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THE TREE OF LIFE
expanses of space. The Point, metaphysical and spiritual, which
appears in strict accordance with cyclic law, was represented by a
dash or a line extending from top to bottom of the circle, an upright
figure One. The number itself then came to indicate the process of
the germination of the worlds. Each number by virtue of the
evolutionary process to which it originally applied, accordingly
stood for the process itself. We have in consequence the rationale
of the geometrical figures and sigilla: and symbols employed in
magical ceremonies. As the philosophy of the Qabalah is unfolded,
the reader will see what are the fundamental implications at the
root of the signs and symbols which Theurgy uses. And it will be
clearly perceived that no longer are they arbitrary signs of dubious
connotation, but stern realities invested with an august truth. I
must beg of the student, however, to bear patiently with me for a
while in this and subsequent chapters, since I am dealing with a
highly complex and difficult subject. No matter how fine a simplification
is provided for general study, always must it call for close
attention and much application.
First of all, the philosophy of the Qabalah is a philosophy of
evolution. The universe, with all its planets and worlds and
independent beings, was conceived to be the emanation from a
primeval substance-principle which some have called God, the
Absolute, the Infinite, the All, and so forth. In the Qabalah, this
principle which is the One Reality is named Ain Soph, the Infinite.
The Sepher IzaZohar, the most important perhaps of all Qabalistic
texts, conceives it to be unchangeable, unknowable to the mind,
illimitable, unmanifest and absolute. Beyond all intellectual comprehension
in Itself, inasmuch as it could never be grasped by a
mentality which is but a segment of its all-inclusiveness, It is stated
to be Ain-h'othing. Since it does surpass all finite understanding,
immutable and boundless as its exDanses are to the human mind
whose most profound speculation could not approach to the faintest
adumbration of what It is in Itself, it must ever remain a mysterious
emptiness-No-thing. In this connection, the graphic conception
of the early ~ ~ ~ ~ tis ivery a nforceful s as well as picturesque. The
Sky, or Space anterior to all manifestation, was conceived as the
naked body of the goddess Xuit, the queen of infinite space, and
, from her breasts the milk of the Stars, the primordial waters of
substance, were portrayed as issuing forth.
All that can be said with truth of this Absolute and Supreme