|Phase 3: "Eagle over sea with one foot caught on back of sea lion one foot caught by Dolphin. Eagle drags both"|
|Phase 17: "Crystal arrow going through golden crescent. arrow cut so as to reflect all colours. Colours in crystal show how much energy has passed into anti"|
|Phase 27: "more or less [? easter] figure. in left hand holds a mans soul in a simulacrum of man temptation to put it in. He stands on globe."|
|Phase 15: "Beautiful Man in pool holds stone of wrath & arrow of wisdom. arrow reaches crescent."|
• The figure of Phase 1 is that of the man hanging from the tree, probably with the snake included. Yeats notes that the evocation is not luminous as true visions tend to be, and not easy to move or develop from but obsessive.
• Phase 1 is located at cardinal North, and the man looks towards "the Initiate": this term came into the script very early and is ambiguous, as it may refer to the last phases, (especially Saint and Fool), or go beyond cycles to the centre of the Wheel (linked to avatars and Christ).
• It is difficult to see how the "figure weeping into a cup" can be both at N and a good deal to left of a figure at North. It could well be a misreading of the rather N-like glyph for Capricorn (♑), which would make sense, since this is the marker for "Loins" placed in the fourth quarter, usually shown between Phases 25 and 26. (This ties in with the description of Phase 18 on card S66, where it is noted that the "Legs go to ♈" i.e. Aries, the zodiac sign marked on the Wheel between Phases 18 and 19.)
• The elements of the weeping woman with the cup and the boar with cup both seem to come from Phase 24, even though they are referred to as being opposite one another.
• Whether these are left or right seems moot, and it is probably best not to place too much emphasis on this aspect.
• East is identified in the normal arrangement with Phase 22 and the other figure with the whirling leather thong appears to be the emblem associated with Phase 22.
Without more context, it is difficult to tease out exactly what the vision communicates. As it stands, it seems like a rather cluttered hybrid of Odin sacrificing himself on the World-tree and Alice in Wonderland. Yet the imagery is clearly part of Yeats's phantasmagoria, with descriptions of these images recurring in the description of Speculum Angelorum et Hominum and the woman with the cup figuring in Yeats's own bookplate.