Contents
Liber O
Vel
Manvs Et Sagittae
Svb Figvr
Vi A.'. A.'. Publication in Class B.
Imprimatur:
D.d.s.Praemonstrator
O.s.v.Imperator
N.s.f.Cancellarius
{Illustration facing page 12: The Signs Of The Grades.
These are arranged as ten panels: * * * *
* *
* *
*
*
These are all halftone photos of a single human in a black Tau robe, barefoot
with hood completely closed over the face. The hood displays a six-pointed figure
on the forehead
presumably the radiant eye of Horus of the A.'. A.'., but
the rendition is too poor in detail. There is a cross pendant over the heart.
The ten panels are numbered in white in the upper left, but the numerals are
very dim even in the Ist edition (some blurred out entirely in the Weiser edition).
The panels are identified by two columns of numbered captions, 1 to 6 to the
left and 7 to 10 to the right. The description is bottom to top and left to
right:
"1. Earth: the god Set fighting." Frontal figure. Rt. foot pointed
to the fore and angled slightly outward with weight on ball of foot. Lf. heel
touching Rt. heel and foot pointed left. Arms form a diagonal with body, right
above head and in line with left at waist height. Hands palmer and open with
fingers outstretched and together. Head erect.
"2. Air: The god Shu supporting the sky." Frontal. Heels together
and slightly angled apart to the front, flat on floor. Head down. Arms angled
up on either side of head about head 1.5 ft. from head to wrist and crooked
as if supporting a ceiling just at head height with the finger tips. The palms
face upward and the backs of the hands away from the head. Thumbs closed to
side of palms. Fingers straight and together.
"3. Water: the goddess Auramoth." Same body and foot position as
#2, but head erect. Arms are brought down over the chest so that the thumbs
touch above the heart and the backs of the hands are to the front. The fingers
meet below the heart, forming between thumbs and fingers the descending triangle
of water.
"4. Fire: the goddess Thoum-aesh-neith." Frontal. Head and body like
#3. Arms are angled so that the thumbs meet in a line over the brow. Palmer
side facing. Fingers meet above head, forming between thumbs and fingers the
ascending triangle of fire.
"5,6. Spirit: the rending and closing of the veil." Head erect in
both. #5 has the same body posture as #1, except that the left and right feet
are countercharged and flat on the floor. Arms and hands are crooked forward
at shoulder level such that the hands appear to be clawing open a split veil
hands have progressed to a point that the forearms are invisible, being
directly pointed at the front. Upper arms are flat and horizontal in the plain
of the image. #6. has the same body posture as #1, feet in same position as
#1 but flat to the floor. The arms are elbow down against abdomen, with hands
forward over heart in claws such that the knuckles are touching. Passing from
#5 to #6 or vice versa is done by motion of shoulders and rotation of wrists.
This is different from the other sign of opening the veil, the Sign of the Enterer,
with is done with hands flat palm to palm and then spread without rotation of
wrists.
"7-10. The L V X signs."
"7. + Osiris slain
the cross." Body and feet as in #2. Head bowed.
Arms directly horizontal from the shoulders in the plane of the image. Hands
with fingers together, thumbs to side of palm and palmer side forward. The tau
shape of the robe dominates the image.
"8. L Isis mourning
the Svastica." The body is in semi-profile,
head down slightly and facing right of photograph. The arms, hands, legs and
feet are positioned to define a swastika. Left foot flat, carrying weight and
angled toward the right of the photo. Right foot toe down behind the figure
to the left in the photo. Right upper arm due left in photo and forearm vertical
with fingers closed and pointing upward. Left arm smoothly canted down to the
right of photo, with fingers closed and pointed down.
"9. V Typhon
the Trident." Figure frontal and standing on tip
toe, toes forward and heals not touching. Head back. Arms angled in a "V"
with the body to the top and outward in the plain of the photo. Fingers and
thumbs as #7, but continuing the lines of the arms.
"10. X Osiris risen
the Pentagram." Body and feet as in #7. Head
directly frontal and level. Arms crossed over heart, right over left with hands
extended, fingers closed and thumb on side such that the palms rest on the two
opposite shoulders.}
Liber O
Vel
Manvs Et Sagittae
Svb Figvra
Vi
I.
1. This book is very easy to misunderstand; readers are asked to use the most
minute critical care in the study of it, even as we have done in its preparation.
2. In this book it is spoken of the Sephiroth and the Paths; of Spirits and
Conjurations; of Gods, Spheres, Planes, and many other things which may or may
not exist.
It is immaterial whether these exist or not. By doing certain things certain
results will follow; students are most earnestly warned against attributing
objective reality or philosophic validity to any of them.
3. The advantages to be gained from them are chiefly these:
("a") A widening of the horizon of the mind.
("b") An improvement of the control of the mind.
4. The student, if he attains any success in the following practices, will
find himself confronted by things (ideas or {13} beings) too glorious or too
dreadful to be described. It is essential that he remain the master of all that
he beholds, hears or conceives; otherwise he will be the slave of illusion,
and the prey of madness.
Before entering upon any of these practices, the student should be in good
health, and have attained a fair mastery of Asana, Pranayama and Dharana.
5. There is little danger that any student, however idle or stupid, will fail
to get some result; but there is great danger that he will be led astray, obsessed
and overwhelmed by his results, even though it be by those which it is necessary
that he should attain. Too often, moreover, he mistaketh the first resting-place
for the goal, and taketh off his armour as if he were a victor ere the fight
is well begun.
It is desirable that the student should never attach to any result the importance
which it at first seems to possess.
6. First, then, let us consider the Book "777" and its use; the preparation
of the Place; the use of the Magic Ceremonies; and finally the methods which
follow in Chapter V. "Viator in Regnis Arboris," and in Chapter VI.
"Sagitta trans Lunam."
(In another book will it be treated of the Expansion and Contraction of Consciousness;
progress by slaying the Chakkrams; progress by slaying the Pairs of Opposites;
the methods of Sabhapaty Swami, &c., its Magical Weapon the Wand or Caduceus, its Perfumes
Mastic and others, its sacred plants Vervain and others, its jewel the Opal
or Agate; its sacred animal the Snake, &c.,
and the student will find them fully set forth in the proper books, of which
the "Goetia" is perhaps the best example.
These rituals need not be slavishly imitated; on the contrary the student should
do nothing the object of which he does not understand; also, if he have any
capacity whatever, he will find his own crude rituals more effective than the
highly polished ones of other people.
The general purpose of all this preparation is as follows:
5. Since the student is a man surrounded by material objects, if it be his wish
to master one particular idea, he must make every material object about him
directly suggest that idea. Thus in the ritual quoted, if his glance fall upon
the lights, their number suggests Mercury; he smells the perfumes, and again
Mercury is brought to his mind. In other words, the whole magical apparatus
and ritual is a complex system of mnemonics.
[The importance of these lies principally in the fact that particular sets
of images that the student may meet in his wanderings correspond to particular
lineal figures, divine names, and it should appear to him as if that Great Voice
proceeded from the Universe, and not from himself.
In both the above practices all consciousness of anything but the God-form
and name should be absolutely blotted out; and the longer it takes for normal
perception to return, the better. {18}
Iv
I. The Rituals of the Pentagram and Hexagram must be committed to memory; they
are as follows: The Lesser Ritual of the Pentagram
(i) Touching the forehead say Ateh (Unto Thee).
(ii) Touching the breast say Malkuth (The Kingdom).
(iii) Touching the right shoulder, say ve-Geburah (and the Power).
(iv) Touching the left shoulder, say ve-Gedulah (and the Glory).
(v) Clasping the hands upon the breast, say le-Olahm, Amen (To the Ages, Amen).
(vi) Turning to the East make a pentagram (that of Earth) with the proper
weapon (usually the Wand). Say ("i.e." vibrate) I H V H.
(vii) Turning to the South, the same, but say A D N I.
(viii) Turning to the West, the same, but say A H I H.
(ix) Turning to the North, the same, but say A G L A.
Pronounce: Ye-ho-wau, Adonai, Eheieh, Agla.
(x) Extending the arms in the form of a Cross say:
(xi) Before me Raphael;
(xii) Behind me Gabriel;
(xiii) On my right hand Michael.
(xiv) On my left hand Auriel;
(xv) For about me flames the Pentagram,
(xvi) And in the Column stands the six-rayed Star.
(xvii-xxi) Repeat (i) to (v), the Qabalistic Cross. {19}
The Greater Ritual Of The Pentagram.
The Pentagrams are traced in the air with the sword or other weapon, the name
spoken aloud, and the signs used, as illustrated.
The Pentagrams Of Spirit
Equilibrium of Actives
/ /
* / # / Name: A H I H (Eheieh)
'/.. /.. '
/. ". /. ".
I / / B N A V # * N O I K S Equilibrium of Passives I / / H N / * / # I Name A G L A (Agla).
G
/
/ N
'/.. ' / '/.. ' / G
/. \". / /. ". /
/ / / /
/ /
# *
The Signs of the Portal ("see" Illustrations): Extend the hands in
front of you, palms outwards, separate them as if in the act of rending asunder
a veil or curtain (actives), and then bring them together as if closing it up
again and let them fall to the side (passives).
(The Grade of the "Portal" is particularly attributed to the element
of Spirit; it refers to the Sun; the Paths of Samekh, Nun and Ayin, are attributed
to this degree. See "777" lines 6 and 31 bis).
The Pentagrams Of Fire.
I B N / # / * A Name: A L H I M V / / N O
I (Elohim).
K '/.. /.. ' S I /. ". /. ". H N / * / # I G N
G
{20} The signs of 4 Degree = 7 Square: Raise the arms above the head and join
the hands, so that the tips of the fingers and of the thumbs meet, formulating
a triangle ("See" illustration).
(The Grade of 4 Degree = 7 Square is particularly attributed to the element
Fire; it refers to the planet Venus; the paths of Qof, Tzaddi and Peh are attributed
to this degree. For other attributions "see 777" lines
7 and 31).
The Pentagrams Of Water.
I B N / / A V #
* *
# N O
I Name: A L (El).
K '/.. /.. ' S I /. ". /. ". H N / / I G N
G
The signs of 3 Degree = 8 Square: Raise the arms till the elbows are on a level
with the shoulders, bring the hands across the chest, touching the thumbs and
tips of fingers so as to form a triangle apex downwards. ("See" illustration).
(The Grade of 3 Degree = 8 Square is particularly attributed to the element
of Water; it refers to the planet Mercury; the paths of Resh and Shin are attributed
to this degree. For other attributions "see 777", lines
8 and 23).
The Pentagrams Of Air.
I B N / / A V *
# #
* N Name: I H V H O
I (Ye-ho-wau).
K '/.. /.. ' S I /. ". /. ". H N / / I G N
G
The signs of 2 Degree = 9 Square: Stretch both arms upwards and outwards, the
elbows bent at right angles, the hands bent back, the palms upwards as if supporting
a weight. ("See" illustration). {21}
(The Grade of 2 Degree = 9 Square is particularly attributed to the element
Air; it refers to the Moon; the path of Taw is attributed to this degree. For
other attributions "see 777" lines 9 and 11).
The Pentagrams Of Earth
I B N # / * / A V / / / / N O -/
-/
I Name: A D N I (Adonai).
K / '/.. ' / '/.. ' S I / /. \". / /. ". H N * / # / I G N
G
The Sign of 1 Degree = 10 Square: Advance the right foot, stretch out the right
hand upwards and forwards, the left hand downwards and backwards, the palms
open.
(The Grade of 1 Degree = 10 Square is particularly attributed to the element
of Earth, "See 777" lines 10 and 32 bis).
The Lesser Ritual Of The Hexagram.
This ritual is to be performed after the "Lesser Ritual of the Pentagram".
(i) Stand upright, feet together, left arm at side, right across body, holding
the wand or other weapon upright in the median line. Then face East and say:
(ii) I.n.r.i.
Yod. Nun. Resh. Yod.
Virgo, Isis, Mighty Mother.
Scorpio, Apophis, Destroyer.
Sol, Osiris, Slain and Risen.
Isis, Apophis, Osiris, Iao. {22}
(iii) Extend the arms in the form of a cross, and say: "The Sign of Osiris
Slain." ("See" Illustration).
(iv) Raise the right arm to point upwards, keeping the elbow square, and lower
the left arm to point downwards, keeping the elbow square, while turning the
head over the left shoulder looking down so that the eyes follow the left forearm,
and say, "The Sign of the Mourning of Isis." ("See" Illustration).
(v) Raise the arms at an angle of sixty degrees to each other above the head,
which is thrown back, and say, "The Sign of Apophis and Typhon." ("See"
Illustration).
(vi) Cross the arms on the breast, and bow the head and say, "The Sign
of Osiris Risen." ("See" Illustration).
(vii) Extend the arms again as in (iii) and cross them again as in (vi) saying:
"L.V.X., Lux, the Light of the Cross".
/ #
/ (viii) With the magical weapon trace the
/ 1 Hexagram of Fire in the East, saying,
/ / * \"Ararita" (Aleph-Resh-Aleph-Resh-Yod-Taw-Aleph).
This Word consists of the initials of a
/ # sentence which means "One is His Beginning:
/ One is His Individuality: His Permutation is
2 One."
*
This hexagram consists of two equilateral triangles, both apices pointed upwards.
Begin at the top of the upper {23} triangle and trace it in a dextro-rotary
direction. The top of the lower triangle should coincide with the central point
of the upper triangle.
/ #
(ix) Trace the Hexagram of Earth in the
2* / / South, saying "ARARITA." This Hexagram
/ / *1 has the apex of the lower triangle pointing
downwards, and it should be capable of
# / inscription in a circle.
/ #
/
/
/ 1
*
(x) Trace the Hexagram of Air in the
2* / West, saying "ARARITA." This Hexagram
/ is like that of Earth; but the bases of the
/ triangles coincide, forming a diamond.
/
#
* /
/
/ (xi) Trace the hexagram of Water in the
# / North, saying "ARARITA."
/ # This hexagram has the lower triangle placed
/ above the upper, so that their apices coincide.
/
/ *
(xii) Repeat (i-vii)
The Banishing Ritual is identical, save that the direction of the Hexagrams
must be reversed. {24}
\"Invoking Banishing"
/ # # / \"The Greater Ritual of"
-/
\"the Hexagram"
2* / / Saturn // / *2
/ / *1 1* / // To invoke or banish
/- planets or zodiacal
# / / # signs.
1 The Hexagram of
2* / *--/--# Earth alone is used.
-/
Draw the hexagram,
// / # Jupiter / / beginning from the
# / // / / point which is
/-
attributed to the
/ *1 #--/--* 2 planet you are dealing
with. ("See 777" col.
#--/--* 1 / *2 lxxxiii).
Thus to invoke
/ / # / / Jupiter begin from the
/ / Mars / / # right-hand point of
the lower triangle,
2 *--/--# 1* / dextro-rotary and
complete; then trace
4,9.* # 6,7. the upper triangle
#-- / / # --*5,8. 10,3.*-- / / * --# from its left hand
point and complete.
2,11.*// /# #// /*2,11. Trace the
#/ //*1,12.Sun 1,12.*/ //# astrological sigil
/-
/- of the planet in the
6,7.*-- # / * --# #-- * / # --*4,9.centre of your
3,10. 5,8. hexagram.
For the Zodiac use
#--/--*2 / *1 the hexagram of the
planet which
/ / Venus # / / rules the {25) sign
/ / / / # you require ("777",
col. cxxxviii); but
1*--/--# 2* / draw the astrological
sigil of the sign,
1* / 2*--/--# instead of that of the
-/
planet.
// / # Mercury / /
# / // / /
/-
/ *2 #--/--*1
/ # # /
-/
1* / / Moon // / *1
/ / *2 2* / //
/-
# / / # {25}
For Caput and Cauda Draconis use the lunar hexagram, with the sigil of Caput
Draconis or Cauda Draconis.
To banish, reverse the hexagram.
In all cases use a conjuration first with Ararita, and next with the name of
the God corresponding to the planet or sign you are dealing with.
The Hexagrams pertaining to the planets are as in plate on preceding page.
2. These rituals should be practised until the figures drawn appear in flame,
in flame so near to physical flame that it would perhaps be visible to the eyes
of a bystander, were one present. It is alleged that some persons have attained
the power of actually kindling fire by these means. Whether this be so or not,
the power is not one to be aimed at.
3. Success in "banishing" is known by a "feeling of cleanliness"
in the atmosphere; success in "invoking" by a "feeling of holiness."
It is unfortunate that these terms are so vague.
But at least make sure of this: that any imaginary figure or being shall instantly
obey the will of the student, when he uses the appropriate figure. In obstinate
cases, the form of the appropriate God may be assumed.
4. The banishing rituals should be used at the commencement of any ceremony
whatever. Next, the student should use a general invocation, such as the "Preliminary
Invocation" in the "Goetia" as well as a special invocation to
suit the nature of his working.
5. Success in these verbal invocations is so subtle a {26} matter, and its
grades so delicately shaded, that it must be left to the good sense of the student
to decide whether or not he should be satisfied with his result.
V
1. Let the student be at rest in one of his prescribed positions, having bathed
and robed with the proper decorum. Let the place of working be free from all
disturbance, and let the preliminary purifications, banishings and invocations
be duly accomplished, and, lastly, let the incense be kindled.
2. Let him imagine his own figure (preferably robed in the proper magical garments
and armed with the proper magical weapons) as enveloping his physical body,
or standing near to and in front of him.
3. Let him then transfer the seat of his consciousness to that imagined figure;
so that it may seem to him that he is seeing with its eyes, and hearing with
its ears.
This will usually be the great difficulty of the operation.
4. Let him then cause that imagined figure to rise in the air to a great height
above the earth.
5. Let him then stop and look about him. (It is sometimes difficult to open
the eyes.)
6. Probably he will see figures approaching him, or become conscious of a landscape.
Let him speak to such figures, and insist upon being answered, using the proper
pentagrams and signs, as previously taught.
7. Let him travel about at will, either with or without guidance from such
figure or figures. {27}
8. Let him further employ such special invocations as will cause to appear
the particular places he may wish to visit.
9. Let him beware of the thousand subtle attacks and deceptions that he will
experience, carefully testing the truth of all with whom he speaks.
Thus a hostile being may appear clothed with glory; the appropriate pentagram
will in such a case cause him to shrivel or decay.
10. Practice will make the student infinitely wary in these matters.
11. It is usually quite easy to return to the body, but should any difficulty
arise, practice (again) will make the imagination fertile. For example, one
may create in thought a chariot of fire with white horses, and command the charioteer
to drive earthwards.
It might be dangerous to go too far, or to stay too long; for fatigue must
be avoided.
The danger spoken of is that of fainting, or of obsession, or of loss of memory
or other mental faculty.
12. Finally, let the student cause his imagined body in which he supposes himself
to have been travelling to coincide with the physical, tightening his muscles,
drawing in his breath, and putting his forefinger to his lips. Then let him
"awake" by a well-defined act of will, and soberly and accurately
record his experiences.
It may be added that this apparently complicated experiment is perfectly easy
to perform. It is best to learn by "travelling" with a person already
experienced in the matter. Two or three experiments will suffice to render the
student confident and even expert. See also "The Seer", pp. 295-333.
Vi
1. The previous experiment has little value, and leads to few results of importance.
But it is susceptible of a development which merges into a form of Dharana
concentration
and as such may lead to the very highest ends. The principal
use of the practice in the last chapter is to familiarise the student with every
kind of obstacle and every kind of delusion, so that he may be perfect master
of every idea that may arise in his brain, to dismiss it, to transmute it, to
cause it instantly to obey his will.
2. Let him then begin exactly as before, but with the most intense solemnity
and determination.
3. Let him be very careful to cause his imaginary body to rise in a line exactly
perpendicular to the earth's tangent at the point where his physical body is
situated (or to put it more simply, straight upwards).
4. Instead of stopping, let him continue to rise until fatigue almost overcomes
him. If he should find that he has stopped without willing to do so, and that
figures appear, let him at all costs rise above them.
Yea, though his very life tremble on his lips, let him force his way upward
and onward! 5. Let him continue in this so long as the breath of life is in
him. Whatever threatens, whatever allures, though it were Typhon and all his
hosts loosed from the pit and leagued against him, though it were from the very
Throne of God Himself that a Voice issues bidding him stay and be content, let
him struggle on, ever on.
6. At last there must come a moment when his whole {29} being is swallowed
up in fatigue, overwhelmed by its own inertia.*
* This in case of failure. The results of success are so
many and wonderful that no effort is here made to describe them. They are
classified, tentatively, in the "Herb
Dangerious," Part II., "infra".
Let him sink (when no longer can he strive, though his tongue by bitten through
with the effort and the blood gush from his nostrils) into the blackness of
unconsciousness; and then, on coming to himself, let him write down soberly
and accurately a record of all that hath occurred, yea a record of all that
hath occurred.
Explicit
[a book of Elementary Invocations is in preparation, and will be issued in
Number 3.]
{30}
Vel
Manvs Et Sagittae
Svb Figvr
Vi A.'. A.'. Publication in Class B.
Imprimatur:
D.d.s.Praemonstrator
O.s.v.Imperator
N.s.f.Cancellarius
{Illustration facing page 12: The Signs Of The Grades.
These are arranged as ten panels: * * * *
* *
* *
*
*
These are all halftone photos of a single human in a black Tau robe, barefoot
with hood completely closed over the face. The hood displays a six-pointed figure
on the forehead
presumably the radiant eye of Horus of the A.'. A.'., but
the rendition is too poor in detail. There is a cross pendant over the heart.
The ten panels are numbered in white in the upper left, but the numerals are
very dim even in the Ist edition (some blurred out entirely in the Weiser edition).
The panels are identified by two columns of numbered captions, 1 to 6 to the
left and 7 to 10 to the right. The description is bottom to top and left to
right:
"1. Earth: the god Set fighting." Frontal figure. Rt. foot pointed
to the fore and angled slightly outward with weight on ball of foot. Lf. heel
touching Rt. heel and foot pointed left. Arms form a diagonal with body, right
above head and in line with left at waist height. Hands palmer and open with
fingers outstretched and together. Head erect.
"2. Air: The god Shu supporting the sky." Frontal. Heels together
and slightly angled apart to the front, flat on floor. Head down. Arms angled
up on either side of head about head 1.5 ft. from head to wrist and crooked
as if supporting a ceiling just at head height with the finger tips. The palms
face upward and the backs of the hands away from the head. Thumbs closed to
side of palms. Fingers straight and together.
"3. Water: the goddess Auramoth." Same body and foot position as
#2, but head erect. Arms are brought down over the chest so that the thumbs
touch above the heart and the backs of the hands are to the front. The fingers
meet below the heart, forming between thumbs and fingers the descending triangle
of water.
"4. Fire: the goddess Thoum-aesh-neith." Frontal. Head and body like
#3. Arms are angled so that the thumbs meet in a line over the brow. Palmer
side facing. Fingers meet above head, forming between thumbs and fingers the
ascending triangle of fire.
"5,6. Spirit: the rending and closing of the veil." Head erect in
both. #5 has the same body posture as #1, except that the left and right feet
are countercharged and flat on the floor. Arms and hands are crooked forward
at shoulder level such that the hands appear to be clawing open a split veil
hands have progressed to a point that the forearms are invisible, being
directly pointed at the front. Upper arms are flat and horizontal in the plain
of the image. #6. has the same body posture as #1, feet in same position as
#1 but flat to the floor. The arms are elbow down against abdomen, with hands
forward over heart in claws such that the knuckles are touching. Passing from
#5 to #6 or vice versa is done by motion of shoulders and rotation of wrists.
This is different from the other sign of opening the veil, the Sign of the Enterer,
with is done with hands flat palm to palm and then spread without rotation of
wrists.
"7-10. The L V X signs."
"7. + Osiris slain
the cross." Body and feet as in #2. Head bowed.
Arms directly horizontal from the shoulders in the plane of the image. Hands
with fingers together, thumbs to side of palm and palmer side forward. The tau
shape of the robe dominates the image.
"8. L Isis mourning
the Svastica." The body is in semi-profile,
head down slightly and facing right of photograph. The arms, hands, legs and
feet are positioned to define a swastika. Left foot flat, carrying weight and
angled toward the right of the photo. Right foot toe down behind the figure
to the left in the photo. Right upper arm due left in photo and forearm vertical
with fingers closed and pointing upward. Left arm smoothly canted down to the
right of photo, with fingers closed and pointed down.
"9. V Typhon
the Trident." Figure frontal and standing on tip
toe, toes forward and heals not touching. Head back. Arms angled in a "V"
with the body to the top and outward in the plain of the photo. Fingers and
thumbs as #7, but continuing the lines of the arms.
"10. X Osiris risen
the Pentagram." Body and feet as in #7. Head
directly frontal and level. Arms crossed over heart, right over left with hands
extended, fingers closed and thumb on side such that the palms rest on the two
opposite shoulders.}
Liber O
Vel
Manvs Et Sagittae
Svb Figvra
Vi
I.
1. This book is very easy to misunderstand; readers are asked to use the most
minute critical care in the study of it, even as we have done in its preparation.
2. In this book it is spoken of the Sephiroth and the Paths; of Spirits and
Conjurations; of Gods, Spheres, Planes, and many other things which may or may
not exist.
It is immaterial whether these exist or not. By doing certain things certain
results will follow; students are most earnestly warned against attributing
objective reality or philosophic validity to any of them.
3. The advantages to be gained from them are chiefly these:
("a") A widening of the horizon of the mind.
("b") An improvement of the control of the mind.
4. The student, if he attains any success in the following practices, will
find himself confronted by things (ideas or {13} beings) too glorious or too
dreadful to be described. It is essential that he remain the master of all that
he beholds, hears or conceives; otherwise he will be the slave of illusion,
and the prey of madness.
Before entering upon any of these practices, the student should be in good
health, and have attained a fair mastery of Asana, Pranayama and Dharana.
5. There is little danger that any student, however idle or stupid, will fail
to get some result; but there is great danger that he will be led astray, obsessed
and overwhelmed by his results, even though it be by those which it is necessary
that he should attain. Too often, moreover, he mistaketh the first resting-place
for the goal, and taketh off his armour as if he were a victor ere the fight
is well begun.
It is desirable that the student should never attach to any result the importance
which it at first seems to possess.
6. First, then, let us consider the Book "777" and its use; the preparation
of the Place; the use of the Magic Ceremonies; and finally the methods which
follow in Chapter V. "Viator in Regnis Arboris," and in Chapter VI.
"Sagitta trans Lunam."
(In another book will it be treated of the Expansion and Contraction of Consciousness;
progress by slaying the Chakkrams; progress by slaying the Pairs of Opposites;
the methods of Sabhapaty Swami, &c., its Magical Weapon the Wand or Caduceus, its Perfumes
Mastic and others, its sacred plants Vervain and others, its jewel the Opal
or Agate; its sacred animal the Snake, &c.,
and the student will find them fully set forth in the proper books, of which
the "Goetia" is perhaps the best example.
These rituals need not be slavishly imitated; on the contrary the student should
do nothing the object of which he does not understand; also, if he have any
capacity whatever, he will find his own crude rituals more effective than the
highly polished ones of other people.
The general purpose of all this preparation is as follows:
5. Since the student is a man surrounded by material objects, if it be his wish
to master one particular idea, he must make every material object about him
directly suggest that idea. Thus in the ritual quoted, if his glance fall upon
the lights, their number suggests Mercury; he smells the perfumes, and again
Mercury is brought to his mind. In other words, the whole magical apparatus
and ritual is a complex system of mnemonics.
[The importance of these lies principally in the fact that particular sets
of images that the student may meet in his wanderings correspond to particular
lineal figures, divine names, and it should appear to him as if that Great Voice
proceeded from the Universe, and not from himself.
In both the above practices all consciousness of anything but the God-form
and name should be absolutely blotted out; and the longer it takes for normal
perception to return, the better. {18}
Iv
I. The Rituals of the Pentagram and Hexagram must be committed to memory; they
are as follows: The Lesser Ritual of the Pentagram
(i) Touching the forehead say Ateh (Unto Thee).
(ii) Touching the breast say Malkuth (The Kingdom).
(iii) Touching the right shoulder, say ve-Geburah (and the Power).
(iv) Touching the left shoulder, say ve-Gedulah (and the Glory).
(v) Clasping the hands upon the breast, say le-Olahm, Amen (To the Ages, Amen).
(vi) Turning to the East make a pentagram (that of Earth) with the proper
weapon (usually the Wand). Say ("i.e." vibrate) I H V H.
(vii) Turning to the South, the same, but say A D N I.
(viii) Turning to the West, the same, but say A H I H.
(ix) Turning to the North, the same, but say A G L A.
Pronounce: Ye-ho-wau, Adonai, Eheieh, Agla.
(x) Extending the arms in the form of a Cross say:
(xi) Before me Raphael;
(xii) Behind me Gabriel;
(xiii) On my right hand Michael.
(xiv) On my left hand Auriel;
(xv) For about me flames the Pentagram,
(xvi) And in the Column stands the six-rayed Star.
(xvii-xxi) Repeat (i) to (v), the Qabalistic Cross. {19}
The Greater Ritual Of The Pentagram.
The Pentagrams are traced in the air with the sword or other weapon, the name
spoken aloud, and the signs used, as illustrated.
The Pentagrams Of Spirit
Equilibrium of Actives
/ /
* / # / Name: A H I H (Eheieh)
'/.. /.. '
/. ". /. ".
I / / B N A V # * N O I K S Equilibrium of Passives I / / H N / * / # I Name A G L A (Agla).
G
/
/ N
'/.. ' / '/.. ' / G
/. \". / /. ". /
/ / / /
/ /
# *
The Signs of the Portal ("see" Illustrations): Extend the hands in
front of you, palms outwards, separate them as if in the act of rending asunder
a veil or curtain (actives), and then bring them together as if closing it up
again and let them fall to the side (passives).
(The Grade of the "Portal" is particularly attributed to the element
of Spirit; it refers to the Sun; the Paths of Samekh, Nun and Ayin, are attributed
to this degree. See "777" lines 6 and 31 bis).
The Pentagrams Of Fire.
I B N / # / * A Name: A L H I M V / / N O
I (Elohim).
K '/.. /.. ' S I /. ". /. ". H N / * / # I G N
G
{20} The signs of 4 Degree = 7 Square: Raise the arms above the head and join
the hands, so that the tips of the fingers and of the thumbs meet, formulating
a triangle ("See" illustration).
(The Grade of 4 Degree = 7 Square is particularly attributed to the element
Fire; it refers to the planet Venus; the paths of Qof, Tzaddi and Peh are attributed
to this degree. For other attributions "see 777" lines
7 and 31).
The Pentagrams Of Water.
I B N / / A V #
* *
# N O
I Name: A L (El).
K '/.. /.. ' S I /. ". /. ". H N / / I G N
G
The signs of 3 Degree = 8 Square: Raise the arms till the elbows are on a level
with the shoulders, bring the hands across the chest, touching the thumbs and
tips of fingers so as to form a triangle apex downwards. ("See" illustration).
(The Grade of 3 Degree = 8 Square is particularly attributed to the element
of Water; it refers to the planet Mercury; the paths of Resh and Shin are attributed
to this degree. For other attributions "see 777", lines
8 and 23).
The Pentagrams Of Air.
I B N / / A V *
# #
* N Name: I H V H O
I (Ye-ho-wau).
K '/.. /.. ' S I /. ". /. ". H N / / I G N
G
The signs of 2 Degree = 9 Square: Stretch both arms upwards and outwards, the
elbows bent at right angles, the hands bent back, the palms upwards as if supporting
a weight. ("See" illustration). {21}
(The Grade of 2 Degree = 9 Square is particularly attributed to the element
Air; it refers to the Moon; the path of Taw is attributed to this degree. For
other attributions "see 777" lines 9 and 11).
The Pentagrams Of Earth
I B N # / * / A V / / / / N O -/
-/
I Name: A D N I (Adonai).
K / '/.. ' / '/.. ' S I / /. \". / /. ". H N * / # / I G N
G
The Sign of 1 Degree = 10 Square: Advance the right foot, stretch out the right
hand upwards and forwards, the left hand downwards and backwards, the palms
open.
(The Grade of 1 Degree = 10 Square is particularly attributed to the element
of Earth, "See 777" lines 10 and 32 bis).
The Lesser Ritual Of The Hexagram.
This ritual is to be performed after the "Lesser Ritual of the Pentagram".
(i) Stand upright, feet together, left arm at side, right across body, holding
the wand or other weapon upright in the median line. Then face East and say:
(ii) I.n.r.i.
Yod. Nun. Resh. Yod.
Virgo, Isis, Mighty Mother.
Scorpio, Apophis, Destroyer.
Sol, Osiris, Slain and Risen.
Isis, Apophis, Osiris, Iao. {22}
(iii) Extend the arms in the form of a cross, and say: "The Sign of Osiris
Slain." ("See" Illustration).
(iv) Raise the right arm to point upwards, keeping the elbow square, and lower
the left arm to point downwards, keeping the elbow square, while turning the
head over the left shoulder looking down so that the eyes follow the left forearm,
and say, "The Sign of the Mourning of Isis." ("See" Illustration).
(v) Raise the arms at an angle of sixty degrees to each other above the head,
which is thrown back, and say, "The Sign of Apophis and Typhon." ("See"
Illustration).
(vi) Cross the arms on the breast, and bow the head and say, "The Sign
of Osiris Risen." ("See" Illustration).
(vii) Extend the arms again as in (iii) and cross them again as in (vi) saying:
"L.V.X., Lux, the Light of the Cross".
/ #
/ (viii) With the magical weapon trace the
/ 1 Hexagram of Fire in the East, saying,
/ / * \"Ararita" (Aleph-Resh-Aleph-Resh-Yod-Taw-Aleph).
This Word consists of the initials of a
/ # sentence which means "One is His Beginning:
/ One is His Individuality: His Permutation is
2 One."
*
This hexagram consists of two equilateral triangles, both apices pointed upwards.
Begin at the top of the upper {23} triangle and trace it in a dextro-rotary
direction. The top of the lower triangle should coincide with the central point
of the upper triangle.
/ #
(ix) Trace the Hexagram of Earth in the
2* / / South, saying "ARARITA." This Hexagram
/ / *1 has the apex of the lower triangle pointing
downwards, and it should be capable of
# / inscription in a circle.
/ #
/
/
/ 1
*
(x) Trace the Hexagram of Air in the
2* / West, saying "ARARITA." This Hexagram
/ is like that of Earth; but the bases of the
/ triangles coincide, forming a diamond.
/
#
* /
/
/ (xi) Trace the hexagram of Water in the
# / North, saying "ARARITA."
/ # This hexagram has the lower triangle placed
/ above the upper, so that their apices coincide.
/
/ *
(xii) Repeat (i-vii)
The Banishing Ritual is identical, save that the direction of the Hexagrams
must be reversed. {24}
\"Invoking Banishing"
/ # # / \"The Greater Ritual of"
-/
\"the Hexagram"
2* / / Saturn // / *2
/ / *1 1* / // To invoke or banish
/- planets or zodiacal
# / / # signs.
1 The Hexagram of
2* / *--/--# Earth alone is used.
-/
Draw the hexagram,
// / # Jupiter / / beginning from the
# / // / / point which is
/-
attributed to the
/ *1 #--/--* 2 planet you are dealing
with. ("See 777" col.
#--/--* 1 / *2 lxxxiii).
Thus to invoke
/ / # / / Jupiter begin from the
/ / Mars / / # right-hand point of
the lower triangle,
2 *--/--# 1* / dextro-rotary and
complete; then trace
4,9.* # 6,7. the upper triangle
#-- / / # --*5,8. 10,3.*-- / / * --# from its left hand
point and complete.
2,11.*// /# #// /*2,11. Trace the
#/ //*1,12.Sun 1,12.*/ //# astrological sigil
/-
/- of the planet in the
6,7.*-- # / * --# #-- * / # --*4,9.centre of your
3,10. 5,8. hexagram.
For the Zodiac use
#--/--*2 / *1 the hexagram of the
planet which
/ / Venus # / / rules the {25) sign
/ / / / # you require ("777",
col. cxxxviii); but
1*--/--# 2* / draw the astrological
sigil of the sign,
1* / 2*--/--# instead of that of the
-/
planet.
// / # Mercury / /
# / // / /
/-
/ *2 #--/--*1
/ # # /
-/
1* / / Moon // / *1
/ / *2 2* / //
/-
# / / # {25}
For Caput and Cauda Draconis use the lunar hexagram, with the sigil of Caput
Draconis or Cauda Draconis.
To banish, reverse the hexagram.
In all cases use a conjuration first with Ararita, and next with the name of
the God corresponding to the planet or sign you are dealing with.
The Hexagrams pertaining to the planets are as in plate on preceding page.
2. These rituals should be practised until the figures drawn appear in flame,
in flame so near to physical flame that it would perhaps be visible to the eyes
of a bystander, were one present. It is alleged that some persons have attained
the power of actually kindling fire by these means. Whether this be so or not,
the power is not one to be aimed at.
3. Success in "banishing" is known by a "feeling of cleanliness"
in the atmosphere; success in "invoking" by a "feeling of holiness."
It is unfortunate that these terms are so vague.
But at least make sure of this: that any imaginary figure or being shall instantly
obey the will of the student, when he uses the appropriate figure. In obstinate
cases, the form of the appropriate God may be assumed.
4. The banishing rituals should be used at the commencement of any ceremony
whatever. Next, the student should use a general invocation, such as the "Preliminary
Invocation" in the "Goetia" as well as a special invocation to
suit the nature of his working.
5. Success in these verbal invocations is so subtle a {26} matter, and its
grades so delicately shaded, that it must be left to the good sense of the student
to decide whether or not he should be satisfied with his result.
V
1. Let the student be at rest in one of his prescribed positions, having bathed
and robed with the proper decorum. Let the place of working be free from all
disturbance, and let the preliminary purifications, banishings and invocations
be duly accomplished, and, lastly, let the incense be kindled.
2. Let him imagine his own figure (preferably robed in the proper magical garments
and armed with the proper magical weapons) as enveloping his physical body,
or standing near to and in front of him.
3. Let him then transfer the seat of his consciousness to that imagined figure;
so that it may seem to him that he is seeing with its eyes, and hearing with
its ears.
This will usually be the great difficulty of the operation.
4. Let him then cause that imagined figure to rise in the air to a great height
above the earth.
5. Let him then stop and look about him. (It is sometimes difficult to open
the eyes.)
6. Probably he will see figures approaching him, or become conscious of a landscape.
Let him speak to such figures, and insist upon being answered, using the proper
pentagrams and signs, as previously taught.
7. Let him travel about at will, either with or without guidance from such
figure or figures. {27}
8. Let him further employ such special invocations as will cause to appear
the particular places he may wish to visit.
9. Let him beware of the thousand subtle attacks and deceptions that he will
experience, carefully testing the truth of all with whom he speaks.
Thus a hostile being may appear clothed with glory; the appropriate pentagram
will in such a case cause him to shrivel or decay.
10. Practice will make the student infinitely wary in these matters.
11. It is usually quite easy to return to the body, but should any difficulty
arise, practice (again) will make the imagination fertile. For example, one
may create in thought a chariot of fire with white horses, and command the charioteer
to drive earthwards.
It might be dangerous to go too far, or to stay too long; for fatigue must
be avoided.
The danger spoken of is that of fainting, or of obsession, or of loss of memory
or other mental faculty.
12. Finally, let the student cause his imagined body in which he supposes himself
to have been travelling to coincide with the physical, tightening his muscles,
drawing in his breath, and putting his forefinger to his lips. Then let him
"awake" by a well-defined act of will, and soberly and accurately
record his experiences.
It may be added that this apparently complicated experiment is perfectly easy
to perform. It is best to learn by "travelling" with a person already
experienced in the matter. Two or three experiments will suffice to render the
student confident and even expert. See also "The Seer", pp. 295-333.
Vi
1. The previous experiment has little value, and leads to few results of importance.
But it is susceptible of a development which merges into a form of Dharana
concentration
and as such may lead to the very highest ends. The principal
use of the practice in the last chapter is to familiarise the student with every
kind of obstacle and every kind of delusion, so that he may be perfect master
of every idea that may arise in his brain, to dismiss it, to transmute it, to
cause it instantly to obey his will.
2. Let him then begin exactly as before, but with the most intense solemnity
and determination.
3. Let him be very careful to cause his imaginary body to rise in a line exactly
perpendicular to the earth's tangent at the point where his physical body is
situated (or to put it more simply, straight upwards).
4. Instead of stopping, let him continue to rise until fatigue almost overcomes
him. If he should find that he has stopped without willing to do so, and that
figures appear, let him at all costs rise above them.
Yea, though his very life tremble on his lips, let him force his way upward
and onward! 5. Let him continue in this so long as the breath of life is in
him. Whatever threatens, whatever allures, though it were Typhon and all his
hosts loosed from the pit and leagued against him, though it were from the very
Throne of God Himself that a Voice issues bidding him stay and be content, let
him struggle on, ever on.
6. At last there must come a moment when his whole {29} being is swallowed
up in fatigue, overwhelmed by its own inertia.*
* This in case of failure. The results of success are so
many and wonderful that no effort is here made to describe them. They are
classified, tentatively, in the "Herb
Dangerious," Part II., "infra".
Let him sink (when no longer can he strive, though his tongue by bitten through
with the effort and the blood gush from his nostrils) into the blackness of
unconsciousness; and then, on coming to himself, let him write down soberly
and accurately a record of all that hath occurred, yea a record of all that
hath occurred.
Explicit
[a book of Elementary Invocations is in preparation, and will be issued in
Number 3.]
{30}
