AN ELEMENTARY ANALYSIS OF

BATHYLLIC -
THE LANGUAGE OF THE SAPPHO-CALYPSO ANGEL
IN
LIBER XXX AERUM VEL SECULI SUB FIGURA CDXVIII
THE VISION AND THE VOICE -2ND AETHER

By Fr. LVX/NOX
© 1996
July 1996 e.v.
1500 words

PART I. THE BATHYLLIC TEXTS IN PARALLEL

A. First Song from the 2nd Aether

Crowley's translation
OMARI (I am) the harlot
TESSALA (that) shaketh
MARAX, Death,
TESSALA (this) shaking
DODI giving
PHORNEPAX. The Peace of Satiate Lust.
AMRI There jetteth
RADARA Immortality
POLIAX (From my) skull
AMARNA (And) music
PILIU. (From my) vulva.
AMRI There jetteth
RADARA Immortality
PILIU (From my) vulva
SON; Also.
MARI (For my) whoredom
NARYA (is a) sweet scent
BARBITON (like a ) seven-stringed instrument
MADARA played (unto)
ANAPHAX God the Invisible
SARPEDON the all-ruler
ANDALA that goeth along (giving)
HRILIU the shrill scream of orgasm. [also >The Voice of the Dove=attributed
To Netzach=]

b. BRIEF PASSAGE IN BATHYLLIC

Crowley's translation
AN NOW (IT)
OLVAH GLIDES
NU (INTO THE) HEAVEN
ARENU HOME,
OLVAH. GLIDES.
DIRAESEU SEDUCINGLY [note the Sappho connection]
ADIKA THE MENTRILA [definition?]
VA OF
PARETANU THE BEGOTTEN ONE
POLIAX OF THE HOLY HEAD
POLIAX OR SKULL
IN TAKES
VAH HOLD
RAH (OF THE) SOFT TISSUES
AHUM SUBTLY
SUBRE PLYING
FIFAL. (ITS) SHUTTLE
LERTHEXENAX. LIGHT FOLLOWS THE EXPLOSION.
MAMA THE SOFT
RA-LA TISSUES
HUM CLEAVING (TO)
FIFALA SHUTTLE
MAHA. PUMP OUT EVERY DROP OF WATER FROM THE WELL.
[appears to be a technical term not easily translated to English]

Note: this passage evidently refers to a high mystical process but full explication would have to be
undertaken in reference to the entire experience of the 2nd Aethyr, which is beyond the scope of this
current study.

c. 2ND SONG OF THE 2ND AETHYR

Part I Crowley's translation

MU SILENCE
PA THE MOON
TELAI CEASETH (HER MOTION)
TU THAT
WA ALSO
MELAI (WAS) SWEET
A,A,A. IN THE AIR, IN THE AIR, IN THE AIR

TU WHO
FU WILL
TULU SHALL ATTAIN
TU WHO
FU WILL
TULU SHALL ATTAIN
PA (BY) THE MOON
SA (&) BY MYSELF
GA (&) BY THE ANGEL OF THE LORD.

Part II
QWI NOW
MU SILENCE
TELAI CEASETH
YA AND
PA THE MOON
MELAI (WAXETH) SWEET
U,U,U (IN THE HOUR) OF INITIATION (etc)
>SE THE KISS
GU (OF) ISIS
MELAI (IS) HONEYED
PE MY OWN
FU WILL
TELAI IS ENDED
FU (FOR) WILL
TU HAS
LU ATTAINED

Part III
O BEHOLD
CHI THE LION-CHILD
BALAE SWIMMETH (IN THE HEAVEN)
WA AND
PA THE MOON
MALAE REELETH.
UT! UT! UT! (IT IS) THOU! (IT IS) THOU! (IT IS) THOU!
GE; TRIUMPH;
FU THE WILL
LATRAI STEALETH AWAY (LIKE A THIEF)
LE THE
FU STRONG WILL
MALAI (THAT) STAGGERED
KUT! (BEFORE) RA-HOOR-KHUIT!
HUT! HADIT!
NUT! NUIT!

Part IV
AL TO THE GOD
OAI OAI [note: reversal of formula of IAO implies roughly the general mystical
As opposed to the general magical process - Crowley's note]
REL BE
MOAI PRAISE
TI! TI! TI! IN THE END & THE BEGINNING! (Etc)
WA AND
LA MAY NONE
PELAI FALL
TU WHO
FU WILL
LATAI ATTAIN
WI THE SWORD
NI THE BALANCES
BI THE CROWN

Note: The 2nd Song as above is incorporated wholesale into LIBER LXVI (STELLAE RUBAE) where it
is designated as "the infernal adorations of OAI". In that context OAI appears to represent the Averse
(as opposed to the Right), rather than the Mystical vs the Magical.

PART 2. COMMENTARY

Sappho-Calypso.
Calypso was a figure (in the astral plane?) in Homer's Odyssey, in the episode involving the Sirens.
Crowley's comment in VISION AND THE VOICE indicates he takes Sappho and Calypso to represent
all such seductive and deadly things, and since this is part of the nature of BABALON (the magician's
marriage with whom is the subject of ARN, the 2nd Aethyr), the Angel of this Aethyr takes a similarly
seductive form. Crowley remarks of the song that "once one has heard it he is lost".

Bathyllic and Enochian

Bathyllic is an angelic language that occurs only in the 2nd Aethyr of the 30 Aethyrs traversed by
Crowley. The existing passages in the language appear to consist of two songs plus one other brief
passage of speech.

Crowley in his note says the language he recorded is "commonly referred to" as Bathyllic but I cannot
locate a reference to this language either in his BK 4, CONFESSIONS, or a general occult dictionary.
The Shorter Oxford provides no clue to the word stem "bathy".(?)

No record exists of any Bathyllic (non-English) alphabet - Crowley transcribed his vision directly from
the language he heard into English letters. His exploration of the Aethyrs however was based on (and
expanded on) those of Dee and Kelly, and some connection between the language spoken by the 2nd
Aethyr Angel and Enochian seems likely. In particular the -ax suffix of some words recalls Enochian.
Further research is required to elucidate any similarities or overlaps which may exist.

No indication of Bathyllic pronunciation is given in Crowley's text and this may be also a matter for
experimentation and possibly comparison with Enochian and/or the Barbarous Names of Evocation.
Bathyllic Grammar

The suffix - ax seems to denote nouns, e.g. Anaphax, marax, phornepax, poliax - but not all nouns are
so denoted, e.g. piliu, omari.

Note that Whoredom is Mari and Harlot is Omari. The >O= prefix may possibly denote a specific
relating to general concept of the word without the prefix.

Generally connectives (a, the, of, in, etc), though some correlates to these words exist, appear to be
used infrequently in Bathyllic. This constitutes a similarity with Enochian (though the same could be
said of many languages including Coptic etc)

An ending in >a= appears to denote some verbs, e.v Andala, Madara, Tessala, but some nouns end
with >a= as well - Amara, Narya, Radara.

The high preponderance of short 2- and 3-letter words in the second song is curious and may indicate
a more >poetic= or >condensed= form of Bathyllic than that found in the 1st Song. However, this is
speculative.

Arranger's Notes

Crowley provides complete translations of each Bathyllic passage, in English, but not word-for-word.
This was attempted by the present writer in order to create the Bathyllic dictionary.

In the analysis of the First Song we were helped considerably by the fact that some words appear
twice in this short passage. From the repetition of Tessala, the phrase Amri Radara, and Piliu it was
easy to deduce that these represented Shaking, (there) Jetteth Immortality, and Vulva respectively.
The similarity of Mari and Omari and their cognate meanings further solved the equation. Phornepax
suggested itself as a portmanteau construction - the suffix "pax" is also peace in Latin, and "Phorne"
suggests the Latin fornix, fornicatio - to fornicate, which carries the idea of Satiate Lust. Hriliu was
already known to mean "the shrill scream of orgasm" from its context in the Gnostic Mass. With these
words identified, it was a comparatively simple matter to fill in the gaps.

Analysis of the passage and the Second Song proceeded along similar lines. Herewith we present the
first known comprehensive compilation of Bathyllic words with their English equivalents, which may
form the basis for further experiments with Bathyllic vocabulary in relation to 2nd-Aethyr explorations.

In the second song there are some inconsistencies. It seems strange that there are three different
words for attain -LATAI, LU and TULU - and this may be due either to defective analysis of the text, or
to partial ignorance of Bathyllic grammatical construction.

PART 3. BATHYLLIC-ENGLISH DICTIONARY

A IN THE AIR
ADALA GOETH [note: probably refers to "going" as the Active power]
ADIKA MENTRILA
AHUM SUBTLY
AL (TO THE) GOD [obvious correlations to CCXX]
AMARNA MUSIC
AMRI JETTETH
AN NOW
ANAPHAX GOD THE INVISIBLE
ARENU HOME
BALAE SWIMMETH (IN THE HEAVEN)
BARBITON SEVEN-STRINGED INSTRUMENT; [possibly denotes the
subtle body]
BI CROWN [as in Kether]
CHI LION-CHILD
DIRAESEU SEDUCINGLY
DODI GIVING
FIFAL SHUTTLE
FIFALA SHUTTLE
FU (STRONG) WILL; WILL (as subjunctive)
GA THE ANGEL OF THE LORD
GE TRIUMPH
GU ISIS
HRILIU THE SHRILL SCREAM OF ORGASM
HUM CLEAVING
HUT HADIT
IN TAKES
KUT RA-HOOR-KHUIT
LA (MAY) NONE [obvious correlation to NOT of CCXX]
LATAI ATTAIN
LATRAE STEALETH AWAY (LIKE A THIEF)
LE THE
LERTHEXENAX LIGHT FOLLOWS THE EXPLOSION
LU ATTAINED
MADARA PLAYED
MAHA PUMP OUT EVERY DROP OF WATER FROM THE WELL
MALAE REELETH
MALAI STAGGERED
MAMA SOFT
MARAX DEATH
MARI WHOREDOM
MELAI SWEET, HONEYED
MOAI PRAISE
NARYA SWEET SCENT
NI BALANCES [ie Scales, as in Libra]
NUT NUIT
O BEHOLD
MU SILENCE
NU HEAVEN
OLVAH GLIDES
OMARI HARLOT
PA THE MOON
PARETANU THE BEGOTTEN ONE
PE MY OWN
PELAI FALL
PHORNEPAX THE PEACE OF SATIATE LUST.
PILIU VULVA
POLIAX SKULL, HOLY HEAD
QWI NOW
RADARA IMMORTALITY
RAH SOFT TISSUES (see also MAMA and RA-LA)
RA-LA TISSUES
REL BE
SA MYSELF
>SE KISS
SARPEDON (GOD) THE ALL-RULER
SON ALSO
SUBRE PLYING
TELAI CEASETH (HER MOTION), ENDED
TESSALA SHAKETH, SHAKING
TI IN THE END & THE BEGINNING
TU THAT, WHO, HAS
TULU ATTAIN
U (IN THE HOUR OF) INITIATION
UT! (IT IS) THOU!
VA OF
VAH HOLD
WA ALSO, AND
WI SWORD
YA AND