On the Symbolic Correspondences of Polygons

8/6/2019 On the Symbolic Correspondences of Polygons

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On the Symbolic Correspondences of Polygons

and Various Other Lineal Figures


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I. General Symbolism of ShapesIt is generally held that all shapes have a definite psychological dynamic quality about them.

Different shapes cause the human eye to move in different manners and to focus upon particularpoints, whether because of natural inclination or through social or cultural indoctrination. For

instance, the eye will be naturally disinclined to focus upon any one point on the circumference

of a circle, rather it will circumnavigate the shape continuously, rebuilding the mental image of acircle constantly. Likewise, the eye will traverse a quadrilateral shape in the direction in which ithas been taught to read text. This is why artists sign their works in the bottom right corner, as

this is the final place that the eye will fall upon (at least in the Western Cultures; Semitic peoplemay observe a different dynamic).

As a rule, the properties of the dynamics of shapes are determined by either their ideographicqualities or by their mathematical properties, or by their symbolic association with a schema

such as the Holy Qaballah.

Ideographic references of simple shapesThe most straightforward association that shapes have with concepts is their ideographic

qualities. Entire Scripts and Alphabets are based upon this connection, as are a great number ofnon-linguistic signs (such as flowcharting symbols and road signs etc.). Viewed from this point,

the most basic shapes can be said to have some very basic correspondences which are almostuniversally comprehended as such:

i. Circles are a symbol of wholeness, harmony or completeness (i.e. "to come full circle").

Symbolic of the Self as a unification of its separated Elements.

ii. Triangles are usually images of various trinitarian concepts: Salt, Sulphur and Mercury ofAlchemy,; Father, Son and Holy Spirit etc. Also of Fire (as in Tejas or its Yetzirac Symbol) on

account of its upward focus and flame shape in its upright forms.iii. Squares tend to symbolize solid and stable concepts, often being associated with concepts of

manifest form.

Qaballistic References of ShapesThe practical means of relating shapes to concepts or ideas is via some mathematically based

schema or system of correspondences, such as the Holy Qaballah. For the purposes ofCeremonial Magick this is, of course, the most practical way to associate shapes with the broader

practices of the discipline. Other systems exist which incorporate symbolic reference withvarious shapes, the Hexan system of symbols is a very excellent example of such schemas, for

instance. Qaballistic correspondences are very similar to the Pythagorean theories upon shape,and the facts of Euclidean Geometry also bear heavily upon some of the Qaballistic attributions

of various shapes.

i. Correspondences of some of the more simple lineal figures are as follows: Kether, the point;Chokmah, the line (or the circle); Binah, the triangle; Chesed, the square (or the tesseract),

Geburah, the Pentagon or the pyramid (though this tends to be outside the parameters of ourdiscussion); Tiphareth, the Hexagon or the Cube (but again this is outside of the discussion

really); Netzach, the Heptagon; Hod, the Octagon; Yesod, the Enneagon and Malkuth has the


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Decagon and the Double Cube attributed to it (here though, the correct attribute of materialsolidity admits the possibility of the third dimension as the other Sephiroth could not before).

ii. Planetary Shapes are dictated by their Sephirotic correspondence. Saturn is attributed to

Binah, three, and so to the Triangle (and to the Magick Square of three and so on); Jupiter is of

Chesed, and thereby of Four and so the Square corresponds, but not the tesseract which is tooabstract a shape to apply to the God of Law. The tesseract is more properly associated with theWatery quality of Chesed on account of its conceptual geometrical nature. Generally, all

quadrilaterals (rectangles, parallelograms, rhombi etc.) all correspond to Chesed and to Jupiter ifsome law can be determined to render their shape regularly. Mars is of Geburah, the Fifth

Sephirah, and so the Pentagon is correspondent (note that the Pentagon Building houses the U.S.Military administration). The Tetrahedron can be made to correspond here also but the non-

material nature of the Sephiroth makes it difficult to employ this shape, except perhapsconceptually. Sol is attributed to Tiphareth and so to six, making its shape the Hexagon. The

cube is not suited to the nature of Sol being a consummate symbol of the Element Earth. ThePlanet Venus is attributed to the seventh Sephirah, Netzach, and thereby to the Heptagon, which

is also something of a symbol of the seven old planets and of the days of the week. Mercury iscorrespondent to Hod, the Eighth Light, and so to the Octagon, and Luna is attributed to Yesod,

the ninth Sephirah, and so to the enneagon.

II. The Symbolic Correspondences of Various Lineal FiguresIn addition to the basic geometric shapes that correspond to the Planets and the Sephiroth there isa large compendium of lineal figures that also express, sometimes very accurately, these same

concepts in a more dynamic fashion. The interpretation of the symbolism of these figures is bestdetermined by the manner in which they have been constructed and to a certain degree by the

natures of the other similar figures with the same numerical properties.

Methods of Calculating Different Star Arrangements

Many of the geometric lineal figures, or stars, of the Planets (and thereby the Sephiroth; at least

from Tiphareth to Malkuth) have more than one possible method of calculating the joining of thepoints. The lower numbers cannot be made into stars, as one and two points have no lineal

figure, three is the triangle, without exception, and four has only the square or a shape thatresembles two triangles joined by their single points, which can only be construed as a star by the

longest stretch of one's imagination.The First "star" is of five points, called the Pentagram, and it is at once attributed to Mars, to the

Elements and to the Microcosm, generally. There is only one way of connecting the five pointsto create a star, and often the direction of the line is indicated by the overlaps being exaggerated

suggestively. The points are attributed to the Elements as follows: the top point (in the uprightpentagram) is attributed to Spirit, the top left point to Air, the bottom left to Earth, the top right

to Water and the bottom right point is attributed to Fire.The Hexagram is generally attributed to the Planets, one per point with Sol at the centre. There

are two methods of drawing a star with six points; firstly, two interlocking equilateral triangles,one upright, the other averse, making up the classical "Star of David". The second method is the

Unicursal Hexagram. The latter is a definite improvement upon the former as a symbol of theSolar force, implying its unity, rather than the duality implied by the Star of David. This is


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important as the Star of David is a symbol of the Covenant between Jehovah and his ChosenPeople. The Unicursal Hexagram shows the Solar force as being reflected materially via the

Planets. The Points of the Hexagram are attributed to the Planets as follows: topmost point, toSaturn; top left point to Mars; top right to Jupiter. The bottom left point is Mercury; and the

bottom right is Venus; the bottom point of the Hexagram is left then to Luna. The

correspondences are drawn directly from the Tree of Life which is itself proportioned upon therelationship between the Pentagram and the Hexagram, being as it is a symbol of the Great Work(and very much else besides!).

The Heptangle has two possible permutations, one being attributed to the days of the week, andthe other being the Holy Heptangle of BABALON. If one calculates the points by twos, the

seven pointed star can be attributed to Our Lady and the interaction thus engendered by the linesindicate secret arcanums of the mystery of Babalon and the Beast upon which she rideth. The

student should see The Vision and the Voice; A. Crowley; for a fuller explanation of this matter.Counting round the points by threes gives the Heptagon of the days, which when

circumnavigated around it perimeter gives the Qaballistic order of the planets, whilst followingthe line of the star itself reveals the order of the days in the week. The Heptangle of Babalon is

probably the most apt for use with the Planet Venus as there is an innate connection betweenthese Goddesses. That is not to say that the other version is not applicable, and the individual

must interpret his own situation and decide upon the configuration that best suits his currentpurpose. This is so for all of these polygrams, which can have a variety of implications

depending upon which form is to be employed.The octagon is another star with two possible forms based upon the odd or even progression

between points. The octogram calculated on its' even points is two interlocked squares though,and it is difficult not to allow their "square-ness" intrude upon one's Mercurial intentions. The

Octogram calculated upon its' odd points though forms a regular pattern indicative of themechanisms of the Great Work and of the Analysis of the L.V.X..

The enneagrams have three possible designs; calculated upon every second, third and fourthpoint. In the case of the enneagram of every third point, the star is composed of three

interlocking equilateral triangles, which tends to express the Ideal Trinity in precise detail, that isas three interconnected triune conceptions in themselves. The two other enneagrams tend to

indicate similar concepts. On the even points; the star is symbolic of the tendency in nature forforces to change into their opposites, subject into object and so forth. By fours this concept

renders a star symbolic of the idea of constant change or motion upon an even more detailed orElemental level. This last would tend to indicate a material lunar influence, whereas the

enneagram of every second point is a more general lunar symbol. The more acutely angled starexpressing a more sharply focused energy.

This process of interpretation can be extended indefinitely, though it is rarely necessary to gobeyond the use of an eleven pointed star in most instances.

Some of the Symbolic Expressions of the Pentagram and Hexagram

The use of these lineal figures, the stars of the different Planets, is primarily as a form ofexpression of the magician's particular objectives in some way. One may wish to imply the

harmony and balance of the Planets as counterpoint to the central solar force, in order to placevarious aspects of oneself into their proper perspective. In this case, the Hexagram of

interlocking Triangles may be employed as a figure drawn upon the temple floor. It is worthnoting that each Triangle of this arrangement also corresponds to either Fire (upright) or Water


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(averse), and that the totals of the Planets of both triangles is equal (i.e. Saturn, Venus andMercury = 3+ 7+ 8=18 and Jupiter, Mars and Luna = 4+ 5+ 9=18). There are doubtless several

other hidden arcanums to be found in this simple symbol, and it is an important part of theirnuminousness that these qualities are discerned by the individual in the course of his own Great

Work. In this way one will build up a large compendium of legible symbols for use in one's

magickal operations.The intrinsic symbolism of the Pentagram is equally obvious to even a cursory study of thesymbol. Each point being attributed to an Element can also be associated with a letter of

Pentagrammaton, thus the Pentagram is a potent symbol of the formula of ALHIM [see Magickin Theory and Practice, Ch. IV; A. Crowley]. The progression of the points would then tend to

indicate the particular combinations employed to invoke these various Elements, for instance theinvoking pentagram of Fire begins at the topmost point of Spirit (v) and progresses to Fire (h),

Air (t), Water (n), Earth (k) and finally returns to Spirit at the top. Symbolically then, themagician has called Spirit to manifest itself as Fire, in a defined space into which it is totally

absorbed upon a material level, ending in the consciousness of the microcosm being elevated to aSpiritual Plane of Self awareness. There are four other formulae (as well as five reverse

interpretations) attributed to the other points of this star, the Shield of Solomon that might beconsidered by the Neophyte before he uses the Pentagram rituals in his own temple.

Specialized Shapes and Lineal Figures

Apart from the Pentagram and Hexagram there are several shapes and Lineal figures that havecertain symbolic qualities. Many of these are composites of two or more of the figures already

discussed, as is the case with the Planetary Sigils for instance. In addition to the shapes outlinedabove, it is common to employ the crescent and the cross in the design of magical symbols of the

Great Work. Less commonly, ovals, parabolas and hyperbolas are employed in a limited manner,and in the case of a variety of very specialized Sigils and so on, a number of very abstract

combinations of curves and lines may create altogether unique shapes as a symbol of a veryunique and well defined force [see Sigils of the Lemegeton].

In the case of the crescent, and to some extent the oval or egg shape, the attributions are largelyideographic, that is to say that they are really a stylized image of the concept that they represent.

For instance, the crescent is commonly held to be a symbol of the Moon or Luna, and this isoften thought to be on account of its similarity in shape to the last and first quarter phases of the

moon as we view it from Earth. This is partially and superficially correct, but a closerexamination of the natures of the Planetary symbols reveals that the crescent sigil of Luna

connects the three Elements of Water, Air and Fire, making Luna to be something of acounterpoint to the gross manifest Earthly Element (itself a compound of Earthly qualities).

The Crescent is also a symbol of femininity and of the Element Water, partly because of its lunarassociation (although not of Yesod which is attributed to the complimentary Element of Air) and

partly because of its shape being highly suggestive of a vessel capable of containing liquid, or ofa flower (such as a lotus or crocus etc.) and so it is held to have feminine qualities.

The cross is by far a more complex symbol, deserving a more detailed inspection of its salientqualities. There are basically five kinds of crosses: Tau, X, Latin, Greek and Fylfot. From these,

in combination and with other shapes, there are six more possible forms: Russian, Lorraine,Papal, Maltese, Crux Anastasia and Celtic.

Of the primary types of cross, the X shaped cross is very ambiguous, and tends to be morelegible as a Rune (as in the case of 'gyfu' the Norse Rune meaning a gift) or a letter (as in X


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drawn perhaps from the Greek Sigma) and it is commonly a symbol of a kiss (i.e. xxx ooo at thebottom of a letter or a note).

The remaining four basic cross shapes have readily definable qualities that determine theirsymbolic correspondences. Taken singly then: the Tau cross is most commonly made up of ten

squares and represents the ten Sephiroth, or the Great Work of uniting subject and object,

macrocosm with microcosm (the proportions of this cross are 5 across the bar to 6 in height; withone "shared" square). As such the Tau cross is generally employed as part of the Magick Circlerather than in more specific enterprises.

The simplest form of the cross is probably the Greek cross, made of two lines of equal length, orof either five, nine or thirteen squares. In every case this type of cross symbolizes the Elements

in harmonious balance, their centre being focused as the Element Spirit. This is absolutely so inthe Greek Cross of five squares which has direct Elemental correspondence. The Greek Cross of

Thirteen Squares represents these same Elements as their Astrological Signs centered around thespiritual Sun. The cross of nine squares tends to be slightly more obscure in its symbolic

reference, again expressing through the ratio of eight circumferential squares to one centralspiritual square, the mechanism of the Great Work. These eight squares represent polarized

qualities of the Elements somewhat akin to the system of trigrams in the I Ching, and it isinteresting to note the importance of both two and eight to the modern world of computing as

being, in an abstract manner, also associated with this arcanum of symbolism.The Latin Cross is slightly more complex in its symbolism than the Greek, its four arms held to

represent the four Elements generally but often it is proportioned to correspond to the Sephirothor the Zodiac, depending upon the intended application. Most simply it is composed of six

squares and attributed generally to the five elements, the blank square having no well definedcorrelation. This is the basis of the Rose and Cross, around which an enormous arcanum of

symbolism has been developed [see The Golden Dawn; I. Regardie]. Composed of ten squares itrepresents the Sephiroth but as an Expression of Tetragrammaton rather than the Triune Ideal of

Kether-Chokmah-Binah. Made up of twelve squares it represents the gross and outwardapprehension of the Elemental forces devoid of the spiritual-solar influence. This cross divides

the Universe into its material components.Finally, the Fylfot Cross, composed most basically of thirteen squares, represents the whirling

force of the Universe, of constant motion. The device that it employs is partly ideographic(suggestively so) and partly by its association with the Signs being grouped Elementally around

Sol so as to indicate something of a spiral progression (if the Signs are followed through thecross sequentially).

Of the compound crosses, most have very specific cultural symbolism. The most useful are theMaltese Cross which is a symbol of the four Elements in dynamic motion, the Crux Anastasia or

the Ankh, which has a long history of its own as a symbol, and the Celtic Cross which is theessential form of the Rose Cross mentioned already. The Cross of Lorraine, Papal and Russian

crosses tend to be compound forms of the Latin cross with slight variations on the same symbolictheme. In the case of the Russian Cross, the Fire and Earth arms are crossed by bars to indicate a

manifested identification with god-head, the Tzars that employed this symbol were thus seen tobe empowered divinely. So it is also for the Papal and Lorraine crosses which also express

slightly different variations upon this theme. As such these crosses are of limited value to anindividual's Great Work in most cases anyway.


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III. The Use of Polygons and Lineal Figures in MagickHaving determined the method of construction and the correspondence of the various shapes and

figures, it remains only to consider how such potent symbols might best be put to task for themagician's benefit. There are many arenas in which these symbols may be employed in a general

sort of way, such as the decoration of the Temple, but for the purposes of depicting specific

objectives, or attainments, there are three general areas of application. These three areas of usefor symbol are all complex with a measure of variation even within their own domains, and oftenthese areas of application overlap to a degree. These are: the construction of seals or signs,

talismans, or of the Magick Circle, and each application requires careful consideration.

The construction of 'seals' or signs' that express specific aspects of the individual's Great Work.

Least commonly of the three applications of symbol in High Magick, is the creation of Seals or

Signs of one's Great Work. As one progresses in the Path, certain symbols may take on specialsignificance to oneself. It may therefore be useful to adopt these symbols as a Sign of a certain

attainment (such as taking a higher grade in an order, and so on). Complimentarily; one maydesign a seal or sign to indicate an attainment to which one is aspiring, such as the Rosy Cross

Lamen of the Golden Dawn. Similarly, the seal of the O.T.O. for instance, combines the shapesof the vesica piscis with the solar triangle in a symbol that indicates that magical order's

aspirations.The Beast 666, often employed dynamic symbols such as these to indicate his magick authority

over the spiritual forces that he was commanding [see The Confessions of Aleister Crowley; JohnSymonds and Kenneth Grant]. Such was the Triangle of Horus that he employed whilst he

belonged to the Hermetic Order of the Golden Dawn. In fact, it is this principal that forms thebasis of all religious iconic symbolism whatever. Even major government and corporate

organizations have been known to combine potent symbols in this manner to symbolize theirobjectives.

Talismanic Design

Related to seals and signs as such are the talismanic figures, and flashing tablets. A Talisman, forthe purposes of this short discussion, is a symbolically shaped and decorated piece of card, metal

or other similar media. Usually, magickal talismans are made from virgin card or stiff paper (310gsm or heavier) as a sort of evolution from employing parchment or vellum, both difficult

materials to manipulate. The use of modern materials in these constructions is discussedelsewhere more fully.

The particular application that shapes and figures have to talismans is twofold: the shape chosenfor the talisman itself, i.e. Saturn's talisman is triangular, Jupiter's is a square, and Mars is a

Pentagon and so on. More significantly; the use of these symbols applies to the inscription of thetalisman, determining with mathematical accuracy the objective of the magician's operation, and

depicting legibly its' attainment. This at least is the objective of talisman design.

For the Construction and Arrangement of the Magick Circle.

Finally, shapes and lineal figures are important in the construction of the Magick Circle, and that

upon two levels. Firstly, and most obviously, the shapes and figures can be employed in theactual inscriptions of the Magick Circle (e.g. in chalk, upon the temple floor) and especially in

the inscription of the Magick Triangle. Both of these potent weapons in the magician's armoryare, after all, shapes, no matter how fundamental they are to the practice of the High Arts. One


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may inscribe squares or pentagons upon the floor of the temple around the magick lanterns usedto illuminate the Great Work, depending of course upon the appropriate correspondences. Even

figures such as stars and crosses may be employed in this manner, thus fine tuning the generalarrangement of the circle to better express the intent of the ceremony at hand.

More subtly though, and arguably more significant, is the use of these shapes and figures as a

basis for a symbolic ritual gesture. For instance, during the performance of the Lesser BanishingRitual of the Pentagram, the magician circumambulates once deosil, stopping at the cardinalpoints. This action implies two shapes immediately, the circle (obviously) and the square. Whilst

the circle defines the consecrated space, the square makes the godhead materially manifest. TheQaballistic Cross, which begins and ends this Ritual, is another excellent example of a gesture

employing a shape symbolically to imply its ritual intention. In this case, the operator isattempting to unite his elements into a spiritual focus. A close study of many traditional rituals

will reveal similar qualities in them also. The Neophyte Ritual of the Golden Dawn is perhapsthe most completely choreographed. Another obvious example is the Spiral Dance of the Wiccan

practices.

IV. ConclusionIt is easily understood how many men over the centuries have changed the world by the power of

their symbols, and the manner in which they employed them to support their plans (e.g. NaziGermany; Rome; the Ottoman Empire and so on). Corporations have well understood the sub-

conscious forces that are motivated by shapes and colors. Even the greatest thinkers andscientists have really learned little more than the enlightened manipulation of various legible

symbol systems, which are themselves compounded from these basic shapes and figuresdiscussed already Scripts and numerals all have their genesis in ideographic representations of

our world which are merely adaptations of these basic graphic design components renderedrepresentatively and suggestively (for instance, the Hebrew letter Shin means "a tooth" and is

shaped as a molar a, there are twenty-one other such glyphs in the Hebrew Alphabet. The Norsescript or 'Runes' is similarly image based.

From the foregoing it can be seen that the study of Magick Art is a study of the nature andconnotations of symbols and images generally. The greatest challenge for the Neophyte to this

High Art of Ceremonial Magick is to build a legible, reliable and complete compendium ofsymbols for use in his own Great Work.

Addendum : The Use of Shapes and Figures in the Construction of the Magick Disk

-excerpt from The Magick Weapons

The design employed for the Magick Disk is of such importance as to merit a more detailedconsideration by the Neophyte. The lineal figures used to make up the figures of the Pantacle are

derived from the purest qaballah and they express the entirety of the Neophytes aspirations,being a consummate symbol of his Great Work. As this mandala is the symbol of the union of

microcosm and macrocosm it forms the basis from which all other pantacles and talismanscreated for the operations of the magician will be derived. As has been touched on previously,

the symbol of the microcosm is most commonly drawn from lineal figures related to qaballahand to Euclidean geometry. Thus, the basic images used are lines, circles, polygons and

polygrams, and this is embellished by the use of various magickal sigils and inscriptions. Thesesymbols represent the highest ideals, known by the adept, of himself and of godhead. Having


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already determined upon the circular shape of the weapon, it is then appropriate to determine thelineal figures which will compliment this shape whilst symbolizing the union of the macrocosm

with the microcosm. In order to understand this fully it is expedient to determine the propertiesof the various shapes being considered.

The simplest figures after the circle, the triangles and the square tend to be employed incompound figures where their essential characters are expressed in a more manifest fashion. Forinstance, the equilateral triangle, when inverted upon itself, forms the Hexagram or Star of

David, and implying the equilibrium of the Universe manifest as a union of opposites or ofcomplimentary forces (see Newtons Third Law of Motion). As such it is an excellent symbol of

the essential solar force that is the foundation of all Earthly life. The square is a useful symbol ofunity expressed as a quaternary ideal, such as the Elements or the Powers of the Sphinx. In

combination with the circle it presented one of the most ancient philosophical pursuits, thesquaring of the circle, much dwelt upon by the Pythagorean School of mystics. It represents the

Word given abstract Form.

Most commonly the quadrilateral form is combined with the circle to express the Elementalnature of the magicians unified Self, which is often represented by a circular arrangement of the

Magickal Name of the Adept. The familiar correspondences of the Pentagram and the Hexagramneed no explanation in this short essay, and used together they imply the Great Work in progress.

The traditional interpretation of the inverted pentagram though can easily be reconsidered in amore realistic light. The sublimation of the Element of Spirit within the four manifest Elements

calls to mind the method of the mystic, rather than the magician, and might be employedsuccessfully to that end. Of course if one were to choose the discipline of Magick Art that is

entirely black then the Pantacle of Leviathan would naturally be entirely appropriate for all ofones workings. By making these kinds of uses of the familiar set of occult symbols it becomes

relatively easy to design a Magick Disk that represents the individual magician perfectlyadequately. By examining the other common lineal figures we can determine which, if any, may

be appropriate to our own designs. The lineal figures of the Heptangle relate, in one instance,with the progression of the days of the week and the correspondence to the progression of the

Planets upon the Tree of Life (see The Book of Thoth- Aleister Crowley). On the other hand, theheptangle formed by joining alternate points of the star is known as the Holy Heptangle or the

Star of Babalon, and is a very potent symbol of the Great Work upon a larger scale (see TheRevelations of St. John the Divine for references to Babalon and to the Beast upon which She

rides). Unless these symbols relate directly to ones Magnum Opus then it is probably notappropriate to employ these figures as they tend to indicate the goal of the Path rather than the

traveler himself. Nonetheless, the innate potency of the symbolism renders the heptangles worthyof serious consideration. The octogram is an extension of four, one form of it is actually two

interlocking squares, and therefore it is something of an extrapolation of the circle, and thatcircle is squared in a very intricate manner. The octogram, when calculated from its odd points

(i.e. from every third point) implies the mechanisms of the Great Work, rather than itsaccomplishment. The enneagram is similarly an expression of the triangle, the simplest form

being three interlocking equilateral triangles. Whilst a useful symbol of the discipline by whichthe Neophyte has bound himself to his Magnum Opus, the graphically unstable nature of these

figures limits their appropriateness in the design of a Magick Disk to be employed by a magicianwho aspires to Adonai. Because of this though, Wiccan magi might find the symbolic geometry


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useful in their rites. One could be forgiven for assuming that the decagram is a suitablegeometric shape for the design of this Pantacle, but close inspection reveals that it is something

of a re-interpretation of the pentagram. Indeed, in one arrangement it is formed by twointerlocking pentagrams, right and averse, again implying the dyadic nature inherent in the

apprehension of Unity, but upon a base and illusory material level. If one were designing a

Pantacle to attract material goods, this shape might be employed with good result, but the GreatWork tends less toward material manifestation than to enlightenment, and the stagnant nature ofthese glyphs is a great limitation to their usefulness here.

Complimentary to this glyph is the eleven pointed star, which is a potent symbol of the Great

Work in all of its forms. Essentially, this figure represents the union of the microcosm with themacrocosm as it is formed by the conjunction of the pentagram and the hexagram. Counting it by

even points there are two circumnavigations of the circle bounding it, one of five points and theother of six. Counting in threes, it represents the triune manifestation of these basic principals as

elemental energies, in fours the Elements are expressed as vehicles of the trinity such as SaltSulphur & Mercury, Light, Life & Liberty etc. (see-Khabs am Pekht, Equinox Vol. III No. 1 -

Aleister Crowley). Even so, the essential energies are best expressed by the star counting aroundevery five points, which is also six points in reverse, and which in turn implies the Great Work

directly as the expression 5=6:6=5. This lineal arrangement is in turn suggestive of the elevenpointed star of even points, with which it has a certain mathematical symmetry. Thus the eleven

pointed stars tend to indicate the cyclical nature of the light which they graphically represent.

On the Symbolic Correspondences of Polygons

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