This post is the first in a series to be posted on this blog that will explore the occult symbolism found in the graphic novel Watchmen, by Alan Moore and David Gibson. This celebrated book, which was recently made into a film, was published before Alan Moore’s occultic ‘conversion’ (SOURCE). Despite this, the book is filled with magical references, many of which act as another layer of synchronicity to the storyline and offer esoteric interpretations regarding events in the book and the motivations of various characters. Moore admits to having knowledge of the occult, before becoming a magician himself (SOURCE), but it is unclear whether these references were purposely written into Watchmen, or if they are simply coincidental. Either way, Watchmen is truly a multifaceted book that operates on many levels and has, in Alan Moore’s words, “loads of these little bits of synchronicity popping up all over the place” (SOURCE).

This first post discusses some of the Kabbalistic themes related to the character Rorschach found in Chapter 1 of the book. These references seem to be synchronous with Rorschach’s psychology and describe his motivations in uncovering the conspiracy behind the main events of the book. Please note that this post contains spoilers, so if for some reason you haven’t read the book or seen the film, you may wish to stop reading now. Also note that I am not an expert in esoteric matters – I have tried to do my best in interpreting the meanings of the various bits of symbolism, but not being personally involved in this sort of thing, I may not always get things right. Also I am sure that deeper levels of interpretation, going beyond my current level of understanding do exist. I do not support the occult or agree with the practice of magic. I did, however, think it was important to write in this area, firstly to point out another example of a work of pop culture that is infused with occult themes and symbolism. This is particularly interesting in the case of Watchmen, which is literally about the formation of a New World Order by a follower of the Mysteries. Secondly, I feel that discussion of these themes adds a new dimension to enjoying and understanding the book. My aim with these posts is to broadly cover this topic area. To that end, please feel free to email me with suggestions and tips regarding additional occult references in the book. I am sure there are many that I am unaware of.

At midnight, all the agents…

“Now at midnight all the agents And the superhuman crew, Come out and round up everyone That knows more than they do. Then they bring them to the factory, Where the heart-attack machine Is strapped across their shoulders, And then the kerosene Is brought down from the castles, By insurance men who go Check to see that nobody is escaping, To Desolation Row” – Bob Dylan, Desolation Row

The frame pictured above (Chapter 1, p.6) depicts Rorschach beginning his investigation of the Comedian’s murder. The frame depicts Rorschach climbing into Eddie Blake’s apartment, via the use of his grappling hook gun. Interestingly, there are numerous similarities between the depiction of Rorschach in this frame and the infamous ‘Baphomet’ image created by arch-occultist, Eliphas Lévi. This image is pictured below.

Eliphas Lévi’s image of Baphomet

Interpretation of some of the symbolism encoded in the image of Baphomet reveals insights into Rorschach and the storyline of Watchmen. As with the image of Baphomet, Rorschach is forming the sign of hermetism with one arm pointing up and the other arm pointing down. This is representative of the hermetic imagery of “as above so below,” which signifies the unity of microcosm and macrocosm. Applied to an individual, this can mean that effects on one level of reality appear on another.  For example, an event occurring in the spiritual or psychological level can affect the physical level and vice-versa. This applies to Rorschach and his understanding of the world, which we see in the opening pages of the book. The outside world, which is seen by Rorschach as on the brink of destruction, filled with vermin, filth, sex and murder matches the darkness and violence of Rorschach’s own mind. The hermetic imagery asks the reader if Rorschach is a projection of the world or is the world a projection of Rorschach. This same theme is explored in Chapter 6 of the book, where Rorschach is identified as a ‘monster’ who is ‘fighting monsters’.

Eliphas Lévi’s image has Kabbalistic connotations. According to Wikipedia, one of Baphomet’s arms is pointing up to the white moon of ‘Chesed’, while the other is pointing down to the black moon of ‘Geburah’.  Another article I found about Baphomet indicates that Chesed and Geburah are two Sephirot on the opposite sides of the Kabbalistic Tree of Life. These particular Sephirot “are commonly understood to be male and female, severity and mercy. Chesed represents kindness and love, while Geburah presents power, strength and judgment.” Thus, hermetically pointing at both Sephirot is a sign that is meant to “expresses the perfect harmony of mercy with justice.”  - a caricature of the Kabbalistic conception of God.

Mercy and justice are certainly not harmonized in Rorschach’s character. Rather in the constant strive for justice, he is merciless. This is reflected esoterically in Dave Gibbons’ depiction of Rorschach in the frame above. Please note that Rorschach is pointing to a painting of a topless female on the bottom-right corner of the frame.  If Rorschach can be imagined to be pointing at Sephirot like Baphomet, then we can see that the position of the lower right Sephirot have swapped – Baphomet was pointing down towards the ‘male moon’, Geburah, Rorschach is pointing down to a portrait of a nude female, the ‘female moon’, Chesed. There is definite lunar symbolism in this image. Notice that the portrait of the female has a blood splatter on her body, perhaps representative of menstruation. This justifies the interpretation of the portrait as the ‘female moon’. Since the lower right Sephirot is reversed from Levi’s image, this may imply that the harmony between Geburah and Cheses, between mercy and justice is out of balance in Rorschach.

Baphomet has two horns representing duality. The hermaphroditic imagery of Lévi’s image (notice the female breasts on a male body), implies a synthesis or union. This signifies that duality is synthesized in the godhead and becomes a union. Likewise, Rorschach, as in the above image, is constantly pictured with two dark spots on his hat, interestingly, in place of horns. This may represent Rorschach’s dual nature – his split personality. Interpreting this in the context of the hermaphroditic symbolism inherent in the Baphomet image implies the synthesis of good and evil in Rorschach’s personality. While Rorschach fights evil, he is not the antithesis of evil, rather he is a synthesis of good and evil, fighting evil with evil methods himself (e.g. threats, torture). This synthesis is explored in depth in Rorschach’s interviews with the psychiatrist in Chapter 6. – remember the quote by Friedrich Nietzsche presented at the end of the chapter – “Battle not with monsters lest ye become a monster. And if you gaze into the abyss the abyss also gazes into you.”

Eliphas Lévi’s image of Baphomet also informed the symbological development of the Devil Card in the Rider-Waite tarot deck. While there is no need to additionally discuss similarities between the card and the image of Rorschach above, there is, however, one extremely interesting relationship worthy of note. According to Wikipedia, one interpretation of this card is “self-bondage to an idea or belief which is preventing a person from growing or being healthy.” This is an incredibly accurate interpretation of Rorschach’s personality and describes his complete fixation on tracking down the ‘Mask Killer’, a figment of his imagination that is disconnected from the events in the book that are really going on.

To summarize, the hermetic and hermaphroditic imagery present in Eliphas Lévi’s image of Baphomet can be interpreted in such as way as to provide insight into Rorschach’s character, the nature of the world the book is set in, and later elements of the storyline. The next post in this series will explore some of the freemasonic imagery found in chapter 1 of the book, as Rorschach begins his journey towards knowledge, from ignorance to uncovering the conspiracy behind the events of the book.

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George Washington's masonic apron.

Most Masons can & do go through their entire masonic life completely happy with the lambskin they were given by their Lodge and the thin, cotton numbers that most Lodges keep for members and visitors to wear. These are all well and good. I always wear one of the Lodge-supplied aprons. Masonically speaking, it wasn’t always so…

In our not-so-long ago Masonic past brothers often took great personal pride in their aprons. Their apron oft showed a lot bout the man wearing it, regardless if it had been made by the local seamstress or embroidered by his wife, daughter, or even himself by the imagery thereon. Many of the surviving examples are true works of art! The most famous of which is George Washington’s masonic apron shown here on the right. I know that some say that the brethren can’t meet “on the level” if some are showing their wealth &/or success by the intricacies of their personal apron. I humbly must disagree.

As I see them it is often the home-made, home decorated, aprons that show true dedication to our order. They are often the most beautiful, too.

Fortunately, I am not entirely alone in my beliefs here. There are a few people scattered about this Nation, and the World, that still produce these wonderful aprons.

Here I will post a few photos of some that I have found particularly beautiful…

The Tarbell Apron.

Massachusetts apron, circa 1791.

In my next post I hope to post photos of some aprons made by modern-day artist. (I’m awaiting permission to post the photos..) Meanwhile, give the subject some thought.

As always, I have the Honor to Remain Your Brother,

MTJ