General Analysis of the Table of Chaos
The Tablet of Chaos is another of the imaginative invention of Gerald Schueller. The reason for the invention is certainly one of symmetry and architectonic and mostly because he needed an additional Tablet to make an Enochian Cube by joining all the Tablets together in one and same entity. According to Schueller, “the idea of providing a balance of forces is not only esthetically pleasing, but it is also necessary for stability.”
We have described eighty-eight specific pathways through the Enochian Tablets. There are actually many additional paths that are possible from the Earth-Tiers leading to the Fire-Tiers and to the Tablet of Union. Furthermore, we have mentioned Demons that can be encountered through the Earth-Tier of each Watchtower Mandala. These Demons resides on the Tablet of Union. Schueller suggest that the Tablet of Chaos represents a separate region somewhere in the magical universe. It is unclear if this region is below our Earth (like the Avichi of theosophy) or above it (possibly the lowest subplane of the astral plane where some say Hell is located). It is even possible that the Tablet of Chaos represents our own Earth or some other location on the physical plane). The tablet of Chaos is created from the Tablet of Union by reversing its twenty letters. Just as the Tablet of Union was used to create the Tablet of Union Mandala, so this tablet is used to create the Tablet of Chaos Mandala in what we call the Enochian Cube. The Tablet of Chaos consists of the twenty letters of the Tablet of Union written backwards. And, as we already know, in Enochian magick, the demonic side of any angelic being or force can sometimes be known simply by reversing the letters of its name. So in the Tablet of Chaos, the element Fire is called MOTIB while in the Table of Union it is BITOM. The highest god of this Tablet is BHNE which is BABALON spelled backwards. To symbolizee these demonic powers, we use a counterclockwise spiral with three and one half turns as shown. The sun modes in a clockwise direction and counterclockwisenof widdershinsnis traditionally the direction of evil (it is also the direction of magic). In Tantra, the godess Kundalini, in the form of a snake, is said to reside in our subtle body at a point corresponding to the base of the spine and she is said to be lying asleep in three and one half turns or coils. Thus three and one half is the number for our individual creative potential, on a global scale, that resides in the Tablet of Chaos.
The Mandala of Chaos
The Tablet of Chaos Mandala, symbolic of the lowest sphere of the magical universe ruled by the forces of chaos (which are directed by karma). It consists of a truncated pyramid with a central vortex pf three and a half counterclockwise turns (according to Kundalini yoga, the goddess Kundalini has the form of a snake with three and one half coils located in the root center or muladhara chakra).
The illustration here shows the version Mandala of Chaos showing steps and letters as it is used for pathworking. Those rituals are given despite the Schueller’s advice against the pathowrking of this tablet but he restrains himself to address the question indetail due to the inherent dansgers associated with the pathworking of demonic/chaotic realms.
The Enochian Cube
The Enochian cube is a six-sided cube with the four Watchtower Mandalas on each of the four sides, the Tablet of Union on the top, and the Tablet of Chaos on the bottom. In this way, the spiritual forces found in the Tablet of Union are counterbalanced by the demonic forces found in the Tablet of Chaos. They are separated from each other by the four Watchtowers. The cube thus represents a three-dimensional model of the entire magical universe as described in Enochian Magic.
The figure below shows the six mandalas that comprise one version of the Enochian Cube. This version is called the Directional Enochian Cube. Each mandala forms one side of the cube. The illustration shows the cube as if it had just been unfolded or opened out flat with the Earth and Chaos Mandalas toward the North. If we look at the cube downward from the top, the four Watchtower Mandalas towards the North. If we look at the cube downward from the top, the four Watchtower Mandalas on the sides are arranged together in the four directions given by the Golden Dawn. When we use the cube this way, we visualize ourselves as being at the center of the cube – i.e., every magician is at the center of the magical universe.
The Six Mandalas and the Directional Enochian Cube
The directional cube is not the only version that is suitable for pathworking purposes. The figure below shows the second of the Enochian Cube, which we call the Serial Enochian Cube. Here the four Watchtower Mandalas are arranged in serial order so that we have Fire, Air, Water, and then Earth, connected together in a clockwise direction, the natural direction of all manifestation. They are also connected in a counterclockwise direction from Earth to Water, Air, and then Fire because this is the direction of magic. Most magical operations use the widdershins direction because most magic opposes the natural order of things. In both versions, the Tablet of Union and Tablet of Chaos are opposite each other and are connected only through one of the Watchtowers (the only dirrerence the two versions is that Air and Fire have switched positions ).
The Six Mandalas and the Serial Enochian Cube
Schueller have found that the Directional Enochian Cube is especially suited to invoking or evoking operations, while the Serial Enochian Cube is especially suited to astral traveling or pathworking. However, both can be used for either, and the difference is largely personal. Schueller do not recommend that anyone pathwork the tablet of Chaos, nor he see any need to move “through” the cube (which would be the equivalent to traveling through our physical Earth). When using the directional cube, to pass from one Watchtower to another, we can either, return to our body (the center of the cube) and then travel again in another direction, or we can pass directly from one Watchtower to an adjacent Watchtower by making an apprpriatee “ninety-degree turn” which would be equivalent to passing through a cosmic Ring-Pass-Not.
In order to arrive to a larger number of possible pathways through the magical universe, we can allow each mandala or surface of the cube to rotate about a central pivot. Rotations of the Watchtowers allow the Gates to match up with different Gates of adjacent mandalas. Thus each Watchtower mandala can connect to the Tablet of Union, for example, in eight ways or through eight separate paths because each of the eight Gates can be connected to the Tablet of Union. They can also connect to the Tablet of Chaos in eight ways. Each Watchtower mandala can give us four different Inner Gates for each Watchtower Mandala to make connection with the Tablet of Union.
In a real sense, the Enochian Cube is a three-dimensional model of the Enochian magical universe. But it allows us access to pathways through the magical universe that are not traditional. For example, the Watchtower of Earth and the Watchtower of Fire are adjascent on the cube. This implies secret Gates that can take us directly from one to the other rather like a wormhole in space time as defined in modern theoretical astronomy (in this case the “wormhole” would be located in the Great Outer Abyss). The standard model of the magical universe used in Enochian magic is two dimensional and consists of John Dees’ five Holy Tablets in the form of mandalas spread out, with each region facing the traditional four directions. Our new models six mandalas by adding the Tablet of Chaos to the Earth Mandala. Then the six mandalas are folded into a three-dimensional cube. The Enochian Cube allows us to travel through each of the four Watchtowers and Tablet of Union in a wide variety of ways.
The Pathworking Foldout of the Serial Enochian Cube
Now, let’s look at the cube in another way. The figure below shows what we call the Serial Enochian Cube which is unfolded in a serial order, from Earth to Water, then Air, then Fire, and then the Tablet of Union-in that order only. We must return backward through the five areas, again in a serial order. This configuration conforms with pathworking experience and especially to a specific magical operation called Rising on the Planes. Using the cube as model, secret pathways allow us to travel in previously unavailable paths. We can still go through the Watchtowers in the same way, but now we can also travel directly between Earth and Fire. We can also travels from any Watchtower to any other Watchtower by going through the Tablet of Union, which is now available from all four Watchtowers. The Tablet of Chaos (so called because it opposes the Tablet of Union which represents the foundation of order and pattern) is a new addition to the more traditional Enochian model. Understandably, little is known about this region, except that within it reside those demonic beings who thrart the creative order of the Kings, Seniors, and Angels of the Watchtowers. This Tablet can be said to correspond to the Qliphoth of the Qabala, the “shells” or shadowy side of the 10 Sephiroth. It thus contains the Tunnels of Set which are said to contain the core of all Sethian or demonic forces in our universe. Those tunnels are described by Kenneth Grant in Nightside of Eden. Grant writes, “The qliphoth are not only the shell of the ‘dead’ but, more importantly they are the anti-forces behind the Tree and the negative substratum that underlies all positive life.” This is exactly the sense in which Schueller think the Tablet of Chaos should be viewed.
Schueler, The Angel’s Message to Humanity, p. 223 notes.
In The Occult Power of Numbers, W. Wynn Westcott says that 3+ is half of seven and thus represent “present suffering as compared with future joy.” (Newcaste Publishing, p. 49) The tantric goddess, Kandalini, is equivalent to the Enochian TELOKH-VOVIN or “death-dragon,” which James equates to the fallen one of the Great Outer Abyss called KHRONONZON. (Reference The Enochian Evocation of John Dee, ed. & translated by Geoffrey James, p. 101)
 The notion of top and bottom is, of course, completely arbitrary. Schueller suggest that when the practitioner use initially the cube, the “top” should face upward toward his head, while the “bottom”
Rising on the Planes was an exercice taugh by the Golden Dawn and adopted by Crowley in his own magical school (See Liber 0).
Frederick Muller Limited, p. 31.