corresponds to a type of temporal age, and the fifth figure--the synthesis of the preceding four—shows them combined into one zodiacal age.
If one considers the attributions of planets on the Middle Pillar, the progression from Saturn to the Moon is clearer. Saturn is usually referred to Binah, but can refer to all of the Three Supernals since it is the furthest “wandering star” we can see. Saturn/Binah’s reflection is to the Moon/Yesod, and what is “imprinted” in Yesod manifests in Malkuth, the physical world or Earth.
Here we also have “Mercury”/Hermes, the “pure magical spirit,” performing the “whitening,” one of the steps of physical alchemy, upon a zodiacal age, suggesting that external alchemy involves the transformation of time as well as space.
XIII
Dee’s language use in this theorem is so complex, and his transformations between concepts so packed, that a reader really should go to the Latin text to fully appreciate and understand it.[32] As in the last theorem, he plays on multiple meanings of gnosis and gnomon, and adds a play on multiple meanings of pyr, fire, whose English cognates range from a funeral “pyre” to a “pyr”amid. The idea of “fire” expressed through the theorem is thus always alluding to a death and rebirth, hence the association of this theorem to INRI.
Dee suggests that the Great Work is harder to do in this age than before, and seems to refer to the process of physical alchemy: the “soul” separated from the “body” on one level refers to the vapors given off as a substance is purified. But that interpretation alone won’t help us through the next paragraph. “SOUL” in this Theorem has two opposing meanings—the dross that needs to be burned off, and the gate to the inner mysteries.
Dee associates Lucifer, the “Light-bringer,” with Hermes/Mercury, the Microcosm, and the reborn Adam Kadmon. Seamlessly woven in as allusion to the witches Sabbath, [33] and thus perhaps the marriage of Lucifer and Diana, this Theorem suggests that for the INRI transformation to occur, the marriage of the Sun and Moon either transform or become analogous to the marriage of Lucifer/Hermes/Mercury to his sister Diana/Venus/the Moon.
What are we to make of this? How can Venus and the Moon refer to each other? Part of the solution lies outside of Theorems 1-17 of the Monas, in Dee’s idea of the Age of Venus and its Olympic Spirit Anael as Ruler of the Age. [34] If we assume that this was part of the oral teaching concerning precessional astronomy, “Venus” governs the Moon, and indeed the whole Middle Pillar, during the “Age of Venus.”[35]
We can more easily explain how Lucifer/Mercury/Hermes has, by means of this “SOUL,” been tied to the “MOON.” Consider that the “SOUL” (Latin anima) as vapors exuded during physical alchemy makes less sense that the more overtly sexual understanding we might draw from the Old Religion or Greek magical papyri. Soul, or anima, corresponds to ancient Greek psyche, which usually means mind, soul, or spirits of the dead, but in several passages of the magical papyri studied by Hans Betz, Betz concludes it means “the female pudendem; i.e. a synonym for physis,” and where it is translated as “soul,” it is frequently in an erotic context and suggests a double entendre on the other meaning, [36] just as “Fire-Being” in this same Theorem suggests a phallus.
If one is not familiar with Dee’s use of Olympic spirits, one might consider a common modern projection of the Venus glyphs onto the Tree, as a symbol encompassing all ten Sephiroth, representing the “Isis of Nature,” [37] and wonder if there is any connection back to this Theorem of Dee’s. If one sees in this brother-sister marriage an allusion to the legend of Isis and Osiris, one might see the outlines of how INRI stands for Isis Naturae Regina Ineffabalis,” or “Isis the Ineffable Queen of Nature.”
Finally, if returns to the usual reference of INRI, considers the Biblical crucifixion allegorically, and remembers Jesus’s words -- “I am thirsty” -- one might meditate upon two additional ideas: vinegar (as that given to Jesus on the Cross) as a solvent, [38] and needing water as an allegory for needing the Hebrew mother letter mem (water), or its several correspondences.
Dee concludes: “You see how exactly and openly the ANATOMY of our HIEROGLYPHIC MONAD corresponds to the SACRED MYSTERIES signified in both of these theorems (12 and 13).” We suggest that the sacred mysteries are precessional astronomy (in 12) and tantric gnosis (in 13).