The Creation of a Universal System:
 Saint-Yves d’Alveydre and his Archeometer

by Joscelyn Godwin

 

First published as “La Genèse de l’Archéomètre: Documents inédits de Saint-Yves d’Alveydre rassemblés et introduits par Joscelyn Godwin,” L’Initiation, 2 & 4 (1988): 61-71, 153-166. Abbreviated English version published as “The Creation of a Universal System: Saint-Yves d’Alveydre and his Archeometer,” Alexandria, 1 (1991): 229-249. This complete English version produced and edited by Ariel Godwin with the author’s gracious permission. [Publisher’s Note: The various articles referred to in the following document have all been translated and are included in the Sacred Science Translation Society Edition of The Archeometer, making it the most complete and comprehensible version of this important work ever presented.]

 

When one opens a heavy folio volume entitled The Archeometer: Key to All the Religions and All Sciences of Antiquity; Synthetic Reformation of All Contemporary Arts, something tells one that it may not quite live up to its ambitions.[1] Unfortunately the work of Saint-Yves d’Alveydre which bears this resounding title is not even the work of his own hand: it is a collection made by Papus (Gérard Encausse) and other “Friends of Saint-Yves” of some fragments from the universal synthesis that the great esotericist was putting in order when death interrupted him in 1909. Although it would be churlish to underrate the devotion of this group, and particularly that of its leaders, Papus and Dr. Auguste-Edouard Chauvet, it must be said that they were worried, up to the last minute, about the principles and the coherence of their compilation.[2] Thanks to the patronage of Count and Countess Keller, Saint-Yves’ son- and daughter-in-law and his heirs, the elegant edition of L’Archéomètre, with its many illustrations and colored plates, appeared in a form more fit for admiration than for comprehension.

Nevertheless, the serious scholar will know to refer to another explanation of the system, also called L’Archéomètre, published between 1910 and 1912 in twelve numbers of the short-lived review La Gnose: the periodical that also carried the astonishing articles of the 21-year-old René Guénon.[3] The articles on the Archeometer are signed “T,” the pen-name of the journal’s editor, Alexandre Thomas (also known as “Marnes”). They are thought to be based on information furnished by F.-Ch. Barlet (= Albert Faucheux), another friend of Saint-Yves who had evidently parted company from the official “Friends.” Guénon supplied some very erudite notes, mostly on the Hindu tradition.[4] But all in all, one is at a loss to find any indications of the original source of this imposing and ambitious scheme. Should one regard it as traditional doctrine, as independent revelation, as pure fantasy, or as an inextricable mixture of all these?

For Papus, the work of the man he acknowledged as his “intellectual master” went, like much else, without criticism or question. For the dignitaries of the Gnostic Church, it was more of a basis for their own speculations.[5] Guénon never renounced it, no matter how far he traveled from Saint-Yves’ kind of thinking, and he cited Saint-Yves approvingly in Le Roi du Monde—a subject to which I have devoted a specific article.[6] Here we are concerned solely with the enigmatic figure of the Marquis himself, and in the circumstances which led him to construct so profound and so personal a system. There was a time when one might accept some individual’s system as an infallible dogma; but we have seen too many of them! All the same, the Archeometer remains a true summation of the intellectual and esoteric currents of the nineteenth century, just as Saint-Yves himself—more than Papus, Stanislaus de Guaita, or Péladan—is the archetypal “universal man” of the Symbolist (and “decadent”) period. He is the supreme Hermeticist of his epoch.

There is fortunately a third primary source for archeometric studies: Saint-Yves’ own manuscripts, willed by Papus (died 1916) to some public library, and eventually deposited by his son, Dr. Philippe Encausse, in the Sorbonne Library in 1938, as part of the enormous “Papus Bequest” (including several hundred books, many of them from Saint-Yves’ own collection).[7] Our interest here is not in the heap of papers concerning the posthumous edition of L’Archéomètre, but rather in the scruffy school notebooks in which Saint-Yves recorded and worked out his systems, philosophy, schemata, and visions. Sometimes written in a fine, flowery hand, sometimes in a scarcely legible scrawl, these notebooks reveal a part, at least, of the events that preceded the elaboration of the Archeometer as it is found in the printed sources.

The life and work of Saint-Yves have not yet been described adequately in English, which is a pity since he is often mentioned superficially. The reader of French needs only to be referred to Jean Saunier’s indispensable book.[8] We meet him in 1885, aged 43: the author of a mystical book on Life, Death, and the Sexes (Clefs de l’Orient), a huge historical study (Mission des Juifs), and a few other books on politics and poetry. He was living in a fine house near the Etoile with his aristocratic wife Marie-Victoire (born de Riznitch), his senior by fourteen years; dreaming up developments of his theory of ideal government which he called Synarchy; and beginning to study Sanskrit. At this point, the Archeometer did not exist. We will follow its progress through a series of six “revelations”—for that is how they seemed to Saint-Yves, whether given by more or less mysterious Orientals, by the soul of his wife (who died in 1895), or in response to his prayers and meditations. They are:

 

1. The Vattanian Alphabet (1885)

2. The Aum (1885-86)

3. The cosmic correspondences of Vattan (1885-86)

4. The Definition of Life (1896)

5. The table entitled “The Heavens declare” (1897)

6. The Triangle of Jesus (1898)

 

First Revelation: The Vattanian Alphabet

Saint-Yves learned this from Haji Sharif (or “Hardjji Scharipf”), his Sanskrit teacher. Haji came from Bombay and lived in Levallois-Perret, a suburb of Paris. The lessons took place three times a week, beginning on June 8, 1885, and continued with a few interruptions at least until November 12, 1886. Sometimes the Marquise was also present. These lessons, written out very carefully by Haji, are in the Sorbonne Library (MS. Carton 42); they are also interesting for the information they contain on “Agartha,” which I have treated elsewhere.[9]

Already in the first lesson, which Haji entitled “Secret and sacred method of a guru for his Dwija” (twice-born), Vattan was mentioned as “the primitive source of all the languages in the world.” On October 25, 1885, Haji wrote Saint-Yves’ name and title in these characters.[10] As Haji also knew Hebrew (and Arabic), he was evidently the source for the equivalents of the 22 letters of Vattan with those of Hebrew—crucial for the Archeometer—and with part of the Sanskrit alphabet.

As for the sources from which Haji got this Vattanian alphabet, totally unknown to philologists, it is a mystery. Certainly he belonged to some secret Brahmin society, which Saint-Yves chose to imagine as a great university, and in the end as the subterranean realm of Agartha. Could there be some connection with the language and alphabet of “Senzar” that H. P. Blavatsky and other Theosophists were mentioning at almost exactly the same time, but which has never been revealed? For Saint-Yves, according to his interpreters in the Gnose articles, “This [Vattanian] alphabet, which was the original script of the Atlanteans and of the Red Race, whose tradition was transmitted to Egypt and India after the catastrophe in which Atlantis disappeared, is the exact transcription of the astral alphabet [...] The primordial alphabet of the Atlanteans has been preserved in India, and it is through the Brahmins that it has come down to us.”[11] But their presentation of such facts is so much woven in with concepts reminiscent of Fabre d’Olivet that I cannot believe in them as coming from Haji Sharif, any more than the fantasies of the underground world which Saint-Yves wrote as Mission de l’Inde. Table 1 shows this alphabet, with its equivalents.

 

Second Revelation: The Aum

The notebooks contain an essay entitled “On the Aum 1st degree,” and described as the “Secret teaching of the Brahmins, communicated to me by Rishi Bagwandas-Raji-Shrin.”[12] This name may be that of the “other Oriental” to whom several commentators (Barlet, Jean Reyor, etc.) have alluded; but in the text one also finds the suggestive words “Haji says...” The essay, which is extremely complex, elliptical in style, and peppered with Sanskrit, Hebrew, and Vattanian letters, centers on the cosmogonic explanation of the Sanskrit word Aum; it also treats the correspondences of the primary sounds of the human voice with the primary signs of Vattan: a symbolic link of the audible with the visible. For example, the Vattanian A is the masculine principle; the OU, the breath or soul; the M, the neutral, temporal, and terminal principle.

The “revelation” consists in the fact that this alphabet encodes the archetypal realities behind cosmic manifestation, shown through the cosmogonic analysis of the Sanskrit word Aum, with the correspondences of the primordial sounds of the human voice to the primordial letters of Vattan: a symbolic link between eye and ear. A secondary layer, which could open up many linguistic developments, is the correspondence of Sanskrit with Hebrew words. But one cannot be sure how much of that came from the guru, and how much from the pupil, who had already made a thorough study of Hebrew from the work of Fabre d’Olivet.

 

Table 1

 

On the Aum 1st degree

 

The unity in the trinity: masc. fem. neuter m  f.

The  the great breath of God, creative soul and essence the  in the created beings.

and he formed

Wa I BaRa Alahim ath ha Adam: Moses c. 1, v. 27-28.

The Brahmins say Al-LaHIM the Powerful among them, and, mystically, say his two principles which, before Creation were united into a single abode, the Thohou VVa Bohû. Ala great, Alahy habitation. Alâhym the great abode of the ● . The all, the whole, the  of the Veda Aham, the  ● Aum  .

A, masc. principle. 1st chief, scepter, staff, unity, seed, power.

There, breath, soul, existence, secret, marvel, terror.

● Circle, serpent, continuation, measure, time, respiration, expiration, thought, spirit, death, etc.

Trinity of functions: father, mother, husband corresponding to water, air, fire. [41'] Science of the mystic Union.  The primitive tongue Veda has been constituted on the ● . The echo of the ● is , the image and resemblance of ● . Thus, the Infinite , . The analysis of this mystic word in the Vedas is written thus . The human Being cannot exist without being attached to the soul of souls, breath of ● . God is the ● , the mortal is the , nasal respiration; because other than , action and armor, nothing acts but the .

Hashdi-bibyah secret name one finds inlaid in all ancient [illegible] of Vedo-Brahm. antiquity  analysis: [13] Hardji says: the supreme breath always present in the breathed. This, he says, is the mystery of Yôgâ, yogi, yogâm. This is the ihova.

Thus the ● in its origin has been the neuter Principle, neither vowel nor consonant, nor sign, an abstract circular dot in the imagination of the human spirit. [42]

Only when it has become supreme thought, in order to show itself outside of itself, has it made its return into itself to show itself in . Thus  is the Vasdéva, the abode of God, when he was hidden in the his Holy of Holies which is the ž . M’V.  in Vedic elevation exaltation of Being. This is the Sanskrit ,  by euphony and often  through , above, on  male force, and Amoûvi: I am the ● producing the A, the O producing the I.

The Vedic compound  would relate to IHOH, and would signify: The all is breathed or supported by the great breath.

The Kabbalists call the  the Nicod bila SOPh, the point of the Infinite, and the ‚, saman hibor, “sign of the Union” (s masks Sh of Moses, the Prophets, Daniel, Jesus and his Apostles).

[42'] Secret pronunciation of the Kabbalists: IhHOuHa of the initiates IaHh-Va-Ha. in order not to pronounce it, one substitutes IOD Ki for IOD Kyam, eternal Point. Why the point? IOD is enough. In the synagogues, ADONa-I the Lord I. Adûni, my Lord. ADONa-I the Lord of the Iod or the Nicod. According to the Manu Veda  as the Cabbalists secretly pronounce it the day of Kipor, IOM Kipor. Likewise the day of the  : of the complete Aum. The Panditas with the Bratma and the Yogis bear it as a symbol on their foreheads, toques and miters, thus  A, H, M, O, H, I. (Putting I in the place of M: AHIOHI and reversed, 1. IHo-MaHa; 2. IHOHI-A. Moses is written MOShIaH according to the Misra Sastra Veda lect. 100 Sloka 1. The Kabbalists for their part say Shem Moshe Sha Ma ha ShiM: There, in the name of Moses, is the name of God. In writing [43] MOShoH, MOShaH one has IShOH-Ma, Ma-OShi. The rule of Oshi-Ri.

The Nothing.  in Hebr. אר AiN [sic], means exactly what one conceives neither as cause nor as essence. AiN KaDMON – AbVaT the primitive non being would be the Anterior to the universe, Pourvalokam, anterior even to the wisdom Jajnanas on which the world was founded.

Jajnanas indicates the  e.

Moshi, a name that sacerdotally made the Title of Pharaoh given to Moses[14]

MOShI-Hah say the Sastras[15]

BaRAShITh  movement  : Dêvyo Brasthananta gâtis. The movement of the incessant divine march, the Circle of Life.

What is the essence of Wisdom, how, by what mode is it contained in Non-Being (?) (anteriority) in the supreme crown?

To this question the Vedo-Brahm answers ● and O  breath of the ● in the masc. Seed  that breathes it into the fem. Principle .

 

Third Revelation: The Cosmic Correspondences of the Vattanian Alphabet

For his first attempt to align the 22 Vattanian letters with the cosmic archetypes, Saint-Yves naturally referred to the Sephir Yetzirah, where the Hebrew alphabet is divided into groups of 3, 7, and 12 letters, the last two categories corresponding to the seven Chaldean planets and the twelve signs of the zodiac. There remain three “mother letters,” A, M, and Sh (see Table 2, left-hand columns). Saint-Yves wrote this system down in his “Hermetic Notebook,” where the corners of the pages are signed with Haji Sharif’s monogram, denoting the guru’s approval.[16] But the pupil was not satisfied.

From a note in the same notebook, it appears that Saint-Yves was currently—like many others—consulting the History of Magic of “Paul Christian” (actually the historian J.-B. Pitois). In that book there is another system of correspondences for the planets and zodiacal signs. In a context of practical astrology, but without giving any source, Pitois aligns them with the 22 major arcana of the Tarot, which he recognizes as also correlating with the Hebrew alphabet.[17]

Saint-Yves adopted the letter-equivalences of the first twelve planets and signs (see Table 2). But he had only to read the titles that Pitois gives to the arcana to think up a better arrangement from the thirteenth letter onwards.[18] For number 14, the “solar genius,” why not the Sun itself? And the 15th, “Typhon, genius of catastrophes,” fits very well with the symbol of duality, the primordial source of evil. The “crocodile” of Arcanum 0 could be the serpent that devours time, thus Chronos or Saturn. Whatever his reasonings, Saint-Yves arrived, after a few pages, at a new and definitive system which would become that of the Archeometer (see columns 4-7 of Table 2).[19]

The very shapes of the traditional symbols seemed to confirm his choices, as shown in a large leaf, drawn by a professional hand, found among the papers concerning the publication of L’Archéomètre by the Friends of Saint-Yves.[20] This leaf was doubtless intended to take its place in the finished work. It comprises three columns, titled “Vattanian alphabet,” “Derivation,” and “Astral alphabet.” These derivations were presumably arrived at as a speculative exercise by Saint-Yves, perhaps with Haji Sharif’s collaboration.

 

Table 2

 

The reader can judge their validity (see Table 2, columns 6-9), keeping in mind that the derivation goes from right to left; the signs of the zodiac and planets are supposed to have been derived from the primordial letters of Vattan.

Saint-Yves played with these materials for a few months—one cannot say much more than that. He filled about forty pages of his Hermetic notebook with alphabets, herbal recipes, messages in code, all rather more magical than Hermetic in content. In the course of these pages, Haji’s monogram gets more and more cursory, then, in the middle of a section on “Botanical magic,” it disappears entirely. Perhaps one can see in this the process of the guru’s disillusionment to which several commentators have alluded.

 

Fourth Revelation: Marie-Victoire provides a Definition of Life

Marie-Victoire de Riznitch, born 1827, the divorced wife of Count Keller, married Saint-Yves in London in September 1877. Thanks to her, he was able to resign from his job at the Ministry of the Interior, acquire the Italian title of Marquis d’Alveydre, have his books published, and pursue his esoteric researches and his plans for political reform through Synarchy. Their marriage is said to have been very happy, but Marie suffered much from ill health in her last years, and died on June 7, 1895.

Towards the end of 1895, Saint-Yves installed an oratory in his apartment on the ground floor of 9 Rue Colbert, just opposite the Palace of Versailles, and had it consecrated in correct Catholic fashion. On June 6, 1896, the eve of the anniversary of Marie’s death, he had a mass celebrated there, after which he had an ecstatic experience. He described it on a blank page of the Hermetic notebook which he had neglected for nine or ten years.[21] This seems to have been the first reappearance of Marie, who appeared to him again on July 21, 1896 “in a blinding light,” as he told Alfred Erny on August 16.[22] This initiated a new period of researches, which would fill out this notebook and several others. Saint-Yves writes: “My wife demonstrated to me a definition of life, and inspired me to find it in this grouping of the sacred letters.”[23] There follows the Hebrew alphabet with its numerical equivalences, and then a grouping of it into threes and twos:

 

א

ב

ג

ד

ה

ו

ז

ח

ט

1

2

3

4

5

6

7

8

9

י

כ

ל

מ

נ

ס

ע

פ

צ

10

20

30

40

50

60

70

80

90

ק

ר

ש

ת

 

 

 

 

 

100

200

300

400

 

 

 

 

 

111

222

333

444

 

 

 

 

 

איק

בכר

גלש

דמת

הנ

וס

זע

חפ

טצ

1

2

3

4

5

6

7

8

9

 

איק      center of obedient activity

בכר     compression inwards, manifestation spreading outwards

גלש     revolution of the celestial spheres, universal exchange, brewing and mixing of the cosmic substance

דמת     integration and disintegration of bodies, assimilation and de-assimilation of elements, fixation and mobilization of souls, astral identification of beings and migration through the transition of death

הנ        such is life

וס        fruit of the celestial ocean

זע        present agitation in fear of the future

חפ       repose, assured security

טצ       temporary and mobile shelter of mortal man, eternally stable goal of his immortality.

 

The “words” thus obtained make no sense in Hebrew. They appear with quite another meaning in the Oedipus Aegyptiacus of Athanasius Kircher as “names of God” in the “Saracenic,” namely, Arabic, Kabbalah.[24] Without a doubt, Saint-Yves consulted La Langue Hébraïque Restituée (The Hebrew Tongue Restored) of Fabre d’Olivet, which includes a “Radical Vocabulary” of all the possible combinations of two letters, and many of three. Fabre d’Olivet’s interpretations are taken virtually word for word by Saint-Yves, except in the case of the sixth root, where the earlier writer understands a whispering in the ear, even a temptation of the devil, that would not fit very well in the present case; and in the last word, which Fabre d’Olivet says is not used in Hebrew or Arabic.

For Saint-Yves, this grouping confirmed his cosmogony, the first three words corresponding closely to the hypostases symbolized by his three “foundation letters” Aleph, Shin, Thau. And of course, Marie’s visitation was the experiential proof of life beyond death. It inspired him to write a poem, “Let the Peace of Jesus, King of Heaven, be on Us.” Then he started an essay called “Life after Death.” But he stopped after having written only a few words on the parts of the human being according to the Egyptians. The next page of his notebook carries a new revelation.

 

Fifth Revelation: Marie-Victoire helps in the composition of the table, “The Heavens declare.”

This is the most important revelation of all (see Table 3). It confirms Saint-Yves’ original arrangement of the cosmic elements (planets and signs of the zodiac) with the Hebrew alphabet, as arrived at in the Third Revelation. The confirmation consists in the numbers which result from adding up those of the signs, in two groups of six, and the planets. Saint-Yves uses kabbalistic means to reduce these numbers and to find in them archetypal words. For example, the sum of the twelve signs of the zodiac, 565, becomes 5, 6, 5, corresponding to the letters He, Vau, He. These make the name of Eve, and with the addition of Yod, that of Yahweh. The sum of the seven planets’ numbers, 469, gives the Sanskrit word De-va-ta, or “God.”

Finally, by a procedure that some would class as mere juggling, Saint-Yves succeeds in extracting the name of Jesus (Ye, Sh, V): a discovery which moved him profoundly, as he relates in the long commentary below, to which I have applied the title “The Word.”[25]

The emphasis of this revelation of the Word which created all things in six days is the key not only to the integration of colors and tones into the Archeometer, but also to the philosophy behind it: a philosophy that is at once religious, moral, and historical. Anticipated in Saint-Yves’ Missions and sketched out in this unfinished commentary, it finds its fullest expression in the essay “La Sagesse vraie” which prefaces L’Archéomètre.

 

Table 3

 

Saint-Yves drew the table which he entitled “Coeli enarrant” (The heavens declare) twice in his Hermetic notebook.[26] He followed the first version with a Sanskrit alphabet, ecstatic exclamations such as “Glory! Glorify him! Sing, whirl!,” and an equally ecstatic poem, “Glory! Glorify IEVE, Angels and Gods!” Then he constructed a circle of the zodiac and its Vattanian letters on which he tried to distribute the musical tones—seven diatonic and twelve chromatic—and the seven colors of the rainbow. But he was not yet contented with the result.

The second version of the table bears the rubric: “Made with my Angel, Easter Sunday 1897.” What was new here were the numbers and letters beneath the table, in which, as Saint-Yves described in his commentary, he saw emerging the sacred name of the Word. The discovery of the name of Jesus encoded, as it were, in the heavens themselves confirmed the words of the Psalmist: “The heavens declare the glory of God, and the firmament shows his handiwork” (Ps. 19.1). It gave him the impulse to write the extraordinary commentary in which one can see Saint-Yves in his philosophic workshop, both oratory and laboratory, writing at top speed with the red ink that he reserved for his most important (though also most illegible) notes. Without any care for literary style, the author’s mind ranges around his discovery in ever-widening circles. After explaining the kabbalistic derivations, he throws himself into history—the polemical history that he had published in Mission des Juifs—with the added dimension of the “Brahmin universities” unveiled in Mission de l’Inde.[27]

This version of history is marked by Saint-Yves’ disapproval of the way the Jews abnegated the principles given them by Moses, and by his hatred of the Romans. These two peoples he reckoned enemies of the ancient Synarchy propagated by Moses and known to previous civilizations, whose key and essential symbols he believed himself to have rediscovered.

The commentary then addresses music. No subject gave Saint-Yves more trouble than speculative music: over the succeeding years he filled hundreds of pages with notes, mostly on the problems of finding a tuning of the scale that would agree with the sacred numbers. The culmination of this quest is the musical “ruler” in L’Archéomètre (page 263) for which he even took out a patent, intending it to be used by artists, designers, and architects to make their work properly archeometric. It bears all the diatonic, chromatic, and enharmonic tones, assigned their tuning-numbers within the framework of the apocalyptic number 144,000, which may actually have been the result of a further (seventh) revelation—the last of which I have found any mention—on November 1, 1901.[28] But at this point, in 1897, Saint-Yves was limited to making the planets correspond with the tones of the diatonic scale. He took as his basis the same system as Fabre d’Olivet had used, generally attributed to the Egyptians on the authority of Dio Cassius:

 

Moon = A, Mercury = G, Venus = F, Sun = E, Mars = D, Jupiter = C, Saturn = B.

 

In the notes following the essay “The Word,” Saint-Yves took the crucial decision that was the natural reflection of the Six Days’ creation: he substituted the hexad for the heptad. In returning to his work on the correspondences of tones and colors with the zodiacal circle, he worked henceforth with six, instead of with seven. He abandoned the rainbow, to which Newton had attributed seven colors, for the six primary and secondary colors of the painters. For the same reason, he extracted the tone E of the Sun from the scale and replaced it at the center of his Archeometer, leaving twice six tones on the circle.[29] Always practical, Saint-Yves tested them on his Bechstein piano and his harmonium, and, as one discovers in another series of notes, constructed colored circles which he spun on a top, while assimilating these experiments to reflections on the sexual act: a fine example of the universality of his thought.[30]

Now the majority of elements of the Archeometer were assembled, without yet being united in a single diagram. They were the following:

 

1. The zodiacal circle

2. The planets, placed according to their rulerships

3. The twelve Hebrew/Vattanian letters corresponding to the signs of the zodiac

4. The seven letters corresponding to the planets

5. The numbers corresponding to these nineteen letters

6. The six or seven tones, A, G, F, (E), D, C, B

7. The six colors arranged in a six-pointed star.

 

The Word

 

I am the ברא-שית said JeShV, as he also said I am the א and the ת.

This affirmation of the Word incarnate cannot not be uttered by the creative word, divine, angelic, cosmogenic, and cosmological, absolute basis of the Word and the life in us men and in everything.

The sum of the Elohim of the middle column opposite, the total of the numbers of their living letters, of their spheres, organic and biogenic, both in the fluid-heavens and in their astral-heaven, has given us 469, or in Vattanian, Vedic, and Sanskrit letters,  4 + 6 + 9 de Va ta, God, Divinity. The addition of the three letters and numbers 4, 6, 9 gives us 19, the 19 letters of the three columns opposite or of the ברא-שית of the creative Word speaking through his creation.

The sum of the two zodiacal columns has given us 565 , הוה, absolute Life.

The Universe therefore tells us in its living Word: Divinity is absolute Life. But to utter the whole NAME, the 19 unite 1 + 9 into 10, on the central column, which contracts them into itself alone [163'] and the DVT, deVata 469 = 19 has its absolute union in its God in 10, that is to say in  or י. It is now that the creative Word pronounces, through all the Angels, all the fluid-heavens, all the astral heaven divinely biologized, the sanctification of the NAME, the perfect accomplishment of his work, that of the six divine illuminations, of the six supreme and primordial geneses, in which nothing can die, in which everything lives again eternally because everything is constituted in God Life Eternal. And it is only on the 7th day that the Name is and can be uttered and sanctified by the universal Life united to its unity. Unity, absolute, indissoluble Life, manifested by the Word in Universality, infinite Life, enjoys all of its Gift of divine Love, given, received, and returned in the Adoration; and in this absolute, infinite, eternal union, Being and Life, Husband and Wife are a single God יהוה.

Here is what the absolute Word has just proven to us through all its genesic letters through all their numbers, through all their Angels, through all their fluid heavens, through all the astral heaven, vivified and organized.

[164] It is therefore not IêVê who is the ברא-שית at least in a direct manner, because the NAME is only uttered on the 7th day.

The 6 preceding illuminations are the work of the 6 ALOHIM of the central column who form it themselves: six on the right, six on the left in the Zodiac of the Gods of which that of the Heavens is only the Shadow.

But a Power, the organic Power, the creative Word, the ברא of the 6, has itself created all the אלוהימ and through the Gods all the Angels Aleph-Thau, living Alphabet of the fluid-heavens and Aleph-Thau of the astral heaven, that is to say organic Powers, instrumentally organizing functionalities of this same biogenic Word incarnate in the universe. The Elohim therefore have a Master, a King of the Gods; and this King is not directly יהוה: it is his Son engendered from his unity, בריא, from all Eternity, before the heavens, before the Gods.

It is therefore to the Son, to the Word Himself, that we say his Name in his absolute Speech.

Let us examine the middle column. Its dé, Va, ta, 4, 6, 9, then its Ya, Ta, 10, 9, [164'] all return by summation to the number 10, to the letter Y. Therefore I is the first letter of the King of the Gods, of the son of יהוה who will only pronounce the Name of the Father after having totally manifested and through all this living manifestation. By this letter he is one with the Father, consubstantial, co-essential.

The 2nd letter is at the base of the middle column of the 6. Its Angel has two faces, the one to the rear in the anterior Eternity of life, the other forward. Its letter is Shin, its star is Saturn, its zodiacal heaven by right is Capricorn. For there are not two absolute words but a single one, and that of the Stars relates that of the Heaven of Glory.

All the patriarchal universities have called Capricorn the Gate of the Gods. It is through this Gate that at the northern solstice Mother Night is the Mother of the Savior, and the King of Glory opens the cosmic year.

It is thus in the astral world, because it is thus in the divine world. The name of the creative Word is therefore IS, pronounced IêSh in Hebrew. And since he is the lord of the 6 and, through them, of the universe, there must be added to his name the letter of the number [165] 6 and this divine Name before which everything bows, from heaven down into Hell, heaven itself shows us this and utters it to us in the absolute Speech ישו IeShV, in numbers 10, 300, 6 and by summation 10, namely again the letter י, consubstantiality, co-essence with the Father, which must be confirmed thus, both in front and behind, in Living Eternity.

יש in the Hebrew of Moses signifies the divine Man, the Hero of the Spirits ישו, the savior, therefore the King.

Anterior to Moses and his sacerdotal Hebrew, in the triple patriarchal anteriority, in Sanskrit, in Vedic, in Vattan, I Sh V  signifies the lord of the Spirits, the King, the Master of the spiritual or angelic world, its sun. In Egyptian I Sh V has the same meaning.

The ancient Noachide and pre-Noachide or Adamic patriarchal university had read this Name in the absolute Speech of the Angels and the heavens as we have just read it, and they worshiped it as I worship It.

Read in Egyptian style, from right to left, this name is found in O-Sh I-RIS, and inversely SIV I Sh V the lord InShV. Read from left to right, in Sanskrit it is IShU-Ra  Ra, Light, Fire, Motion or [165'] motive cause, divine desire, prayer.

 râ archetypal Gift, sacrifice to heal and save and redeem.

 riah glory and glorification by Gift and sacrifice.

The ancient word I.Sh.Va Ra, the lord of Glory, has passed from the ancient Church whose sacred language was Vattan, to the Noachide or Manavic Church in Vedic, then into Sanskrit, then from the Ramids of India and Egypt to the Abramids of Chaldea. Moses, who knew all this through the ancient brotherhood of the metropolitan patriarchal universities, made this name into the hierogrammatic standard of the Egyptian pariah people which he had established only in order to carry these sacred relics. “Wild ass of the desert,” as its terrible master called it, this people, cobbled together by Moshe, receives from him the name of the King of Glory, the celestial Messiah: ISh-ra; and i