NOTES (URWWW refers to the title of the work.) **(1)** URWWW is premised on Justinian’s need to stop the massive number of suicides happening in the world, where men have lost their value for life . This is almost certainly a symbol serving the allegory, not of actual suicide, but of a general spiritual suicide. The reader might do well to consider this somehow prophetic of future suicide in connection with other works of fiction from later centuries. The most notable example comes from the book of short stories *The King In Yellow* (Chambers, 1895), which has received some attention recently when it was referenced by the HBO series True Detective, within the larger scope of the Yellow Sign mythos. In the story ‘*The Repairer of Reputations*’ from this compilation, we are presented with a dystopian alternate New York City of the 1920s that features suicide laws and ‘lethal chambers’ for public use, the first of which is unveiled across from Washington Square. In a sequel to this story, these chambers are later called ‘suicide chambers’. These works would later influence Sheckley’s depiction of assisted suicide in his 1958 novel *Immortality, Inc.*, which served as an inspiration for the pilot episode of Futurama (1999) in which a human society in the year 3000 has ‘suicide booths’ on every corner. Most recently, Australian inventor Phillip Nitschke unveiled a real suicide pod in Denmark, called the *Sarco*, a 3D-printed euthanasia device featuring a pod which becomes a detachable coffin. The pod works by dispensing 4 liters of nitrogen to drop the oxygen level in the pod to less than 5% within sixty seconds. Death is said to be rapid and painless. Access to the use of the Sarco will be regulated, and prospective euthanasia patients must first be qualified by an online questionnaire. (https://en.wikipedia.org/wiki/Sarco_device) As of December 2020, assisted suicide is legal in Denmark, Belgium, Colombia, Luxembourg, parts of Australia, Spain, and Canada. **(2)** The original language says: *“Apollo gave the charge of the Universal Reformation to the Seven Wise Men of Greece, who are of great repute in Parnassus, and are conceived by all men to have found the receipt of washing blackmoors white, which antiquity labored after in vain.”* This is a reference to the *Fables of Aesop* (620 - 564 B.C.), namely the story *‘Washing the Ethiopian White’*, sometimes alternatively translated as ‘Washing the Blackmoor White’. The fable concerns a black slave who, wishing to be like his white master, goes about trying to wash the blackness from his skin until he becomes ill (in some accounts he perishes). Therefore, the reference in URWWW is to the impossibility of changing the fundamental nature we are given. The racist implications are clear, and later interpretations and commentaries focused on the broader idea that ‘we must play with the cards we’re dealt’. Bewick states: “What’s bred in the bone will never come out of the flesh.” By the 20th century, Aesop’s fable had been taken up in more politically correct companion fables such as ‘The Raven and The Swan’, opting for zootypes instead of human characters. It is important to realize that the implications for the Rosicrucian tale are that the Seven Wise Men of Greece truly had the alchemical knowledge to transmute the nature of substances, and therefore had ‘washed the blackmoor white’. Thus URWWW is about a group of initiated men who believe themselves to be called on by God to change the fundamental nature of mankind, transmuting it beyond its gross impurities to a state of perfection. **(3)** This dating speaks to Exodus 22:2: “This month is for you the head of the months, it is first for you of the months of the year.” Of course, this refers to the Jewish holy month, Nissan, and the 14th day of this month begins Passover. I’m not certain on the significance the ‘fourteenth day of the last month’ has in URWWW. I wished to point this out due to its connection to the lunar calendar, the sighting of the ‘new moon’ in Jerusalem, and the likely reference being made here to Exodus and its imagery of liberation. The fact that the meeting in URWWW takes place on the corresponding day of Passover, but of the ‘last month’ as opposed to the first, could signify something like ‘passing over from the end of an age’. Given the ritual significance of Passover, it signifies a sacrifice to be made in faith and gratitude for such liberation. There is a clear connection being established between Passover and URWWW, which speaks to a sacrifice to be endured by mankind for the sake of purification. The concern of URWWW is how it ought to be done, as well as the secret society of initiates which will guide the drawing of its architecture. **(4)** This phrase from Cleobulus is perhaps the most revealing in the document as it concerns later suspicions about Rosicrucians and their secrecy. It could be that they circulated this satire as an exoteric means of concealing their true, long-term intentions: not that they’d attempt any of these recommendations given to Apollo *individually*, but to eventually enact them all as part of a more comprehensive initiative. **(5)** Here, Thales is being portrayed as attempting to manipulate the demand for peas and black cherries; it is said that Aristotle recounted a year where the actual Thales had used some means to know that a particularly good harvest of olives was coming that year. In advance, he rented all of the olive presses in Miletus ahead of time, earning him a discounted price on the rentals. When the especially productive olive harvest arrived, Thales was in a position to sublease the presses at a premium as demand for olives peaked. Hence, URWWW is making an explicit jab at the philosopher Thales, while at the same time issuing a more implicit critique of philosophers generally. In URWWW, Thales was certain not to let the opportunity for profit pass him by. By increasing the ‘measure’ for these two crops, buyers would now collect a higher volume for a given price, increasing the demand. The joke implies that Thales would somehow opportunistically seize on this ‘future’, like he did with the olives, notwithstanding the council’s utter failure to do anything morally meaningful. Ultimately, the irony is meant to echo the sentiment expressed in the final sentences of the story - that all men are vicious.