Liber Liberi vel Lapidis Lazuli Adumbratio Kabbalae Aegyptiorum sub figurâ VII

WEH NOTE: Two rows of symbols are part of the text here. Most are too complex to adequately describe or represent:

1st line, left to right: An antique Hebrew Letter Taw as a slanted to fight equal arm cross with two curved lines crossing the horizontal bar and opening out toward the sides. A figure like a capital “J” with three cross bars, one at top. A figure like the letter “H” with the ends of the verticals dashing off to the right almost horizontally, a small spike upward and parallel from the bottom of the left upright, the crossbar extending and trailing upward to the right, two small vertical dashes above the extended crossbar and a slanted 3×3 square grid canted below the extended crossbar. Below, two slanted parallel lines slightly inclined upward to the right and a dot beneath; above an open canted 3×3 grid with two dots at the lower corner points and a sort of jot from the center top downward to the middle right. A four-part figure with an “E” shape pointing down on the bottom left, an “E” shape in center, a “t” shape at upper left to left center and a near vertical line with barbels issuing to the right, all on the right side. A looping doodle vaguely suggestive of a mouse on a line with a jot like a fly below. An “E” shape with barbels hanging down from the horizontals and a sort of two-tanged fork stuck between from the right. A figure reminiscent of several antique Hebrew letters in the form of a vertical trident with wedges blunting the ends of the lines. This figure is like a vertical four-tanged fork with two crossbars; the upper six line ends terminate in small circles and the lower three are blunted by wedges. The last figure on this line is composite, with a sort of “3” shape partly filled by vertical and horizontal lines and a knob topped vertical line to the left, having barbels issuing toward the left on one side.

2nd line, left to right: A complex scroll ending at bottom with an arrow head, the continuous line forming the words “Fuck the word” in the center. An open 3×3 grid with the lines to the left missing past the left vertical. A cuneiform character with a large stroke to the left and three small upward slanting strokes to the right, off the large stroke. A character signifying “name of name(s) in the form of two upright rectangular grids below a vertical line and a dot below the grids. A whorl flattened at an angle toward the right with the numeral “8” grazing the flat. An Egyptian hieroglyphic for “Bat” in the form of an erect phallus with testes and a “Th”.

In reading this text, consider the following two points:

1. The pattern of alternating imagery follows Crowley's formulas, notably IAO and FIAOF. These images at first build generally in the IAO sequence and break up half way through. They are quickly replaced by succeeding images in the same pattern, and some few reach climax at the final “O” of “IAO”. A very few manifest the full FIAOF sequence, even in the early chapters. Success is more frequent in the later chapters. The images themselves are taken from literature, including, in lines 11-18, the Satyricon, from Tarot, from myth, personal experiences and Crowley's own fantasies.

2. These images progress from chapter to chapter as a sort of recapitulation of Crowley's thought. Thus, the demonic imagery from the early chapters reflects Crowley's youthful rebellion against his Christian upbringing. This is mingled with sexual symbolism which increases and reevaluates in the same sequence as his thought developed from first going off to school through the pivotal experience itself. Serious students may wish to analyze this text with the aid of Crowley's “Confessions”, the autobiographical segments of “The Gospel According to St. Bernard Shaw”, “Liber 118” and “Liber CXI” — more or less in that order of utility.

— Bill Heidrick