<p> BOOK V Mysteria Magica THE ORDER OF THE SACRED WORD AURUM SOLIS ANNO MDCCCXCVII CONDITO CONSTAT By Authority, Crys O’Regan, Administrator-General, AS. PARTI FUNDAMENTAL TECHNIQUES Ι POSTURE & BREATHING The three established postures of the Western Tradition are A. The Sitting or God form Posture B. The Standing or Wand Posture C. The Supine or Earth Posture A. The God-form Posture is of ancient Egyptian origin. It is essential for this posture that a seat should be arranged so that the thighs shall be horizontal while the lower leg is vertical, and the soles of the feet rest steadily upon the floor, or if necessary upon a support. Thus seated, with the spine erect but not stiffly vertical, the feet should be placed side by side as should the knees. The upper arms should hang loosely at the sides and the hands should rest palm downwards upon the thighs. The head should be held so that if open the eyes gaze straight ahead. B. The Wand Posture is a normal and well-balanced standing position. The head is held erect, the shoulders are dropped back so that they are neither drooping nor held rigidly square. The arms hang by the sides with a slight natural curve at the elbow; the feet are placed side by side, the toes being turned neither in nor out. If this posture is correctly maintained, it should be possible to take a step forward with either foot as required, without shifting the weight. C. The Earth Posture is a position in which the subject lies flat on his back. The legs are straight and the arms lie 4 MYSTERIA MAGICA straight at the sides of the body. It is essential for this posture that tight clothing and unnecessary discomforts should be avoided. The standard breathing technique used in connection with Aurum Solis practices is referred to as the R h y t h m i c Breath. This particular rhythm of breathing is termed by some people the Healίng Breath, because one of the good results of its proficient use is the rapid and powerful release of energy: for oneself if need be, or to implement works of healing and magical acts generally. To practice this Rhythmic Breath, begin by counting your own heartbeats. At first it may be difficult to concentrate upon the heartbeat, so keep away while practicing from sounds such as a ticking clock or strongly rhythmic music. In time you will be able to disregard sounds which do not relate to what you are doing. When you first begin to concentrate upon your heart-beat, it may slow down to some extent before steadying itself. This is quite normal, and with more practice will cease to occur. The rhythm of this form of breathing consists in taking the breath in during a count of 6 heartbeats, holding the breath for a count of 3, exhaling during a count of 6, then counting 3 before beginning to inhale again. The critical point is the count of 3 before beginning to inhale: some students may at first find this pause impossible or distressing. In such a case, strain is to be avoided. A count of 2 heartbeats should then be used, but the characteristic rhythm of the practice should be maintained: this will mean inhaling during a count of 4, holding the breath during a count of 2, exhaling during a count of 4, and thus coming to the pause of 2 heartbeats before again inhaling. In time the standard count will become easy. When Rhythmic Breathing is achieved, whether 4-24-2 or the full 6-3-6-3, it may be used whenever opportunity POSTURE & BREATHING 5 offers, and certainly should be used when any magical or meditative practice is undertaken. The intention in Rhythmic Breathing is not, as it may at first seem, to keep attention focused upon counting heartbeats or upon the flow of breath; but to facilitate a total concentration of attention upont other matters in confidence that the Rhythmic Breath, once established, will continue in a smooth and entirely adequate manner for as long as it is needed, without counting, without another conscious thought. A natural, easy flow of rhythmic breathing thus becomes "second nature". II THE CALΥΧ (Face East, assume the Wand Posture, develop the Rhythmic Breath.) i. Draw in a deep breath; on the expelled breath, vibrate : — אתה Ι ΕI ii. Draw in a deep breath, raise the arms gently at the sides so that they are held almost horizontally, but not stiffly so : the palms being upturned. The breath is expelled. iii. Draw in the breath; on the expelled breath, vibrate: ת ו כ ל מ Ι H Β Α Σ Ι Λ Ε Ι Α iv. Lowering the elbow as may be necessary, on the next indrawn breath bring the palm of the left hand across to the right shoulder. On the expelled breath, vibrate:— הדובגו Ι ΚΑI Ή ∆IΝΑΜlΣ v. On the indrawn breath bring the palm of the right hand across to the left shoulder, across the left arm. On the expelled breath, vibrate:— הלודגו Ι K Α Ι Ή ∆ Ο Ξ Α vi. Keeping the arms crossed, incline the head slightly forward on the pause at the end of the breath. Draw in the breath. On the expelled breath vibrate: ד ע ו ע ל ם ל ו Ι Ε Ι Σ Τ Ο Y Σ Α Ι Ω Ν Α Σ (Commentary) The Calyx is a fundamental technique of Art Magick, which 7 both aligns the practitioner with the forces of the cosmos, and awakens awareness of the counterparts of those forces with the psyche. It can thus be said to encapsule in brief compass the chief method and purpose of all workings of High Magick. The Calyx is variously employed as a psychic energizer, as a mode of adoration, or as a preparatory formula for the bringing through of power. It forms, for example, an integral part of the rites of the Setting of the Wards (Papers III, IV, and V following), where its primary function is to imbue the operator with the power necessary to establish a sealed and sanctified environment, a vibrant astral matrix, in which to conduct his work. Again, at the conclusion of some of the Ritual Formulae of Part VI of this book, the Calyx is employed as a gratulatio, a magical thanksgiving. In this context, the function of the Calyx is twofold : in the ambience of an achieved rite it honors the sublime reality of the forces of cosmos and microcosmos, and it affirms and establishes the equilibrium of potencies within the psychic organism of the operator. Although relatively simple, the Calyx is a complete spiritual "toner" in its own right, and the student should use it frequently : whether to enhance the personal psychic energies in preparation for a further activity (ritual, meditative, or other), or as mode of attunement to the great forces of life, or for the sheer joy of the work or for bliss of being. In the text of the Calyx, the Words of Power are given in both Hebrew and Greek forms. The transliterations and meanings of these words are as follows: (Hebrew) (Greek) Α Τ Ο Η ............................................Ε Ι .........................................................THOUART MALKUTH ........... HE ΒΑSILEIA .........THE KINGDOM V'GEBURAH .... KΑΙ HE DUNAMIS .. AND THE POWER V'GEDULΑH .... ΚΑΙ HE DOXA .... AND THEMAJESTY L'AULOM VO-ED . EIS TOUS MONAS . TO ETERNAL AGES After mastering the "mechanics" of the Calyx—the syn- chronization of breath, intonation and gesture—the student is ready to undertake the Calyx in its complete form, to include the use of visualization and a contemplative awareness of the successive principles involved. This complete form is exempli- fied below: in this, for convenience, the Words of Power are given in their Hebrew form alone. i. When the Rhythmic Breath has been developed, a Tongue of Flame is visualized above the head. This Tongue of Flame represents the Higher Genius, the source of magical power, that Sacred Flame by virtue of which the practice of Magick is possible. Its situation above the head should prevent any confusion of it with the everyday personality or Ego. Holding this visualization steadily in mind, on the expelled breath we vibrate : — Α Τ Ο Η . On the indrawn breath the arms are raised. In raising the arms, the vertical line of the body is balanced by a sym- metrical, horizontal extension. This horizontal evokes an awareness of Jupiter, Mercy, to the left, with Mars, Strength, to the right, as balanced powers within us. The palms are up- turned to signify that this balanced being is ready to receive the power of the Higher Self. The breath is expelled. i~. As the breath is drawn in, a brilliant shaft of light is visualized which descends swiftly from the Tongue of Flame, passing through the crown of the head and the center of the body to the ground between the feet.* On the Expelled breath we vibrate: As in all magical operations involving the central column energies, whether visualized as the downward-coursing light or as the Centers of Activity themselves, the primary domain of controlled function is the astrosome. Initially therefore, the effect of such practices is likely to consist solely in the increase and harmonization of energy patterns within the astral body. But this is only the beginning of the process, for through continued and regular use of these practices, higher and more inward faculties of the psyche will become increasingly involved in the work and a true harmony and interaction of forces will thus be wrought through all levels of the psyche. 8 MYSTERIA MAGICA THE CALYX 9 10 MYSTERIA MAGICA MALKUTH iv. On the indrawn breath the palm of the left hand is brought across to rest on the right shoulder. We acknowledge the forces of Mars at the right side. On the expelled breath we vibrate : — V'GEBURAH v. On the indrawn breath the palm of the right hand is brought across to rest on the left shoulder. We acknowledge the forces of Jupiter at the left side. On the expelled breath we vibrate: V'GEDULAH vi. Keeping the arms crossed, on the pause at the end of the breath we lower the head. The breath is drawn in: we feel the shaft of light within, radiating energy into our being. We feel a great concentration of light and power at the heart-center, which lies upon the vertical line under the crossing of the arms. On the expelled breath we vibrate : — L'AULOM VO-ED 111 THE SETTING OF THE WARDS OF POWER (Hebrew) (Stand in the centre of the place of working, or as nearly the centre as the arrangement of the chamber will (llow. *) i. Facing East, assume the Wand Posture. Vibrate התא ii . Raise the arms at the sides, vibrate תוכלמ iii. Touch the right shoulder with the left hand, vibrate הרובגו iv. Touch the left shoulder with the fight hand, vibrate הלודגו v. Keeping the arms crossed, bow the head and vibrate דעו םלועל vi. Advance to the East. Beginning at that point and returning thereto, move widdershins round the place of working, with hand outstretched tracing the circle. vii. After completing the circle, return to the centre. Facing East, make the Gesture Cervus: at the first point vibrate היהא, at the second הוהי. viii. Turn to face North: make the Gesture, vibrating אלגא at the first point,ינדא at the second. ix. Face West: make the Gesture, vibrating אלגא, then לא . x. Turn to face South. Make the Gesture, vibrating ,היהא and םיהלא. If the Bomos is stationed at the centre of the place of working, begin East of Bomos. 11 MYSTERIA MAGICA xi. Face East. Assume the Wand Posture then raise the arms to form a Tau. Vibrate• ΤO THE EAST ר לאיחו TO THE SOUTH לאישא TO THE WEST לאימ TO THE NORTH לאיריפוא xi. Repeat the Calyx, i to v. (Commentary) The purpose of the present ritual is to demarcate and prepare the area in which the magician is to work, with astral and Br ίatic defenses. The ritual consists of both banishing and invocation: the four Elements having been banished from the Circle in their naturally confused and impure state, the mighty spiritual forces ruling the Elements are invoked into symbolic egregores, to become Guardians of the Circle. In the text of the Setting of the Wards of Power given above, the Gesture Cervus is indicated. This Gesture is per- formed as fol lows: 1. The Wand Posture is assumed. 2. Both hands are raised to the brow, so as to frame the center of the forehead in the space formed by conjoining thumb with thumb, forefmger with fore- fmger, palms facing forwards. (The two middle fmgers will also touch.) This constitutes the first point of the Gesture; while this position is held, the f i r s t Word of Power is vibrated. 3. In one vigorous movement the hands are separated and flung forward, slightly apar t and upward : the elbows should be straightened and the fmgers slightly spread. The palms are still facing forwards. This position constitutes the second point of the Gesture. The second Word of Power should be forceful ly uttered while this movement is being made. The arms a r e then lowered. THE SETTING OF THE WARDS OF POWER 13 When the student has mastered the physical performance of the rite (that is, vibration, movement and gesture) as detailed in the text, he should proceed to employ the full form of the Setting, incorporating visualization and ref lection, as follows. From the beginning, however, he should perform the Calyx fully, as set forth in Paper 11. The Calyx is performed. The operator advances to the East. He moves wίddersWns round the place of working, tracing the circle with his out- stretched right hand. As he proceeds, he visualizes a shimmering wall of silver mist which he is thus drawing round the limits of the chamber: when he links the circle in the East this silver wall completely encompasses the place of working. The operator returns to the center. Facing East, he makes the Gesture Cervus; at the completion of the first point he visualizes a pentagram of brilliant light on his brow, framed by his hands. Holding this in mind he vibrates Ε Η Ε Ι Ε Η . The pentagram is f lung forth with the second point of the Gesture, the operator vibrating YAHWEH: as the pentagram is flung forth it is seen to diffuse as a burst of light into the shimmering mist- wall. The result of this is twofold: the forces of Air are banished from within the circle, and the first Ward is established.* Remaining on the same spot, but turning to face the North, the operator repeats the Gesture and visualizations, using the names AGLA and ADONAY. Still at center, the operator turns to face West. He repeats the Gesture and Visualizations, using the names AGLA and EL. • The Gesture by its nature causes diffusion, but does not lessen banishing force within a small area. Magical practice has established that Cervus ίs fully efficaεious to a distance of approximately thirty feet from the operator, and thus in a working area sixty feet in diameter. Beyond this range the full astral reality of its power beαinα to diminish. The fortification of the circle by the method of the Cervus Is only possible because the projected force Is diffused thereby; a concentrated projection of force would, inevitably, pierce the barrier. The circle alone will contain forces, but will provide no adequate defense. 12 MYSTERIA MAGICA Turning to face South, he again repeats the Gesture and visualizations, using the names EHEIEH and ELOHIM. The operator now faces East. He assumes the Wand Posture, then raises his arms to form a Tau, palms downwards. He remains thus, at center and facing East, arms raised in the Tau, thrοughout the fourfold invocation of the Archangelic powers (section xi of the text). Before him he visualizes a tall and slender form clad in a voluminous and billowing robe of yellow, heightened with traces of violet. While this figure is contemplated, a cool rushing of wind is to be felt as emanating from the East. This wind should be felt inwardly to awaken the hidden aspirations and wordless hopes which have lain dormant in the toils of sloth and habitude: it sings to the inner ear of the potential- ities of a life which reaches forth to the spiritual heights. When this image has been formulated and realized, the operator vibrates TO THE EAST RUACHIEL. To the South he visualizes a lean muscular figure with an appearance of great strength, clad in a robe of brilliant red with changeful sparks of green, and standing amid flames. This figure holds in his right hand a wand of burnished copper. While this figure is contemplated, a sensation of powerful heat is to be felt as emanating from the South. It should also be perceived inwardly that the fire from which this heat is generated is the fire of inspiration: there is in its power a kernel of inebriation too, as may be understood by recalling that Dionysus took birth from the all-consuming fire of Zeus. When this image has been formulated and realized, the operator vibrates TO THE SOUTH ASHIEL. To the West he visualizes a tall and powerful figure standing amid foaming turbulent waters, clad in a robe of blue merging into highlights of orange, and holding in his left hand a silver cup. While this figure is contemplated, the mighty surge of the sea tides is imagined, pouring in successive waves from the West. Inwardly it should be felt that these waves are of the cold and shining waters which purify the intellect in their flood, healing it of unreason's fever and tempering it as THΕ SETTING OF THE WARDS OF POWER (Hebrew) 15 steel is tempered. When this image has been formulated and realized, the operator vibrates TO THE WEST MIEL. To the North he visualizes a broad-shouldered, placid figure, robed in indigo which gleams with flashes of pale gold, and standing upon wild grass studded with yellow flowers. In his left hand the figure bears a golden orb, in his right a golden sickle. While this figure is contemplated, a feeling of great peace and stability is to be imagined, for the succession of the seasons wipes out or mitigates past errors: the innocence of the Golden Age ever awaits us in earth's renewal. Elemental Earth itself is the medium of nature's work, and the instinctual faculties of man find their repose therein. When this image has been formulated and realized, the operator vibrates TO THE NORTH AUPHIRIEL. The fourfold invocation having been accomplished, the operator, still at center and facing East, concludes with the Calyx. When the integration of gestures, vibrations, visualizations and other parts of the Setting has been achieved, the student should accustom himself to performing the Setting of the Wards, and to working within their protection. To this end, he should carry out the Setting very often, and always before his exercise sequence or any other magical work. One of the effects of the practice is a personal attune- ment to the equilibrium of the great forces invoked therein. Long familiarity with this ritual will but render it more rewarding; care must be taken, however, that it is always performed attentively and with unabated heed to all its parts. The circle traced about the place of working (section vi of the text) should encompass the whole area, all necessary equipment having been duly placed beforehand within its limits. This is of vital importance, as no-one is to cross the bounds of the circle during the working. No relaxation of this rule should be permitted. If the circle is disturbed in this way, there is a real danger that undesirable influences attracted 14 16 HYSTERIA MAGICA by the magick may enter through the breach and vitiate the working. Α more insidious danger, however, is t hat t he operator who is careless concerning the breaking of his defences will find that he has weakened his own belief in their reality; and such doubts carry their own perils. One's work must be sound, and one must know it to be sound. ΙΥ THE SETTΙNG OF THE WARDS OF POWER (Greek) (Stand in the centre of the place of working, or as nearly the centre as the arrangement of the chamber will allow.) i. Facing East, assume the Wand Posture. Vibrate EI b.. Raise the arms at the sides, vibrate Ή ΒΑΣΙΛΕΙΑ ~i. Touch the fight shoulder wit h the left hand, vibrate ΚΑΙ Ή ∆ΥΝΑΜΙΣ iv. Touch the left shoulder with the right hand, vibrate KAΥ Ή ∆ΟΞΑ v. Keeping the arms crossed, bow the head and vibrate ΕΙΣ ΤΟΥΣ ΑΙΩΝΑΣ vi. Advance to the East. Trace the circle, returning to the East. v1. Return to the centre. Facing East, vibrate:— Ή ΠEΛΕΙΑ KAI Ή ΥΓΡΑ O 0Φ Ι Σ ΚΑΙ ΤΟ Ω IΟΝ viιι. Facing East, make the Gesture Cervus: at the first point vibrate ΑΘΑΝΑΤΟΣ, at the the second Σ EΛ AΗ - Γ ΕΝ Ε ΤΗΣ . ix. Turn to face North: make the Gesture, vibrating IΣΧΥΡΟΣ at the first point, and ΚΥΡIΟΣ at the second point. x. Face West: make the Gesture, vibrating IΣΧΥΡΟΣ then ΠΑΓΚΡΑΤEΣ. xi. Turn to face South. Make the Gesture, vibrating ΑΘΑΝΑΤΟΣ and ΘΕΟΣ. 17 18 MYSTERIA MAGICA xii. Face East. Assume the Wand Posture. Vibrate:— ΓΑΙΑ KAI '0 ΙΧΩΡ TOY ΟYΡΑΝΟY Raise the arms to form a Tau, vibrate: ΤO THE EAST ΣΩTHΡ TO THE SOUTH ΑΛΑΣΤΩΡ TO THE WEST ΑΣΦΑΛΕΙΟΣ TO THE NORTH ΑΜYΝΤΩΡ Repeat the Calyx, i to v. (Commentary) The Calyx is performed: El—Thou Art HE BASILEΙA—The Kingdom ΚΑΙ HE DYNAMIS—And the Power. ΚΑΙ HE DOXA—And the Glory EIS TOUS AIONAS*—To the Ages. The operator advances to the East. He moves widdershins round the place of working, tracing the circle with his out- stretched right hand. As he proceeds, he visualizes a silver mist which he is thus drawing round the limits of the chamber: when he links the circle in the East, the place of working is completely encompassed by this shimmering wall. The operator returns to the centre. Facing East, he vibrates: HE PELEIA ΚΑΙ HE HUGRA— The Dove and the Waters HO OPHIS ΚΑΙ TO ΟΙΟΝ — The Serpent and the Egg He makes the Gesture Cervus: at the completion of the first point he visualizes a pentagram of brilliant light on his brow, framed by his hands. Holding this in mind he vibrates ATHANATOS. The pentagram is flung forth with the second point of the Gesture, the operator vibrating SE LAE-G EN ETES: as the pentagram is flung forth it is seen to diffuse as a burst * Asa general note on the pronunciation of Greek, it is pointed out that the transliterations occurring in this volume are in some respects only approximate, particularly with regard to the letters H, T and Ω. For exactitude the student is advised to familiarise himself with the sound-values of the Greek letters. THE SETTING OF THE WARDS OF POWER 19 of light into the shimmering mist-wall. This procedure is repeated with the paired names ISCHYROSand KYRIOS, ISCHYROSand PANKRATES,ATHANATOS and THEOS, for the North, West, and South respectively. The operator faces East. He assumes the Wand Posture and vibrates: GAIA ΚΑΙ HO ICHOR ΤΟUOURANOU Earth and the Blood of Heaven. He raises his arms to form a Tau, remaining thus throughout the fourfold invocation: – Before him he visualizes a tall and slender form clad in a voluminous and billowing robe of yellow, heightened with traces of violet. While this figure is contemplated, a cool rushing of wind is to be felt as emanating from the East. (It awakens the hidden aspirations and wordless hopes which have lain dormant in the toils of sloth and of habitude. It sings to the inner ear of the potentialities of a life which reaches forth to spiritual heights. When this image has been formulated, the operator vibrates TO THE EAST SOTER. To the south he visualizes a lean muscular figure with an appearance of great strength, clad in a robe of brilliant red with changeful sparks of green, and standing amid flames. This figure holds in his right hand a wand of burnished copper. While this figure is contemplated, a sensation of powerful heat is to be felt as emanating from the South. (The fire from which this heat is generated is the fire of inspiration: there is in its power a kernel of inebriation too, as may be understood by recalling that Dionysus took birth from the all-consuming fire of Zeus. Nevertheless, although the nature of this Element is to be acknowledged, it is not to receive in this rite our inner submission to its power; but we salute its great Regent with veneration.) When this image has been formulated, the operator vibrates TO THE SOUTH ALASTOR. To the West he visualizes a tall and powerful figure 20 MYSTERIA MAGICA standing amid foaming turbulent waters, clad in a robe of blue merging into highlights of orange, and holding in his left hand a silver cup. While this figure is contemplated, the mighty surge of the sea-tides is imagined, pouring in successive waves from the West. (These waves are of the cold and shining waters which purify the intel l ect in their f l ood, healing it of unreason's fever and tempering it as steel is tempered.) When this image has been formulated, the operator vibrates TO THE WEST ASPHALEIOS. To his left he visualizes a broad-shouldered placid figure, robed in indigo gleaming with f l ashes of pale gold, and standing upon wild grass studded with yel l ow flowers. In one hand the figure bean a golden orb, in the other a golden sickle. While this figure is contemplated, a feeling of great peace and stability is to be imagined. (The succession of the seasons wipes out or mitigates past error s , the innocence of the Golden Age ever awaits us in earth's renewal. Elemental Earth itself is the medium of nature's work : and the instinctual faculties of man find repose therein.) When this image has been formulated, the operator vibrates TO THE NORTH AMYNTOR. The Calyx is repeated. V SUB ROSA NIGRA THE SETTING OF THE WARDS OF ADAMANT (Stand ίn the centre of the place of working, or as nearly the centre as the ar r angement of the chamber will allow.) Calyx i. Facing East, assume the Wand Posture. Vibrate TU ES i i . Raise the arms at the sides, vibrate R EG N U M i i i . Touch right shoulder with left hand, vibrate ΕΤ POTENTIA iv. Touch left shoulder with right hand, vibrate ΕΤ GLORIA v. Keeping arms crossed, bow head and vibrate IN SAECULA Circulus vi. Advance to the East. Beginning at that point and returning thereto, trace the widdenhins circle, encompassing the area of working. Praesίdίa vii. Return to centre and face East. Make the Gesture Cervus: at the first point vibrate ΑΘ Α Ν Α Τ Ο Σ, at the second point vibrate Σ E Λ Λ Η —Γ E Ν E Τ Η Σ. viii. Face North: make the Gesture, vibrating ΙΣΧΤΡΟΣ at the first point, ΚΤΡΙΟΣ at the second. ix. Face West: make the Gesture, vibrating IΣΧΤΡΟΣ at the first point, ΠΑΛΚΡΑΤΗΣ at the second. 21 22 MYSTERIA MAGICA x. Face South: make the Gesture, vibrating ΑΘΑΝΑΤΟΣ and ΘΕΟΣ. lηνοιatίο xi. Face East. Assume the Wand Posture then raise the arms to form a Tau. Vibrate:—ΤO THE EAST ΣΩΤΗΡ TO THE SOUTH ΑΛΑΣΤΩΡ ΤΟ THE WEST ΑΣΦΑΛΕΙΟΣ TO THE NORTH ΑΜΤΝΤΩΡ Dedίcatίo Sub Rosa Nίgra xii Lower the arms to the sides. After a few moments' pause, make the Gesture Ave, then declaim:—FROM THE PORTAL OF EARTH TO THE PORTAL OF FIRE, FROM THE PORTAL OF AIR TO THE PORTAL OF WATER, FROM THE CENTRE OF POWER TO THE ENCOMPASSING ADAMANT, LET THIS SANCTUARY BE ESTABLISHED WITHIN THE BLACK ROSE: IN THE NAMES ΛΕΤΚΟΘΕΑ, ΜΕΛΑΝΟΘΕΟΣ, ΑΓΑΘΟ∆ΑΙΜΩΝ. Arista xiii. AVE LUX SANCTISSIMA, 1st point SOL VIVENS, 2nd point CUSTOS MUNDI, 3rd point IN COROE TΕ FOVEO, 4th point MEMBRIS CIRCUMAMICTIS GLORIA TUA. 5th point THE SETTING OF THE WARDS OF ADAMANT 23 I The Gesture Ave is accomplished as follows: The right arm is raised with the elbow flexed, so that the upper arm is held forward in an almost horizontal position, slightly out from the side as necessary, the forearm and hand being raised vertically, the palm forward.* The Gesture Arista is accomplished as follows: 1st point. Commencing from the Wand Posture, raise the arms at the sides, so that the body and the upcurved arms form roughly the shape of the Greek letter 41, with the upturned palms held almost horizontally though not stiffly so. 2nd point. In one smooth movement the hands are brought over to cross upon the breast, right arm over left, fingertips touching collarbones. 3rd point. In one smooth movement the forearms are fully extended downward and slightly forward from the body (the elbows move only slightly in this change of position), the hands horizontal with palms downward and closed fingertips pointing forward. This position is, in its own right, the Gesture Pronatίo. f 4th point. In one smooth movement return to position 2, as above, but with left arm over fight. 5th point. In one smooth movement the arms are opened to a gentle curve just below horizontal, so that they are outward to the sides of, and slightly forward from, the body: • This Gesture is customarily used by comites ("companions", sing. comes) as a general salutation to the East when passing that station. It is used by all comites who have cause to pass the East but are not at that time involved ipi a specific ritual action. comites involved in a specific ritual action, having cause to pass the East, do not employ the Ave unless it is an ordained part of their action. If a ritual act culminates in the East, at the conclusion thereof the Gesture is employed if convenient. But the Gesture is also to be used as a salutation to the East whenever a reverent acknowledgment of the Place of Light is felt to be appropriate. (When performing Morning or Evening Adoration, the Ave may be made towards Sol.) t The Gesture Pronatto Is independently used (according to context) in invoking chthonic forces, or to link the magical purpose with an intended offering. 24 MYSTERIA MAGICA the hands following the same line but slightlyincurved, very slightly cupped. II The Calyx is performed in Latin. (Significance is as in Hebrew and Greek.) The operator advances to the East. He moves widdershins round the place of working, tracing the circle and linking in the East. As he proceeds, he visualizes a shimmering wall of silver mist which he is thus drawing round the chamber. He now returns to the centre. Facing East, he makes Cervus: at the completion of the first point he visualizes a pentagram of brilliant light on his brow, framed by his hands. Holding this in mind he vibrates ATHANATOS. The pentagram is flung forth with the second point of the Gesture, the operator vibrating SE LAE G EN ΕΤ ES: as the pentagram is flung forth it is seen to diffuse as a burst of light into the mist-ωall. Cervus is repeated with the paired names ISCHYROS and KYRIOS, ISCΗYROS and PANKRATES, ATHANATOS and THEOS, for the North, West, and South repsectively. The operator faces East and assumes the Wand Posture. He then raises his arms to form a Tau, remaining thus throughout the formulations and utterances of the "fourfold invocation", as in the Greek Setting of the Wards of Power. He lowers his arms to his sides; after a pause he makes the Gesture Ave. The Gesture having been dismissed, he declaims: FROM THE PORTAL OF EARTΗ TO THE PORTAL OF FIRE, FROM THE PORTAL OF AIR TO THE PORTAL OF WATER, FROM THE CENTRE OF POWER TO TΗE ENCOMPASSING ADAMANT, LET THIS SANCTUARY ΒΕ ESTABLISHED WITHIN THE BLACK ROSE: IN THE NAMES LEUKOTHEA, MELANOTHEOS, AGATHODAIMON. The above italicized names are from the Constellation of the Worshipped. While vibrating these the operator traces in the an. before him with his right hand a circled, equal-armed THE SETTING OF THE WARDS OF ADAMΑNT 25 cross, all lines being visualized in white light as traced; the horizontal line with the first name, the descending vertical line with the second name, the circle–beginning at the top and returning deosil with the third name. The operator concludes with the five points of the Gesture Arista and their Latin words: He establishes the first point of the Gesture and intones AVE LUX SANCTISSIMAHail, most holy Light! He establishes the second. point of the Gesture and intones SOL V I V ENS-Lιvίng Sun. At the third point of the Gesture he intones CUSTOS MUNDI– Guardian of the World. At the fourth point he intones IN CORDE TΕ FOVEOIn my heart I hold thee. At the fifth point, MEMBRIS CIRCUMAMICTIS GLORIA T UA – My limbs being girt about with thy glory. N.B. No visualizations are employed with Arίsta. VI CLA VIS REI PRIMAE (1st Formula) THE ROUSING OF THE CITADELS (Face East, assume the Wand Posture, develop the Rhythmic Breath.) The Gates: i. Visualize the Crown Center, the Corona Flammae, as a sphere of intense whiteness. ii. Exhale, vibrating AHΙΗ (Eheieh). iii. Inhale, drawing down a shaft of brilliance from the Corona and formulating the Brow Center, the Uncia Coeli, as a sphere of luminous whiteness. iv. Exhale, vibrating YHVH ALHIM (Yahweh Elohim). v. Inhale. Maintaining awareness of the Corona and the Uncia Coeli, draw down the shaft of brilliance from the Uncia Coeli and formulate the Throat Center, the Flos Abysmi, as a sphere of luminous whiteness. vi. Exhale, vibrating OLIVN (Elion). vii. Inhale. Maintaining awareness of the preceding Centers, draw down the shaft of brilliance from the Flos Abysmi and formulate the Heart Center, the Orbis Solis, as a sphere of luminous whiteness. viii. Exhale, vibrating YHVH ALVH VDOTh (Yahweh Eloah V'Daath). 27 MYSTERIA MAGICA ix. Inhale. Maintaining awareness cf the Centers previously established, draw down the shaft of brilliance from the Orbis Solis and formulate the Cornua Lunae, the Genital Center, as a sphere of luminous whiteness. x. Exhale, vibrating ShDI AL Cm (Shaddai El Chai). xi. Inhale. Maintaining awareness of the preceding Centers, draw down the shaft of brilliance from the Cornua Lunae and formulate the Instita Splendens, the Feet Center, as a sphere of luminous whiteness. xii. Exhale, vibrating ADNI HARTz (Adonai Ha-Aretz). The Caduceus: Inhale, Visualizing a band of white light emanating from the Instita Splendens, and at once beginning to spiral swiftly upwards in an anticlockwise direction about the Centers and the shaft of brilliance until it reaches the Flos Abysmi, the Throat Center, into which it is entirely assumed and vanishes. xiν. Exhale, strengthening awareness of Centers and connecting shaft. xv. Inhale, visualizing a band of reddish-white light emanating from the Instita Splendens, and at once spiraling swiftly upwards in a clockwise direction about the Centers and the shaft of brilliance until it alsο reaches the Flos Abysmi, into which it is entirely assumed and vanishes. (Commentary) The 1st Formula of the Claris Rei Primae is to be a regular part of the personal curriculum, being performed daily or on alternate days as may be found most effective: it should be performed within the protection of the Wards. The Rousing is a technique of very considerable value. Obviously it is not and cannot be taken as the sum and sub-stance of magical training: but it is a powerful and beneficial THΕ ROUSING OF THΕ CITADELS 29 foundation to magick (see Book III, Chapter VIII). It refreshes and invigorates the psyche and stimulates the Centers them-selves: it accustoms them to participation in organized work as distinct from the random needs of ordinary life. In this exercise, which is performed essentially within the astral level of the psyche, the interaction which naturally results from the correspondence of the levels is intensified by the use, in visualization, of appropriate colours. The Centers should be conceived of as spherical concentrations of light and energy (as is found to be most satisfactory in magical training) approximately five centimeters in diameter. The Corona Flammae is above the crown of the head; the Uncia Coeli projects in a hemisphere from the brow. The Flos Abysmi is completely external to the throat; the Orbis Solis projects from the breast in a hemisphere; the Cornua Lunae, broadly speaking, projects in a hemisphere; the midpoint of the Instita Splendens is between the insteps, hemisphere above and hemisphere below ground. These, the Positions Potent of the Centers of Actίvίty, are in no circumstances to be varied. The student of these volumes who intends to follow the Aurum Solis system in its entirety should, from the outset, employ the following Sub Rosa Nigra Words of Power in connection with the Rousing, in place of the Hebrew Divine Names: — For the Corona Flammae — EN TO PAN For the Uncίa Coeli — TURANA For the Flos Abysmi — DESTAPHITON For the Orbis Solίs — ONOPHIS For the Cornua Lunae — IAO For the Instita Splendens — BΑTH-ΜΕΝΙΝ- HEKASTOU In order to achieve sound proficiency in the 1st Formula, the student should develop the technique methodically and carefully in accordance with the following plan of practice. The student should consider his work critically. In the polish- 28 30 MYSTERIA MAGICA ing of the exercise he should prefer, before proceeding to a further stage of its development, to continue with the stage in hand if he feels the slightest doubt as to his performance. First stage of practice The student should use the text of the Rousing as given above, building the Centers in white light only, and forcefully vibrating the Words of Power (whether Hebrew or Sub Rosa Nigra). To achieve smooth performance of the Caduceus the student may, in this initial stage of practice, repeat the sequence xiii, xiv and xν several times (not exceeding five) to conclude the Rousing. After a minimum of three weeks of regular practice, the student may proceed to the following: Second stage of practice Instead of visualizing the Centers of Activity in luminous whiteness as hitherto, the student should now visualize them in color: Corona Flammae — Intense brilliance, like burning magnesium. Uncia Coeli — glimmering soft dove-grey. Flos Abysms — billowing intense mid-purple. Orbίs Solis — pulsating radiant yellow. Cornua Lunae — pure lavender, radiant and fast- swirling. Instita Splendens — seven prismatic colors, swirling lazily and shimmering. The colors for the Crown, Brow and Throat Centers are drawn from the Atziluthic or Radical Scale (see Book III, Chapter VIII), the color for the Heart Center from the Briatic or Prismatic Scale, the color for the Genital Center from the Yetziratic or Contίngent Scale, and the colors for the Feet Center from the Assiatic or Iconic Scale; the whole series of colors thus betokening the correspondences of the Centers according to the pattern of the Composite Tree (see Book III, Chapter III). In this 1st Formula, the shaft connecting the Centers THE ROUSING OF THΕ CITADELS 31 remains, at every stage, in white light. After a minimum of three weeks of regular practice, the student may proceed to the following: Third stage of practice When the student has opened the doorways of interior power by his continuing work, so that he is aware of the real and potent formulation of the Centers in his practice, he should expand the formula to incorporate a threefold vibration of each Name of Power. In this, the Rhythmic Breath, visualization and vibration are to be correlated in the following manner (the pause at the top and bottom of the breath is taken for granted): Inhale— formulating the Corona Flammae. Exhale— vibrating the Name of Power. Inhale— strengthening the Corona. Exhale— vibrating the Name of Power. Inhale— strengthening the Corona. Exhale— vibrating the Name of Power. Inhale— drawing down the shaft of brilliance rapidly and formulating the Uncia Coeli. Exhale— vibrating the Word of Power. Inhale— strengthening formulation of Uncia Coeli. Exhale—vibrating the Name of Power. Inhale— strengthening Uncia Coeli. Exhale— vibrating Name of Power. This expanded pattern is employed for each successive Center, and the Rousing is concluded with the Caduceus in the normal manner. After a minimum of eight weeks of practice, the student may proceed to the final necessary development of the Rousing. Final stage of practice While formulating or strengthening each Center, at each inhalation let the student inweave with his work a reflection upon the essential cosmic principle to which the Center is referred. But on each exhalation, whίle the Center is dynamic 32 MYSTERIA MAGICA and radiant, he must charge it with only the stark utterance, the vibration of the Name of Power. When this stage has been reached successfully, the Rousing of the Citadels can be considered an efficient instrument for its purpose: continued use can but enhance its benefits. An example of the full and perfect use of the 1st Formula of the Clavis Rei Primae now follows; in this instance the Sub Rosa Nigra Words of Power have been employed: Inhale— Visualizing the Corona Flammae as a sphere of intense brilliance, like burning magnesium, and reflecting upon the cosmic principle to which the Corona is referred. Exhale— vibrating EN TO PAN. Inhale— strengthening the Corona and reflecting. Exhale— vibrating ΕΝ TO PAN. Inhale— strengthening the Corona and reflecting. Exhale— vibrating ΕΝ TO PAN. Inhale— drawing down the shaft of brilliance from the Corona, formulating the Uncia Coeli as a sphere of glimmering dove-grey, and reflecting upon the cosmic principle to which the Uncia Coeli is referred. Exhale— vibrating TURANA. Inhale— strengthening the Uncia Coeli and reflecting. Exhale— vibrating TURANA. Inhale— strenthening the Uncia Coeli and reflecting. Exhale— vibrating TURANA. Inhale— maintaining awareness of the Corona and Uncia Coeli, drawing down the shaft of brilliance from the Uncia Coeli, formu- THE ROUSING OF THE CITADELS 33 lating the Flos Abysmi as a sphere of billowing intense mid-purple, and reflecting upon the cosmic principle to which the Flos Abysmi is referred. Exhale—vibrating DESTAPHITON. Inhale— strengthening the Flos Abysmi and reflecting. Exhale— vibrating DESTAPHITON. Inhale— strengthening the Flos Abysmi and reflecting. Exhale— vibrating DESTAPHITON. The procedure is continued through to the Instita Wen- dens, with the appropriate color visualizations and reflections, and the Rousing is concluded with the Caduceus in the normal manner. ΥΠ CLA VIS REI PRIMAΕ (2nd Formula) i. Assume the Wand Posture. ~. Visualize the Corona Flammae as an intense pulsating sphere of whίte brίlliance (rather like burning magnesium). Inhale. As the breath is drawn in, a shaft of brilliance desends from the Corona to the breast, where it expands into a sphere of radiant golden yellow lίgh t. iv. Exhale. As the breath is released, the shaft of brilliance descends from the Orbis Solis to the feet, where it expands into a sphere of whiteness, radiant but less brilliant than the Kether. v. Inhale. As the breath is drawn in, a reflux charge of intense rose-gold flame rises from the Instita Splendens and passes into the Orbis Solis. vi. Exhale. The light rests. vii. The sequence iii through vi is repeated five or six times. viii. Concentrate on the Orbis Solis. The central solar- nucleus remains quite distinct as a blazing and vibrant inner sun, but emits a powerful radiance which steadily grows until the total sphere of sensation is charged with golden yellow light. (See note D below). 35 36 MYSTERIA MAGICA Notes: A) Wand Posture and Rhythmic Breath are maintained throughout this work, but a strict correlation of breath to visualization is necessary only for the repeated sequence iii through vi. B) The Sequence iii through vi is repeated five or six times without a break; thus iii, iv,v, vi, iii, iv,v, vi, iii, iv, v, vi, and so on. If the student finds it necessary to re-affirm the Corona Flammae for the re-commencement of the sequence, this should be done during the pause at the bottom of the breath in vi. C) When proceeding from vii (the repetitions of the sequence) to vι ι i, several full breaths may be interposed after the exhalation in vi; or viii may be begun immediately after the final exhalation in vi. This is entirely a matter for personal preference. D) In step vΙιi, the light radiated by the Orbis Solis forms a three-dimensional ovoid, conceived of as being co-extensive with the aura. While the attention is directed to the Orbis Solis and its radiated light, the student should gradual l y lose awareness of the Kether and Malkuth centres. E) Νο Words of Power are employed with the 2nd Formula of the Clavis Rei Primae. N. B. The 1st and 2nd Formulae of the Clavis Rei Primae are both fundamental techniques for energisation. The 1st Formula is usually employed where the purpose is to emphasize the unity or the communication of the different levels within an individual (or, occasionally, of individuals in a grοuρ). The 2nd Formula is a rapid method for the energisation of the operator, and is usually employed in promotion of a magical working. These are broad generalisations, however, and the uses of both formulae will be most clearly gathered from a careful CLAVIS REI PRIMAE 37 study of their contextual occurrence in the present volume. It is here taken for granted that the student will, before undertaking the 2nd Formula, have practiced the 1st Formula Clavis Rei Primae so as to have made of it an efficient instrument for his magical use. As such, it should at this stage form a regular par t of his personal curriculum. Proficiency in the Rousing is essential for his ability to use with full force this important three-center technique of the 2nd Formula upon the frequent occasions when this is required in workings. VIII THE ORANTE FORMULA The Orante Formula is a method for effecting a projection of power upon a person, substance, or object. The Orante Formula is a development of the Second Formula of the Clavis Rei Primae, but its name orante derives from the primary Gesture which is associated with it. The Orante Gesture:— the arms are raised forwards, with elbows flexed; the arms come to rest at a position in which the upper arm is approximately horizontal, the forearm raised to about 45° above horizontal; the hands are raised in a natural manner so that the palms are directed forwards and towards the object or person to receive the projection, the fingers are not separated.* Having taken the Orante Gesture, projection may be undertaken from this position if suitable: or any adaptation of the posture may be made, which will bring the palms into a more effective relationship with the subject of the projection. When a materium which is to receive projection is upon the Bomos, for example, the hands may be lowered and brought closer together so that the palms are just above the materium. There is no hard and fast rule about this, but symmetry is essential: both palms should be focused upon the subject. In any instance the body also may be • It ίs to be remarked that the radίation of power will be from the centres of the palms, where secondary Centres of Activity reside, and not from the fingertips; the transmission of power from the finger-tips ίs a technique for other purposes, and generally by direct contact. 39 inclined, and either foot advanced, as the student feels to be right: all should be achieved in one graceful change from the Orante Gesture, but the Orante Gesture is invariably taken first no matter what modification may be adopted for projection. Projection having been effected, any variations notwith- standing, the projection posture is invariably dismissed by crossing the wrists upon the breast, fmgertιps touching the collarbone. The left wrist passes outside the right, to seal off the outgoing current and to symbolize the end of the action. The head is not bowed as in the Calyx. If it is borne in mind that the right hand and arm are regarded as active, the left hand and arm as passive, it will be easy to recall which arm passes outside. The Orante Formula i. Assume the Wand Posture. 11. Visualize the Corona as an intense pulsating sphere of whίte brίlliance. Inhale. As the breath is drawn in, a shaft of brilliance descends from Corona to Orbis Solis, where it expands into a sphere of golden yellow light. iv. Exhale. As the breath is released, the shaft of brilliance descends from the breast to the feet, where it expands into a sphere of whiteness. v. Inhale. As the breath is drawn in, a charge of intense rose-gold flame rises from the Instita Splendens and passes into the Orbis Solis. vi. Exhale. The light rests. vii. The sequence iιι through vi is repeated five or six times, as in the Second Formula of the Clavis Reι Primae. viιι. Retaining awareness of the three Centres, the arms are raised in the Orante Gesture (if suitable the posture is then modified), and on an outgoing breath the power of the Orbis Solis is felt as being impelled up the arms and out from the centre of the palms towards the subject of the projection; the eyes are likewise focused upon the subject. Beams of clear golden yellow light from the palms of the hands are to be visualized as converging upon the subject. ix. The projection posture is dismissed. x. The Wand Posture is resumed, and steps ~ through vii are consciously and deliberately repeated. xi. The Formula is concluded with the radiation of light from the central solar-nucleus, as in step viii of the 2nd Formula of the Clavis Re! Prιmae. Notes: A) The sole use of the Orante Formula is to effect a concen- tration or projection of power upon a person, object or substance. B) The Formula is a catalyst, and after a substance has received projection a period of latency occurs before the result manifests. The duration of this "fermentation" depends both upon the nature of the materium and upon the type of the operation. C) Projection by the Orante Formula is extremely powerful, and transmission of energy need only be maintained for the space of one outgoing breath. D) Whatever the dedication and purpose of a rite in which this Formula is employed, at the actual moment of projection a materium is to be charged purely and simply with an irradiation of golden yellow light. Nothing more. To appreciate this it is necessary to understand that there are two types of projection of power, differing considerably in method, though not in fundamental principle. These are termed by us "alchemical projection" and "magical projection." Alchemical projection employs a powerfully concentrated inner concept, 40 MYSTERIA MAGICA THE ORANΤΕ FORMULA 41 42 MYSTERIA MAGICA whether of perfect integration orof a specific natural force: and with the act of projection this inner concept is spontaeously impressed upon the materium. This type of projection is not limited to alchemical work proper, but is frequently found in folk-magick and in other of the less formal types of magick, even of High Magick (which can be very informal indeed.) Examples of alchemical projection are given in Book II, Chapter II. Magical projection is achieved in a different way. The act of projection takes place only after the astral substance of the materium has been conditioned by the rite: projection in this case is of dynamic force unconditioned by any concept of the specific effect to be produced. The Orante Formula is of this latter type of projection. E) In a rite of transubstantiation the elements must be projected upon seperately. After projecting upon the first element, dismiss the projection posture as taught, and assume the Wand Posture. Repeat step viii of the Orante Formula, projecting upon the second element. Dismiss the projection posture and continue in the normal manner through x and xi. IX BANISHING & INVOKING The banishing and the invocation of various types of force are essential functions in magical works generally. Both banishing and invocation can be brought about in a number of ways, but the use of a distinctive sign, itself both potent and harmonious to the working, is frequently desirable not only to give weight to the act of banishing or invoking, but also to signal the moment of operation. Such a sign is chosen according to the type of force to which it is applied: the pentagram for any of the Four Elements and Spirit, the Heptagram for planetary and zodiacal forces. The Pentagram (The Solomonίc Seal) 43 MYSTERIA MAGICA In the A.S. system, when the pentagram is used in invocation, it is traced clockwise commencing from the point attributed to the force to be invoked, the appropriate Divine Name being vibrated meanwhile. When used in banishing, the pentagram is traced anticlockwise from the point attributed to the force to be banished, the appropriate Divine Name again being vibrated. Any pentagram thus traced is referred to as an invoking (or banishing) pentagram of the Element in question. The attributions of the points of the pentagram are shown on the diagram above.* Because of the great potency of the pentagram, it is a rule to introduce a stabilising factor into banishings and invocations in which this sign is traced: thus the pentagram of an Element is always preceded by a pentagram, banishing or invoking as the case may be, of Spirit. The Divine Name to be vibrated while tracing the pentagram of Spirit will depend upon the Element in question, as shown below. The Hebrew Divine Names employed with the penta- grams are: —  when preceding  οr  , HYHA (ΑΗΙΗ)  when preceding  or  ALGA (AG LA) SYHLA ( A LH IM ) HVHy ( I HVH ) LA ( A L )  YNDA ( ADN I ) The Greek Divine Names employed with the pentagrams are: when preceding οr , ΑΘΑΝΑΤΟΣ (ATHANATOS)  when preceding  or , ΙΣΧYΡΟΣ (ISCHVROS)  ΘΕΟΣ (ΤΗΕΟS)  ΣEΛΑΗ ΓΕΝΕΤΗΣ (SELAE GENETES)  ΠΑΓΚΡΑΤΗΣ (PANKRATES)  ΚYΡIΟΣ (ΚΥRΙOS) BANISHING & INVOKING 45 The Enochian Divine Names employed with the penta- grams are: —  when preceding  . ΒΙΤΟΜ  when preceding , EXARP  when preceding  . HCOMA  when preceding  ΝΑΝΤΑ  OΙΡΤΕAA PDOCE  ORO I BAH AOZPI  MPH ARSL GAΙO L  MOR D I A L HCTGA When invoking Elemental Spirits (Elementals, properly so called) by means of the pentagram, the appropriate Kerubic sign is used to represent the power of the Angelic Ruler of the Element. The sign is traced in the centre of the figure, after the second (the elemental) pentagram has been described. should be used for the Spirits of Air, A for the Spirits of Fire, pir for the Spirits of Water, 5 for those of Ear t h. The Kerubic sign is not employed in the banishing of Elementals. (See Appendix D.) When invoking or banishing, it is usual to trace the pentagrams in the air while facing the quar t er associated with the Element in question. If however pentagrams are traced over an object with an intention of invoking or banishing which is limited to that object, a circle must first be traced above the object, and then the pentagrams traced within the circle: the Divine Names being vibrated meanwhile, as usual.* For invocation, trace the circle deosil : for banishing, trace it widdershins.f Theoretically, apentagramispotent throughout the whole range of its Element of attribution in the Yetziratic World. * Note that in the Rites of the Wards the use of the pentagram Ίs special and distinctίve: each pair of Divine Names being linked to one pentagram only, but in connection with the banishing gesture Cerνus. t Concerning the widdershins circle, see Principles of Cer emonial. 44 BANISHING & INVOKING 47 Zodiacal forces. To invoke, trace the presigillum corre- sponding to the sign of the working, then trace clockwise about it the heptagram of the planet which rules that sign (cf. Vol. III, Ch. V): meanwhile vibrating the applicable Divine Name. To banish, trace the presigillum, then trace the heptagram anti- clockwise, with vibration of the Divine Name.* Το limit planetary or zodiacal invocations or banishing to a specific object, first describe above that object a deosil circle for invocation, or a widdershins circle for banishing: then within that circle, trace presigillum and heptagram, with vibration of the Divine Name. Theoretically, a heptagram is potent throughout the whole range of its sign of attribution in the Yetziratic World. Planetary or sephirothic forces. Το invoke, first trace the presigillum* of the planet of the working, then, about it, trace the heptagram clockwise from the point attributed to the planet, meanwhile vibrating the appropriate Divine Name. To banish, trace the presigillum of the planet, then, about it, trace the heptagram anti-clockwise from the point attributed to the planet, meanwhile vibrating the appropriate Divine Name. For Malkuth (Earth as planet, not as element), trace the presigillum , then, about it, the heptagram of Saturn but using the Divine Name appropriate to the Sphere o: M'dkuth. * See the paper Sigils, where the presigilla are shown. * The signs
   employed with pentagrams, are on no account to be replaced with pτesίgillα. MYSTERIA MAGICA The Heptagram 46 48 MYSTERIA MAGICA 1 Kether Yechidah 2 Chokmah Chiah Spirit Higher Self 3 Binah Neshamah 4 Chesed 5 Geburah Psyche 6 Tiphareth Ruach Soul 7 Netzach Lower Self 8 Hod 9 Yesod Nephesh 10 Malkuth Physical body MAGICK OF THE PSYCHE Part Π Man Χ IDENTIFYING WITH GOD FORCES In present-day occult working several techniques exist by which identification with God-forces may be achieved. The procedure here given is traditional to the A.S. This work takes time to complete, but the emphasis throughout is upon the individual character of the chosen deity. If the earlier parts of the work are fulfilled to the highest degree, the fiηαl phase will culminate in a profound mystical experience. N.B. For this work, a deity is not to be chosen from the Voudoun pantheons. The Loa are only to be approached through the cult methods traditionally associated with them. 1 In this, which is one of the nost noble usages of High Magick, the student must as a preliminary make a serious study of the deity which is to be the subject and centre of his operation; of the deity in itself, according to its own nature; of the deity in context of its native pantheon, and in relation to other deities thereof; of the deity furthermore in context of the Qabalah, and in relation to the Sephiroth. 2 This preliminary study accomplished so that he is familiar with every aspect which may have a bearing upon his work, the student must begin the operation itself by undertaking steadfastly the cult of the deity. He will establish 51 52 MYSTERIA MAGICA his own personal shrine of that deity, equipping the shrine with everything within his power to associate it with both traditional and magical woηΡhip of the deity. The student shall devise words and modes of woηΡhip for the deity, introducing traditional forms where possible or suitable; these words and modes he may if he desires vary, according to hour or day or season, so that this worship shall be always a living reality to him. For he must in full reality woηΡhip, he must meditate, he must adore, he must praise, so as to grow continually in love and in understanding of the divine being about whom this work revolves. 3 When he has grown in his cult, the student will regularly, at the conclusion of his worship, assume the god-form of his deity (that is to say, he will imagine himself to be enveloped in the form characteristic of his deity).* He will learn to feel at ease therein; but he will keep silence while the god-form is maintained. This technique, as his love and understanding of the deity increase, will gather increased meaning and richness for the woηΡhipper. Whenever he can, the woηhipper will visit historίc shrines, or sites of shrines, of his deity; there he will worship, always performing at least some act of adoration, spending some time in meditation, and assuming in silence the god-form. In the use of the forms of wοηhiρ which he has compiled, the student will give heed continually to their suitability to the deity. Should he find as he advances in undeηΡtanding and in perceptivity that they fail in that respect, he will amend them. He will make of his cult as it were a mirror of the deific force, so that he may find reflected there all that he has gathered by study and by meditation of the nature of his god; and through the continual interchange, • Assumption of god-form is concluded by re-centring upon the magical personality, while the god-formulation is allowed to fade from the consciousness. IDENTIFYING WITH GOD-FORCES 53 the cult influencing the student and his furtherwork influencing the cult, an increasing affmity with the divine force will be built up. 4 As a principal effect of these practices, the student will develop an awareness, which is a completely objective certainty, of the numinous power of his deity. This awareness is a clear sign of the progress of the operation towards success; but still it does not suffice to indicate that the student should proceed to the fmal phase of the operation. Indeed, the student should postpone the final phase as long as he can, acquiring greater knowledge, giving augmented worship, developing more profound love for the deity, while the power of the god, at once radiant and magnetic, encompasses him and draws him strongly and yet more strongly, onward irresistibly. For it is no light thing, and no small thing, to seek, as the fmal phase of the operation will do, the uniting of consciousness with a living force of godhead. In developing a relationship with any divine power the operator receives in proportion as he gives; when a deity is approached in the exalted and intensely magical mode which is required by this work, progressively higher levels of the psyche become engaged in reciprocity with the deity. 5 The final phase of the operation will take place when the previous work has been brought to reality and when the bond between god and devotee has become such as to compel the culmination. The place may be the personal shrine; equally it may be a traditional shrine of the deity, some historic focal point of that worship; or again in certain circumstances it may be a place which by its natural features and its beauty powerfully brings to the cultist a conviction that his deity is here. 54 MYSTERIA MAGICA Το actuate the climax of the work the operator proceeds with the Deific Formula—which combines the Formula of the Triple Vibration with the technique of assumption of god-form —employing therewith the name of his deity. The Deific Formula i. The operator makes adoration of his deity. ~. He states his intention of uniting his consciousness with his deity. 111. He assumes the Wand Posture and establishes the Rhythmic Breath. iv. He visualizes the Corona Flammae as an intense pulsating sphere of white brilliance. v. On an exhalation he vibrates the name οf the God. vi. As he inhales he visualizes a shaft of brilliance descending from the Corona to the breast, where it expands into a sphere of radiant golden yellow light. vii. He exhales, vibrating for the second time the name of the God; while doing so, he visualizes the shaft of brilliance descending from the Orbis Solis to the feet, where it expands into a sphere of whiteness. viιι. As he inhales he visualizes a charge of intense rose-gold f lame rising from the I</p>