1512 lines
42 KiB
Plaintext
1512 lines
42 KiB
Plaintext
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THE LUNAR RITE
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Commentary
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This Lunar Rite is an invocation of one's personal
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eroticism and sexual charisma. Although it is not designed
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to attract a specific partner it allows practice with the
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Moon Glance, a technique for communicating sexual desire
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and invitation through the eyes and lips. Virtually all
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sexual liaisons are initiated through eye contact and by
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smiling. Participants should prepare themselves as
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attractively as possible for the ritual; even the birds and
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beasts of the wildwood are not without their mating
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displays and plumage. The Enochian Invocation necessarily
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incorporates some ribald phraseology. The true function of
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most taboos surrounding sexuality and clothing is to
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stimulate eroticism at times when they are deliberately
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relaxed or broken.
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Our hypertrophied sexuality which exceeds that of all
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other species, arises in direct proportion to the apparent
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cultural obstacles to it's expression, thus revealing the
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actual function of such apparent obstacles. Intelligent
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beings require, amongst other things, elements of surprise,
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excitement, and taboo violation to exploit their sexuality
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to the limit of what it has to offer.
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The Moon Glance begins with an eyes closed
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visualization of a crescent moon embedded in the head
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behind the eyes, with the horns of the moon projecting like
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ears, viz:
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The eyes are then opened and lunar radiance is
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visualized projected from them. This is usually
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accompanied by an involuntary smile. During the rite it is
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customary to practice projecting the glance into empty
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space. During seduction it is of course used with full eye
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contact.
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THE LUNAR RITE
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1. Preparation:
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Participants may decorate themselves with silver
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jewelry and if desired any clothing they consider
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erotic. Mild doses of disinhibitory agents may be
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employed.
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2. Statement of Intent:
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"It is our will to invoke sex force and attraction."
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3. The "U" mantra is delivered for nine complete
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exhalations whilst visualizing power building up in the
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groin area.
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4. Participants visualize private sexual fantasies.
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5. The Enochian Invocation to the Moon is delivered.
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Fantasies may continue.
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6. The Moon Dance:
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Participants dance on the spot in a sensual,
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suggestive and inviting fashion whilst stroking and
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caressing themselves at will. Participants dance mainly
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with closed eyes, opening them occasionally to project
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the Moon Glance.
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7. The Enochian Invocation is repeated.
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Participants may continue with any mixture of the
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Moon Dance, "U" mantra, fantasies, and Moon Glance of
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their choice.
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8. The rite is concluded with Laughter Banishing or by any
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other desired means.
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THE ENOCHIAN INVOCATION OF THE MOON
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Z I R D O H O A T H E I A I D O N G R A A
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T O L T O R G I C O M O B I L O R T
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L E V I T H M O N G Z O R G <20> Y O L C A N M O Z O D
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I A L P O N H O L D O Z B A L T A N M A L P I R G <20>
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S I A I O N D A X I L V E G E D A A I O M
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B A B A L O N D L O H O L O V E P <20> Z O N D
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S A L M A N P A R A D I Z L U C I F T I A N
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C H I S E M O B L O C A B A B A L O N D B A L T O H
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D R I X M A B Z A G O H O L O R O B O L E H
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C O M M A H P A R A C L E D A C Y N X I R S A
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T I A N T A I M U A M A I A L P O N D A X I L
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Q U A A N D O S I G G R A A I X O M A X I P
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P A N P I R A L O N S H I C A O S A G I O L P I R T
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G R A A L O H O L O
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(I am - the true worshipper - of the all powerful - moon -
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with all her creatures - a window - of comfort - for the
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beasts of the field - be friendly unto me - bring forth -
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joy - burn - groaning - in her - the fire of life and
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increase - the temple of - the loins - becomes strong -
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amongst us - a harlot - shineth - as a flame - in the midst
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- of the house - of virgins - the ornaments of brightness -
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are mine - a garland - of a harlot - of righteousness -
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bring down your - robe - lift up - your garments - trussed
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together - for a wedding - mingled - in - the bed - apply
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yourself to us - burn - thy loins - in your creation -
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night - moon - let her be known - pouring down - power -
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upon the earth - the light - of the moon - shineth.)
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THE MERCURY RITE
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Introduction
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The various gods of the mercurial archetype, Thoth,
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Hermes, and the roman Mercury himself are representations
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of the prototypical magician and trickster. This archetype
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is classically associated with writing, speech, learning,
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fleetness of thought, and intellect. Mercury is thus the
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patron of businessmen, doctors, thieves, mathematicians,
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gamblers, confidence tricksters, academics, writers,
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scientists, and magicians. However, many magicians tend to
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neglect direct work with this form of consciousness,
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presumably because they feel it is adequately represented
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as a factor in all thier work. When rites of an overtly
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mercurial nature are performed it is usually as a prelude
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to divination of some kind. Yet since the root quality of
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the archetype is intellect in the sense of fleetness of
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thought rather than wisdom, whatever that may be, a truly
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protean mercurial invocation should have as it's primary
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objective "increase of intelligence".
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Conventional education, with it's emphasis on
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acquisition of knowledge and concrete techniques only
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manages to convey thinking skills by accident and most
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people emerge from it every bit as dull as they entered.
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The basic trick of fast effective thinking is,
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paradoxically enough, not to think about thinking. Rather,
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one must acquire the habit of letting thought gush forth
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spontaneously without cumbersome deliberation. Naturally
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the tools of thought, such as a store of memories, ideas,
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and words, must already be present; but to use them
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effectively a certain automatism is required if you want to
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surprise yourself with creativity. Most people can throw
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and catch a ball; actions which require tremendously
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complex calculations in curved four dementional spacetime
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yet, yet this is experienced as easy. Conscious
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deliberation however, reduces this task to near
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impossibilty.
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The trick of not thinking about thinking is basically
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the same trick or "slieght of mind" that is used in magic
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generally. One must cultivate that state of no-mind from
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which pre-verbal thought, then verbal thought, and then
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speech leap out in an unbroken, inspired sequence. Most,
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if not all, brilliant ideas arise when the thinker, having
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exhausted the possibilities of conscious deliberation,
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sinks into partial vacuity and relaxation and astounds
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hirself with a sudden insight. One of the reasons that
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conversation with another is often so much more effective
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than solitary thought is that the periods of listening
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force interludes of comparative passive vacuity upon the
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listener.
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The following Mercury Rite is designed to implant and
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trigger the technique of allowing automatic thought through
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no-mind. After the preparatory steps and the first
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invocation, gnosis is deepened by the cry of a brief
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Enochian refrain followed by the "I" mantra for one
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complete exhalation. Participants then mentally add up one
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column or rank from a large representation of the magic
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square or "kamea" of Mercury, seeking to effortlessly allow
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the numbers to fall together to a total of 260.
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Participants then fold their palms, representing the
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tips of the wings of the caduceus over their eyes (which
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they close), and seek total mental vacuity for a few
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seconds before the Enochian refrain begins again to signal
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a return to the outstreched caduceus posture and work on
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the next set of numbers.
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This should be performed eight times as a minimum
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although sequences of 16 or 32 additions can be performed
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by beginning with any of the outer numbers and adding
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towards the opposite side of the magic square.
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THE MERCURY RITE
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1. Preparation:
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A large representation of the magic square (kamea)
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of Mercury should be prepared and displayed
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prominately. Participants may take moderate doses of
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stimulants if desired. Hallucinogens should be
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avoided.
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2. Statement of Intent:
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IT IS OUR WILL TO INVOKE MERCURIAL CONSCIOUSNESS FOR
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INCREASE OF INTELLIGENCE.
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3. Eight loud notes may be played on some instrument.
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4. Participants adopt the Caduceus Posture whilst
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visualizing themselves as a living caduceus as the
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first Invocation is delivered.
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5. The Enochian Refrain is delivered:
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Z O D A C A R E ! V A P A H C A B Z O D O N G
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M A N I N M A L P I R G E S A L B R O X
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G M I C A L Z O M A A N A N A E L .
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6. The "I" mantra is performed for one complete
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exhalation. A column or rank of numbers is added
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mentally to 260. The 'wings' are folded with tips
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covering the eyes for a few moments of complete no-
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mind.
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The wings are then unfolded and steps 5. and 6. are
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repeated for a prearranged number of times.
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7. The second Invocation is delivered with participants
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in the Caduceus Posture, eyes closed, and visualizing
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themselves as a caduceus with entwined serpents.
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8. Laughter banishing and/or Gnostic or other banishing
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ritual to close.
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The First Invocation
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WE WHO WOULD LIVE BY OUR WITS AND INTELLECT
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WE INVOKE THEE, THOU QUICKSILVER OF THE MIND
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MERCURIUS! MERCURIUS! SPIRIT OF LIGHTNING THOUGHTS
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PATRON OF THOSE WHO WRITE OR THIEVE
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THOU ARCHETYPAL SCIENTIST AND LIAR
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WE INVOKE THEE MERCURIUS
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WE INVOKE THEE
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PATRON OF MEDICINE, MAGIC AND BUSINESS
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THOU SCHOLAR, SCRIBE, AND SPEAKER
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THRILL US THROUGH WITH LIGHTSPEED THOUGHT
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OUR MINDS FLUID AS VAPOR, SHARP AS RAZORS
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WE INVOKE THEE MERCURIUS
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WE INVOKE THEE
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THRILL US THROUGH WITH NERVOUS SPEED
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QUICKEN, QUICKEN, EVER QUICKEN
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MAY WE BECOME THE MERCURIAL CADUCEUS
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THE SERPENTS OF KNOWLEDGE ENTWINE
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A WINGED BRAIN FLYING IN A MIND-STORM
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UNLEASH!
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UNLEASH! THE QUICKSILVER CONSCIOUSNESS!
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The Second Invocation
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WE HAVE COGNITION
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I AM UNLEASHED!
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UNLEASHED!
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I AM THE QUICKSILVER OF THE MIND
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I AM THE THRILL OF FLASHING THOUGHT
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I, MERCURIUS, SPIRIT OF THE GENIUS
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I AM UNLEASHED WITH SILVER TONGUE
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THRILLED WITH NERVOUS SPEED
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I AM QUICK AND I AM SHARP
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I AM ALL WIT AND INTELLECT
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I AM THE LIGHT-SPEED DARTING MIND
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QUICKENING, QUICKENING, EVER QUICKENING
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I COME FLASHING INTO THOUGHT
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I, MERCURIUS, THE DARTING SPRITE
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UNLEASH THE QUICKSILVER CONSCIOUSNESS
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I AM BECOME THE CADUCEUS
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A WINGED BRAIN FLYING IN A MINDSTORM!
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THE VENUS RITE
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Commentary
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To be attractive to another person one must offer them
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something which is a reflection of part of their self. If
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the offer becomes reciprocal then it can lead to that
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mutual sense of completion which is most readily celebrated
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by physical intimacy. In most cultures it is conventional
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for the male to display a tough public exterior and for the
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female to display a soft exterior in public, whilst in a
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sexual encounter each will seek to reveal the concealed
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factors; the male will seek to show that he can be
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compassionate and vulnerable as well as powerful, and the
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female seeks to display the inner strength and personality
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behind the outward signs and signals of passive
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receptivity. Incomplete personalities, such as those which
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are machismo to the core, or consist of nothing but the
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polar opposite of this, are never sexually attractive to
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anyone except in the most transient sense.
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Thus the philosophers of love have come to identify a
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certain androgyny in either sex as an important component
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of attraction. Some have taken the poetic license to
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express the quaint ideal that the male has a female soul
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and the female a male one. This reflects the truism that
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to be attractive to others you must first become attractive
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to yourself. The following meditation which may be read
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aloud in group work or played as a sound recording for
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personal use is designed to evoke an appreciation of one's
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personal androgynous strength and beauty.
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THE VENUS RITE
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A Pathworking
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0. Begin this meditation in a comfortable position, lying
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down. Breathe deeply and evenly for a few moments.
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1. Statement of Intent:
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It is our will to achieve Androgynous Consciousness
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and Attractiveness.
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2. Now come for a walk in the starlit woods for a little
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psychic alchemy... Open your astral eyes and find
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yourself in a starlit, leafy glade. It is a balmy
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warm night and the evening star peeks between the
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|||
|
leaves and boughs of the trees.
|
|||
|
Arise and visualize yourself walking down an avenue
|
|||
|
between the trees in the woods. The night is still
|
|||
|
and heavy with the scent of jasmine blossom.
|
|||
|
You enter a small clearing lit by silvery starlight.
|
|||
|
Standing in its center is a perfect living copy of
|
|||
|
yourself waiting for you. Approach yourself as you
|
|||
|
would a lover.
|
|||
|
3. Put your hands on your lover's shoulders and kiss
|
|||
|
their lips.
|
|||
|
|
|||
|
Embrace and hug your lover to your body. Feel your
|
|||
|
lover's body pressed close to your own.
|
|||
|
|
|||
|
Remove your lover's upper garments. Caress your
|
|||
|
lover's shoulders. Stroke your lover's back and
|
|||
|
|
|||
|
Stoop to kiss their breast.
|
|||
|
|
|||
|
Sink to your knees and remove your lover's lower
|
|||
|
garments. Caress your lover's thighs and buttocks.
|
|||
|
|
|||
|
Kiss your lover between their legs.
|
|||
|
|
|||
|
Slide your hands down your lover's legs and
|
|||
|
|
|||
|
Kiss their knees.
|
|||
|
|
|||
|
Continue to their feet, and kiss them also.
|
|||
|
|
|||
|
Gaze upward into your lover's eyes and think to them,
|
|||
|
"With the fivefold kiss I worship thee, for thou art
|
|||
|
beautiful and pleasing to my sight."
|
|||
|
|
|||
|
Stand and look at your lover and think to them, "I
|
|||
|
worship the god and goddess within you."
|
|||
|
|
|||
|
Bow low to bid your lover good-bye. Continue down the
|
|||
|
starlit path, out the other side of the clearing.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
4. You enter a second clearing, and standing in it's
|
|||
|
center in the starlight is your perfect partner, your
|
|||
|
ultimate fantasy lover.
|
|||
|
|
|||
|
|
|||
|
3. Put your hands on your lover's shoulders and kiss
|
|||
|
their lips.
|
|||
|
Embrace and hug your lover to your body. Feel your
|
|||
|
lover's body pressed close to your own.
|
|||
|
Remove your lover's upper garments. Caress your
|
|||
|
lover's shoulders. Stroke your lover's back and
|
|||
|
Stoop to kiss their breast.
|
|||
|
Sink to your knees and remove your lover's lower
|
|||
|
garments. Caress your lover's thighs and buttocks.
|
|||
|
Kiss your lover between their legs.
|
|||
|
Slide your hands down your lover's legs and
|
|||
|
Kiss their knees.
|
|||
|
Continue to their feet, and kiss them also.
|
|||
|
|
|||
|
Gaze upward into your lover's eyes and think to them,
|
|||
|
"With the fivefold kiss I worship thee, for thou art
|
|||
|
beautiful and pleasing to my sight."
|
|||
|
|
|||
|
Stand and look at your lover and think to them, "I
|
|||
|
worship the god and goddess within you."
|
|||
|
|
|||
|
Bow low to bid your lover good-bye. Continue down the
|
|||
|
starlit path, out the other side of the clearing.
|
|||
|
|
|||
|
|
|||
|
5. As you walk towards the next clearing you become aware
|
|||
|
that you have become strangely transformed. Look down
|
|||
|
at yourself, you are now naked and your body and
|
|||
|
personality have been changed into those of your
|
|||
|
fantasy lover. As you take the last few steps towards
|
|||
|
the third clearing feel the differences in yourself
|
|||
|
now that you have become the image of all you desired.
|
|||
|
You enter a small clearing and standing in it's center
|
|||
|
is a perfect living copy of your original self waiting
|
|||
|
for you. Approach yourself as you would a lover.
|
|||
|
|
|||
|
|
|||
|
3. again.
|
|||
|
|
|||
|
|
|||
|
6. Lie down on the path, close your astral eyes and
|
|||
|
review for a few moments what you have experienced.
|
|||
|
In a few moments you will find yourself returned to
|
|||
|
the temple fully clothed.
|
|||
|
|
|||
|
|
|||
|
7. This Venusian pathworking is at an end.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE SOLAR RITE
|
|||
|
|
|||
|
Introduction
|
|||
|
The function of Solar god forms is to encapsulate the
|
|||
|
ideal psychological profile of a balanced, powerful yet
|
|||
|
benign, incarnate consciousness walking the earth to do its
|
|||
|
will triumphantly with a calm and centered self assurance.
|
|||
|
In short they represent an ideal to which most people
|
|||
|
aspire but fail to achieve for most of their time. Solar
|
|||
|
consciousness is an excellent vehicle for the magician when
|
|||
|
he is not committed to the expression of other of his
|
|||
|
selves. Solar consciousness melds well with all the other
|
|||
|
forms of planetary consciousness except that of Saturn, the
|
|||
|
most distant of the classical planet from the Sun.
|
|||
|
|
|||
|
The purpose of the Solar Rite is threefold:
|
|||
|
|
|||
|
1) It is an invocation of the attributes of Solar
|
|||
|
Consciousness.
|
|||
|
2) It establishes a gesture as a trigger for future
|
|||
|
egress into the godform and
|
|||
|
3) Provides a facility for the making of an oath or
|
|||
|
resolution to be fulfilled whilst in Solar
|
|||
|
Consciousness.
|
|||
|
|
|||
|
The trigger gesture can be a simple procedure such as
|
|||
|
transferring a ring to a different finger. The oath or
|
|||
|
resolution should relate to a change of behavior during
|
|||
|
Solar Consciousness.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE SOLAR RITE
|
|||
|
|
|||
|
|
|||
|
Materials:
|
|||
|
|
|||
|
Alpha (<28>) rate sound and/or strobe, and Yellow
|
|||
|
Illumination incense.
|
|||
|
|
|||
|
|
|||
|
Purpose:
|
|||
|
|
|||
|
To establish an alternative solar personality or
|
|||
|
consciousness.
|
|||
|
To take some oath or resolution therein.
|
|||
|
To establish some gesture as a trigger for the above.
|
|||
|
|
|||
|
|
|||
|
Statement of Intent:
|
|||
|
|
|||
|
It is our will to invoke Solar Consciousness and to
|
|||
|
trigger it with these gestures.
|
|||
|
|
|||
|
|
|||
|
Opening:
|
|||
|
|
|||
|
Six conch (or other instrument) blasts.
|
|||
|
Meditation to alpha state assisted by sound and/or
|
|||
|
strobe to empty mind; sporadic laughter at will.
|
|||
|
|
|||
|
|
|||
|
The Proclamation:
|
|||
|
|
|||
|
"The Gods of the Sun" recited.
|
|||
|
|
|||
|
|
|||
|
The Invocation:
|
|||
|
|
|||
|
"A" mantra after each line, visualizing yellow
|
|||
|
radiance. Designs drawn on breast (as per note)
|
|||
|
following the line.
|
|||
|
|
|||
|
|
|||
|
The Closing:
|
|||
|
|
|||
|
Resolutions and Laughter Banishing.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE PROCLAMATION
|
|||
|
"The Gods of the Sun"
|
|||
|
|
|||
|
THE GODS OF THE SUN HAVE A PROUD SELF CONFIDENCE
|
|||
|
THE GODS OF THE SUN SEE THE BEST IN ALL THINGS
|
|||
|
THE GODS OF THE SUN ARE RELAXED AND BENIGN
|
|||
|
THE GODS OF THE SUN HAVE THE PLAYFULNESS OF A CHILD
|
|||
|
THE GODS OF THE SUN SMILE AT ADVERSITY, AND LAUGH AT DEFEAT
|
|||
|
THE GODS OF THE SUN ARE CENTERED, POWERFUL, AND CALM.
|
|||
|
|
|||
|
WITH THE RUNE OF THE SUN WE INVOKE THEE
|
|||
|
|
|||
|
WITH THE SOLAR CROSS WE INVOKE THEE
|
|||
|
|
|||
|
WITH THE NUMBER SIX SIX SIX WE INVOKE THEE
|
|||
|
|
|||
|
WITH THE SOLAR THUNDERBOLT WE INVOKE THEE
|
|||
|
|
|||
|
WITH THE SOLAR ANKH WE INVOKE THEE
|
|||
|
|
|||
|
WITH THE SIGIL OF THE SUN WE INVOKE THEE
|
|||
|
|
|||
|
I AM THE GOLDEN ONE LUMINOUS AND BEAUTIFUL
|
|||
|
I AM THE GOLDEN ONE BRILLIANT BEYOND MEASURE
|
|||
|
I AM THE GOLDEN ONE ALL THINGS ARE POSSIBLE
|
|||
|
I AM THE GOLDEN ONE THE EARTH IS MY JOY
|
|||
|
I AM THE GOLDEN ONE SUCCESS IS MY PROOF
|
|||
|
I AM THE GOLDEN ONE JOYFUL AND TRIUMPHANT
|
|||
|
|
|||
|
|
|||
|
ALL HAIL TO ME THE GLORY SHINES FROM ME
|
|||
|
ALL HAIL TO ME THE TRIUMPH AND THE POWER
|
|||
|
ALL HAIL TO ME SOL INVINCIBLE
|
|||
|
ALL HAIL TO ME THE GOD OF THE DAWN
|
|||
|
ALL HAIL TO ME THE UNCONQUERABLE SUN
|
|||
|
ALL HAIL TO ME WHO ART SOL IN ITS RISING
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE JUPITER RITE
|
|||
|
Introduction
|
|||
|
|
|||
|
Jupiterian style rituals can be created for a range of
|
|||
|
objectives centered around the concept of benign power and
|
|||
|
authority but the following is dedicated to an invocation
|
|||
|
of that money consciousness which is a prerequisite for
|
|||
|
attaining solid wealth by means other than the mercurial
|
|||
|
arts of theft or gambling. The techniques of money magic
|
|||
|
have often been neglected by occultists as somehow
|
|||
|
unspiritual or demeaning. Presumably they lack the
|
|||
|
imagination to appreciate how much skillfully used wealth
|
|||
|
could facilitate their spiritual projects. I am always
|
|||
|
suspicious of so called magicians who cannot afford to eat
|
|||
|
properly.
|
|||
|
|
|||
|
Money has acquired all the characteristics of a
|
|||
|
spiritual being. It is intangible; coinage, notes, and
|
|||
|
electronic numbers are not money, they are merely
|
|||
|
representations of something which economists cannot
|
|||
|
satisfactorily define. Yet although it is intangible it
|
|||
|
has powerful effects on reality; it makes things happen.
|
|||
|
Money has it's idiosyncratic tastes, it avoids those who
|
|||
|
blaspheme it or treat it badly and flows to those who offer
|
|||
|
it due respect and worship. A business suit is one of the
|
|||
|
forms of ritual dress used in it's invocation. One can
|
|||
|
dress to please money. Put in a suitable environment money
|
|||
|
will even reproduce itself. The nature of the money spirit
|
|||
|
is movement, money lives only in motion, if it is hoarded
|
|||
|
and not used it slowly dies.
|
|||
|
|
|||
|
To attain money consciousness one must make oneself a
|
|||
|
channel for money, a conduit through which the power of
|
|||
|
money flows unobstructed in ever mounting volume. Turnover
|
|||
|
is more pleasing to money than assets, all money which is
|
|||
|
surplus to pleasure must be reinvested as a further
|
|||
|
invocation. The truly money conscious will find that even
|
|||
|
their pleasures make money for them. Money consciousness
|
|||
|
gets paid to enjoy itself.
|
|||
|
|
|||
|
Those in money consciousness are by nature generous;
|
|||
|
offer them an investment and they will offer you a fortune,
|
|||
|
just don't ask for small cash handouts!
|
|||
|
|
|||
|
The following Jupiterian ritual functions as an
|
|||
|
exorcism of money fears, an invocation of money
|
|||
|
consciousness, and a consecration of a jupiterian pentacle
|
|||
|
which is to be consumed prior to any venture to increase
|
|||
|
one's turnover.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE JUPITER RITE
|
|||
|
|
|||
|
|
|||
|
0. Initial Preparation:
|
|||
|
Individual sheets of orange paper listing fears,
|
|||
|
dislikes, and reservations about money. Blue squares
|
|||
|
of paper to create pentacles at the proper moment.
|
|||
|
Participants sit in square. Magister Templi and sack
|
|||
|
of money in center.
|
|||
|
|
|||
|
1. Statement of Intent:
|
|||
|
It is our will to invoke jupiterian money
|
|||
|
consciousness and to consecrate a single use
|
|||
|
consumable pentacle for success with money.
|
|||
|
|
|||
|
2. Four blasts on conch (or other instrument); one to
|
|||
|
each quarter.
|
|||
|
|
|||
|
3. Participants at each quarter cast orange paper into
|
|||
|
brazier and return to their places.
|
|||
|
|
|||
|
4. Exorcism:
|
|||
|
a. The Magister Templi lights the brazier whilst
|
|||
|
shouting
|
|||
|
"Apo Pantos Kakodaimonos"
|
|||
|
b. All participants shout
|
|||
|
"Out Demons Out" four times at the flames.
|
|||
|
|
|||
|
5. All prepare blue pentacles and place in center.
|
|||
|
|
|||
|
6. The Money Invocation:
|
|||
|
Recited by the Magister Templi.
|
|||
|
|
|||
|
7. The Individual Invocation:
|
|||
|
Recited by the Magister Templi after the Money
|
|||
|
Invocation then repeated by all as the money is passed
|
|||
|
around the square.
|
|||
|
|
|||
|
8. The Litany:
|
|||
|
Continued by the Magister Templi as money is passed,
|
|||
|
and finally returned to the center.
|
|||
|
|
|||
|
9. The Jupiter Posture:
|
|||
|
With eyes closed, visualize Blue Energy and
|
|||
|
emote a sense of lordliness and power.
|
|||
|
Begin the mantra EMURT INUM at the rate of
|
|||
|
four times on each long exhalation; do
|
|||
|
sixteen times.
|
|||
|
|
|||
|
10. Four blasts on the conch and Laughter to close.
|
|||
|
Informally retrieve one's own pentacle.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
MONEY INVOCATION
|
|||
|
|
|||
|
MONEY IS ONLY EVIL WHEN IT IS NOT MOVING
|
|||
|
MONEY IS A SPIRIT OF MOVEMENT
|
|||
|
FOR THE NATURE OF MONEY HAS CHANGED
|
|||
|
FROM LAND TO GOLD TO PAPER TO PLASTIC TO PURE NUMBER
|
|||
|
I TELL YOU THIS
|
|||
|
MONEY IS NOW OF THE NATURE OF AIR, NOT EARTH
|
|||
|
MONEY IS A SPIRIT OF HUMAN CREATION
|
|||
|
LIKE ANY GOD OR DEMON
|
|||
|
IT IS A LIVING BEING
|
|||
|
WITH IT'S OWN LOVES, HATES, FEARS, AND DESIRES
|
|||
|
MONEY LOVES TO MOVE
|
|||
|
FOR ONLY IN MOVEMENT CAN IT REPRODUCE ITSELF
|
|||
|
WHEN IT IS HOARDED IT SLOWLY DIES
|
|||
|
BUT WHEN MONEY MOVES IT IS HAVING SEX
|
|||
|
FOR MONEY TO LOVE US
|
|||
|
WE MUST BECOME CHANNELS FOR ITS MOVEMENT
|
|||
|
INVEST IN US, O MONEY
|
|||
|
AND WE WILL GIVE YOU LIFE
|
|||
|
WE WILL SHOW YOU A GOOD TIME
|
|||
|
MONEY WE WELCOME YOU TO OUR WORKING
|
|||
|
INVEST IN US THAT WE MAY BECOME GREAT CHANNELS
|
|||
|
FOR YOUR POWER
|
|||
|
INVEST IN US, O MONEY
|
|||
|
AND WE YOUR WORSHIPPERS
|
|||
|
WILL GIVE YOU LIFE!
|
|||
|
|
|||
|
|
|||
|
INDIVIDUAL INVOCATION
|
|||
|
Come money I deserve you!
|
|||
|
I love money and money loves me.
|
|||
|
Money work with me!
|
|||
|
|
|||
|
|
|||
|
THE LITANY
|
|||
|
I love money and money loves me.
|
|||
|
I feel comfortable with money and
|
|||
|
money feels comfortable with me.
|
|||
|
I respect money and money respects me.
|
|||
|
I enjoy money and money enjoys me.
|
|||
|
|
|||
|
|
|||
|
THE PENTACLE
|
|||
|
|
|||
|
front side: back side:
|
|||
|
|
|||
|
4 <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ŀ 16
|
|||
|
<20> 4 <20>14 <20>15 <20> 1 <20> EMURT
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<20> 9 <20> 7 <20> 6 <20>12 <20>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<20> 5 <20>11 <20>10 <20> 8 <20>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD>Ĵ
|
|||
|
<20>16 <20> 2 <20> 3 <20>13 <20> INUM
|
|||
|
34 <20><><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD><EFBFBD> 136
|
|||
|
THE MARS and SATURN RITES
|
|||
|
Commentaries
|
|||
|
|
|||
|
It is the height of unwisdom and bad strategy to be
|
|||
|
drawn into a situation where combat is the only remaining
|
|||
|
tactic in a situation. To put oneself in a position where
|
|||
|
one is forced to give battle is frequently to invoke
|
|||
|
defeat. Rather it is better to defend one's chosen ground
|
|||
|
with tactics chosen to exploit the enemy's weaknesses. It
|
|||
|
is better still to achieve victory by encouraging enemies
|
|||
|
to defeat themselves. Nevertheless there may be times when
|
|||
|
a pre-emptive strike or a counter offensive may neutralize
|
|||
|
one's adversaries. The supreme advantage of a magical
|
|||
|
attack is that it is rarely perceived as such by persons
|
|||
|
other than magicians and extreme paranoids. The recipient
|
|||
|
has nothing except hirself or blind chance to blame for
|
|||
|
disaster and thus the assailant escapes the reaction which
|
|||
|
even magnanimity in victory does little to assuage.
|
|||
|
|
|||
|
Destructive magic is to be reserved for those occasions
|
|||
|
when nothing else will suffice. It is preferably delivered
|
|||
|
with complete stealth and surgical precision. A Martial
|
|||
|
combat sigil should encapsulate a subconscious pattern of
|
|||
|
probability which leads the recipient to a preplanned
|
|||
|
disaster, exploiting available potential dangers and
|
|||
|
weaknesses. A Saturnine entropy spell should be passed
|
|||
|
only after the magician has planted in his subconscious a
|
|||
|
potential pathway or series of pathways by which the target
|
|||
|
can disintegrate itself.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE MARS RITE
|
|||
|
|
|||
|
|
|||
|
Purpose:
|
|||
|
To increase physical vitality and courage, and
|
|||
|
additionally if required to cast a combat spell.
|
|||
|
|
|||
|
|
|||
|
Statement of Intent:
|
|||
|
"It is our/my will..." (see above)
|
|||
|
|
|||
|
|
|||
|
1. Participants march around temple in a brisk
|
|||
|
militaristic fashion to the sound of loud shouted
|
|||
|
commands and martial music or drumbeats. Participants
|
|||
|
may bear arms.
|
|||
|
|
|||
|
|
|||
|
2. Five loud crashes of a metallic instrument signal the
|
|||
|
beginning of the invocation proper. Participants
|
|||
|
stand in military formation.
|
|||
|
|
|||
|
|
|||
|
3. The "A" mantra is vibrated for five complete
|
|||
|
exhalations with a visualization of red energy flowing
|
|||
|
from the heart and lungs to the muscles of the limbs.
|
|||
|
|
|||
|
|
|||
|
4. The posture of the TIWAZ rune is adopted and the
|
|||
|
name "Tiwaz" is vibrated for five complete
|
|||
|
exhalations.
|
|||
|
|
|||
|
|
|||
|
5. The HORUS INVOCATION is shouted aloud:
|
|||
|
|
|||
|
Io Horus Horus!
|
|||
|
Horus come to me!
|
|||
|
G E B U R A H Z A R P E !
|
|||
|
Thou art me Horus!
|
|||
|
I am thee, HORUS!
|
|||
|
|
|||
|
|
|||
|
6. The Horus stomp begins. This consists of a fairly
|
|||
|
rapid alternation between two postures each
|
|||
|
accompanied by a shout.
|
|||
|
|
|||
|
Firstly the Sign of the Enterer (right foot and
|
|||
|
arms extended forward and the cry "IO HORUS!").
|
|||
|
|
|||
|
|
|||
|
Secondly the Sign of the Conqueror (right foot
|
|||
|
brought back with a stamp and right arm shot
|
|||
|
upward with clenched fist and the cry
|
|||
|
"G E B U R A Z A R P E !").
|
|||
|
|
|||
|
|
|||
|
The stomp continues for some time as participants
|
|||
|
evoke aggression and visualize themselves as hawk
|
|||
|
headed crimson warriors.
|
|||
|
|
|||
|
|
|||
|
7. A signal is given to stop and participants adopt a
|
|||
|
martial arts posture and deliver a loud "KIAI!"
|
|||
|
accompanied by a forward fist blow into space. If a
|
|||
|
previously prepared sigil is used it should have been
|
|||
|
taped over each participants breast. Before the
|
|||
|
"KIAI!" is delivered it is torn off, balled up into
|
|||
|
the clenched fist and visualized momentarily during
|
|||
|
the "KIAI!".
|
|||
|
|
|||
|
|
|||
|
8. Laughter Banishing and/or a Gnostic Pentagram Ritual
|
|||
|
may be used to end the rite.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE SATURN RITUAL
|
|||
|
|
|||
|
To consecrate an Entropy Spell:
|
|||
|
(black with silver)
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
1. Three (3) conch blasts.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
2. Statement of Intent:
|
|||
|
|
|||
|
"It is our will to consecrate an Entropy Spell to
|
|||
|
detonate on the naming of the target and the
|
|||
|
passing of the Runes."
|
|||
|
|
|||
|
|
|||
|
3. Invocation of Saturnine Deathforms.
|
|||
|
|
|||
|
Stand on Spell whilst visualizing oneself in Death
|
|||
|
Godform.
|
|||
|
|
|||
|
|
|||
|
4. Runes.
|
|||
|
|
|||
|
ISA THURISAZ NAUTHIZ
|
|||
|
|
|||
|
|
|||
|
5. Spells into Coffin, with each participants spitting
|
|||
|
out "I will bury you - ICH BEGRABEDITCH!"
|
|||
|
|
|||
|
Coffin is put into triangle with appropriate Saturnine
|
|||
|
music to accompany it.
|
|||
|
|
|||
|
|
|||
|
6. Curse. Whilst sighting down left arm, each
|
|||
|
participant visualizing as the curse is chanted.
|
|||
|
|
|||
|
"When I name you the end is nigh
|
|||
|
Death Death Death!
|
|||
|
When the Runes are passed it is the end
|
|||
|
Death Death Death!
|
|||
|
Destruction take you with this curse!
|
|||
|
Death Death Death!
|
|||
|
|
|||
|
|
|||
|
7. Three (3) conch blasts.
|
|||
|
|
|||
|
|
|||
|
8. Laughter and Gnostic Pentagram Ritual to banish and
|
|||
|
end the rite.
|
|||
|
|
|||
|
INVOCATION OF THE SATURN DEATH GODFORM
|
|||
|
|
|||
|
"Let us make the sign of Saturn upon ourselves."
|
|||
|
|
|||
|
Z A M R A N M I C A L Z O D O
|
|||
|
THANATOS THANATOS THANATOS
|
|||
|
|
|||
|
DARK GOD OF SATURN'S COLD TERROR
|
|||
|
WE INVOKE THEE WE INVOKE THEE
|
|||
|
|
|||
|
LORDS OF THE TOMB STAND WITHIN US
|
|||
|
PALE HECATE GHOULISH HAG
|
|||
|
GODDESS OF THE WANING MOON
|
|||
|
|
|||
|
COME CRONOS ANCIENT GOD OF DEATH
|
|||
|
BLOODIED SICKLE AT THE READY
|
|||
|
|
|||
|
COME ATROPOS DARK SISTER
|
|||
|
WHO CUTS THE THREADS OF LIFE
|
|||
|
|
|||
|
COME YAMA FROM THE BURNING GROUNDS
|
|||
|
WITH HAIR OF FIRE AND GARLAND OF BONES
|
|||
|
|
|||
|
COME KALI BLOOD DRINKING GODDESS
|
|||
|
WITH SEVERED HEADS AND KILLING KNIFE
|
|||
|
|
|||
|
WE ARE YOU WHO WAIT AT THE END OF THINGS
|
|||
|
|
|||
|
COME ANUBIS JACKAL HEADED
|
|||
|
LORD OF THE CARRION FEAST
|
|||
|
|
|||
|
WE ARE YOU THE GODS OF DEATH
|
|||
|
|
|||
|
OURS IS THE DUTY TO RECYCLE
|
|||
|
THAT WHICH HAS OUTLIVED ITS USEFULLNESS
|
|||
|
|
|||
|
OURS IS THE KEY TO THE TOMB
|
|||
|
|
|||
|
OURS IS THE POWER TO TIME YOUR END
|
|||
|
|
|||
|
WE ARE THE POWER OF ENTROPY AND DECAY
|
|||
|
|
|||
|
OURS THE POWER TO BLAST AND WITHER
|
|||
|
|
|||
|
OURS THE POWER OF THE WAITING GRAVE.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
OLD IRISH CURSE
|
|||
|
|
|||
|
This ae night this ae night
|
|||
|
Everie night an alle
|
|||
|
Fire and sleet and candlelighte
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
If from hence away thou'rt past
|
|||
|
Everie night of alle
|
|||
|
To winney muir thou comest at last
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
If ever thou gavest roof and flame
|
|||
|
Everie night and alle
|
|||
|
Pass thee by the standing stane
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
The standing stane when thou art past
|
|||
|
Everie night and alle
|
|||
|
To empty airt thou comest fast
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
From empty airt when thou art past
|
|||
|
Everie night and alle
|
|||
|
To alleman's end thou comest at last
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
And if thou holdest to anie thing
|
|||
|
Everie night and alle
|
|||
|
The ende thou cannae enter in
|
|||
|
Destruction take thee alle
|
|||
|
|
|||
|
But if thou gardest nae thing at alle
|
|||
|
Everie night and alle
|
|||
|
To alleman's ende thou'll passe and falle
|
|||
|
And destruction take thee alle
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE OURANOS RITE
|
|||
|
|
|||
|
Introduction
|
|||
|
|
|||
|
The seven classical planetary bodies can be used to
|
|||
|
represent the spectrum of psychology, according to the
|
|||
|
principle implicit in pagan thought that a cosmology must
|
|||
|
embody a psychology. Ouranos/Uranus, the eighth body,
|
|||
|
orbits outside the sphere of the classical planets and the
|
|||
|
god forms or thought form attributed to them. Thus it
|
|||
|
forms an ideal symbol for that which encompasses all the
|
|||
|
gods within its orbit: the magical personality. It
|
|||
|
represents not the power of the magic itself, which is
|
|||
|
attributed to Pluto; but rather the desire to be a
|
|||
|
magician, and the personality required to live as one.
|
|||
|
Astronomically, this equates with the curious orbit of
|
|||
|
Ouranos which, with its polar axis tilted at an eccentric
|
|||
|
angle, almost on the plane of the ecliptic, symbolizes the
|
|||
|
antinomian character of the magician, ever delving into
|
|||
|
that which is weird, occult and perverse, to unlock its
|
|||
|
secrets. Ouranos can also be thought of as the dark side
|
|||
|
of the Sun. Whereas the classical bodies orbit the sun,
|
|||
|
the bright center of the human personality; Ouranos
|
|||
|
represents something more dark, and perhaps devious,
|
|||
|
creeping round in the darkness outside of the normal.
|
|||
|
|
|||
|
The magician emblem of Ouranos is the serpent; and the
|
|||
|
god form may be invoked or visualized, bearing a serpent-
|
|||
|
shaped wand crowned with an Uraeus-style serpent in
|
|||
|
Egyptian style, and garbed in raiment bearing the serpent
|
|||
|
motif.
|
|||
|
|
|||
|
Ouranos has a characteristic color, which is
|
|||
|
idiosyncratic to the person invoking it, called Octarine;
|
|||
|
meaning the eighth color of the spectrum, which is the
|
|||
|
color of magic and may be any color that represents magic
|
|||
|
to the individual. For most magicians, Octarine is simply
|
|||
|
the color in which visualizations occur, if they are not
|
|||
|
deliberately made into any particular color. The
|
|||
|
background Ouranian color is dark green. Invoke for
|
|||
|
Knowledge and Manipulation of things magical<61><6C>that is, for
|
|||
|
works of pure rather than applied magic<69><63>and for the
|
|||
|
discovery of magical knowledge and techniques and magical
|
|||
|
self-development, rather than to create direct effects.
|
|||
|
Ouranos may be invoked for the creation or discovery of
|
|||
|
magical languages, symbols and theories, and also for works
|
|||
|
of psychiatry.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
THE OURANOS RITE
|
|||
|
|
|||
|
(The basic Ouranos Rite may be adapted for many purposes.
|
|||
|
It is presented here with an appended Ouranian Servitor
|
|||
|
Evocation.)
|
|||
|
|
|||
|
1. Banishing ritual if required.
|
|||
|
|
|||
|
2. Draw eight pointed star above the place of working and
|
|||
|
visualize strongly.
|
|||
|
|
|||
|
3. Statement of Intent, aloud:
|
|||
|
|
|||
|
"It is our will to invoke Ouranos," etc.
|
|||
|
|
|||
|
4. Eight loud sounds.
|
|||
|
|
|||
|
5. The Prologue is recited.
|
|||
|
|
|||
|
6. Invocation 1 is read aloud.
|
|||
|
|
|||
|
7. The sign of Ouranos is made upon oneself by drawing and
|
|||
|
visualization.
|
|||
|
|
|||
|
8. Invocation 2 is shouted aloud as many times as desired.
|
|||
|
Sensory overload is sought, using any or all of the
|
|||
|
following:
|
|||
|
|
|||
|
Participants gaze at the Ouranos sigil drawn on or held
|
|||
|
in the left hand, whilst whirling on the spot
|
|||
|
widdershins with increasing speed.
|
|||
|
|
|||
|
Hyperventilation at will.
|
|||
|
|
|||
|
Weird, discordant, eldritch noise/sound effects/music
|
|||
|
may be played.
|
|||
|
|
|||
|
Stroboscopes set to epileptiform frequencies around
|
|||
|
6.66 Hz are triggered.
|
|||
|
|
|||
|
Participants visualize themselves in the Ouranos god
|
|||
|
form and chant the name "Ouranos".
|
|||
|
|
|||
|
Octarine light may be visualized onto the Ouranos sigil
|
|||
|
and emanating from the participants.
|
|||
|
|
|||
|
9. Whirling ceases and the evocation may be used if
|
|||
|
desired. The Ouranian sigil may serve as a material
|
|||
|
basis for the evocation, or a more specialized pre-
|
|||
|
prepared object may be used.
|
|||
|
|
|||
|
10. Laughter Banishing, followed if required by a banishing
|
|||
|
ritual.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
The Prologue
|
|||
|
|
|||
|
|
|||
|
|
|||
|
WE CALL BY VISUALIZATION THE OURANOS SERPENT
|
|||
|
|
|||
|
GLOWING WITH OCTARINE FIRE THE COLOR OF MAGIC
|
|||
|
|
|||
|
|
|||
|
THE SERPENT STARES DIRECTLY AT US
|
|||
|
|
|||
|
EVOKING LUST FOR THE GREAT WORK OF MAGIC
|
|||
|
|
|||
|
|
|||
|
THE SERPENT IS OURANOS, OUR IMPETUS TOWARDS MAGIC
|
|||
|
|
|||
|
IT BRINGS THE GIFTS OF KNOWLEDGE AND POWER TO ITS SERVANTS
|
|||
|
|
|||
|
|
|||
|
WITHOUT MAGIC WE ARE MINDLESS SLAVES TO OTHER GODS
|
|||
|
|
|||
|
NOTHING CHANGES, WE SERVE ONE THEN ANOTHER IN THEIR TURN
|
|||
|
|
|||
|
|
|||
|
WITHOUT MAGIC WE ARE ROBOTS, OUR CHOICES ARE PREDICTABLE
|
|||
|
|
|||
|
|
|||
|
THIS IS THE SERPENT THAT MAKES US AWARE
|
|||
|
|
|||
|
OF THE WHOLE APPLE FULL OF WORMS WE CALL SELF
|
|||
|
|
|||
|
|
|||
|
THIS IS THE SERPENT THAT BIT US AND INFLICTED US
|
|||
|
|
|||
|
WITH THE DEVIOUSNESS TO BECOME MAGICIANS
|
|||
|
|
|||
|
|
|||
|
WE WOULD NOT BE WITHOUT IT, THOUGH WE MIGHT STILL EXIST
|
|||
|
|
|||
|
|
|||
|
LET US THINK ON THAT.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Invocation One
|
|||
|
|
|||
|
|
|||
|
|
|||
|
OURANOS!
|
|||
|
OURANOS WE INVOKE THEE!
|
|||
|
MAGICIAN GOD, THE DARK SIDE OF THE SUN
|
|||
|
THAT LURKS AS THE SECRET SELF IN THE PSYCHE
|
|||
|
COME OURANOS, COME!
|
|||
|
URAEUS CROWNED
|
|||
|
ARISE, THE SINISTER ILLUMINATION WITHIN US
|
|||
|
SHATTER THE SPELLS AND ILLUSIONS OF MUNDANE REALITY
|
|||
|
UNLEASH THE URAEUS SERPENT POWER!
|
|||
|
GIVE US THE KNOWLEDGE OF GENIUS AND DEPRAVITY
|
|||
|
THE BRIGHT SECRETS AND THE DARK
|
|||
|
THE NECTAR AND THE POISON
|
|||
|
THE SECRET VICES AND HOPES OF ALL OTHER SELVES
|
|||
|
SHOW US THE POWERS OF MANIPULATION AND INTRIGUE
|
|||
|
OPEN THE REALMS OF THE GODS
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SHOW US THE WAY OF THE SERPENT WAND
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Z A M R A N M I C A L Z O D O O U R A N O S
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V R E L P E M A L P I R G E O U R A N O S
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Z O D A C A R E O D Z O D A M E R A N U O U R A N O S
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Invocation Two
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OURANOS OURANOS, IO OURANOS!
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I AM THE SECRET SELF WITHIN WHOSE ORBIT LIE ALL THE GODS
|
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I AM THE ANTINOMIAN WISDOM OF THE OTHER SIDE OF THINGS
|
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OF THE KNOWLEDGE WE ARE NOT SUPPOSED TO HAVE
|
|||
|
OF SINISTER ILLUMINATIONS FROM STRANGE POWER SOURCES
|
|||
|
I AM OURANOS, THE MAGICIAN GOD
|
|||
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I AM THE MANIPULATOR, THE ARCH JUGGLER
|
|||
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I AM THE GENIUS OF DARK INTRIGUE
|
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FOR I KNOW THE SECRET MOTIVES OF THE SELVES
|
|||
|
AND I SEE THE HIDDEN MOTIVES OF OTHERS
|
|||
|
I AM THE CHILD OF CHAOS
|
|||
|
I AM DISTURBANCE AND I AM UPHEAVAL
|
|||
|
URAEUS CROWNED WITH THE SERPENT OF POWER
|
|||
|
WHICH UNLEASHED LEADS TO GENIUS
|
|||
|
BUT TO DEPRAVITY WHEN BALKED
|
|||
|
NOTHING IS TRUE AND EVERYTHING IS PERMITTED
|
|||
|
I KNOW THAT I HAVE CREATED TIME AND SEX AND DEATH
|
|||
|
TO LIMIT AND EXPRESS MYSELF
|
|||
|
I, OURANOS, GOD OF MAGIC!
|
|||
|
Z I R D O C O M S E L E H I A I D O N O U R A N O S
|
|||
|
IO OURANOS!
|
|||
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|
|||
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|
|||
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|
|||
|
Evocation
|
|||
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|
|||
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|
|||
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|
|||
|
PHENOMINIZE MY CREATURE, TAKE FORM
|
|||
|
WITH THE BREATH OF MY MIND
|
|||
|
|
|||
|
I GIVE YOU LIFE
|
|||
|
IN THIS SHAPE
|
|||
|
WITHIN MY MIND
|
|||
|
|
|||
|
I GIVE YOU LIFE
|
|||
|
UPON THE ASTRAL PLANE
|
|||
|
WITH THIS BLOOD1
|
|||
|
|
|||
|
I GIVE YOU LIFE
|
|||
|
IN THE NON-LOCALITY MATRIX
|
|||
|
|
|||
|
TAKE THIS FORM
|
|||
|
WITH THE SIGN OF OURANOS2
|
|||
|
|
|||
|
I BIND YOU TO MY WILL
|
|||
|
MY CREATURE
|
|||
|
|
|||
|
I NAME YOU ______________
|
|||
|
|
|||
|
EVER ANSWER MY SUMMONS TO THIS NAME
|
|||
|
FOR YOU ARE MY SERVITOR
|
|||
|
AND I AM THY GOD
|
|||
|
|
|||
|
SERVE ME WELL
|
|||
|
|
|||
|
I WILL REWARD YOU WITH LIFE
|
|||
|
|
|||
|
NOW I COMMAND THEE
|
|||
|
WITH THESE WORDS:
|
|||
|
|
|||
|
O D F I S I S N A N A E L
|
|||
|
|
|||
|
|
|||
|
TO LURK QUIETLY AND AWAIT MY SUMMONS.
|
|||
|
|
|||
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|
|||
|
|
|||
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|
|||
|
|
|||
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|
|||
|
|
|||
|
|
|||
|
1. Blood or other fluids to anoint the servitor and give it
|
|||
|
the necessary life-force are produced and delivered to
|
|||
|
the servitor now.
|
|||
|
<20><><EFBFBD>Ŀ
|
|||
|
2. The planetary sigil of Ouranos/Uranus <20> <20>
|
|||
|
<20><><EFBFBD><EFBFBD><EFBFBD>
|
|||
|
|