Monas Theorem XII and Commentary
- Monas Theorem XII
(graphics-- better to read at the above site or better yet get
The very ancient wise men and Magi have transmitted to us five
hieroglyphical signs of the planets, all of which are composed out of
the signs used for the Moon and the Sun, together with the sign of
the Elements and the hieroglyphical sign of Aries, the Ram, which
will become apparent to those who examine these figures:
Each one of these signs will not be difficult to explain according to
the hieroglyphical manner in view of our fundamental principles,
already posited. To begin with, we will speak in paraphrases of those
which possess the characteristics of the Moon: following that, of
those which possess a solar character. When our lunar nature, by the
science of the Elements, had accomplished the first revolution round
our Earth, then it was called, mystically, Saturn.
Afterwards, at the following revolution, it was named Jupiter, and
holds a very secret figure. Then the Moon, developed by yet a third
journey, was represented very obscurely again by this figure which it
was their custom to call Mercury . You see how this is Lunar. That it
must be conducted through a fourth revolution will not be contrary to
our most secret design, whatever certain sages may say. In this
manner the pure magical spirit, by its spiritual virtue, will perform
the work of the albification at the place of the Moon; to us alone
and as it were in the middle of a natural day he will speak
hieroglyphically without words, introducing and imprinting these four
geogonic figures in the pure Earth very simply prepared by us: this
last figure being in the middle of all the others.
Monas Theorem XII Commentary
from Hamilton-Jones 60-61
"In the table given in this place [see above web-site] our author has
used different portions of his Monadic figure as signs for the
planets. These are quite easy to follow. How is interesting to
compare the table contained in "The Clavis," by Jacob Boehme, for
Jacob also uses this selfsame Monad.
"We must now refer to the process, if we would understand what is
meant by the Lunar Nature.
"The first day is given up to Heaven and Earth, and the division of
the light from the darkness. At the end of this revolution the Earth
was mystically called Saturn, whose colour is black according to our
understanding. Jupiter follows and places a Rainbow in the sky. This
is succeeded by Mercury, whose sign at this stage is a Crescent Moon
supported upon a Cross. The colour belonging to this period must be
darkish, because the Luminaries did not appear until the fourth
revolution; and note, that the Moon was made before the Sun.
Obviously, therefore, the silvery colour here referred to by Dee as
the albification is the Moon.
"Now look at the diagram shown at the end of this Theorem XII. We
find the fifth or last figure is, in effect, a combination of the
preceding four. It is for this reason that he tells us that the last
figure is in the middle of all the others."
- --- In AlchemistRoyalAdvisorDrJohnDee@yahoogroups.com, "Terri Burns"
> Monas Theorem XII CommentaryI've uploaded a .pdf of the table from the Clavis to the files
> from Hamilton-Jones 60-61
>How is interesting to
> compare the table contained in "The Clavis," by Jacob Boehme, for
> Jacob also uses this selfsame Monad.
section, as Boehme clavis.pdf.
More on the Clavis, or Key, of Boehme:
The `Key' of Jacob Boehme
Translated by William Law
With an Introduction by Adam McLean
"The Clavis or `Key' of Jacob Boehme, the seventeenth-century German
theosopher, is a condensed version of the principal points of his
"Boehme, an unschooled shoemaker, experienced while young an intense
vision of the spiritual world a vision of the origin of the
universe, the struggle of polarities in creation, and the role of
Sophia or Divine Wisdom in the world. This vision inspired his
writings and left him with a deep sense of the spiritual all his
life. In trying to find a language to communicate his mystical
perceptions, he turned to alchemical ideas and Hermetic imagery.
"The main period of his writings, 16121624, coincided with the
Rosicrucian publications, and while no definite historical link can
be established, Boehme certainly worked within the spirit of the
"The Clavis or `Key' to his writings is taken from William Law's
translation of his complete works, and includes Law's "Illustration
of the Deep Principles of Jacob Behmen," which features thirteen
emblematic figures designed by Dionysius Freher. This beautiful,
unfolding sequence of thirteen engravings provides a symbolic picture
of Boehme's teachings about Creation, while the `Key' as a whole
reveals Boehme's profound spiritual philosophy."