After the evocation of the Angels, the magician repeats the cross qabalistic, as at the beginning. Crowley then goes on to say, "...and end as thou didst begin" --which may suggest a repetition of the phrase, "Apo Pantos Kakodaimonos". This must remain a matter of personal preference, since he may be referring only to the cross qabalistic.
[This ritual has five parts, the initial "Apo Pantos Kakodaimonos", the cross qabalistic, the calling forth of god-names (both at the quarters and the evocation of the "Angels"), then the cross qabalistic is repeated. If we add an additional "Apo Pantos Kakodaimonos", there are six parts to the ritual. The magician may wish to consider the Microcosmic(5) or Macrocosmic(6) ramifications when making a decision as to the final "Apo Pantos Kakodaimonos". - M.S.]
The student will note that Crowley does not specify an attribution of the Elements to the Quarters. If the student wishes to use such an attribution, it is possible to use the attributions as they are given in the Pentagram ritual; in my own opinion, however, it makes more sense to use the attributions of Liber V vel Reguli, since the same god-names are employed, as well as the same signs (those of N.O.X.). These attributions are as follows: Earth is in the east, Air in the North, Water in the West, and Fire in the South. Similarly, they may wish to make one of the signs of N.O.X. at each of the quarters, as attributions are as follows: Puella in the North, Puer in the South, Vir in the East, and Mulier in the West. It is also quite effective to employ a spiral dance during the Paian, although a little more complex. If this is done, the magician may simply stop at each of the quarters long enough to make the sign of that quarter, then proceed through the spiral dance, continuing the chant, until he finally arrives at the center of the circle, there to evoke the angels of the quarters. The possibilities are endless.
The signs of N.O.X., properly performed, thus trace a state of gradually increasing exaltation beginning with the modest shyness of the young girl awaiting her lover, to the abandoned ecstacy of the last sign, in whcih the magician is completely rapt away in the love of Pan. At this point, the magician is sufficiently exalted to proceed to the evocation of the Angels, which he does (like any good Gnostic) in Greek.
The advantages of this ritual for a Thelemic magician are considerable (although not beyond question), simply because most Thelemites have a more intense emotional reaction to the name Nuit than to the name Adonai. The Greek, while certainly a bit more difficult to memorize than the English of the Lesser Pentagram, is also more effective for many people, partly because of the beauty of the sound of it, and perhaps even more, becuase it is unintelligible. (See Crowley's discussion of the Barbarous Names in Magick In Theory and Practice.)
Bill Heidrick once wrote, "Perfect the way of saying the words in ordinary speech before perfecting it in vibration. When in doubt, attempt to utter the word any way you can in ritual -- after all, doing the best you can is all that really matters in elementary work. Those who refuse to perform rituals until they have everything perfect are also those who never perform rituals."