In the timeline of Crowley’s autobiography, this section pertains to the period associated with his writing of The Book of the Law, which he claims was channeled from a preternatural intelligence called Aiwass.
It may be said that nevertheless there may have been someone somewhere in the world who possessed the necessary qualities. This again is rebutted by the fact that some of the allusions are to facts known to me alone. We are forced to conclude that the author of The Book of the Law is an intelligence both alien and superior to myself, yet acquainted with my inmost secrets; and, most important point of all, that this intelligence is discarnate.
Crowley believed that the Book would usher in the next phase of human spiritual evolution, which he calls the Aeon of Horus.
Through the reception of the Book, Crowley proclaimed the arrival of a new stage in the spiritual evolution of humanity, to be known as the “Æon of Horus”. The primary precept of this new aeon is the charge to “Do what thou wilt”.
Crowley spends very little time discussing The Book of the Law in this section of his autobiography, and instead returns to telling stories of his travels. Further on in the section, Crowley lets the reader know that the stories are symbolic, representing the Mystic Path, citing as an example his other works which symbolize aspects of the mystical journey.
This conversation led to my endeavouring to put a certain vividness of phraseology into my poetry. ‘The Eyes of Pharaoh’ was my first attempt to give vivid and immediate images. I chose my similes so as to strengthen the main theme. Later in the month, at Mandalay, I wrote approximately half of ‘Sir Palamede the Saracen’. The idea of this book was to give an account of the Mystic Path in a series of episodes, and each episode was to constitute a definite arrangement of colour and form. Thus, Section I shows the blue and yellow of the sea and sand, a knight in silver armour riding along their junction to a point where an albatross circles around a mutilated corpse.
He immediately follows his clue with a story that appears to symbolically represent a mystical experience.
On November 15th we started up the Irrawaddy by the steamship Java and reached Mandalay on the twenty-first. I spent my days and nights leaning over the rail, watching the wavelets of the great river and the flying-fish. I became insane. There I was, lean, stern, brown and immobile; and there was a set of disconnected phenomena, each with a sufficient reason in itself, and the whole of them uniting to produce another phenomenon; but there was no connection between one set of reasons and the other. Each wavelet was caused by certain physical conditions and the effect of the total was to slow down the revolution of the earth. But neither the so-called transitory, nor the so-called permanent, phenomenon was ultimately intelligible. Further, what I called ‘I’ was simply a machine which recorded the impact of various phenomena.
In this passage, I interpret the rail as symbolizing the threshold between ordinary consciousness and heightened awareness, or an altered state of consciousness. In order to successfully engage in magick and mysticism, one must shift states of awareness and then gaze into the abyss, where thoughts and energy pulsate in waves. When one is in this state, the practitioner is “insane,” for all intents and purposes. He is no longer grounded in this plane of reality. In this altered state, Crowley realizes that his ego, or normal consciousness, is separated from the stream of divine power, and that his “normal state of consciousness” is nothing more than a machine that records the effects of stimuli, but does nothing to create conscious change through the use of the will.
I will provide one more example from this section to demonstrate Crowley’s use of allegory. In the following paragraph, Crowley is using the metaphor of exploration to represent his spiritual quest and search for occult power. He cites examples of others who have pushed the boundaries by exploring forbidden paths and going against the established paradigm, and how they are all met with resistance, hatred, and violence.
I thought this story extraordinarily typical of human thought in general. Everyone admits that we have reached the summit of wisdom, scaled the loftiest pinnacles of morality, put the crown of perfection upon the cranium of progress, and everyone knows perfectly well how this remarkable result has been achieved. But at the first hint that anyone proposes to take a step farther on this road, he is universally set down as a lunatic of the most dangerous type. However, the most savage Lolos are content with that diagnosis, whereas the most enlightened English add that the pioneer is not only a lunatic but a pervert, degenerate, anarchist and the rest of it – whatever terms of abuse chance to be in fashion. The abolition of slavery, humane treatment of the insane, the restriction of the death penalty to serious offences, and of indiscriminate flogging, the admission of Jews, Catholics, Dissenters and women as citizens, the introduction of the use of chloroform and antiseptics, the application of steam to travel, and of mechanical principles to such arts as spinning and printing, the systematic study of nature, the extension of the term poetry to metres other than the heroic, the recognition of painting other than voluptuous coloured photographs as art, and of music other than classical melody as art – these and a thousand similar innovations have all been denounced as chimerical, blasphemous, obscene, seditious, anti-social and what not.
(pp. 481 – 482)
Crowley was certainly labeled as insane, perverted, blasphemous, and so on. Whether he was just labeled this way because of his brazen break with the established mores of his time is not for me to judge. But clearly he was aware of the criticism leveled against him, but he chose to continue exploring his path regardless.
Thanks for stopping by. I will share my thoughts on Part 4 once I complete reading it.