Parshat Yitro5 min read

What the Mystic Saw When the Throne Held Lions

Anaphiel swung the last gate. Five hundred and twelve eyes turned. The mystic's knees went first, then his back hit the floor.

Curated by Arthur · Told by Maggid ·
Table of Contents
  1. His Knees Went First
  2. Anaphiel Opened the Seventh Gate
  3. Five Hundred and Twelve Eyes Turned
  4. The Throne Held a Living Lion

The mystic had already passed six palaces. Names had gotten him that far. Seals had gotten him that far. At the seventh door his own legs stopped being enough.

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Anaphiel swung the gate.

The man swayed. He trembled. He started backward. Fright came, then terror, then a faint that dropped him onto his back. Heat from the threshold reached him before any picture of the room could form. Whatever composure he had carried through six palaces left him on the floor.

His Knees Went First

He had spoken the right names at six checkpoints. Gate guards whose eyes ran like lightning had already looked him over and let him pass. The last palace waited behind a door he could not open alone.

When the door moved, his knees went before his mind did. He did not choose the fall. The body registered the room and failed at standing. His hands searched the floor for a hold that was not there.

Sixty-three gatekeepers stood with Anaphiel. They did not catch him. They watched him go down. Help at this height did not look like a hand under the elbow. It looked like a gate held open for a man already on his back.

Anaphiel Opened the Seventh Gate

The mystic could not enter under his own power. That was the rule, not the exception. Anaphiel, whose name belongs to the seventh palace, swung the great gate for any devoted person who desired to descend to the Merkavah (מרכבה), the throne-chariot of God.

Descend is the old word, even though the road goes up. The palaces are climbed by names and seals. At the last door the climber is let in. He does not walk through as a craftsman who finished a job. He is admitted as a body that has already lost the argument with gravity.

The holy beasts turned their faces toward the entrance. Five hundred and twelve eyes lifted. They ran like lightnings (Nahum 2:4). The eyes of the Cherubim gathered there too, and the eyes of the Ofanim, wheels whose gaze burned like torches of fire and coals of juniper.

Each set of eyes passed through him. He was still on the floor.

Five Hundred and Twelve Eyes Turned

Judgment at that door was not a spoken verdict. It was a count of eyes. Five hundred and twelve of the holy beasts, then the Cherubim, then the wheels of fire. The mystic had survived six palaces by speaking. Here speech would not have helped. The room looked, and looking was enough to keep him down.

Anaphiel did not close the gate because the man had fainted. The gate stayed open. A devoted person who wanted the Merkavah was supposed to come apart at the threshold. The body spoke when the mouth could not.

He was let in anyway.

When he could lift his head, he saw what the seventh palace held.

The Throne Held a Living Lion

Inside, the throne was not a chair.

A lion had been fixed into its structure. Not painted. Not carved as ornament. Fixed, present, roaring with the fear and awe that lions carry in themselves. "The most lofty of wild beasts is the lion," the voices around the seat said. "The likeness of a lion hast Thou fixed in Thy throne." The throne required the thing the lion carries, its nature, not a picture of a cat.

Above the lion, the eagle. "The most lofty of birds is the eagle. The likeness of an eagle hast Thou fixed in Thy throne." The eagles of that seat moved as eagles move. They were swift. They flew. They soared. They were filled with the same fear of God that filled the lions.

Together they brought height and ferocity from the highest beasts and the highest birds and set them in one place. The man who had fallen backward at the gate now lay inside a room where the seat of God roared.

He would have to stand again to leave. The six palaces behind him had taken names. This one had taken his balance. What he would carry back was not a description of furniture. It was what happens to a body that stands at the outer edge of divine fire, falls down, and is let in anyway.


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The texts behind this telling. Some cards carry a translation of the source; others are our own retelling of it, and each card says which. Every card links out to the original.

Heikhalot Rabbati 24:4Heikhalot Rabbati

Retold in our words. Read the original at the link below.Sefaria-hosted English translation · CC-BY

The Heikhalot (the heavenly palaces) Rabbati, which translates roughly to "The Greater Palaces," is a profound and mystical work within the Heikhalot literature – a collection of Jewish esoteric writings describing visionary journeys through the celestial realms. These texts, dating back to late antiquity, offer a glimpse into the minds of mystics who sought direct encounters with God.

In one particular passage, section 24, we find a vivid depiction of a person – likely a mystic or adept – approaching the divine presence. And it's not a gentle stroll. The text says, "And that man would sway and tremble and start backward and be frightened and be terrified, faint and fall backward."

Can you feel the intensity? The sheer force of the encounter is enough to make someone physically and emotionally collapse. It's a stark reminder that encountering the divine is not always a comfortable or easy experience. It's overwhelming.

Here's where it gets interesting. This individual is not left to crumble. Help arrives in the form of ‘Anaphiel, a powerful angelic prince, and a retinue of sixty-three gatekeepers. These aren't just any guardians; they are the keepers of the entrances to the seven palaces that lead to the divine throne.

Think of these palaces as layers of reality, each more sublime and awe-inspiring than the last. Each requires permission and guidance to pass through.

'Anaphiel and his cohort offer reassurance: "Fear not, son of a seed beloved, enter and see the King in His beauty, end thou shalt not be destroyed and thou shalt not be burned." What a comforting yet also terrifying promise! It acknowledges the danger but offers protection.

Why the fear? Why the need for such intense support? Because what awaits is beyond human comprehension. To prepare the individual, the angels recite a litany of God's attributes: “A just King is He, a faithful King is He, a submissive King is He, a humble King is He, a righteous King is He, a pious King is He, a holy King is He, a pure King is He, a blessed King is He, a lofty King is He, a mighty King is He, a gracious King is He, a merciful King is He, a lowly King [is He] – blessed be He.”

It's a cascade of praise, each attribute building upon the last, attempting to encapsulate the ineffable nature of the divine. Note the seeming contradictions – a lofty King who is also a lowly King. This tension speaks to the paradoxical nature of God, both transcendent and immanent, beyond human understanding yet intimately involved in our world.

This passage from Heikhalot Rabbati isn't just an ancient text; it's a profound meditation on the nature of spiritual experience. It suggests that approaching the divine requires courage, humility, and a willingness to be transformed.

So, the next time you feel like you're on the verge of something immense, remember the mystic trembling before the throne. Remember ‘Anaphiel and his gatekeepers. And remember that even in the face of the overwhelming, you are not alone.

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Heikhalot Rabbati 24:2Heikhalot Rabbati

Retold in our words. Read the original at the link below.Sefaria-hosted English translation · CC-BY

Heikhalot Rabbati turns to Anaphiel Opens the Way to the Divine Throne-Chariot.

If someone, a particularly devoted individual, let's say, desired to "descend to the Merkabah," ‘Anaphiel, a powerful angel, would swing open the gates of the seventh palace.

Once inside, standing right there on the doorstep of the seventh palace, the "holy beasts" would turn their gaze. And what a gaze it is! Five hundred and twelve eyes, the text specifies, would lift to meet this person. Each eye, It evokes an image of intense scrutiny, like being filtered, analyzed, and judged all at once. And their appearance? The text quotes (Nahum 2:4), "they run like lightnings." Can you imagine the sheer, raw power of that image?

Wait, there's more.

These aren't the only eyes present. The text goes on to add the eyes of the cherubim – those powerful angelic beings – and the ophanim. The ophanim are often translated as wheels, and they are associated with the Shekhinah, the divine presence. Their eyes are described as "torches of fire and conflagrations of coals of juniper." Not exactly a comforting image, is it?

What does it all mean?

Perhaps it speaks to the immense preparation, the sheer spiritual fortitude, needed to even approach the divine. Maybe it's a reminder that such a journey isn't for the faint of heart. Or perhaps it's a metaphor for the intense self-reflection, the facing of one's own flaws and imperfections, that's necessary to truly connect with something greater than ourselves.

Whatever the interpretation, the image of those hundreds of blazing eyes, scrutinizing, powerful, and utterly overwhelming, is one that sticks with you.

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Heikhalot Rabbati 27:5Heikhalot Rabbati

Retold in our words. Read the original at the link below.Sefaria-hosted English translation · CC-BY

The Heikhalot (the heavenly palaces) Rabbati, one of the key texts of the Heikhalot literature – that's the mystical tradition focused on ascensions to the divine realms – gives us a glimpse. And what’s most striking is the imagery: powerful, primal, and utterly awe-inspiring.

God's throne isn’t just some ornate chair. It's alive with the essence of the most majestic creatures.

First, the lion. The LION. The verse reads, "The most lofty of wild beasts is the lion. The likeness of a lion hast Thou fixed in Thy throne." The lion, king of the beasts, its roar echoing through the savanna, is somehow embodied in the very structure of God's throne. These aren't just decorative lions; they roar. They are feared. Their strength is palpable. And above all, they are filled with the fear – the awe – of the divine. It's a raw, visceral power, reflecting the untamed aspect of God's glory.

Then there's the eagle. Soaring above the world, seeing everything with its piercing gaze. "The most lofty of birds is the eagle. The likeness of an eagle hast Thou fixed in Thy throne," the text continues. This isn't just about beauty or grace. It's about movement, speed, and the freedom to ascend to unimaginable heights. The eagles of the throne move like eagles, they are swift like eagles, they fly like eagles, and they soar like eagles. And just like the lions, they are filled with the fear – the reverence – of the “Pure One.”

What’s particularly striking is the repetition. The lion… the eagle… the lion… the eagle… Emphasizing not only their inherent majesty, but also their unwavering devotion. The text really drives home the sheer power and primal nature of these beings and their relationship to the Divine.

And what are they doing up there, these celestial lions and eagles? They're singing! "And all of them do triply declare Thy sanctitude with the triple sanctus." The triple sanctus, "Holy, holy, holy," is a phrase we find in Isaiah (6:3) and is central to Jewish prayer, the Kedushah (holiness). These divine creatures are constantly proclaiming God's holiness, their voices joining in an eternal chorus of praise.

So, what does it all mean? Why these animals? Why this throne?

Perhaps it’s a reminder that the divine isn't confined to the purely spiritual or intellectual. It encompasses the raw, powerful, and awe-inspiring aspects of the natural world. The lion and the eagle, in their strength and freedom, reflect something essential about God's character.

The Heikhalot Rabbati isn’t just describing a place; it’s offering a vision. A vision of a God whose throne resonates with the power of creation, whose holiness is proclaimed by the most majestic of creatures. It invites us to contemplate the wild, untamed beauty of the divine and to find our own place within that cosmic chorus.

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