The "Name of Seventy-two Names": A Biblical Spin-off - Part 3

As can be expected, besides the many vocalisations of the “Name of Seventy-Two Names,” there are equally many variant uses of these “Names.” In this regard, let us commence by looking at the earlier mentioned use of the Shem Vayisa Vayet as a meditation device. As indicated, Abraham Abulafia, the “father” of Ecstatic Kabbalah, vocalised the individual letters with the standard vowels associated with their respective appellatives, as shown below:

The fundamental intention behind this meditation is to cause an influx of Shefa, Divine Power, into your own being. To accomplish this you are instructed to prepare yourself most carefully prior to working this meditation. In this regard Abulafia wrote: “Prepare yourself, unify your heart, and purify your body. Choose a special place for yourself, where your voice will not be heard by anyone else. Meditate alone, with no one else present. Sit in one place in a room or attic. Do not reveal your secret to anyone.” As in the case of formal worship, you are to sit facing towards the East during this meditation.

Abulafia further advised that you should wear clean clothing, preferably white. He also mentioned that this meditation should be practiced preferably at night, when many candles should be lit “so that your eyes are well illuminated.” However, he also maintained that this meditation could be worked during the day, but that you should then meditate in a darkened room. You are also instructed, “when you prepare yourself to speak to your Creator and you desire to witness His might,” that you should be careful to clear your mind of all extraneous thoughts, and then to “wrap yourself in your Talit (prayer-shawl)” so as to “increase your awe and trembling before the Divine Presence which will visit you at this time.”

In the current instance the meditation incorporates the visualisation of each triplet of the “Name of Seventy-two Names,” the component letters of which are carefully mentally engraved, as it were, whilst each letter is slowly vocalised “with complete concentration and with a proper, pleasant, sweet melody.” As is the case with Abulafian meditations, there are “heart” and “head” movements, as well as a number of breaths accompanying the utterance of the letters of each triplet. Abulafia instructs that “since your heart is internal, move it mentally. But your head is external, and therefore, you must move it physically. Move your head following the actual form of the vowel point associated with the letter that you are pronouncing.” These special movements are indicated by five nikudot, Hebrew vowel points, these being:

Abulafia offers the following detailed instructions on the head motions:

“The vowel point written above the letter is called Cholem (o [oh]). This is the only vowel point above the letter, since all the others are written beneath the letter. When you pronounce [the Cholem] together with the letters Yod and Kof, begin facing directly straight ahead. Do not incline your head to the right or left, upward or downward. Keep your head straight and even, like the balance of a scale, just as it would be if you were speaking face to face to a person of the same height as yourself.

Then, as you draw out the sound of the letter while you pronounce it, begin to move your head so as to face upward, toward the sky. Close your eyes, open your mouth, and let the words shine. Clear your throat of all phlegm, so that it should not disturb your pronunciation. As you exhale, continue to raise your head motion simultaneously. If you complete the head motion before the exhalation, do not lower your head until you have exhaled completely. Between each letter, you may rest and prepare yourself. At this time, you can take as many as three breaths, like those associated with the pronunciation. [One breath for each of the three letters, three breaths = twelve breaths].....

The vowel point which is called Kametz (a [ah]), looks like a line with a dot below it. When you pronounce it with one of the ten associated letters, chant the letter, and move your head from left to right in a straight line, as if to trace the top of this vowel point. Then bring your head back so that you are facing directly forward toward the east..... Conclude by bowing down slightly [so as to parallel the dot beneath the line of the Kametz]. Complete [the exhalation and head movement] simultaneously, as I instructed you by the first vowel.

The next vowel is the Tzeire (eh [ei]), which looks like two dots next to each other, one to the right, and one to the left. As you pronounce it with one of its seven associated letters, begin the pronunciation and the motion simultaneously. Move your head from right to left, the reverse of what you did with the Kametz.....

When you pronounce the Shin, you will make use of the Chirek (i [ee]), which has the form of a single dot below the letter. As you pronounce it, move your head downward, as if you were bowing down to God, who is standing before you, and to whom you are speaking. This is the precise opposite of the head motion associated with the Cholem.

With these four vowels, you have crowned God as King [over the four directions]. When you pronounce a Nun, also make Him King. Begin by looking straight ahead, stretching your neck forward as much as you can. Do not raise or lower your head, but keep it facing straight forward. This is the form of the Shurek (u [oo]). It consists of three dots, one under the other.....It can also be a single dot in the centre of a Vav.....Both cases imply the same thing.

Through these five vowels, you have crowned God as King in all six directions of the universe. These are up and down with o and i, right and left with a and e, and backward and forward with u.”

Chaim Vital, who maintained this meditational procedure could be used to achieve “Ru’ach ha-Kodesh,” i.e. enlightenment, states that implementing this technique does not only require you to work in a room set aside especially for the purpose in question, but that, prior to implementing the meditation in question, you should separate yourself from all worldly care and avoid every possible contact with living creatures. It would seem the technique is worked whilst in a standing position, and you are required to interact with an imaginary human standing in front of you.

When ready to commence the actual meditation, you have to raise your hands, shaping the fingers into the format originally used by the “High Priest” when bestowing blessings, as indicated in the following image:

Then you address the imaginary being in front of you, saying slowly and softly: (rosh ha-rosh—“beginning of the beginning”). Using a different tone of voice, reply with the first letter of the “Shem Vayisa Vayet,” saying “Va” whilst imagining the being to be the one who is responding. Repeat the procedure saying (sof ha-toch—“end of the middle”), and in turn respond with the second letter of the “Name of Seventy-two Names,” saying “Ha” . Then conclude by saying (rosh ha-sof—“beginning of the end”), and respond with the third letter of the “Shem Vayisa Vayet,” saying “Va” .

Afterwards, the hands are lowered and fingers returned to normal. Focussing on your lowered hands, consider your fingers to be representing the ten sefirot, five opposite five—the ones of lovingkindness to the right and those of justice to the left. Then raise your left hand and place it over your heart, afterwards raising your right hand and placing it over the left hand, thus indicating “mercy over might.” The entire procedure is repeated with all the tri-letter portions of the “Name of Seventy-two Names.”

(More to follow)

Of Moles, Warts and Sacred Lights

In the process of "weeding" my PC of seriously dated documents, I chanced upon the following essay which I wrote in 2003. At the time I had started to collect primary and secondary writings on "Divinatory Arts" in Kabbalah, amongst others texts dealing with determining ones character and destiny by scrutinizing ones anatomy, e.g. "Metoposcopy," "Phrenology," "Physiognomy," "Chiromancy," etc. I recall that as I was perusing the mass of documentation dealing with the topic in question, I was having a running conversation with my "Nefesh," my Instinctual Self. I then wrote the said essay which I thought I would share here, in hopes of adding some cheer to the "Festive Season." After all, I do believe "a smile improves ones face value," and what is more, it is also "sooo very serious"! So here goes:

"I thought I would write a special essay on those 'alien visitors' blemishing our skins, the ones we view with either indifference or distaste, and which can be most uncomfortable when it appears that everyone you encounter is scrutinizing them with a morbid fascination.....especially when you are trying to make decent conversation and finding it difficult to concentrate on the subject at hand with this constant diversion of attention. Of course, the real reason for your discomfort is that some of us are quite self-conscious, and read all kinds of meanings in the most casual glances directed at that insignificant little blemish on ones skin.

'But is that taint really that insignificant?' you ask. 'I better have it investigated in case the little blighter is malignant,' says the Paranoid Self.

'There is a deeper, mystical meaning to it,' says the Divining Self.

'What? A deeper meaning?' you query. 'Well....that depends on its size, and where it is placed on the body,' replies the All-knowing Self complacently.

With the sudden realization that the Diviner could read you like an open book by merely looking at moles, warts and such things, you decide you better shut up about the ones located rather strategically on portions of the anatomy which your Embarrassed Self prohibits you from acknowledging, least of all having publically scrutinized!

Soon you discover that this form of divination is part of an enormous study which was considered of great significance in the Middle Ages and Renaissance, comprising not only the examining of moles, but also 'Physiognomy' — the investigation of the proportions of the face and the body; 'Metoposcopy' — a term referring to analyzing the lines on your forehead; 'Chiromancy' - commonly called 'Palmistry'; etc.

With a grateful motion you dismissively wave such matters away, retorting 'Thank heavens Kabbalah did not indulge in this kind of superstitious foolishness,' only to be told that the subject of physiognomy was, and still is, of major significance in Jewish Mysticism. The Merkabah mystics, amongst others, employed physiognomic criteria 'to determine eligibility for admission into the circle of mystics. These criteria have to do with the character of the nose, lips, eyes, eyebrows, eyelashes, and sexual organs, although greatest significance was attached to the lines and letters upon the palm and forehead.'

You suddenly recall that it is written in the Zohar that '.....all happens here below as it does above.....on the firmament which envelops the universe, we see many figures formed by the stars and planets. They reveal hidden things and profound mysteries. Similarly, upon our skin which encircles the human being there exist forms and traits that are the stars of our bodies.' What is more, the famed Ari, Rabbi Isaac Luria, was able to read the entire life of a person expressed in the 'letters' revealed on the forehead of that individual. So what is this curious 'mystical art,' and what are the 'profound mysteries' revealed by the 'stars of our bodies'? Soon you find that the subject comprises many diverse opinions, and is much too large to be dealt with in one casual chat, and as Kabbalah in fact addressed all of the mentioned subjects, you choose to focus on the 'metoposcopical' abilities of Isaac Luria, the 'Lion' of Kabbalah, which will at least divert attention away from embarrassing warts....oy gevalt!!

Apparently Isaac Luria had the curious ability to analyse the character of an individual, by detecting and interpreting the Hebrew letters which are evident on the forehead of that person. Chaim Vital, a disciple of Luria, writes in his Sha'ar Ruach ha-Kodesh regarding his master's psychic abilities saying: 'Concerning his attainments, it is impossible for one to relate them [even] in general terms, no less in detail. However, these are the wondrous and true things which I witnessed with my own eyes: He knew how to make a future soul appear before him, as well as the soul of a living or deceased person, from among the early as well as later sages. He could inquire of them whatever he wished concerning knowledge of the future and secret mysteries of the Torah. The prophet Elijah, may his memory be a blessing, would also appear to him and teach him. He could also recognize the letters on the forehead and [was adept at] the science of physiognomy, as well as at [recognizing] the lights that are upon the skin and body of an individual. [He was also skilled at recognizing] the lights in the hair, the chirping of birds, and the language of trees and plants. [He understood] even the speech of inanimate things, as Scripture says: "For the stone shall cry out of the wall [and the beam out of the timber shall answer it]" (Habakuk 2:11). [He knew] the language of the burning candle and the flaming coal; he was able to see the angels who announce all the proclamations (from on high), as is well known, and to converse with them. His knowledge was expert concerning all the plants and the genuine remedies [which they provided]. There are many other such things which cannot even be related. Those who hear of them will not believe them when told. I have recorded that which my eyes have seen in all truth.'

The art of recognizing Hebrew letters on the forehead is based on that section of Kabbalah called 'Chochmat ha-Partzuf,' i.e. the study of permutations, which in turn is based on the idea that the whole of creation was manifested through a divine language. The view that Hebrew was the primordial language of creation found expression in texts like the Sefer Yetzirah, the Sefer ha-Bahir, and the Zohar, but was developed further in the commentaries and other writings of later Kabbalists. The latter were responsible for an extensive literature in which creation is not only considered to be the result of various combinations [permutations] of the glyphs of the Hebrew alphabet, but that all manifestation is actually 'clothed,' as it were, with these letter combinations. It is important to understand that the letters of the Hebrew alphabet are seen by Kabbalists not only as the instruments of creation, but as primordial divine forms. Sacred writ is thus believed to comprise combinations of 'Divine Names,' in which each 'Name' is a focus of divine force. As these 'Names' are manifested in all life, humans are also expressions of the divine language, each individual radiating a different combination of the divine forces represented in the forms of the Hebrew Alphabet.

Eventually the multitude of speculations regarding this theme, developed into a most practical psychic ability in the case of Isaac Luria's, who could 'read' a person in accordance with the sacred glyphs 'made flesh,' so to speak, in the being and body of that individual. In fact, these sacred forms are believed to be present in every aspect of ones being, thus Lawrence Fine wrote in his essay entitled 'The Art of Metoposcopy: A Study in Isaac Luria's Charismatic Knowledge,' that 'According to Chayyim Vital, the twenty-two letters of the alphabet are present in each of the three aspects of the human soul, in ascending hierarchical order, nefesh, ruach, and neshamah. Each is constructed, so to speak, on the basis of the letters of the Hebrew alphabet. The character and quality of each set of letters are somewhat different in accordance with the different levels of the soul's tripartite division. The letters present in the nefesh are small, those of the ruach are medium in size, and those of the neshamah are the largest of all. These three dimensions of soul clothe one another, as it were, with the body's skin constituting the outer covering of all.'

Vital explained that the letters, also called 'Lights,' are hidden beneath the skin of a wicked person, but in the case of a person who is purifying the different aspects of his/her being, the divine forces and their expression in the power forms of the Hebrew glyphs are openly revealed on the skin, where 'the skilled eye' can observe them. Again Lawrence Fine writes in this regard that 'The appearance of the letters on the skin allows one who can recognize them and determine their meaning virtually to see the divine part of the human personality, the soul itself. One 'sees' the soul in the sense that the letters are a relatively material expression of that which is otherwise immaterial. In the case of one who has sufficiently mended all three grades of soul, the entire alphabet belonging to each grade will appear, at one time or another, on the body's skin, most especially upon the forehead.'

Chaim Vital maintained that the letters of the soul are best displayed on the forehead, because the entire Hebrew alphabet corresponds to Binah, the sphere of "Understanding" on the sefirotic tree, of which the forehead is a symbol. However, the amount and clarity of the letters disclosed by each person is dependent on his or her level of purity and quality of service in this world. Another factor referred to is that these revealed letters can, and do, form themselves into words, which can be observed at certain times. Again quoting Vital, Lawrence Fine wrote 'Certain letters, however, will appear more brightly than at other times under various conditions. When one performs particular mitzvot, the appropriate letters shine especially brightly on that same day. Sometimes a certain word - such as the word chayyim (signaling that a person can expect to continue in life) - will appear briefly and then disappear. One skilled in this art, then, must be careful to gaze at the right time upon an individual's forehead. An exception is the deed of charity (tzedakah), whose letters remain shining brightly upon one's forehead for an entire week. This is demonstrated by the scriptural text: "And his righteousness (tzidkato) endureth forever" (Psalms 111:3).'

As briefly mentioned earlier on, and as Lawrence Fine further elaborated, 'The level of the soul which one has achieved is also discernible on the basis of the size of the letters which appear. Thus, if a person has only perfected the level of nefesh, the letters will be small, and so on. If an individual manifests only one set of letters, having attained only the level of nefesh, and more than one of a particular letter is required to spell out a word on his forehead, the letter will initially appear brightly in one place in the word, and reappear a second or third time as needed.'

For Kabbalists the letters of the Hebrew alphabet corresponds to the ten sefirot, hence there is the further possibility of viewing those glyphs manifested on the forehead in terms of their sefirotic attributions. In this manner one might determine in those letters that are expressed particularly strongly and most frequently, the 'soul root' of an individual understood as a 'sefirotic root.' Some actions strengthens, as it were, the revelation of the glyphs on the forehead. Reciting the daily 'blessings' is said to be of special significance as one such empowering activity. Again Lawrence Fine wrote: 'The lights of the letters which appear on the skin as a result of reciting berakhot (blessings) are special insofar as there is light surrounding each letter; this surrounding light is more luminescent than that of the letter itself. If one sees that the opposite is the case, that the light of the letter is more intense than the surrounding light, it signals that the blessing was not performed properly.'

Now, whilst we have made special reference to the forehead as far as this divinatory art is concerned, it should be clearly understood that the glyphs of power manifests everywhere in your anatomy, as Chaim Vital wrote: 'Know that in each and every organ of a person's body, there are letters engraved, informing us about that individual's actions. But the primary place is the forehead, as indicated earlier.'

It is somewhat difficult to discuss this subject in absolute detail in this already overly long essay, but I would like to include a couple of anecdotes regarding Isaac Luria's mastery of this art as told by his followers.

Eleazar Azikri reports in his Sefer Charedim, how Luria looked at the face of a sage and told him that 'the transgression of cruelty toward animals is inscribed upon your countenance.' Apparently the sage rushed home in a state of great distress, where he found that his wife had forgotten to feed the turkeys. He promptly took appropriate care of these creatures, and returned to Luria. Not knowing what had transpired, Luria looked at his forehead and informed him that the misdeed is no longer evident, at which point the sage proceeded to tell the Ari what had actually transpired.

Amongst the many anecdotes which Chaim Vital preserved in his books, there is the one in which he tells how Isaac Luria clearly recognized the first three letters of the Hebrew alphabet, i.e. Alef, Bet and Gimel on Vital's forehead. The first two letters, spelling the word Av (father) were well expressed in normal Hebrew, but the third, the Gimel, was shown upside down. Following the message expressed by these indicators, the Ari instructed his student to show kindness to his father.

Clearly Rabbi Isaac Luria was a man of extraordinary talent and ability which goes way beyond the traditional study of Torah and Talmud. Perhaps Chaim Vital was right when he said 'There is no doubt that these matters [i.e., esoteric knowledge] cannot be apprehended by means of human intellect, but only through Kabbalah, from one individual [directly] to another, directly from Elijah, may his memory be a blessing, or directly from those souls which reveal themselves in each and every generation to those who are qualified to receive them'."

Shemot: Hebrew Divine Names - Variants of the Ineffable Name - Part 1

I am currently investigating the magical uses of the Divine Name (Matz'patz, Matzapatz, Matzapitza, etc.) which is a transposition of , YHVH, derived from the interchange of Hebrew glyphs using the Atbash cipher. This specific variant of the Ineffable Name is said to mean "God protect."

I am sure most individuals interested in western esotericism will recognise the Name Matz'patz from its appearance in the ever popular "Clavicula Salomonis" (The Key of Solomon). In this text it is employed in a specific adjuration of "demons." However, it should be noted that in the Sefer ha-Zohar the Name is said to pertain to the concept of "mercy." In this regard we read concerning the biblical statement that "God made the two great lights" (Genesis 1:16), that the pair of "lights" were "at first in a single bond, mystery of the name complete as one: YHVH Elohim," and that the term "great" indicates that "they were enhanced in name, both alike, to be called by the mystery of all: Matz'patz Matz'patz, supernal names of the thirteen qualities of compassion," furthermore, that "they are supernal, from the mystery on high, ascending for the benefit of the world, so that through them worlds endure." (Zohar 1:20a)

The "thirteen qualities of compassion" are based on Exodus 34:6-7 reading "And YHVH passed by before him, and proclaimed: 'YHVH YHVH, El merciful and gracious, long-suffering, and abundant in goodness and truth; keeping mercy unto the thousandth generation, forgiving iniquity and transgression and sin," etc. Daniel Matt, translator of the excellent Pritzker edition of the Zohar, commented that in Kabbalah the "thirteen qualities of compassion" are said to "originate in Keter, the highest sefirah, the realm of total compassion, untainted by judgment." It has also been indicated that it is in this respect, i.e. divine Mercy, that the name Matz'patz is employed in Hebrew magical incantations and Kame'ot (amulets).

Now, whilst is, as indicated earlier, a variant of the Ineffable Name, there is a close association between this Name and Elohim, the latter having been earlier noted in the "YHVH Elohim" combination, titled "the Complete Name" since it represents the union of the divine qualities of "Compassion/Mercy" and "Justice/Severity." We are told the connection between Matz'patz and the Name Elohim is indicated by the Gematria (numerical value) of this variation of the Ineffable Name being the same as that of the full spelling of the five letters comprising the Name Elohim, as shown below: There are exactly thirteen letters in this expanded spelling of the Name Elohim, which Chaim Vital informed us pertain to the mentioned "thirteen qualities of compassion." To align oneself with these qualities, he maintained in his "Sha'ar Ru'ach ha-Kodesh" (Gate of the Holy Spirit) that you must constantly work the following simple Yichud. You commence by visualising and contemplating the listed thirteen letters comprising the expanded spelling of the Name Elohim, and conclude by contemplating this Name to pertain to the sphere of Malchut, the Kingdom on the sefirotic Tree, and that it includes the thirteen qualities of Divine Compassion.

There are also other ways in which the Name Matz'patz is employed for more magical purposes, amongst which is a most interesting procedure listed in a text titled "Refu'ah v'Chayim m'Yerushalayim" by Eliahu Avraham Mizrachi, which is employed to ascertain whether individuals suffering from a serious malady will survive or succumb to the illness. You commence the practice by getting everyone in the residence of the diseased to keep quiet, and then ready yourself for the procedure. Next, place your right foot on the doorstep of the entrance to the residence of the sorely afflicted individual, and say the following with Kavvanah, i.e. full focus and conviction:

Transliteration: Matzapitza ha-chayim sh’todi’eini im katuv l’chayim (.....fill in the name of the afflicted person.....) o lo

Translation: Matzapitza of life inform me if (.....fill in the name of the afflicted person.....) is inscribed for life or not.

In conclusion you have to recite the Names which are derived from Psalm 139:16 reading:

Transliteration: Golmi ra’u einecha v’al sifr’cha kulam yikateivu yamim yutzaru v’lo echad bahem

Translation: Thine eyes did see mine unformed substance, and in Thy book they were all written—even the days that were fashioned, when as yet there was none of them.

Note that you do not need to pronounce the actual said verse but only the Divine Names derived therefrom, of which we are informed the correct ones to be:

Transliteration: Gvayir vavka’u l’atein milavul ysva rafya’ei ur’micha v’chayad eichumeiba y’lay’he neimeitzam

We will address more of the "magical" uses of Matz'patz in the second part.

Kabbalistic Curiosities: Wheel of Lights

The title of this post refers to a well-known image from Sefer Emek ha-Melech (The Book of the Valley of the King) by Naftali Bacharach (published in Amsterdam in 1648). The illustration depicts a “Wheel of Lights” comprised of the ten Sefirot. Before we analyse this remarkable illustration, we should look at the life of its equally remarkable originator, whose work comprises particularly detailed descriptions of Lurianic Kabbalah gleaned from the writings of Chaim Vital and Israel Sarug, perhaps the two greatest disciples of Isaac Luria.

Now, beyond the fact that our author was born in Frankfurt, we don’t have any details about his date of birth or of his death for that matter. We are informed that he studied Kabbalah in Poland for several years, after which — on his return to his home town — he wrote his Emek ha-Melech. This text, based as said on the writings of Chaim Vital and especially on Israel Sarug's Limmudei Atzilut, had an enormous impact on Kabbalists, but it also elicited outrage and widespread condemnation. Chayim ha-Kohen of Aleppo, a pupil of Chaim Vital, objected in the strongest terms to the claim that Bacharach’s work represents the true realisation of the teachings of Isaac Luria. Others complained that Bacharach plagiarised the writings of other authors, including virtually the entire mentioned text of Sarug in his own work, without any acknowledgment of the original authors. One complainant, Moses Chagiz, renamed Emek ha-Melech calling it Emek ha-Bacha (Valley of Tears).

It would seem Bacharach was constantly embroiled in controversy. His claims that he acquired his sources of Lurianic Kabbalah during the period in which he resided in Israel turned out to be false, since it is clear that he never went to Israel at all. He ended up in a rather heated dispute with Joseph Solomon Delmedigo, claiming that when the latter was his pupil (another questionable claim) Delmedigo had appropriated manuscripts belonging to Bacharach, and had then published them in his Ta’alumot Chochmah and Novelot Chochmah. Interestingly enough, the real facts of the matter would proof the opposite, and like in the case of the earlier mentioned authors, it was discovered that it was actually Bacharach who appropriated Delmedigo’s work.

Naphtali Bacharach focussed specifically on demonology and the concept of the “sitra achara” (the “other side” or realm of evil) in his writings, and whilst his exposition of the Lurianic doctrine of tzimtzum (primordial contraction) differs totally from the same expounded by Chaim Vital, his “Book of the Valley of the King” had a vast impact on post-Lurianic Kabbalah, influencing the Gaon Elijah ben Solomon Zalman of Vilna, the Kabbalistic teachings of Chabad Chasidism, and even Shabbatean literature. The famous Moses Chaim Luzzatto was himself influenced by Bacharach’s Emek ha-Melech, and one wonders what went through his mind when Isaiah Bassan complained that the translation into Latin and inclusion of large sections of Bacharach’s text in the Kabbalah Denudata of Knorr von Rosenroth “were among the important causes of prolonging the exile.” Finally Chaim Joseph David Azulai, the great 18th century Kabbalist, informs us “I have heard that no genuine writings got into his (Bacharach’s) hands..... therefore the initiated refrain from reading either it or the Novelot Chochmah.”

Gershom Scholem called Naftali Bacharach “a fanatical Kabbalist” whose enthusiastic interests pertained more to “Practical Kabbalah,” rather than the speculative and philosophical aspects of our great Tradition. Bacharach did not only draw from Lurianic sources, but also from the writings of the early Kabbalists, an important factor which we should keep in mind when it comes to scrutinising his “wheel of lights” illustration, to which we now turn our attention. A translation by Jerome Rothenberg and Harris Lenowitz of the Hebrew inscriptions appeared some decades ago in “A Big Jewish Book.” As this translation is not in the least satisfactory and following the idiosyncratic style of the “artistic” 1970's, this translation can be misleading. I have thus decided to offer a somewhat different version here, simultaneously acknowledging the fact that any translation of the Hebrew text is difficult. Amongst the terms Naftali Bacharach used to describe the different aspects of Light are “Zohar,” “Bahir” and “Nogah.” All could be translated “brilliance” or “brightness,” yet we know very well that each term describes quite a different quality of light, and the term Nogah also refers to the “morning star,” “morning light” and the planet “Venus.”

English simply does not provide the vocabulary to allow for an exact translation of the different grades of light expressed in Hebrew. Hence we end up with the Sefer ha-Zohar and the Sefer ha-Bahir being respectively translated “Book of Splendour” and “Book of Brilliance,” knowing that the term “splendour” is more accurately rendered Hod in Hebrew. Attempting to deal with this problem in the best possible manner, I have selected to follow the model of Aryeh Kaplan who, in his "Meditation and Kabbalah" and taking his cue from the fourth part of Sha'arei Kedusha, translated the different grades of light as follows: Now, let us read, translate and investigate the “Wheel of Lights” illustration: Starting upper left on the outer circle and reading anticlockwise around the circle, it reads:

“And going around (circling) the ten Sefirot of the sphere, and circle the eternity (‘forever,’ also ‘universe’ or ‘world’) of primordial space.”

Commencing in turn with Keter (Crown) positioned upper left at the very end of the first word of the outer circle, the inner spokes, read:

1. Crown (Keter) “Light of (from) Light — Marvelous Light (could also be ‘wondrous,’ ‘miraculous’ and ‘incomprehensible’)

2. Wisdom (Chochmah) “Radiance of Radiance — Concealed Light (also ‘hidden’ and ‘mysterious’)”

3. Understanding (Binah) “Sparkle of Sparkle (also ‘glistening’) — Sparkling Light”

4. Greatness (Gedulah) “Radiance of Radiance — Clear Light”

5. Strength (Gevurah) (also “Might”) “Light of Radiance — of Glistening Light (also ‘flashing’)”

6. Beauty (Tiferet) “Sparkle of Light — Shining Light”

7. Victory (Netzach) “Light of Sparkle — Refined Light”

8. Glory (Hod) (also “Splendour” and “Majesty”) Radiance of Sparkle — Brilliant Light (also “Lucid”)

9. Foundation (Yesod) “Sparkle of Radiance — Clear Light and Glistening”

10. Kingdom (Malchut) “Precious of Precious Glowing Light this is”

In this illustration the primordial tehiru is the centre, whilst the circumference is all manifestation — the expression into existence of the ten Sefirot, the latter itself radiated, as it were, out of the Eternal Nothingness of the primordial centre. The editors of “A Big Jewish Book” comments

“the ‘wheel of light’ is not a fixed or static image (from which the ‘limitless’ could as well be excluded) but an image in motion and tied finally to the mystery of creation as worked through by the 16th-century kabbalist and poet Isaac Luria. Here the limitless that fills all space contracts itself to leave a point or vacuum behind in which the universe originates. The act of withdrawal is called tzimtzum (‘contraction’) and the point is called tehiru, the primordial space. A ray of light moving across this circular space fills it with the ten sefirot, which surround it like a wheel of light. Only a residue of Ein-Sof stays within it - like little drops of oil.”

One should of course remember that these very ideas did not really originate with Isaac Luria at all, but are plainly expressed in the Sefer ha-Zohar where we read

“At the outset the decision of the King made a tracing in the supernal effulgence, a lamp of scintillation, and there issued within the impenetrable recesses of the mysterious limitless a shapeless nucleus enclosed in a ring, neither white nor black nor red nor green nor any colour at all.....The most mysterious Power enshrouded in the limitless then split, without splitting its void, remaining wholly unknowable until from the force of the strokes there shone forth a supernal and mysterious point. Beyond that point there is no knowable, and therefore it is called Reshit (beginning), the creative utterance which is the starting-point of all.” [Zohar: Genesis 15a].

As mentioned earlier, Naftali Bacharach’s exposition of the Kabbalistic mysteries comprises many sources ranging from the early Kabbalah to the writings of Chaim Vital, those of the latter itself including material drawn from earlier sources. For example, the unpublished fourth section of Vital’s Sha’arei Kedusha (Gates of Holiness) incorporates a text titled Shaar ha-Kavvanah Le-Mekubalim ha-Rishonim (The Gate of Kavvanah of the First Kabbalists). Aryeh Kaplan tells us that it was probably written by Azriel ben Menachem of Gerona (13th century). This text provides a wonderful meditation technique in which the different grades of light are identified and visualised in a very specific manner. A related and equally important 13th century work called Shekel ha-Kodesh (The Holy Coin) was penned by Moses de Leon of Zohar fame, who appears to have been acquainted with the “Gate of Kavvanah.”

Knowing Naftali Bacharach's predilection for the works of early Kabbalists, and since he may very well had access to the Gate of Kavvanah in Chaim Vital's Sha'arei Kedusha, I personally found the study of Bacharach's "wheel of light" in conjunction with the two mentioned early kabbalistic texts to be most informative. Aryeh Kaplan included translations of the "Gate of Kavvanah" and a large portion of "The Holy Coin" in "Meditation and Kabbalah."

Practical Kabbalah vs "Black Magic"

As indicated in the header of this blog, I intend discussing some of those techniques of "Practical Kabbalah" which I addressed in my "The Book of Self Creation," and which I have greatly expanded upon, with lots of additional practical Kabbalistic material translated from primary Hebrew sources, in my forthcoming "The Book of Sacred Names," to be published by The Sangreal Sodality Press as the second volume in "The Shadow Tree Series."

For more than forty years I have devoted myself to both a serious investigation as well as the practical implementation of Kabbalistic teachings in my everyday life. For me "Kabbalah" was like a pair of old slippers, i.e. absolutely comfortable and easily slipped into, and it has remained so for the entire period that I have been associated with it. There are certainly times when I battle with the obscurities of the doctrines found in some of the primary texts, but, in the main, Kabbalah has served me well on many levels, whether these be physical, mental, emotional or spiritual. In terms of my everyday existence, I have found the teachings of "Practical Kabbalah" especially meaningful, despite the endless warnings about these being "bad," and that I might incur "the wrath of the Almighty."

Of course, it is worth noting that "Kabbalah" and Orthodox Judaism have always been uneasy bedfellows. Sometimes they would be more or less comfortable in their relationship and need of each other, but at other times they would burst into open conflict. The strong messianic tendencies of certain Kabbalists, like for example Shabbetai Tzvi, Jacob Frank, or, much further back, that of Abraham Abulafia, contributed to the notion amongst the orthodoxy that the tradition is a blasphemous quagmire out to snare the gullible. Yet, should the same Messianic tendency shine forth in what appears to be a most godly and sanctified individual, such as Rabbi Isaac Luria, then we can relax and bask in the glory of his "unique light," without any trepidation of being led up the garden path, so to speak.

We know that mysticism goes hand in hand with Judaism, as it does with other faiths, provided it stayed on the thin and narrow and managed to dress its visions, miracles, and what can only be termed "magical activities," in the garb of the formal and accepted religious views of the day. Step out of line, and that individual, who was deemed into manifestation in order to be redeemed in eternity, will be doomed by his peers unto the aeons. To put it simply, certain concepts of Kabbalah entered into mainstream Judaism, and comfortably remained there to this very day. These concepts mainly pertained to the speculative side of the Tradition. In fact, many Rabbis were both Kabbalists and orthodox religious leaders of their communities, as they are still today, with no particular problem one way or the other.

Having said that, I should also mention that some of them did keep their more "controversial" experiences and activities quite hidden for fear of rejection, as for example the case of Rabbi Joseph Caro and his Maggid clearly indicates. However, the more individualistic aspects of the tradition, such as "Practical Kabbalah," which patently involves magical practices, often led to a fracas everywhere, and yet there were again many orthodox Rabbis who beneficially utilized this forbidden zone of the tradition. In fact, many still do with their Kameot (Hebrew amulets), Segulot, Terufot, and magical use of holy writ. To this day the grave of Rabbi ben Duan in Wazzan outside Fez in Morocco, is used as a place where miraculous healings take place. Prior to his demise, the good Rabbi issued an instruction that a certain Kamea (amulet) should be engraved on his tombstone, which would then cause the grave itself to become a place of healing when the sick are placed on it. I can relate a first hand example of its effectiveness, but it will make this introduction much too lengthy. It would appear that the many people undertaking a healing pilgrimage to the good Rabbi’s tomb, is not bothering the orthodoxy unduly.

Naturally we need to recognise that the rise of pseudo-messiahs, such as the earlier mentioned Shabbetai Tzvi and Jacob Frank, contributed enormously towards the fall of Kabbalah from grace in the eyes of mainstream Judaism. Even more so after Shabbetai Tzvi’s conversion to Islam, following the Jewish authorities denouncement of him as a blasphemer to the Muslim authorities. He caused a lot of havoc with his enormous influence over thousands of Jews across the then "civilized" world, and naturally this was more than worrying to the rabbinical authorities who wanted to protect their flocks, and who could see Tzvi’s appeal as spelling disaster for Jewry as a whole. This was certainly a very dark period for both Kabbalah and Judaism alike. However, today Shabbatai Tzvi and his approach to both Kabbalah and Judaism, are understood in a much more open manner, and he appears less of a threat. The same cannot be said for "Practical Kabbalah," which is still drawing vehement condemnation from mainstream religious authorities.

I recently responded to a post online in which it was claimed that Joseph Karo, the great 16th century legalist and Kabbalist, referred to "Kabbalah Ma'asit" (Practical Kabbalah) in his Shulchan Aruch as "black magic." Seeking clarification I wrote:

"In the numerous pre-Lurianic Kabbalistic texts, as well as several subsequent works of the same genre penned by East European Baalei Shem, the term 'Kabbalah Ma'asit' referred to 'Practical Kabbalah' exclusively. There is no specific indication in these writings that the appellation 'Kabbalah Ma'asit' referred to 'Black Magic' per se. When exactly did it acquire the adverse connotation you are referring to?"

To this I received the following response:

"Shulchan Aruch Yoreh De'ah.....laws of Avoda Zerah. The Shulchan Aruch makes very clear that Kabbalah Ma'asit is what the Torah was referring to when it spoke about magic. There are a few rare exceptions, but by and large that is the status."

Since I could not find any reference to Kabbalah Ma'asit being "black magic" in the reference provided, I continued quizzing lest it appeared somewhere else in that authoritative legalistic tome, asking:

"Does the Shulchan Aruch use the specific appellative 'Black Magic' in reference to 'Kabbalah Ma'asit,' and does this turn astute and highly revered Kabbalists like Rabbi Eleazar of Worms, Rabbi Moshe Cordovero, Rabbi Moshe Zacutto, Rabbi Avraham Chamaui, et al, who openly shared techniques belonging to the 'Kabbalah Ma'asit' arena, into heretics who pandered what is forbidden? By the same token are 'Practical Kabbalistic' writings like the Sefer Raziel, Brit Menucha, Shorshei ha-Shemot, amongst others, considered 'black magic' texts?"

In response I was told:

"Actually the Sh"A refers to black magic and all other forms of forbidden sorcery as Kabbalah Ma'asit. As well as enumerates the practices that are forbidden. Considering that R' Cordovero was actually a teacher of R' Karo, I would assume that R' Karo learned what was forbidden from him. Receipt and knowledge of Kabbalah ma'asit is not forbidden, its usage is. Read the introduction by R' Zecuto (who is post-Lurianic by the way) he specifically warns against the usage of what he has written. There are exceptions to this within the bounds of halacha, but one first must be a competent Rav versed in the applicable halachot to know what they are and when they can be properly applied."

Realising the "deflective" nature of this response, the lack of direct textual references, the absurdity of the claim that it is in order to read and learn about Practical Kabbalah, but that you are not allowed to put such knowledge to practical use, and that I am not likely to get a clear answer to my query, I did not press for further details. It quickly became abundantly clear that pursuing the matter any further would just result in me listing more and more of those astute rabbis who did not only wrote about, but actually employed that which the individual in question termed "Black Magic," and likewise he will come back with a list of equally as many astute rabbis who decried "Practical Kabbalah." So why bother?

I thought the statement that Moses Cordovero was the teacher of Joseph Karo, and that the respondent assumed that accordingly "R' Karo learned what was forbidden from him," to be indeed most curious, since Cordovero himself freely shared techniques of the Kabbalah Ma'asit (Practical Kabbalah) genre in his Pardes Rimmonim (Garden of the Pomegranates). Joseph Karo was certainly not unfamiliar with the more "extreme aspects" of Kabbalah. After all, he diligently kept a diary, albeit a secret one, of his clairvoyant channelling of a Maggid, a heavenly spirit mentor, and he apparently left his mark in the local lore of Nicopolis, the town in which he grew up, where visitors are still shown Karo's Kan Gishmi (Fountain of Blood), a spot where it is said he "performed miracles." One wonders if the latter were of the "Practical Kabbalah" variety?

Regarding Moses Zacutto's warning "against the usage of what he has written," we know that he personally employed many of the magical techniques he listed so openly and enthusiastically in his Shorshei ha-Shemot (Roots of Names) and Sefer ha-Sodot she-Kibbalti mi Rabbotai (The Book of Secrets I Received from My Masters). In fact, in many instances he affirmed the efficacy of these procedures with the phrase "tested by me," and hence J.H. Chajes appears to be correct in his observation that Zacutto "assembled this magical material for practical and not merely theoretical purposes." It is also curious, as also noted by Chajes, that both Chaim Vital, of Lurianic fame, and his son Samuel did not hesitate to consult with Muslim magicians when they felt it necessary to do so!!