Michael Wynn's Occult Reference Library
CTHULHU,KUTULU

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ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

aft's short stories with the basic themes of crowley's unique system of ceremonial magick. while the latter was a sophisticated psychological structure, intended to bring the initiate into contact with his higher self, via a process of individuation that is active and dynamic (being brought about by the "patient" himself) as opposed to the passive depth analysis of the jungian adepts, lovecraft's cthulhu mythos was meant for entertainment. scholars, of course, are able to find higher, ulterior motives in lovecraft's writings, as can be done with any manifestation of art. lovecraft depicted a kind of christian myth of the struggle between opposing forces of light and darkness, between god and satan, in the cthulhu mythos. some critics may complain that this smacks more of the manichaen here

to "darkness. these latter are the evil gods who wish nothing but ill for the race of man, and who constantly strive to break into our world through a gate or door that leads from the outside, in. there are certain people, among us, who are devotees of the ancient ones, and who try to open the gate, so that this evidently repulsive organisation may once again rule the earth. chief among these is cthulhu, typified as a sea monster, dwelling in the great deep, a sort of primeval ocean; a being that lovecraft collaborator august derleth wrongly calls a "water elemental. there is also azazoth, the blind idiot god of chaos, yog sothot, azathoth's partner in chaos, shub niggurath, the "goat with a thousand young, and others. they appear at various times throughout the stories of the cthulhu myt

t the yezidis possess a great secret and a great tradition that extends far back into time, beyond the origin of the sun cults of osiris, mithra and christ; even before the formation of the judaic religion, and the hebrew tongue. crowley harkened back to a time before the moon was worshipped, to the "shadow out of time; and in this, whether he realised it as such or not, he had heard the "call of cthulhu. sumeria that a reclusive author of short stories who lived in a quiet neighbourhood in new england, and the manic, infamous master magician who called the world his home, should have somehow met in the sandy wastes of some forgotten civilisation seems incredible. that they should both have become prophets and forerunners of a new aeon of man's history is equally, if not more, unbelievable

and ironically, the first "burnings" of people the anthropologists call "witches. lovecraft's mythos deals with what are known chthonic deities, that is, underworld gods and goddesses, much like the leviathan of the old testament. the pronunciation of chthonic is 'katonic, which explains lovecraft's famous miskatonic river and miskatonic university, not to mention the chief deity of his pantheon, cthulhu, a sea monster who lies "not dead, but dreaming" below the world; an ancient one and supposed enemy of mankind and the intelligent race. cthulhu is accompanied by an assortment of other grotesqueries, such as azathot and shub niggurath. it is of extreme importance to occult scholars that many of these deities had actual counterparts, at least in name, to deities of the sumerian tradition

that same tradition that the magus aleister crowley deemed it so necessary to "rediscover. the underworld in ancient sumer was known by many names, among them absu or "abyss, sometimes as nar mattaru, the great underworld ocean, and also as cutha or kutu as it is called in the enuma elish (the creation epic of the sumerians. the phonetic similarity between cutha and kutu and chthonic, as well as cthulhu, is striking. judging by a sumerian grammar at hand, the word kutulu or cuthalu (lovecraft's's cthulhu sumerianised) would mean "the man of kutu (cutha; the man of the underworld; satan or shaitan, as he is known to the yezidis (whom crowley considered to be the remnants of the sumerian tradition. the list of similarities, both between lovecraft's creations and the sumerian gods, as well a

aft's stories, is presently in preparation and is hoped to be available shortly. until that time, a few examples should suffice. although a list is appended hereto containing various entities and concepts of lovecraft, crowley, and sumeria cross-referenced, it will do to show how the editor found relationships to be valid and even startling. azatot is frequently mentioned in the grim pages of the cthulhu mythos, and appears in the necronomicon as azag-thoth, a combination of two words, the first sumerian and the second coptic, which gives us a clue as to its identity. azag in sumerian means "enchanter" or "magician; thoth in coptic is the name given to the egyptian god of magick and wisdom, tahuti, who was evoked by both the golden dawn and by crowley himself (and known to the greeks as he

the serpent tiamat, and reveals that there was in existence either a cult, or scattered individuals, who worshipped or called up the serpent of the sea, or abyss. indeed, the hebrew word for abyss that is found in genesis 1:2 is, hooke tells us, tehom, which the majority of scholars take to be a survival of the name of the chaos-dragon tiamat or leviathan that is identified closely with kutulu or cthulhu within the pages are mentioned independently of each other, indicating that somehow kutulu is the male counterpart of tiamat, similar to absu. this monster is well known to cult worship all over the world. in china, however, there is an interesting twist. far from being considered a completely hostile creature, dedicated to the erasure of mankind from the page of existence, the dragon is g

ciety, and as such were ostracised, stoned, and deemed mentally unfit for life. but, for them, justice will come when we have realised that the ship of state and the ship of st peter have become mere ships of fools- with captains who course the seas by stars, ignoring the eternal ocean- and then, we will have to look to the prisoners in the hold for navigational guidance. it is there, always, and cthulhu calls. dedication on the one hundredth anniversary of the nativity of the poet aleister crowley 1875-1975 ad meiomrum cthulhi gloriam acknowledgements the editor would like to thank all of the people whose cooperation and dedication to unspeakable horrors has made this book possible. first, our thanks go to that nameless monk who presented us with the originals, who has since disappeared

al. perhaps he had opened the door by mistake, his own personal gate to the abyss, and was forced to cross its threshold into the unknown. we may never know. or, we may wish we never had. the editor new york, new york october 12, 1975 chart of comparisons (showing some relationships to be found between the mythos of lovecraft, the magick of crowley, and the faith of sumer) lovecraft crowley sumer cthulhu the great beast as represented in "cthdh 666" ctha-lu, kutulu the ancient ones satan; teitan tiamat azathoth aiwass) azag-thoth the dunwich horror choronzon pazuzu shub niggurath pan sub ishniggarab) out of space the abyss absu; nar mattaru ia! io! iao! ia (jah; ea; lord of waters) the five-pointed grey star carven the pentagram the ar, or ub (plough sign; the original pentagram and the si

rein invariably entail burning something, usually a doll made in the likeness of a witch or evil sorcerer that the magician wished to dispose of. hence, we have here probably the archetype of the great burning times of the inquisition, when people were condemned to a fiery death as witches and pagans. the chant "burn, witch! burn" can be found in the maklu text, in all its pristine glory. indeed, cthulhu calls. the conjuration "the binding of the evil sorcerers" alsi ku nushi ilani mushiti itti kunu alsi mushitum kallatum kuttumtum alsi bararitum qablitum u namaritum ashshu kashshaptu u kashshipanni eli nitum ubbiraanni ili-ia u ishtari-ia ushis-su-u-eli-ia eli ameri-ia amru-usanaku imdikula salalu musha u urra qu-u imtana-allu-u pi-ia upu unti pi-ia iprusu me mashtiti-ia umattu-u eli li n

astern mythology new york, 1975 king, l. babylonian magic and sorcery london, 1896 kramer, s.n. history begins at sumer new york, 1959 mythologies of the ancient world (ed) new york, 1961 sumerian mythology pennsylvania, 1972 laurent la magie et la divination chez les chaldeo-assyriennes paris, 1894 lenormant, f. science occult; la magie chez les chaldeens paris, 1874 lovecraft, h.p. tales of the cthulhu mythos new york, 1973 at the mountains of madness new york, 1973 the dunwich horror new york, 1963 the lurker at the threshold (with august derleth) new york, 1971 mason, h. gilgamesh (ed) new york, 1972 neugebauer, o. the exact sciences in antiquity new york, 1969 pritchard, j. near eastern texts relating to the old testament princeton, 1958 the chaldean oracles of zoroaster "sapere aude"

DONALDTYSON NOMICON

r of study that lovecraft also invented. considering how dangerous the book is, his characters find it surprisingly easy to gain access to it. and just why is the necronomicon so dangerous? not so much for anything specific it contains, but because of the terrible things it hints about, matters better left undisturbed in the mud at the bottom of the subconscious sea of the human race. lovecraft's cthulhu mythos is a group of stories, poems and novels written by him and by other writers centered around the premise that at some dim time in prehistory the earth was ruled by a race of monstrous and evil entities known as the great old ones. they were cast down from their seats of power and driven from our world, but they did not cease to exist. they continue between the dimensions of normal ti

ntities known as the great old ones. they were cast down from their seats of power and driven from our world, but they did not cease to exist. they continue between the dimensions of normal time and space, dreaming and waiting for the time when they shall be able to rule the earth once again, as they did in days of old. on the matter of the great old ones, lovecraft wrote in his story the call of cthulhu "in the elder time chosen men had talked with the entombed old ones in dreams, but then something had happened. the great stone city r'lyeh, with its monoliths and sepulchers, had sunk beneath the waves; and the deep waters, full of the one primal mystery through which not even thought can pass, had cut off the spectral intercourse. but memory never died, and high priests said that the cit

even thought can pass, had cut off the spectral intercourse. but memory never died, and high priests said that the city would rise again when the stars were right. then came out of the earth the black spirits of earth, moldy and shadowy, and full of dim rumors picked up in caverns beneath forgotten sea-bottoms" connected with the lost city of the old ones is the hideous chant "ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn" which translates into english as "in his house at r'lyeh dead cthulhu waits dreaming" the old ones count among their number the blind idiot god azathoth; the all-in-one and one-in-all yog-sothoth who can travel between time and space; the hideously-piping nyarlathotep who is the unwelcome herald of the old ones; the octopus-like cthulhu who lies dreaming in r'lyeh

his house at r'lyeh dead cthulhu waits dreaming" the old ones count among their number the blind idiot god azathoth; the all-in-one and one-in-all yog-sothoth who can travel between time and space; the hideously-piping nyarlathotep who is the unwelcome herald of the old ones; the octopus-like cthulhu who lies dreaming in r'lyeh beneath miles of ocean water; hastur the unspeakable, half-brother to cthulhu who dwells upon the air; and shub-niggureth, the ever-fertile black goat of the woodlands with a thousand young. these dreaded beings are dead in every normal human sense of the word, yet they cling to a strange super-dimensional vitality that seems to derive from the human unconscious mind. in forgotten backwaters of the world where degenerate and twisted tribes practice evil rituals, or

e for making this unholy contact. hints of their existence, and of how they may be contacted, are sometimes recorded in obscure occult texts such as the necronomicon. this is why the book is supposed to be so powerful, and so evil. for if the old ones succeed in forcing a doorway permanently open onto our time and space, they will destroy and enslave the world. the underlying theme of lovecraft's cthulhu mythos has many powerful echoes in the mythologies of ancient cultures around the world. it is probably for this reason that it struck such a chord of response in readers. we find in it similarities to the myth of the archons of gnosticism, who together with the arch devil and god, yaldabaoth, gave shape to the material world and rule over the human race. there are also echoes of the jewis

niverse, perhaps so far back in the past that the human race had not even begun to take the shape we know. there are numerous intelligent, educated individuals who entertain this possibility. notable among them is kenneth grant, who is arguably the rightful head of the ordo templi orientis, and the author of many books on magic and the occult. those interested in the reality that may underlie the cthulhu mythos should study grant's outer gateways and his nightside of eden, both recently reprinted by skoob books. a very clear distinction must be made between the underlying mythic current that lends lovecraft's stories their intuited sense of plausibility, and the actual details contained in the stories, most of which are completely fictional and had no existence outside of lovecraft's ferti

EMPERORS NEW RELIGION CHURCH OF SATAN

a. 2. l air epais an initiation ritual in which the participant symbolically dies and is reborn as a satanist. 3. das tierdrama a reminder of one s animal heritage. 4. homage to tchort draws inspiration from russian folklore of various demons, which are summoned during the ritual. 5. the ceremony of the nine angles inspired by h. p. lovecraft, it is intended to emphasize potential. 6. the call to cthulhu also inspired by h. p. lovecraft, it reflects the dimness of an almost forgotten past. 7. the satanic baptisms baptism rituals for children and adults. rituals 4, 5, and 6 have no clear purpose. michael aquino, the author of rituals 5 and 6, explains that the fledgling organization s theory regarding rituals was not all that deep or thought-through, and that the purpose of some rituals was

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

tled waxing moon. it was published through the 1970s from philadelphia, pennsylvania. crystaphile term used to indicate a lover of crystal who believes that it may have occult applications (see also crystal healing) csa see christian spiritual alliance, church of the csar see center for scientific anomalies research csicop see committee for the scientific investigation of claims of the paranormal cthulhu mythos term coined by august derleth, biographer and editor of h. p. lovecraft, writer of supernatural fiction. the term denotes the mythology invented by lovecraft for a group of horror stories. according to derleth, lovecraft once told him, all my stories, unconnected as they may be, are based on the fundamental lore or legend that this world was inhabited at one time by another race who

stories. according to derleth, lovecraft once told him, all my stories, unconnected as they may be, are based on the fundamental lore or legend that this world was inhabited at one time by another race who, in practicing black magic, lost their foothold and were expelled, yet live on the outside, ever ready to take possession of this earth again. sources: carter, lin. lovecraft: a look behind the cthulhu mythos. new york: ballantine books, 1972. schweitzer, darrell. the dream quest of h. p. lovecraft. san bernardino, calif: borgo press, 1978. cuadernos de parapsicologia journal quarterly journal of parapsychology published in argentina. address: zabala 1930, 1712 castelar, prov. buenos aires, argentina. cuchulain legendary hero warrior of irish romance, son of the solar god lugh and decter

rk was for small press magazines like vagrant and home brew or the new generation of pulps like weird tales, amazing stories and astounding stories. in 1924 he married sonia greene of new york city, also a writer, but the marriage only lasted a couple of years and he was later divorced, returning to providence where he wrote late into the night at his stories. his most impressive creation was the cthulhu mythos, involving a group of stories about entities from another time and space. part of the myth was a fictitious grimoire, or magical instruction and ritual book, called the necronomicon, also referred to as the book of dead names compiled by the mad arab abdul alhazred. in spite of his considerable literary output, lovecraft made very little money out of his fiction, which he supplement

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

ow been researched, edited, and published (neville spearman, u.k, 1978. no doubt other recensions of the necronomicon will be discovered in the course of time. it might seem inevitable that once the necronomicon appeared, a group accepting it as a valid magic text would soon follow. in the 1980s there surfaced on campuses across the united states flyers from what was termed the campus crusade for cthulhu, drawing upon lovecraft in a parody of the evangelical christian organization, campus crusade for christ. while the organization appears to be based in satire, it nevertheless demonstrates the comprehensive nature of the mythology created by lovecraft and the seriousness with which some of his readers have taken the idea of the old gods enunciated therein. sources: de camp, l. sprague, ed

FRATER ELIJAH ANGELS OF CHAOS

rm of me "in the future" of whom i am grendel/ we and will become as/ a. i have never heard of a. before, but it does bear a resemblance to azathoth. i heard a somewhere before, a demon maybe, babylonian, i'll research this. in final note. magick is the ultimate communication and it is right to say that things are playing. all of this is play, a big game. the void was not. nice place to visit but cthulhu wants to live there (this is supposition on my part. i do not know if "cthulhu" was there, but there were these things, unwholesome things. this is very much "real" and i exaggerate not. i encourage all magi to undertake the rog, with adapting it as one sees fit and picking your own archetype (in my case grendel) to align with. with this in mind i hope we can all learn to play a little mor

FRATER TENEBROUS CULTS OF CTHULHU

nial, expressed in his letters and in conversations with friends, is belied by the subjective certainty with which he wrote of such matters, as evidenced in his fiction indicating a dynamic dichotomy between the rational and intuitive aspects of his psychology. with the appearance of subsequent stories, an underlying pattern began to appear in lovecraft s work. in the central theme of the call of cthulhu, written in 1926, this design is clearly revealed. the subject of the story is the suggestion that, at certain times when the conjunctions of the stars assume the correct aspect, certain dark forces can influence sensitive individuals, giving them visions of the great old ones, godlike aliens of extraterrestrial origin. these entities exist in another dimension, or on a different vibration

ions of the stars assume the correct aspect, certain dark forces can influence sensitive individuals, giving them visions of the great old ones, godlike aliens of extraterrestrial origin. these entities exist in another dimension, or on a different vibrational level, and can only enter this universe though specific window areas or psychic gateways- a concept fundamental to many occult traditions. cthulhu is the high priest of the old ones, entombed in the sunken city of r lyeh, where he awaits the time of their return. he is described as a winged, tentacled anthropoid of immense size, formed from a semi-viscous substance which recombines after his apparent destruction at the conclusion of the tale. the narrative also gives evidence, drawn from various archaeological and mythological source

ding the assassins, the gnostics, and the templars, but in particular to the law of thelema, as expounded by lovecraft s contemporary, aleister crowley. the main distinction is one of moral interpretation whereas lovecraft regarded his ancient gods as essentially evil, crowley saw the return of such atavistic deities as being in full accord with the progression of the aeons. following the call of cthulhu, lovecraft produced a series of a dozen or more stories which contain the central core of the inter-related mythology which later became known as the cthulhu mythos. in these stories, he describes various rites surviving on earth since the primordial reign of the old ones, and preserved in more recent times in esoteric grimoires such as the necronomicon through which the evocation of the a

ward, he suggests that the very roots of the magical arts lie in the ritual veneration of these trans-dimensional beings, attributing a common and unifying source to the many and diverse strands of occult belief. over the centuries, these ceremonies have been observed and mis-interpreted in terms of black magic and devil worship. a point to note here is that lovecraft never actually used the term cthulhu mythos, which was introduced after his death by his protege, august derleth. cthulhu is only one of a pantheon of deities which includes yog-sothoth, azathoth, nyarlathotep, and shubniggurath, amongst others. the manifestations of these beings varies from story to story sometimes they are described as purely supernatural, while at other times they appear as extraterrestrials with concrete

etimes, a particular deity may be referred to in both ways within the same text. by comparing the references to each of these deities in the mythos stories, it is possible to reconstruct their inter-relationship in terms of a hierarchy, and to examine the correspondences between lovecraft s imaginary pantheon and those of pre-existing religious and mythological systems. basically, the gods of the cthulhu mythos fall into two groups, the great old ones and the elder gods, though of the latter, only nodens is mentioned by name. between ultimate chaos and the physical world stand yog-sothoth and azathoth, who share dominion over the lesser deities, pre-human races, and mankind. yog-sothoth is the outer manifestation of the primal chaos, the gate though which those outside must enter. in the d

void of outer space. on earth, the station of hastur is the east, and his sign is aquarius. the god dagon was appropriated by lovecraft from ancient hebraic texts, in which he features as a god of the philistines. in the mythos, he is the progenitor of the seas, the watery equivalent to shub-niggurath and lord of the amphibious deep ones. his elemental attribution is water, and his number is 777. cthulhu himself is referred to as the high priest of the great old ones. his other titles include, he who is to come, lord of r lyeh, and lord of the watery abyss. cthulhu is the initiator of the dream-visions sent forth to mankind from the tomb-city of r lyeh. the formula of his invocation is supplied by lovecraft in the curious ritual phrase, of non-human origin, which is chanted by the worshipp

self is referred to as the high priest of the great old ones. his other titles include, he who is to come, lord of r lyeh, and lord of the watery abyss. cthulhu is the initiator of the dream-visions sent forth to mankind from the tomb-city of r lyeh. the formula of his invocation is supplied by lovecraft in the curious ritual phrase, of non-human origin, which is chanted by the worshippers of the cthulhu cult: ph nglui mglw nafh cthulhu r lyeh wgah nagl fhtagn. cthulhu represents the abyss of the subconscious or dreaming mind, and astrologically by the sign of scorpio. ceremonially, he is referred to the west (amenta, or the place of the dead in ancient egyptian religion, and geographically, to the site of r lyeh in the south pacific (the exact coordinates for which are to be found in the

cult: ph nglui mglw nafh cthulhu r lyeh wgah nagl fhtagn. cthulhu represents the abyss of the subconscious or dreaming mind, and astrologically by the sign of scorpio. ceremonially, he is referred to the west (amenta, or the place of the dead in ancient egyptian religion, and geographically, to the site of r lyeh in the south pacific (the exact coordinates for which are to be found in the call of cthulhu) as already stated, nodens is the only member of the elder gods to be mentioned by name, and lovecraft gives no further information concerning him. the sign of the elder gods is described as an upright pentagram containing an eye-shaped sigil. the points of the pentagram symbolize the four elements, plus that of spirit, the fifth or hidden element. combined, they balance the mono-elemental

y on the continent of antarctica. they are described as having starfish-shaped heads, and tubular bodies covered with tentacles and cilia. their servants are the mindless, protoplasmic shoggoths. in the novel, at the mountains of madness, lovecraft records the wars which took place between the old ones and other extra-terrestrial races, at the dawn of time. these other groups include the spawn of cthulhu, winged cephalopods who constructed the now-sunken city of r lyeh. the deep ones, described by lovecraft in the shadow over innsmouth, are the semi-humanoid, aquatic servitors of dagon. at certain times in the past, they have ventured onto land and mated with humans, producing a degenerate offspring who can be recognised by icthyoid physical characteristics known as the innsmouth look, aft

ence with any living being, and had accumulated a vast collection of information on the various cultures that exist in the universe. this completes the pantheon of non-human entities. in turn, the worship of the great old ones is continued on earth by secret societies whose traditions and rituals preserve the hidden knowledge of these elder races. lovecraft documents three such cults, the cult of cthulhu, the esoteric order of dagon, centred in innsmouth (actually newburyport, massachusetts, and the starry wisdom sect. in the haunter of the dark, lovecraft describes how the latter sect held meetings in a church in providence, where it communed with an avatar of nyarlathotep via a magical object known as the shining trapezohedron. the name, starry wisdom, recalls that of crowley s argentum

was once possessed by chaotic beings said to have crossed the gulf from another universe, at a time pre-dating the appearance of man, and goes on to relate how they were expelled from this universe by the intervention of forces allied to the cause of order. this cosmic history, which details subsequent battles with other primal life forms, shows an obvious parallel with that described within the cthulhu mythos. in a letter dated march 25, 1933, lovecraft writes, only the other day my new orleans friend e. hoffman price. discovered an intensely picturesque myth-cycle dealing with the earth s early aeons, the lost continent of kusha (atlantis) and shalmali (lemuria& the peopling of the earth from elder planets. there is talk of a secret book in some eastern shrine, parts of which are older

d at will by those individuals who possess the necessary psychic ability, and may be manipulated to provide positive images. it was from the akashic records that blavatsky transmitted the book of dzayn, and crowley transcribed the book of the cells of the qliphoth could it be that lovecraft may have subconsciously communicated the book of dead names from the same source? in his realisation of the cthulhu mythos, lovecraft also drew upon a wide range of sources from the historical occult tradition, and from the literary material pertaining to it. in his essay, supernatural horror in literature, he mentions academic works such as frazer s the golden bough, and margaret murray s the witch cult in western europe, as well as authentic grimoires such as the keys of solomon and dr. john dee s boo

had also read waite s collection of medieval texts, the book of black magic and pacts, macgregor mathers translation of the sacred magic of abra-melin the sage, and cotton mathers, wonders of the invisible world, which documents the witchcraft phenomena centred around salem in 1692. the titles of these volumes are echoed in those which were created by lovecraft and his fellow contributors to the cthulhu mythos: de vermis mysteriis, the pnakotic manuscripts, les cultes des ghoules, and the book of eibon. however, the most important of these imaginary tomes is lovecraft s own creation, the al azif of the mad arab, abdul alhazred, or, to employ its latin name, the necronomicon. this title, which occurred to lovecraft during the course of a dream, translates as, nekros, corpse; nomos, law; ei

lls, or keys, in a language called enochian. this language has since been studied and analysed by many historians, who confirm that it is indeed an authentic and consistent idiom, without resemblance to any other still in existence. it is even more remarkable that, in recently deciphered passages from the book of enoch, words approximating to the names of the great old ones, as they appear in the cthulhu mythos have been discovered. from around 1930, lovecraft periodically assured his correspondents that he was about to give up writing, but forced himself to continue to make the effort to produce new fiction. in 1935, a year after the completion of his final story, the shadow out of time, he developed an illness which was finally diagnosed in 1937 as cancer of the intestines, by which time

es in which it had first appeared, and to bring it to the attention of a wider audience (during lovecraft s lifetime, only one of his tales, the shadow over innsmouth, had appeared in book form, produced by an amateur publisher) in 1939, arkham house published the first collection of his stories, the outsider and others. since then, many other writers have contributed to the growing annals of the cthulhu mythos, adding their own deities to the pantheon, and creating eldritch tomes to add to the list of blasphemous grimoires. these authors include many of lovecraft s personal correspondents clark ashton smith, robert e. howard, frank belknap long, robert bloch and derleth himself. more recently, elements of the cthulhu mythos have featured in the work of such writers as cohn wilson, ramsey

umley. the mythos has also been adopted for practical use by a number of contemporary magical and occult groups and organizations. anton la vey, head of the california-based church of satan, published his satanic rituals in 1972, and devoted a whole chapter to the metaphysics of lovecraft, including detailed descriptions of two lovecraftian rituals, the ceremony of the nine angles and the call to cthulhu. these rituals were transcribed in the original language of the necronomicon, and translated into english by lavey s fellow satanist, michael aquino9. another group which employs lovecratian elements in their workings is the black snake cult, or la couleuvre noire, a voodoo coven which combines the rites of the left-hand path with archetypes from the cthulhu mythos. its leader, michael ber

se themselves in the ice-cold water where a transference of sex-magical energy occurs between priests and priestesses while in that element. 10 through the use of this magical rite, bertiaux claims to have established contact with these creatures, which assume an almost tangible substance. perhaps lovecraft himself has left us with a rather unsatisfactory explanation of the true provenance of the cthulhu mythos. certainly, it appears to hold a great value for those individuals currently practising the black arts. in the words of kenneth grant, the present outer head of the o.t.o, lovecraft s great contribution to the occult lay in his demonstration indirect as it may have been of the power so to control the dreaming mind that it is capable of projection into other dimensions, and of discov

onscious. the internal self-division thus engendered may have been the root cause of lovecraft s mental and physical peculiarities; or it may have been that these very traits, which set him apart from the rest of society, made him the ideal focus for the channelling of these ultra-mundane forces. notes: 1 letter no. 94, selected letters volume i, h. p. lovecraft. arkham house, 1965. 2 the call of cthulhu, the dunwich horror and others, h. p. lovecraft. arkham house, 1963. 3 the dunwich horror, the dunwich horror and others, h. p. lovecraft. 4 outside the circles of time, kenneth grant, page 296. muller, 1980. 5 the haunter of the dark, the dunwich horror and others, h. p. lovecraft. 6 he cometh and he passeth by, h. r. wakefield. 7 letter no. 610, to miss elizabeth toldridge, selected lett

GREENFIELD ALLEN SECRET CIPHER OF THE UFONAUTS

ach nothing useful, ufo message-oriented cults waving flashlights on mountains, and, as i have shown end-of-the-world doomsayers touting this or that grand cosmic alignment, harmonic convergence or polar shift. the ufo cults have clearly influenced even kenneth grant s so-called typhonian oto, which appears to use valid magical currents to pursue the hideous old ones of h.p. lovecraft s fictional cthulhu mythos. phil dick s last efforts were marred by insipid trivial ufo cult channelings- the kind of stuff that was old hat to hardened ufologists by the late 1950s. compare phil dick s musings in the last testament with, for example, the mark probert or dick miller or gloria lee bird materials of ufo contactee lore. the magick of the black lodge can be defined and thus identified in only one

HINE PHIL ASPECTS OF EVOCATION

th certain displays. they will print at the full resolution of your printer the aim being to experiment with various approaches to the evocation of spirits, beginning with the lesser key of solomon the king. some observations on our results with the entities of the lesser key of solomon are enclosed. during this project, i found my interests returning to a recurrent obsession- the entities of the cthulhu mythos. the final essay, evoking yog-sothoth (originally written for the journal of the esoteric order of dagon) is an attempt to pull together a 6 theoretical model relating to mythos entities, earth lights, and other factors. at the time of writing this, i was very much into creating .theoretical models. prior to embarking on practical projects. in a way, i was prompted to .specialise. i

t with the great old ones. as a member of the pylon of yog-sothoth lodge, i have become increasingly interested in the possibility of ritually evoking this entity as a tangible phenomena. the aim of this article is to expound a possible methodology by which entities such as yog-sothoth can be contacted, drawing together research in different fields of enquiry, and exploring how they relate to the cthulhu mythos. i feel that, rather than exploring lovecraftian themes using traditional magical systems such as the qabalah (though obviously, it may provide a useful parallel, the most obvious place to look for guidelines is lovecraft.s fiction itself. from this, we find that for example, in the dunwich horror, lovecraft clearly illustrates that .hilltop rites, associated with stone circles and

ectro-magnetic energy can affect brain function, giving rise to a wide variety of .experienced. phenomena. if we can accept this (and there is a growing body of research that bears this out, then suddenly fra. choronzon.s ideas about electro-magnetic structures which have the capacity to order themselves by, and retain information over time, don.t sound so far-fetched, do they? coming back to the cthulhu mythos, it seems then that lovecraft was on the right track with his themes of weird hillregions, stone circles, barbarous words of power, and .frienzied rites. the work of paul deveraux and other researchers points to the conclusion that some sacred sites at least, are power spots which predisposed the users towards obtaining an asc whereby they could interact with energy forms of an elec

. it said that it had come to give me .power. with which i could do something, but was reticent about the exact nature of this. when i asked what it would if i rejected this, it said that it would .return, screaming, to the hills. when i asked it to identify itself, it gave the name of .azathoth- which could well have sprung from the mind of my friend, though he had no particular knowledge of the cthulhu mythos entities. at the time, i found it difficult to credit that such a powerful entity would be hanging politely about in the stairwell, waiting to be noticed. being unable to obtain a direct answer to my questioning, i told it to go forth, which it apparently did. i later had to perform an intensive banishing ritual upon my friend, who was suffering from symptoms such as feeling cold, a

HINE P OVEN READY CHAOS

s necronomicon that sounded good, but which in fact was spurious. so he got loads of letters from people who had done the rituals and wanted to chat about their results. this is also important when looking at beief as a magical tool, and i ll get on to that later. personally, i like to use lots of different systems, and use them as seems appropriate. i tend to flip between d.i.y, qabalah, tantra, cthulhu mythos, shamanism, and anything else that i feel to be appropriate at any particular time. it is worth going into a system in some depth, so that you become more or less competant (and confident) with it, but magicians tend to find that once you ve become competant in one system, then it s easier to get to grips with another one. if you re fairly expereienced with enochian for example, the

ls back, driving a porsche and asking you how far you want to go. maddening isn t it? but sigilisation often seems to work like that. 35 oven-ready chaos belief- a key to magick one aspect of chaos magick that seems to upset some people is the chaos magician s (or chaoist, if you like) occasional fondness for working with images culled from non-historical sources, such as invoking h.p lovecraft s cthulhu mythos beings, mapping the rocky horror show onto the tree of life, slamming through the astral void in an x-wing fighter, and channeling communications from gods that didn t exist five minutes ago. so you might see why using this sort of thing as a basis for serious magical work raises one or two eyebrows in some quarters. isn t after all, the lovecraft stuff fiction? what about linking i

o invoke upon himself to concentrate his mind on programming. mercury? hermes? and then he hit on it- the most powerful mythic figure that he knew could deal with computers was mr. spock! so he proceeded to invoke mr. spock, by learning all he could about spock and going round saying i never will understand humans until he was thoroughly spock-ified. and he got an a, so there! and so, back to the cthulhu mythos. lovecraft himself was of the opinion that fear, particularly fear of the unknown, was the strongest emotion attached to the great old ones. the reason why i like to work with that mythos occasionally is that the great old ones are outside most human mythologies, reflecting the shadows of the giants in norse myths, the pre- olympian titans in greek myths, and other groups of univers

s from working with a mythic system based on (blush) c.s. lewis s narnia books. the interesting thing about metaprogramming is that you can adopt a belief for a relatively short time, and then drop it again. when practising ritual magick its generally a good idea to, whatever you think about gods being archetypes or reflections of bits of yourself or whatever, behave as if they were real. so in a cthulhu mythos ritual, nothing will help build the neccesary tension than the adopted belief that if you get it wrong cthulhu will slime you! of course, outside the ritual you don t have to believe in cthulhu and that even now a slimy paw appears at my window..no! no..ahem, sorry about that. related to this approach is the idea that suspension of disbelief can also be useful. to do this, take a bo

HP LOVECRAFT A DARK LORE

l follow ayton's and his the letters 109 grove lodge, saffron walden 30 november 1905 73 1 10 the alchemist of the golden dawn friends' example and laboriously transcribe ancient documents. he died on i january 1909, a legendary and even revered figure among such occultists who had known him. a. e. waite, shadows oflife and thought (1938, p. 228. 2 the letters of ra dark lore an essential call of cthulhu primer stories to help you understand the background of call of cthulhu howard phillips lovecraft 1890 1937 the call of cthulhu by h. p. lovecraft written summer 1926 published february 1928 in weird tales, vol. 11, no. 2, p. 159-78, 287. of such great powers or beings there may be conceivably a survival. a survival of a hugely remote period when. consciousness was manifested, perhaps, in

with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. behind the figure was a vague suggestions of a cyclopean architectural background. the writing accompanying this oddity was, aside from a stack of press cuttings, in professor angell's most recent hand; and made no pretense to literary style. what seemed to be the main document was headed "cthulhu cult" in characters painstakingly printed to avoid the erroneous reading of a word so unheard-of. this manuscript was divided into two sections, the first of which was headed "1925- dream and dream work of h.a. wilcox, 7 thomas st, providence, r. i, and the second "narrative of inspector john r. legrasse, 121 bienville st, new orleans, la, at 1908 a. a. s. mtg- notes on same& prof. webb's

great cyclopean cities of titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror. hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters "cthulhu fhtagn" this verbal jumble was the key to the recollection which excited and disturbed professor angell. he questioned the sculptor with scientific minuteness; and studied with frantic intensity the bas-relief on which the youth had found himself working, chilled and clad only in his night clothes, when waking had stolen bewilderingly over him. my uncle blamed his old age, wilcox afterward

iew the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imaginery whose burden was always some terrible cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense-impacts uninscribable save as gibberish. the two sounds frequently repeated are those rendered by the letters "cthulhu" and "r'lyeh" on march 23, the manuscript continued, wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in waterman street. he had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. my

. ii. the tale of inspector legrasse. the older matters which had made the sculptor's dream and bas-relief so significant to my uncle formed the subject of the second half of his long manuscript. once before, it appears, professor angell had seen the hellish outlines of the nameless monstrosity, puzzled over the unknown hieroglyphics, and heard the ominous syllables which can be rendered only as "cthulhu; and all this in so stirring and horrible a connexion that it is small wonder he pursued young wilcox with queries and demands for data. this earlier experience had come in 1908, seventeen years before, when the american archaeological society held its annual meeting in st. louis. professor angell, as befitted one of his authority and attainments, had had a prominent part in all the delibe

e when both detective and scientist agreed on the virtual identity of the phrase common to two hellish rituals so many worlds of distance apart. what, in substance, both the esquimaux wizards and the louisiana swamp-priests had chanted to their kindred idols was something very like this: the word-divisions being guessed at from traditional breaks in the phrase as chanted aloud "ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn" legrasse had one point in advance of professor webb, for several among his mongrel prisoners had repeated to him what older celebrants had told them the words meant. this text, as given, ran something like this "in his house at r'lyeh dead cthulhu waits dreaming" and now, in response to a general and urgent demand, inspector legrasse related as fully as possible hi

nd orgiastic license here whipped themselves to daemoniac heights by howls and squawking ecstacies that tore and reverberated through those nighted woods like pestilential tempests from the gulfs of hell. now and then the less organized ululation would cease, and from what seemed a well-drilled chorus of hoarse voices would rise in sing-song chant that hideous phrase or ritual "ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn" then the men, having reached a spot where the trees were thinner, came suddenly in sight of the spectacle itself. four of them reeled, one fainted, and two were shaken into a frantic cry which the mad cacophony of the orgy fortunately deadened. legrasse dashed swamp water on the face of the fainting man, and all stood trembling and nearly hypnotised with horror. in

to the young world out of the sky. those old ones were gone now, inside the earth and under the sea; but their dead bodies had told their secrets in dreams to the first men, who formed a cult which had never died. this was that cult, and the prisoners said it had always existed and always would exist, hidden in distant wastes and dark places all over the world until the time when the great priest cthulhu, from his dark house in the mighty city of r'lyeh under the waters, should rise and bring the earth again beneath his sway. some day he would call, when the stars were ready, and the secret cult would always be waiting to liberate him. meanwhile no more must be told. there was a secret which even torture could not extract. mankind was not absolutely alone among the conscious things of eart

he stars were ready, and the secret cult would always be waiting to liberate him. meanwhile no more must be told. there was a secret which even torture could not extract. mankind was not absolutely alone among the conscious things of earth, for shapes came out of the dark to visit the faithful few. but these were not the great old ones. no man had ever seen the old ones. the carven idol was great cthulhu, but none might say whether or not the others were precisely like him. no one could read the old writing now, but things were told by word of mouth. the chanted ritual was not the secret- that was never spoken aloud, only whispered. the chant meant only this "in his house at r'lyeh dead cthulhu waits dreaming" only two of the prisoners were found sane enough to be hanged, and the rest were

ood. they had shape- for did not this star-fashioned image prove it- but that shape was not made of matter. when the stars were right, they could plunge from world to world through the sky; but when the stars were wrong, they could not live. but although they no longer lived, they would never really die. they all lay in stone houses in their great city of r'lyeh, preserved by the spells of mighty cthulhu for a glorious surrection when the stars and the earth might once more be ready for them. but at that time some force from outside must serve to liberate their bodies. the spells that preserved them intact likewise prevented them from making an initial move, and they could only lie awake in the dark and think whilst uncounted millions of years rolled by. they knew all that was occurring in

the great old ones spoke to the sensitive among them by moulding their dreams; for only thus could their language reach the fleshly minds of mammals. then, whispered castro, those first men formed the cult around tall idols which the great ones shewed them; idols brought in dim eras from dark stars. that cult would never die till the stars came right again, and the secret priests would take great cthulhu from his tomb to revive his subjects and resume his rule of earth. the time would be easy to know, for then mankind would have become as the great old ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. then the liberated old ones would teach them new ways to shout and kill and revel and enjoy themselves, an

, he soon made clear; and again i strove to think of some way in which he could possibly have received the weird impressions. he talked of his dreams in a strangely poetic fashion; making me see with terrible vividness the damp cyclopean city of slimy green stone- whose geometry, he oddly said, was all wrong- and hear with frightened expectancy the ceaseless, half-mental calling from underground "cthulhu fhtagn "cthulhu fhtagn" these words had formed part of that dread ritual which told of dead cthulhu's dream-vigil in his stone vault at r'lyeh, and i felt deeply moved despite my rational beliefs. wilcox, i was sure, had heard of the cult in some casual way, and had soon forgotten it amidst the mass of his equally weird reading and imagining. later, by virtue of its sheer impressiveness, i

f-paper. it was nothing on which i would naturally have stumbled in the course of my daily round, for it was an old number of an australian journal, the sydney bulletin for april 18, 1925. it had escaped even the cutting bureau which had at the time of its issuance been avidly collecting material for my uncle's research. i had largely given over my inquiries into what professor angell called the "cthulhu cult, and was visiting a learned friend in paterson, new jersey; the curator of a local museum and a mineralogist of note. examining one day the reserve specimens roughly set on the storage shelves in a rear room of the museum, my eye was caught by an odd picture in one of the old papers spread beneath the stones. it was the sydney bulletin i have mentioned, for my friend had wide affiliat

t reputation, and johansen is described as a sober and worthy man. the admiralty will institute an inquiry on the whole matter beginning tomorrow, at which every effort will be made to induce johansen to speak more freely than he has done hitherto. this was all, together with the picture of the hellish image; but what a train of ideas it started in my mind! here were new treasuries of data on the cthulhu cult, and evidence that it had strange interests at sea as well as on land. what motive prompted the hybrid crew to order back the emma as they sailed about with their hideous idol? what was the unknown island on which six of the emma's crew had died, and about which the mate johansen was so secretive? what had the vice-admiralty's investigation brought out, and what was known of the noxio

noted by my uncle? march 1st- or february 28th according to the international date line- the earthquake and storm had come. from dunedin the alert and her noisome crew had darted eagerly forth as if imperiously summoned, and on the other side of the earth poets and artists had begun to dream of a strange, dank cyclopean city whilst a young sculptor had moulded in his sleep the form of the dreaded cthulhu. march 23rd the crew of the emma landed on an unknown island and left six men dead; and on that date the dreams of sensitive men assumed a heightened vividness and darkened with dread of a giant monster's malign pursuit, whilst an architect had gone mad and a sculptor had lapsed suddenly into delirium! and what of this storm of april 2nd- the date on which all dreams of the dank city cease

lar sticking out of the sea, and in s. latitude 47 9, w. longitude l23 43, come upon a coastline of mingled mud, ooze, and weedy cyclopean masonry which can be nothing less than the tangible substance of earth's supreme terror- the nightmare corpse-city of r'lyeh, that was built in measureless aeons behind history by the vast, loathsome shapes that seeped down from the dark stars. there lay great cthulhu and his hordes, hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear to the dreams of the sensitive and called imperiously to the faithfull to come on a pilgrimage of liberation and restoration. all this johansen did not suspect, but god knows he soon saw enough! i suppose that only a single mountain-top, the hideous monolith-crowne

hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear to the dreams of the sensitive and called imperiously to the faithfull to come on a pilgrimage of liberation and restoration. all this johansen did not suspect, but god knows he soon saw enough! i suppose that only a single mountain-top, the hideous monolith-crowned citadel whereon great cthulhu was buried, actually emerged from the waters. when i think of the extent of all that may be brooding down there i almost wish to kill myself forthwith. johansen and his men were awed by the cosmic majesty of this dripping babylon of elder daemons, and must have guessed without guidance that it was nothing of this or of any sane planet. awe at the unbelievable size of the greenish stone blo

ed or stumbled. god! what wonder that across the earth a great architect went mad, and poor wilcox raved with fever in that telepathic instant? the thing of the idols, the green, sticky spawn of the stars, had awaked to claim his own. the stars were right again, and what an age-old cult had failed to do by design, a band of innocent sailors had done by accident. after vigintillions of years great cthulhu was loose again, and ravening for delight. three men were swept up by the flabby claws before anybody turned. god rest them, if there be any rest in the universe. they were donovan, guerrera, and angstrom. parker slipped as the other three were plunging frenziedly over endless vistas of green-crusted rock to the boat, and johansen swears he was swallowed up by an angle of masonry which sho

rish rushing up and down between wheel and engines to get the alert under way. slowly, amidst the distorted horrors of that indescribable scene, she began to churn the lethal waters; whilst on the masonry of that charnel shore that was not of earth the titan thing from the stars slavered and gibbered like polypheme cursing the fleeing ship of odysseus. then, bolder than the storied cyclops, great cthulhu slid greasily into the water and began to pursue with vast wave-raising strokes of cosmic potency. briden looked back and went mad, laughing shrilly as he kept on laughing at intervals till death found him one night in the cabin whilst johansen was wandering deliriously. but johansen had not given out yet. knowing that the thing could surely overtake the alert until steam was fully up, he

test of my own sanity, wherein is pieced together that which i hope may never be pieced together again. i have looked upon all that the universe has to hold of horror, and even the skies of spring and the flowers of summer must ever afterward be poison to me. but i do not think my life will be long. as my uncle went, as poor johansen went, so i shall go. i know too much, and the cult still lives. cthulhu still lives, too, i suppose, again in that chasm of stone which has shielded him since the sun was young. his accursed city is sunken once more, for the vigilant sailed over the spot after the april storm; but his ministers on earth still bellow and prance and slay around idol-capped monoliths in lonely places. he must have been trapped by the sinking whilst within his black abyss, or else

th their consciousness. they bend the forest and crush the city, yet may not forest or city behold the hand that smites. kadath in the cold waste hath known them, and what man knows kadath? the ice desert of the south and the sunken isles of ocean hold stones whereon their seal is engraver, but who bath seen the deep frozen city or the sealed tower long garlanded with seaweed and barnacles? great cthulhu is their cousin, yet can he spy them only dimly. i! shub-niggurath! as a foulness shall ye know them. their hand is at your throats, yet ye see them not; and their habitation is even one with your guarded threshold. yog-sothoth is the key to the gate, whereby the spheres meet. man rules now where they ruled once; they shall soon rule where man rules now. after summer is winter, after winte

HP LOVECRAFT AT THE MOUNTAINS OF MADNESS

vitable. dyer and pabodie have read necronomicon and seen clark ashton smith s nightmare paintings based on text, and will understand when i speak of elder things supposed to have created all earth life as jest or mistake. students have always thought conception formed from morbid imaginative treatment of very ancient tropical radiata. also like prehistoric folklore things wilmarth has spoken of- cthulhu cult appendages, etc "vast field of study opened. deposits probably of late cretaceous or early eocene period, judging from associated specimens. massive stalagmites deposited above them. hard work hewing out, but toughness prevented damage. state of preservation miraculous, evidently owing to limestone action. no more found so far, but will resume search later. job now to get fourteen hug

ld" all sorts of fantastic phrases sprang to our lips as we looked dizzily down at the unbelievable spectacle. i thought again of the eldritch primal myths that had so persistently haunted me since my first sight of this dead antarctic world- of the demoniac plateau of leng, of the mi-go, or abominable snow men of the himalayas, of the pnakotic manuscripts with their prehuman implications, of the cthulhu cult, of the necronomicon, and of the hyperborean legends of formless tsathoggua and the worse than formless star spawn associated with that semientity. for boundless miles in every direction the thing stretched off with very little thinning; indeed, as our eyes followed it to the right and left along the base of the low, gradual foothills which separated it from the actual mountain rim, w

rts northward, uphold in a striking way the theories of continental drift lately advanced by taylor, wegener, and joly. with the upheaval of new land in the south pacific tremendous events began. some of the marine cities were hopelessly shattered, yet that was not the worst misfortune. another race- a land race of beings shaped like octopi and probably corresponding to fabulous prehuman spawn of cthulhu- soon began filtering down from cosmic infinity and precipitated a -monstrous war which for a time drove the old ones wholly back to the sea- a colossal blow in view of the increasing land settlements. later peace was made, and the new lands were given to the cthulhu spawn whilst the old ones held the sea and the older lands. new land cities were founded- the greatest of them in the antarc

the increasing land settlements. later peace was made, and the new lands were given to the cthulhu spawn whilst the old ones held the sea and the older lands. new land cities were founded- the greatest of them in the antarctic, for this region of first arrival was sacred. from then on, as before, the antarctic remained the center of the old ones civilization, and all the cities built there by the cthulhu spawn were blotted out. then suddenly the lands of the pacific sank again, taking with them the frightful stone city of r lyeh and all the cosmic octopi, so that the old ones were again supreme on the planet except for one shadowy fear about which they did not like to speak. at a rather later age their cities dotted all the land and water areas of the globe- hence the recommendation in my

mosphere. whatever the old secret of interstellar travel had been, it was now definitely lost to the race. in the end the mi-go drove the old ones out of all the northern lands, though they were powerless to disturb those in the sea. little by little the slow retreat of the elder race to their original antarctic habitat was beginning. it was curious to note from the pictured battles that both the cthulhu spawn and the mi-go seem to have been composed of matter more widely different from that which we know than was the substance of the old ones. they were able to undergo transformations and reintegrations impossible for their adversaries, and seem therefore to have originally come from even remoter gulfs of the cosmic space. the old ones, but for their abnormal toughness and peculiar vital

HP LOVECRAFT HISTORY OF THE NECRONOMICON

e older than mankind [the rebel press edition adds this editor's note "a full description of the nameless city, and the annals and secrets of its one time inhabitants will be found in the story the nameless city, published in the first issue of fanciful tales, and written by the author of this outline] he was only an indifferent moslem, worshipping unknown entities whom he called yog- sothoth and cthulhu. in a.d. 950 the azif, which had gained a considerable tho' surreptitious circulation amongst the philosophers of the age, was secretly translated into greek by theodorus philetas of constantinople under the title necronomicon. for a century it impelled certain experimenters to terrible attempts, when it was suppressed and burnt by the patriarch michael. after this it is only heard of furt

d! it seems that this shocking blasphemy was produced by a native of sana, in yemen, who flourished about 700 a.d& made many mysterious pilgrimages to babylon's ruins, memphis's catacombs& the devil-haunted& untrodden wastes of the great southern deserts of arabia- the roba el khaliyeh, where he claimed to have found records of things older than mankind& to have learnt the worship of yog-sothoth& cthulhu. the book was a product of abdul's old age, which was spent in damascus& the original title was al azif- azif (cf. henley's notes to vathek) being the name applied to those strange night noises (of insects) which the arabs attribute to the howling of daemons. alhazred died- or disappeared- under terrible circumstances in the year 738. in 950 al azif was translated into greek by the byzanti

e older than mankind [the rebel press edition adds this editor's note "a full description of the nameless city, and the annals and secrets of its one time inhabitants will be found in the story the nameless city, published in the first issue of fanciful tales, and written by the author of this outline] he was only an indifferent moslem, worshipping unknown entities whom he called yog- sothoth and cthulhu (9) note already how lovecraft skirts the fine line between campy parody and seriousness. in lovecraft at last, conover writes that lovecraft wrote the history in order to allow people with any understanding of arab studies to see through the mock scholarship. note also the inconsistencies here with the description of al-hazred in the simon necronomicon. al-hazred there supposedly witnesse

HP LOVECRAFT THE CALL OF CTHULHU

ixed upon the floor ahead. the fear left, and wonder, awe, compassion, and reverence succeeded in its place, for the sounds uttered by the stricken figure that lay stretched out on the limestone had told us the awesome truth. the creature i had killed, the strange beast of the unfathomed cave, was, or had at one time been a man! 1998-1999 william johns last modified: 12/18/1999 18:4242the call of cthulhu of such great powers or beings there may be conceivably a survival. a survival of a hugely remote period when. consciousness was manifest, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity. forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds- algernon blackwood i. the

with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. behind the figure was a vague suggestion of a cyclopean architectural background the writing accompanying this oddity was, aside from a stack of press cuttings, in professor angell's most recent hand; and made no pretension to literary style. what seemed to be the main document was headed 'cthulhu cult' in characters painstakingly printed to avoid the erroneous reading of a word so unheard-of. this manuscript was divided into two sections, the first of which was headed '1925- dream and dream work of h. a. wilcox, 7 thomas st, providence, r. i' and the second 'narrative of inspector john r. legrasse, 121 bienville st, new orleans, la, at 1908 a. a, s. mtg- notes on same& prof. webb's

great cyclopean cities of titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror. hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters 'cthulhu fhtagn' this verbal jumble was the key to the recollection which excited and disturbed professor angell. he questioned the sculptor with scientific minuteness; and studied with almost frantic intensity the bas-relief on which the youth had found himself working, chilled and clad only in his nightclothes, when waking had stolen bewilderingly over him. my uncle blamed his old age, wilcox aft

iew the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense-impacts uninscribable save gibberish. the two sounds most frequently repeated are those rendered by the letters 'cthulhu' and 'r'lyeh' on 23 march the manuscript continued, wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in waterman street. he had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. my u

ssor. ii. the tale of inspector legrasse the old matters which had made the sculptor's dream and bas-relief so significant to my uncle formed the subject of the second half of his long manuscript. once before, it appears professor angell had seen the hellish outlines of the nameless monstrosity, puzzled over the unknown hieroglyphics, and heard the ominous syllables which can be rendered only as 'cthulhu; and all this in so stirring and horrible a connection that it is small wonder he pursued young wilcox with queries and demands for data. this earlier experience had come in 1908, seventeen years before when the american archaeological society held its annual meeting in st louis. professor angell, as befitted one of his authority and attainments, had had a prominent part in all the deliber

ence when both detective and scientist agreed on the virtual identity of the phrase common to two hellish rituals so many worlds of distance apart. what, in substance, both the eskimo wizards and the louisiana swamp-priests had chanted to their kindred idols was something very like this- the word-divisions being guessed at from traditional breaks in the phrase as chanted aloud 'ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn' legrasse had one point in advance of professor webb, for several among his mongrel prisoners had repeated to him what older celebrants had told them the words meant. this text, as given, ran something like this 'in his house at r'lyeh dead cthulhu waits dreaming' and now, in response to a general urgent demand, inspector legrasse related as fully as possible his ex

and orgiastic licence here whipped themselves to demoniac heights by howls and squawking ecstasies that tore and reverberated through those nighted woods like pestilential tempests from the gulfs of hell. now and then the less organized ululations would cease, and from what seemed a well-drilled chorus of hoarse voices would rise in singsong chant that hideous phrase or ritual 'ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn' then the men, having reached a spot where the trees were thinner, came suddenly in sight of the spectacle itself. four of them reeled, one fainted, and two were shaken into a frantic cry which the mad cacophony of the orgy fortunately deadened. legrasse dashed swamp water on the face of the fainting man, and all stood trembling and nearly hypnotized with horror. in

to the young world out of the sky. these old ones were gone now inside the earth and under the sea; but their dead bodies had told their secrets in dreams to the first man, who formed a cult which had never died. this was that cult, and the prisoners said it had always existed and always would exist, hidden in distant wastes and dark places all over the world until the time when the great priest cthulhu, from his dark house in the mighty city of r'lyeh under the waters, should rise and bring the earth again beneath his sway. some day he would call, when the stars were ready, and the secret cult would always be waiting to liberate him. meanwhile no more must be told. there was a secret which even torture could not extract. mankind was not absolutely alone among the conscious things of eart

he stars were ready, and the secret cult would always be waiting to liberate him. meanwhile no more must be told. there was a secret which even torture could not extract. mankind was not absolutely alone among the conscious things of earth, for shapes came out of the dark to visit the faithful few. but these were not the great old ones. no man had ever seen the old ones. the carven idol was great cthulhu, but none might say whether or not the others were precisely like him. no one could read the old writing now, but things were told by word of mouth. the chanted ritual was not the secret- that was never spoken aloud, only whispered. the chant meant only this 'in his house at r'lyeh dead cthulhu waits dreaming' only two of the prisoners were found sane enough to be hanged, and the rest were

blood. they had shape for did not this star-fashioned image prove it- but that shape was not made of matter. when the stars were right, they could plunge from world to world through the sky; but when the stars were wrong, they could not live. but although they no longer lived, they would never really die. they all lay in stone houses in their great city of r'lyeh preserved by the spells of mighty cthulhu for a glorious resurrection when the stars and the earth might once more be ready for them. but at that time some force from outside must serve to liberate their bodies. the spells that preserved them intact likewise prevented them from making an initial move, and they could only lie awake in the dark and think whilst uncounted millions of years rolled by. they knew all that was occurring

the great old ones spoke to the sensitive among them by moulding their dreams; for only thus could their language reach the fleshy minds of mammals. then, whispered castro, those first men formed the cult around small idols which the great ones showed them; idols brought in dim eras from dark stars. that cult would never die till the stars came right again, and the secret priests would take great cthulhu from his tomb to revive his subjects and resume his rule of earth. the time would be easy to know, for then mankind would have become as the great old ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. then the liberated old ones would teach them new ways to shout and kill and revel and enjoy themselves, an

, he soon made clear; and again i strove to think of some way in which he could possibly have received the weird impressions. he talked of his dreams in a strangely poetic fashion; making me see with terrible vividness the damp cyclopean city of slimy green stone- whose geometry, he oddly said, was all wrong- and hear with frightened expectancy the ceaseless, half-mental calling from underground 'cthulhu fhtagn, cthulhu fhtagn' these words had formed part of that dread ritual which told of dead cthulhu's dream-vigil in his stone vault at r'lyeh, and i felt deeply moved despite my rational beliefs. wilcox, i was sure, had. heard of the cult in some casual way, and had soon forgotten it amidst the mass of his equally weird reading and imagining. later, by virtue of its sheer impressiveness

shelf-paper. it was nothing on which i would naturally have stumbled in the course of my daily round, for it was an old number of an australian journal, sydney bulletin for 18 april 1925. it had escaped even the cutting bureau which had at the time of its issuance been avidly collecting material for my uncle's research. i had largely given over my inquiries into what professor angell called the 'cthulhu cult' and was visiting a learned friend of paterson, new jersey; the curator of a local museum and a mineralogist of note. examining one day the reserve specimens roughly set on the storage shelves in a rear room of the museum, my eye was caught by an odd picture in one of the old papers spread beneath the stones. it was the sydney bulletin i have mentioned, for my friend has tide affiliat

reputation, and johansen is described as a sober and worthy man. the admiralty will institute an inquiry on the whole matter, beginning tomorrow, at which every effort will be made to induce johansen to speak more freely than he has done hitherto. this was all, together with the picture of the hellish image; but what a train of ideas it started in my mind! here were new treasuries of data on the cthulhu cult, and evidence that it had strange interests at sea as well as on land. what motive prompted the hybrid crew to order back the emma as they sailed about with their hideous idol? what was the unknown island on which six of the emma's crew had died, and about which the mate johansen was so secretive? what had the vice-admiralty's investigation brought out, and what was known of the noxio

ly noted by my uncle? 1 march- our 28 february according to the international date line- the earthquake and storm had come. from dunedin the alert and her noisome crew had darted eagerly forth as if imperiously summoned, and on the other side of the earth poets and artists had begun to dream of a strange, dank cyclopean city whilst a young sculptor had moulded in his sleep the form of the dreaded cthulhu. 23 march the crew of the emma landed on an unknown island and left six men dead; and on that date the dreams of sensitive men assumed a heightened vividness and darkened with dread of a giant monster's malign pursuit, whilst an architect had gone mad and a sculptor had lapsed suddenly into delirium! and what of this storm of 2 april- the date on which all dreams of the dank city ceased, a

illar sticking out of the sea, and in s. latitude 47 9, w. longitude 126 43, come upon a coastline of mingled mud, ooze, and weedy cyclopean masonry which can be nothing less than the tangible substance of earth's supreme terrorthe nightmare corpse-city of r'lyeh, that was built in measureless aeons behind history by the vast, loathsome shapes that seeped down from the dark stars. there lay great cthulhu and his hordes, hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear to the dreams of the sensitive and called imperiously to the faithful to come on a pilgrimage of liberation and restoration. all this johansen did not suspect, but god knows he soon saw enough! i suppose that only a single mountain-top, the hideous monolith-crowned

hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear to the dreams of the sensitive and called imperiously to the faithful to come on a pilgrimage of liberation and restoration. all this johansen did not suspect, but god knows he soon saw enough! i suppose that only a single mountain-top, the hideous monolith-crowned citadel whereon great cthulhu was buried, actually emerged from the waters. when i think of the extent of all that may be brooding down there i almost wish to kill myself forthwith. johansen and his men were awed by the cosmic majesty of this dripping babylon of elder daemons, and must have guessed without guidance that it was nothing of this or any sane planet. awe at the unbelievable size of the greenish stone blocks

d or stumbled. god! what wonder that across the earth a great architect went mad, and poor wilcox raved with fever in that telepathic instant? the thing of the idols, the green, sticky spawn of the stars, had awaked to claim his own. the stars were right again, and what an age-old cult had failed to do by designs, a band of innocent sailors had done by accident. after vigintillions of years great cthulhu was loose again, and ravening for delight. three men were swept up by the flabby claws before anybody turned. god rest them, if there be any rest in the universe. they were donovan, guerrera and angstrom. parker slipped as the other three were plunging frenziedly over endless vistas of green-crusted rock to the boat, and johansen swears he was swallowed up by an angle of masonry which shou

erish rushing up and down between wheels and engines to get the alert under way. slowly, amidst the distorted horrors of the indescribable scene, she began to chum the lethal waters; whilst on the masonry of that charnel shore that was not of earth the titan thing from the stars slavered and gibbered like polypheme cursing the fleeing ship of odysseus. then, bolder than the storied cyclops, great cthulhu slid greasily into the water and began to pursue with vast wave-raising strokes of cosmic potency. briden looked back and went mad, laughing at intervals till death found him one night in the cabin whilst johansen was wandering deliriously. but johansen had not given out yet. knowing that the thing could surely overtake the alert until steam was fully up, he resolved on a desperate chance;

test of my own sanity, wherein is pieced together that which i hope may never be pieced together again. i have looked upon all that the universe has to hold of horror, and even the skies of spring and the flowers of summer must ever afterward be poison to me. but i do not think my life will be long. as my uncle went, as poor johansen went, so shall i go. i know too much, and the cult still lives. cthulhu still lives, too, i suppose, again in that chasm of stone which has shielded him since the sun was young. his accursed city is sunken once more, for the vigilant sailed over the spot after the april storm; but his ministers on earth still bellow and prance and slay around idol-capped monoliths in lonely places. he must have been trapped by the sinking whilst within his black abyss, or else

HP LOVECRAFT THE SHADOW OVER INNSMOUTH

ecrets "yield up enough sacrifices an' savage knick-knacks an' harbourage in the taown when they wanted it, an' they'd let well enough alone. wudn't bother no strangers as might bear tales aoutside- that is, withaout they got pryin. all in the band of the faithful- order 0' dagon- an' the children shud never die, but go back to the mother hydra an' father dagon what we all come from onct. la! ia! cthulhu fhtagn! ph'nglui mglw'nafh cthulhu r'lyeh wgah-nagl fhtaga" old zadok was fast lapsing into stark raving, and i held my breath. poor old soul- to what pitiful depths of halluci-nation had his liquor, plus his hatred of the decay, alienage, and disease around him, brought that fertile, imaginative brain? he began to moan now, and tears were coursing down his channelled checks into the depth

ther she had gone back after obed marsh was dead. y'ha-nthlei was not destroyed when the upper-earth men shot death into the sea. it was hurt, but not destroyed. the deep ones could never be destroyed, even though the palaeogean magic of the forgotten old ones might sometimes check them. for the present they would rest; but some day, if they remembered, they would rise again for the tribute great cthulhu craved. it would be a city greater than innsmouth next time. they had planned to spread, and had brought up that which would heip them, but now they must wait once more. for bringing the upper-earth men's death i must do a penance. but that would not be heavy. this was the dream in which i saw a shoggoth for the first time, and the sight set me awake in a frenzy of screaming. that morning

HP LOVECRAFT THROUGH THE GATES OF THE SILVER KEY

p in all this- for he appealed to me quite early, and through me came in touch with other mystics throughout the world. i went to live with him in boston- wretched: place in chambers street. as for the parchment- i am pleased to help mr. de marigny in his perplexity. to him let me say that the language of those hieroglyphics is not naacal, but r'lyehian, which was brought to earth by the spawn of cthulhu countless ages ago. it is, of coarse, a translation- there was an hyperborean original millions of years earlier in the primal tongue of tsath-yo "there was more to decipher than carter had looked for, but at no time did he give up hope. early this year he made great strides through a book he imported from nepal, and there is no question but that he will win before long. unfortunately, how

MICHAEL FORD WITCHMOON

dianapolis again during which workings were undertaken which involved ceremonial magick practice, the ritual of the bornless one to contact ones holy guardian angel, astral travel and dream projection, vampiric and lycanthropic sorcery, qlipothic workings and later ghost research. the coven maleficia is currently in operation in houston, texas usa. chapter two 1. h.p. lovecraft, the father of the cthulhu mythos. 145 145 2. thelema is greek for will, see magick in theory and practice by aleister crowley, also by the same author liber al vel legis also known as the book of the law. 3. chaos magic is a development of austin osman spare s sorcery as defined in the book of pleasure. see also peter carroll and his books, among others, liber null/psychonaut and liber kaos for detailed and effecti

NECRONOMICON ALAZIF

es and beheld the abominations of those that ravaged the earth. in their wrath they set their hand against the old ones, staying them in the midst of their iniquity and casting them forth from the earth to the void beyond the planes where chaos reigns and form abideth not. and the elder lords set their seal upon the gateway and the power of the old ones prevailest not against its might. loathsome cthulhu rose then from the deeps and raged with exceeding great fury against the earth guardians. and they bound his venomous claws with potent spells and sealed him up within the city of r'lyeh wherein beneath the waves he shall sleep death's dream until the end of the aeon. beyond the gate dwell now the old ones; not in the spaces known unto men but in the angles betwixt them. outside earth's pl

wmas (on november eve. call out to dread azathoth when the sun is in the sign of the ram, the lion, or the archer; the moon decreasing and mars and saturn conjoin. mighty yog-sothoth shall rise to ye incantations when sol has entered the fiery house of leo and the hour of lammas be upon ye. evoke ye terrible hastur on candlemas night, when sol is in aquarius and mercury in trine. supplicate great cthulhu only at hallowmas eve when the sun abides within the house of the scorpion and orion riseth. when all hallows falls within the cycle of the new moon the power shall be the strongest. conjure shub-niggurath when the beltane fires glow upon the hills and the sun is in the second house, repeating the rites of roodmas when ye black one appeareth. to raise up ye stones to form ye gate through w

at coldness set ye first ye stone of saturn at a space of three paces. this being done proceed thou widdershins placing at like distances apart ye stones of jupiter, mercury, mars, venus, sul and luna marking each with their rightful sign. at ye center of the so completed configuration set ye the alter of ye great old ones and seal it with ye symbol of yog-sothoth and ye mighty names of azathoth, cthulhu, hastur, shub- niggurath and nyarlathotep. and ye stones shall be ye gates through which thou shalt call them forth from outside man's time and space. entreat ye of ye stones by night and when the moon decreasetth in her light, turning thy face to ye direction of their coming, speaking ye words and making ye gestures that bringeth forth ye old ones and causeth them to walk once more ye ear

h what ye have called up eraze thou their sign with the scimitar of barzai and utter the words: caldulech! dalmaley! cadat (and seal with the sign of koth. nota: if on their appearance the spirits obstinately refuse to speak cleave the air thrice with the scimitar and say: adricanorom dumaso! and their tongue shall be loosened and they will be compelled to give true answer. ye adjuration of great cthulhu ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtan. a supplication to great cthulhu for those who would have power over his minions. in the day and hour of the moon with sun in scorpio prepare thou a waxen tablet and enscribe thereon the seals of cthulhu and dagon; suffumigate with the incense of zkauba and set aside. on hallowmas eve thou must travel to some lonely place where high ground

gon; suffumigate with the incense of zkauba and set aside. on hallowmas eve thou must travel to some lonely place where high ground overlooks the ocean. take up the tablet in thy right hand and make of the sign of kish with thy left. recite the incantation thrice and when the final word of the third utterance dieth in the air cast thou the tablet into the waves saying 'in his house at r'lyeh dead cthulhu waits dreaming, yet he shall rise and his kingdom shall cover the earth' al azif page 14 of 18 http//www.chaosmatrix.org/library/books/al_azif/al_azif.html 10/10/2003 and he shall come unto you in sleep and show his sign with which ye shall unlock the secrets of the deep. ye incantation o thou that lieth dead but ever dreameth, hear, thy servant calleth thee. hear me o mighty cthulhu' hear

ingdom shall rise once more. the deep ones knoweth thy secret name, the hydra knoweth thy lair; give forth thy sign that i may know thy will upon the earth. when death dies, thy time shall be, and thou shalt sleep no more; grant me the power to still the waves, that i may hear thy call (at ye third repeating of ye incantation cast forth the tablet into ye waves saying: in his house at r'lyeh dead cthulhu waits dreaming, yet he shall rise and his kingdom shall cover the earth. to summon shub-niggurath ye black where the stones have been set up thou shalt call out to shub- niggurath, and unto he that knoweth al azif page 15 of 18 http//www.chaosmatrix.org/library/books/al_azif/al_azif.html 10/10/2003 the signs and uttereth the words all earthly pleasures shall be granted* when the sun entere

RUBY TABLET OF SET

rking for the school" is more interesting (1) one works for the school to assure the school's continued existence as a useful entity for oneself (2) one must understand the work of the school to understand why one should have a desire to work for the school (3) one may work on projects of the school of a long-term nature once he realizes that these are of a distinct future benefit to himself. the cthulhu worshippers in lovecraft's stories are to be despised if they were merely worshiping powerful forces and helping to bring them into more direct power for their own sake; but they may be admired if they had reason to believe that they would obtain personal power or gratification through the bringing into being of these forces. devil worship isn't viable, but devil mastery. or even negotiati

la ree, 1975. mariconda, steven j "lovecraft's concept of 'background, lovecraft studies, vol. 5, no. 1 (spring 1986. olbrys, stephen c.g "another history of the necronomicon: a look at the forbidden tome, the h.p. lovecraft centennial guidebook, 1990. onderdonk, matthew h "the lord of r'lyeh, lovecraft studies, vol 2, no. 2 (fall 1982. price, robert m "lovecraft's concept of blasphemy, crypt of cthulhu, vol. 1, no. 1 (hallowmas 1981. footnotes 1. i should point out that in addition to his stories, lovecraft is thought to have written 100,000 letters, a fraction of which are kept at the hays library at brown university- the selected letters of h.p. lovecraft are perhaps a tenth of them. egypt- life and times (or: egyptomania- better living through khemistry) classification: v4- 930.01- 1

ed hebrew" 9. for an example of how a jargon may be used, see pages #181-201 of the satanic rituals by anton szandor lavey. some years ago i ghost-wrote the entire section on h.p. lovecraft- introduction and rituals- for the book. it was the work of about two months to develop the jargon that became the "nameless language [i called it "yuggothic] of the ceremony of the nine angles and the call to cthulhu. a word that sounded properly "lovecraftian" would be constructed arbitrarily: el-aka= world, gryenn'h [of] horrors. then the word would be used consistently throughout the text of both rituals. slight modifications of endings would suffice for different sentence constructions, and there you have a "language" every bit as flexible as enochian! 10. casaubon, op. cit, page #120. crowley (ed

nvert these later additions to the enochian system into a symbolic key usable by the temple of set at some stage, rearranging the colours, deities and attributions to reflect a less "white light" scenario. one idea that crossed my mind in my church of satan days was to attribute baphomet and the four princes of hell to the various elemental combinations of the squares, or perhaps deities from the cthulhu mythos? there are plenty of possibilities for an inventive mind to rehabilitate the golden dawn enochian teachings. one aspect of enochiana that hardly anybody at all seems to have touched upon are its planetary correspondences and deities, as set down in dee's heptarchia mystica. i did at one point loosely integrate these with the sumerian zone from the simon "version" of the necronomicon

he room fill with a warm orange glow, a good representation of my fiery temper. next, in a raised voice, i read my invocation to set, using the version from my crystal tablet. i felt every word, seemingly more so than ever before. this may have been partially due to my emotional state. i then turned back around to face the altar, listening to the wind sound effects in the beginning of the call of cthulhu (the piece of music i was using. i visualized a storm with great fury, as my black flame danced around to the furious mood and the furious music. next, a few impromptu words were spoken before i drank from my grail. i began to read what i had written only 15 minutes before hand, shouting it most of the time, and yet trying to stay in control. after all, i wanted this person to get his just

n and their dead gods. in the power of thine own mind, taste of the joys of creative genius [the sorcerer intones each of the following names, striking the phi-gong after each name. upon completion, the synthesizer is retuned to the bells of chaos, and the purification is played while the black flame is extinguished] ki'o azathoth n'kgnath yog-sothoth i'a nyralathotep i'a shub-niggurath ki'clthya cthulhu so it is done! cthulian neter forms, and the angles of the trapezoid azathoth: lord of the first angle. he who laughs and screams. a life force affirmation. satan's tricks, the universal joke (a la crowley. the revelry of life, and the german's "strength through joy. the noetically perceived assurance of ones' unique existence. black magical collateral to lucifer as a maestro of sonic (mus

on of the great work and the continual search for the infernal grail! from the substance of the fourth angle, i push forth my will to touch the mind of the desolate one, master of the masterless, balial, king of the earth, vengeful daimon who trod the deathscapes of yuggoth! hear me o mighty lord of the blasted heath, and attend me, for a hornless one seeks thy audience. armed with the trident of cthulhu, i move it over the surface of the roiling seas and pronounce a doom, and upon its tines show a sign proclaiming, move! attend! and come forth unto me seven headed beast of christian death! surge forth from the chaotic foam, coiled horror of the island of the dead, for i, diabolos rex, brazenly invoke thee [at this time the celebrant takes up a stance beneath the laser trapezoid and commen

te, and for summoning the dark forces at the beginning of the ritual. tesla coil: the coil is used for angular bombardment of the chamber's atmosphere and ionization. coil frequency is tuned to the phi ratio, thus providing enhanced possibilities for separation of the objective and subjective universes through psyche alteration. hanging trapezoid: the hanging trapezoid serves as the gate by which cthulhu and the old ones shall enter the fifth angle. magicians stand beneath the trapezoid during the cthulhu litany and the invocation of the nine angles. classification: v2- c33.l- 1 author: rex diabolos church i date: halloween xxi subject: lovecraftian ritual reading list: 6k, 6l, 7 strobe light: activated during the litany and the invocation of the nine angles, the strobe serves to freeze th

sehoods and vanquishes that which would move to hinder the workers of the infernal command [at this point of the ritual, the synthesizer operator deactivates the stroboscopic lighting retunes the synthesizer to sounds approximating crashing ocean waves and thunder-claps. the tesla coil remains operative, and the voice processor may be modulated further if so chosen [the litany] ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn in his house at r'lyeh, dead cthulhu waits dreaming. but his dark priests have worked their wills upon the world, and forged the unhallowed cycle, and have come to the world of horrors. o sleeping chaos, hear the voices of your hornless ones as we stand upon a great gulf between a sea of bones. the devil's flame is lit, and the unholy worship has begun. we dance wit

. we are nightmare itself, and to see us is to die. the poetry of madness we howl through this black morass. in animal fury and orgiastic license have we whipped ourselves to demonic heights, and with wails and shrieks that tear through worlds like pestilential tempests from the gulfs of hell [priest] ph'nglui mglw'nafh cthulthu r'lyeh tfg'lui fht'agnua [participants] in his house at r'lyeh, dead cthulhu is awakening. on the threshold of the earth's supreme terror, the nightmare corpse-city of r'lyeh, do we stand, loathsome seepage from the dark stars. we have heard thy sendings and dreamed thy dreams, hidden though you are in your vaulted asylum. thy hordes have sent their dreams that spread fear to the profane, and call imperiously to the elect to a diabolical pilgrimage of liberation an

ge of liberation and restoration. from the cosmic majesty of this dripping babylon of elder daemons do your chosen priests come to break the spell of the sleep of symmetry. from the bastions of the earth and lonely places in the world, and through the angles in the sky, have the old ones again returned, harkening to our voices. for we have always been and shall forever more prove to be. yea, dark cthulhu in his dark city is rising again to bring the world beneath his sway. we are not alone among the consciousness within the earth, for dark shapes visit the faithful few. when the stars are right, and the cycle is known, the dark ones come themselves from the stars and bring their images with them. they plunge from world to world through the sky and sleep, but never die. they seethe within p

e not alone among the consciousness within the earth, for dark shapes visit the faithful few. when the stars are right, and the cycle is known, the dark ones come themselves from the stars and bring their images with them. they plunge from world to world through the sky and sleep, but never die. they seethe within pits of rotting corpses inside the great city r'lyeh, preserved by spells of mighty cthulhu for the resurrection by the stars. they talk in their tombs, and have molded our dreams. we are as the old ones, free and wild, and beyond good and evil. laws and morals thrown aside, we shout and kill and revel in joy, with ecstasy and freedom. the world of the profane passes away in sulfurous flame and malignant poison. listen with thy ears, and hear us, dark cthulhu. smell us with thy n

e stars. they talk in their tombs, and have molded our dreams. we are as the old ones, free and wild, and beyond good and evil. laws and morals thrown aside, we shout and kill and revel in joy, with ecstasy and freedom. the world of the profane passes away in sulfurous flame and malignant poison. listen with thy ears, and hear us, dark cthulhu. smell us with thy nostrils, and sense us near, black cthulhu. taste our blood with thy tongue, and know we are thy children, o chaotic cthulhu. open thy eyes and behold thy mighty priests, master cthulhu, for the sleep of symmetry is dead, never to be reborn. that is not dead, which can eternal lie, and with strange aeons, even death may die. ia cthulhu [strike the gong] ia cthulhu [strike the gong] ia cthulhu [strike the gong [as the last sound emi

of the hornless ones! move and appear to join me in this great working, and celebrate again as your copper temple is restored to its rightful place here on this world of horrors! rise azathoth, laughing one in the gulf! move and appear to join me in this great working, and celebrate now as thy flutes wail unto the beginning and ending of time, filling the cylth with terror and delight! rise great cthulhu, deathless master of the ancient dreams, father of magic and eternal serpent! move and appear to join me in this great working, and celebrate as your great house is raised from beneath the abysmal waters in which it has lain for so long. your barnacled tower shall once again pierce the surface of this world of horrors, that you may reign in terror and glory! awaken from your sleep of dream

long. your barnacled tower shall once again pierce the surface of this world of horrors, that you may reign in terror and glory! awaken from your sleep of dreams, for the stars are aright and your time is come! rise great r'lyeh; this portal shall serve as barrier no longer by decree of your priest manifest on earth! ia! nyarlathotep! ia! yog-sothoth! ia! shub-niggurath! ia! azathoth! ia! ia! ia! cthulhu fhtagn [graal sequence. fill the graal as these words are spoken over and into the liquid used. i have chosen a darkly colored fruit juice, apple/grape/raspberry to be specific] behold this brother, a child of darkness, who once again lifts this graal of truth in the continuance of my pact with the powers of darkness, that i shall uphold the oath of fealty to which i am bound, seek the kno

, within and without, that this portal is consecrated in the name of set, prince of darkness [urenz-khrgn, and all the named and nameless forms of his manifestation present on this world of horrors. upon this gate i attach the name of r'lyeh, the sunken city of the sealed and barnacled tower long garlanded with seaweed and shrouded in darkest mystery. it is said that "in his house at r'lyeh, dead cthulhu [lies] dreaming" and when the stars again come aright, all of the great old ones shall bear witness as the tower rises to pierce the fragile fabric of this world, and then they will return to their rightful reign, as they have been protected in death by the spells of great cthulhu for all these aeons past. that time draws near when men shall hail the ancient dreams, and release themselves

he elder gods of death [k'bhal'dysngha. the dark messenger, nyarlathotep, shall again carry the word and speak with men, granting them knowledge of all the great old ones. yog-sothoth, being the key and the way, master who doth order the planes and angles, shall once again give form to the ancient dreams which the cylth[elect of humankind] shall glimpse with renewed vigor of curiosity. then great cthulhu, still dreaming in his house, will wait as all his minions and brothers swim and strive against all manner of obstacles, and arrange themselves to harken his awakening, knowing that the cycle returneth. he shall then be freed to embrace the earth again and make of it his kingdom and defy the elder gods of death anew. wherever men set up the stones and sayeth thrice the forbidden words, sha

quence 4. statement/decription of gate 5. he r'lyeh text 6. symbols and talismans corresponding to yuggothic themes herein. h. taped music and electronic synthesizer (as explained re: ringing the bell. music to be used is as follows: 1. 1. theme from dark shadows television series. 2. 2. nightbreed soundtrack by danny elfman. 3. 3. lost r'lyeh (instrumental version) by well of souls 4. 4. call of cthulhu by metallica. iii. the cylth's attire: a black fully-hooded robe shall be employed, but the cylth may wear whatever s/he wishes beyond this. the appropriate pentagram of set medallion and seal of the order of the trapezoid shall also be employed by the cylth for this rite [note: the cylth may also wish to utilize the seals or symbols of the yuggothic entities as accents to those items ment

SATANGEL

ul sorceries based on these fictional ideas. it has thus become an issue of some controversy. yet, from another perspective, we know little of the true histories of any of the classical grimoire. what is significant is that the magick works k even if the rituals are based on complete fraud. their formula has been copied from the goetic 'merely the names have been changed. the symbol system of the cthulhu mythos, spliced with these basic techniques of sorcery, yields results. something very strange has happened here, illustrating a basic principal of the cunning; just because a belief brings results in the objective world, does not necessitate the objectivity of that belief. the key to this mystery may lie in the sorcerer's arte of dreaming. aside from theories as to the source of the necro

SATANIC RITUALS

11 concerning the rituals 15 the original psychodrama-le messe noir 31 l'air epais-the ceremony of the stifling air 54 the seventh satanic statementdas tierdrama 76 the law of the trapezoid-die elektrischen vorspiele 106 night on bald mountain-homage to tchort 131 pilgrims of the age of fire- the statement of shaitan 151 the metaphysics of lovecraftthe ceremony of the nine angles and the call to cthulhu 173 the satanic baptisms-adult rite and children's ceremony 203 the unknown known 219 the satanic rituals introduction the rituals contained herein represent a degree of candor not usually found in a magical curriculum. they all have one thing in common-homage to the elements truly representative of the other side. the devil and his works have long assumed many forms. until recently, to ca

comprehensive study, the satanic mass. approximately half of the rites contained in this volume can be performed by four or less persons, thereby eliminating problems or failures which can arise if quantity takes precedence over quality in the selection of dramatis personae. where group solidarity and singleness of purpose exists, ceremonies such as das tierdrama, homage to tchort and the call to cthulhu, can be celebrated effectively by a larger number of participants. for the most part, the rites should be begun and ended with the procedures standard to satanic liturgy. these are presented in detail in the satanic bible, and are indicated wherever the term standard sequence, or customary manner (or die equivalent, appears in the present text. accouterments necessary to all rites, as well

shed with painstaking pseudo-documentation and meticulous description of character and setting. it is frequently said that, once one has read lovecraft, one disdains the efforts of the competition. this statement has been consistently difficult to refute. as might be expected, lovecraft was lionized and extensively imitated by a number of writers whose imaginations were sparked by his celebrated "cthulhu mythos"-a term commonly given to a series of stories based upon a supernatural pantheon of lovecraft's own invention. he had a firm conviction that reference to the classical mythologies would undermine the atmosphere of cyclic and spatial disorientation he sought to create. lovecraft created his own beings, whose prehistoric activities on earth set in motion the forces of man's civilizati

objective detachment from one's material was necessary for effective writing. he was wont to mention the most nightmarish of his narratives with a levity bordering upon scorn, as though he did not consider them of genuine literary substance. as an author, lovecraft enjoys an established reputation, but what of lovecraft the philosopher? perhaps the most significant clues to the philosophy in the cthulhu mythos derive from the author's fascination with human history, particularly that of the classical eras. that much of his work used material taken from egyptian and arabian legends is well known. there is evidence that he was acutely aware of civilization's effects upon mankind-both educational and repressive. his tales constantly remind the reader that humanity is but a short step from th

the integrity of the individual can be increased by a rejection of the carnal and an obedience to morality. lovecraft recorded bis aversion to conventional religious dogma in the silver key, and he regarded with a similar scorn those who, rejecting religion, succumbed to a controversial substitute, i.e. the popular notion of witchcraft. the concept of worship per se is strikingly absent from the cthulhu mythos. nyarlathotep, shub- niggurath, yog-sothoth and cthulhu are all honored through bizarre festivals, but their relationship to their followers is invariably that of teacher to students. compare the description of a lovecraftian ceremony to that of a christian mass or a voodoo rite, and it is clear that the element of servility is definitely lacking in the first. lovecraft, like the mi

sco; mendocino on the northern california coast; from the hamptons to montauk in new york; between folkestone and dover on the english channel; the cornish coast west of exmouth, and numerous points along the coast of brittany in france. the list is endless. where men have stood at earth's end contemplating the transition from sea to land with mingled fear and longing in their hearts, the lure of cthulhu exists. any offshore oil drilling platform or "texas tower" is a potential altar to the spawn of the watery abyss. lovecraft seems to have correlated the monsters of the canvasses of a hundred pickmans-the great symbolist painters of the 1890's-into a twentieth century scenario. his fantasies may well have been a conscious projection of the idea expressed so eloquently by charles lamb in h

the gaunts are loose upon the wold, and we shall not pass; but the time shall come when the gaunts will bow before us, and man shall speak with the tongues of the hornless ones. the way is yog-sothoth, and the key is nyarlathotep. hail, yog-sothoth. hail, nyarlathotep. participants: i'a y'gs-othoth. i'a n'ya-1'yht- otp. i'a s'ha-t'n. hail, yog-sothoth. hail, nyarlathotep. hail, satan. the call to cthulhu [this ceremony is to be performed in a secluded location near a major body of water-a large river, lake, or ocean. the ideal site for the proceedings would be a natural stone cavern at the water's edge, but a grove of trees or a concealed inlet will serve. the ceremony must take place at night, preferably at a time when the sky is heavily overcast and the water is tempestuous. no special a

ight, preferably at a time when the sky is heavily overcast and the water is tempestuous. no special articles of attire-such as robesor decorative paraphernalia are to be used. the single exception is that all participants must wear the medallion that bears the seal of satan: it may be dangerous to disregard this provision. a large bonfire is kindled. the celebrant-who will assume the presence of cthulhu-stands above and apart from the participants, holding aloft a torch which has been treated to yield a blackish-blue glare. the celebrant is not present at the beginning of the ceremony. all participants light the bonfire and assemble in a jagged circle about it their eyes are directed toward the blaze for the duration of the ceremony] principal participants: my brothers and sisters of the

lding aloft a torch which has been treated to yield a blackish-blue glare. the celebrant is not present at the beginning of the ceremony. all participants light the bonfire and assemble in a jagged circle about it their eyes are directed toward the blaze for the duration of the ceremony] principal participants: my brothers and sisters of the ancient blood, we are gathered to pronounce the call to cthulhu. i cry again the word of the abyss-that great void of the dark waters and shrieking winds where we lived in ages past. hear the deathless ones, and say with me the call to the eternal serpent who sleeps that we may live. all: ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn. principal participant: i'a k'nark cthulhu kyr'w qu'ra cylth drehm'n el-ak. u'gnyal kraayn (hail, great cthulhu, wh

nal serpent who sleeps that we may live. all: ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn. principal participant: i'a k'nark cthulhu kyr'w qu'ra cylth drehm'n el-ak. u'gnyal kraayn (hail, great cthulhu, who art known to all races of the deep ones who walk upon and beneath the earth. hear thy honored names) all: kraken- poseiden- sabazios- typhon- dagon- setheh- neptune- leviathan- midgard- cthulhu! ph'nglui mglw'nafh cthulhu r'lyeh wgah'nagl fhtagn. i'a cthulhu [the figure of cthulhu appears] celebrant: ph'reng-na y'gth el-aka gryenn'h w'yal'h-ji kyr dy-tral's k'heh. participants: from yuggoth i am come to the world of horrors, here to abide and to rule for all eternity. celebrant: v'kresn vuy-kn grany'h arksh ty'h nzal's naaghs wh'rag-ngla oth'e tryn-yal el-aka gryenn'h. participan

n'ghan-ka fhtagni-kar'n gha'l. vnaa-glyz-zai v'naa-glyz-zn'a cylth. participants: the old ones were, the old ones are, and the old ones shall be again. i am dead, but i sleep and am therefore not dead. from the depths of the waters i come, and from the depths the deep ones also have come. celebrant: v'szel kh'ra-fhtagn k'bahl'dys-n'gha yga'h-h'j n'fhtag'h z'aht. v'glyzz k'fungn cylth-a v'el cylth-cthulhu k'fungn'i. participants: for ages you also have slept through the reign of the god of death, and now you have awakened to life. from the sea i call to the deep ones, and from the earth the deep ones call to cthulhu. celebrant: n'kys ka-naaghs v'prh-gh'nya k'k'aemn'h az'zl-inkh'v naaghs k'zhem'nfi k'zhe-t'h ur-geyl n'el k'fungn i-inkh'v k'nga y'ilth-kai. participants: forget neither the aby

ant: p'garn'h v'glyzz (go now from the sea [the celebrant casts the torch into the bonfire. he retreats to the darkness] celebrant: vuy-kin'e glyz-naaghs y'kh'rain k'r'heyl vuy-kin'el s'nargh's cylth (the angles of the watery abyss are no more, but other angles there are for the deep ones to command) participants: v'yn'khe rohz v'schm'h v'ragsh kyr-reng'ka w'nath-al y'keld v'fnaghn k'aemn'hi. i'a cthulhu! i'a sha-t'n (by the seal of nine and by the shining trapezoid, let none hazard thy wrath, for we are known to the old ones. hail, cthulhu! hail, satan) the satanic baptisms since the formation of the church of satan, many persons wishing to solemnize their newly acknowledged dedication to satanic principles have requested a "baptismal" rite, whereby they might utilize an established form

THE NECRONOMICON SIMON VERSION

aft's short stories with the basic themes of crowley's unique system of ceremonial magick. while the latter was a sophisticated psychological structure, intended to bring the initiate into contact with his higher self, via a process of individuation that is active and dynamic (being brought about by the "patient" himself) as opposed to the passive depth analysis of the jungian adepts, lovecraft's cthulhu mythos was meant for entertainment. scholars, of course, are able to find higher, ulterior motives in lovecraft's writings, as can be done with any manifestation of art. lovecraft depicted a kind of christian myth of the struggle between opposing forces of light and darkness, between god and satan, in the cthulhu mythos. some critics may complain that this smacks more of the manichaen here

to "darkness. these latter are the evil gods who wish nothing but ill for the race of man, and who constantly strive to break into our world through a gate or door that leads from the outside, in. there are certain people, among us, who are devotees of the ancient ones, and who try to open the gate, so that this evidently repulsive organisation may once again rule the earth. chief among these is cthulhu, typified as a sea monster, dwelling in the great deep, a sort of primeval ocean; a being that lovecraft collaborator august derleth wrongly calls a "water elemental. there is also azazoth, the blind idiot god of chaos, yog sothot, azathoth's partner in chaos, shub niggurath, the "goat with a thousand young, and others. they appear at various times throughout the stories of the cthulhu myt

t the yezidis possess a great secret and a great tradition that extends far back into time, beyond the origin of the sun cults of osiris, mithra and christ; even before the formation of the judaic religion, and the hebrew tongue. crowley harkened back to a time before the moon was worshipped, to the "shadow out of time; and in this, whether he realised it as such or not, he had heard the "call of cthulhu. sumeria that a reclusive author of short stories who lived in a quiet neighbourhood in new england, and the manic, infamous master magician who called the world his home, should have somehow met in the sandy wastes of some forgotten civilisation seems incredible. that they should both have become prophets and forerunners of a new aeon of man's history is equally, if not more, unbelievable

and ironically, the first "burnings" of people the anthropologists call "witches. lovecraft's mythos deals with what are known chthonic deities, that is, underworld gods and goddesses, much like the leviathan of the old testament. the pronunciation of chthonic is 'katonic, which explains lovecraft's famous miskatonic river and miskatonic university, not to mention the chief deity of his pantheon, cthulhu, a sea monster who lies "not dead, but dreaming" below the world; an ancient one and supposed enemy of mankind and the intelligent race. cthulhu is accompanied by an assortment of other grotesqueries, such as azathot and shub niggurath. it is of extreme importance to occult scholars that many of these deities had actual counterparts, at least in name, to deities of the sumerian tradition

that same tradition that the magus aleister crowley deemed it so necessary to "rediscover. the underworld in ancient sumer was known by many names, among them absu or "abyss, sometimes as nar mattaru, the great underworld ocean, and also as cutha or kutu as it is called in the enuma elish (the creation epic of the sumerians. the phonetic similarity between cutha and kutu and chthonic, as well as cthulhu, is striking. judging by a sumerian grammar at hand, the word kutulu or cuthalu (lovecraft's's cthulhu sumerianised) would mean "the man of kutu (cutha; the man of the underworld; satan or shaitan, as he is known to the yezidis (whom crowley considered to be the remnants of the sumerian tradition. the list of similarities, both between lovecraft's creations and the sumerian gods, as well a

aft's stories, is presently in preparation and is hoped to be available shortly. until that time, a few examples should suffice. although a list is appended hereto containing various entities and concepts of lovecraft, crowley, and sumeria cross-referenced, it will do to show how the editor found relationships to be valid and even startling. azatot is frequently mentioned in the grim pages of the cthulhu mythos, and appears in the necronomicon as azag-thoth, a combination of two words, the first sumerian and the second coptic, which gives us a clue as to its identity. azag in sumerian means "enchanter" or "magician; thoth in coptic is the name given to the egyptian god of magick and wisdom, tahuti, who was evoked by both the golden dawn and by crowley himself (and known to the greeks as he

the serpent tiamat, and reveals that there was in existence either a cult, or scattered individuals, who worshipped or called up the serpent of the sea, or abyss. indeed, the hebrew word for abyss that is found in genesis 1:2 is, hooke tells us, tehom, which the majority of scholars take to be a survival of the name of the chaos-dragon tiamat or leviathan that is identified closely with kutulu or cthulhu within the pages are mentioned independently of each other, indicating that somehow kutulu is the male counterpart of tiamat, similar to absu. this monster is well known to cult worship all over the world. in china, however, there is an interesting twist. far from being considered a completely hostile creature, dedicated to the erasure of mankind from the page of existence, the dragon is g

ciety, and as such were ostracised, stoned, and deemed mentally unfit for life. but, for them, justice will come when we have realised that the ship of state and the ship of st peter have become mere ships of fools- with captains who course the seas by stars, ignoring the eternal ocean- and then, we will have to look to the prisoners in the hold for navigational guidance. it is there, always, and cthulhu calls. prefatory notes the present manuscript was delivered into the hands of the editor by a priest who had managed to get ordained through uncanonical methods which have been entertainingly described in the several books and articles on the ecclesiastic phenomenon, the "wandering bishops. just such an "unorthodox" prelate was fr. montague summers, who wrote numerous books on demonology

al. perhaps he had opened the door by mistake, his own personal gate to the abyss, and was forced to cross its threshold into the unknown. we may never know. or, we may wish we never had. the editor new york, new york october 12, 1975 chart of comparisons (showing some relationships to be found between the mythos of lovecraft, the magick of crowley, and the faith of sumer) lovecraft crowley sumer cthulhu the great beast as represented in "cthdh 666" ctha-lu, kutulu the ancient ones satan; teitan tiamat azathoth aiwass) azag-thoth the dunwich horror choronzon pazuzu shub niggurath pan sub ishniggarab) out of space the abyss absu; nar mattaru ia! io! iao! ia (jah; ea; lord of waters) the five-pointed grey star carven the pentagram the ar, or ub (plough sign; the original pentagram and the si

rein invariably entail burning something, usually a doll made in the likeness of a witch or evil sorcerer that the magician wished to dispose of. hence, we have here probably the archetype of the great burning times of the inquisition, when people were condemned to a fiery death as witches and pagans. the chant "burn, witch! burn" can be found in the maklu text, in all its pristine glory. indeed, cthulhu calls. the conjuration "the binding of the evil sorcerers" alsi ku nushi ilani mushiti itti kunu alsi mushitum kallatum kuttumtum alsi bararitum qablitum u namaritum ashshu kashshaptu u kashshipanni eli nitum ubbiraanni ili-ia u ishtari-ia ushis-su-u-eli-ia eli ameri-ia amru-usanaku imdikula salalu musha u urra qu-u imtana-allu-u pi-ia upu unti pi-ia iprusu me mashtiti-ia umattu-u eli li n

, 1975 middle eastern mythology new york, 1975 king, l. babylonian magic and sorcery london, 1896 history begins at sumer new york, 1959 kramer, s.n. mythologies of the ancient world (ed) new york, 1961 sumerian mythology pennsylvania, 1972 laurent la magie et la divination chez les chaldeo- assyriennes paris, 1894 lenormant, f. science occult; la magie chez les chaldeens paris, 1874 tales of the cthulhu mythos new york, 1973 at the mountains of madness new york, 1973 lovecraft, h.p. the dunwich horror new york, 1963 the lurker at the threshold (with august derleth) new york, 1971 mason, h. gilgamesh (ed) new york, 1972 neugebauer, o. the exact sciences in antiquity new york, 1969 near eastern texts relating to the old testament princeton, 1958 pritchard, j. the chaldean oracles of zoroast

ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

r, although the end of the first was not seen as it seemed to reach down into the very pit itself. these were followed by still more, and the ground began to tremble under the pressure of so many of these enormous arms. the chanting of the priests, for i knew them now to be the servants of some hidden power, became much louder and very nearly hysterical. ia! ia! zi azag! ia! ia! zi azkak! ia! ia! kutulu zi kur! ia! the ground where i was hiding became wet with some substance, being slightly downhill from the scene i was witnessing. i touched the wetness and found it to be blood. in horror, i screamed and gave my presence away to the priests. they turned toward me, and i saw a loathing that they had cut their chests with the daggers they had used to raise the stone, for some mystical purpos

markings as the stone, but i had the feeling i could almost read the characters, but could not, as though i once knew the tongue but had since long forgotten. my head began to ache as though a devil was pounding my skull, when a shaft of moonlight struck the metal amulet, for i know now what it was, and a voice entered into my head and told me the secrets of the scene i had witnessed in one word: kutulu. in that moment, as though whispered fiercely into my ear, i understood. these are the signs carved upon the grey stone, that was the gate to the outside: an this is the amulet that i held in my hand, and hold to this very day, around my neck as i write these words: of the three carved symbols, the first is the sign of our race from beyond the stars, and is called arra in the tongue of the

he heavens, as also into the hells, i received the formulae for the amulets and talismans which follow, which provide the priest with safe passage among the spheres wherein he may travel in search of the wisdom. but now, after one thousand-and-one moons of the journey, the maskim nip at my heels, the rabishu pull at my hair, lammashta opens her dread jaws, azag-thoth gloats blindly at his throne, kutulu raises his head and stares up through the veils of sunkun varloorni, up through the abyss, and fixes his stare upon me; wherefore i must with haste write this indeed, it appears as though i have failed in some regard as to the order of the rites, or to the formulae, or to the sacrifices, for now it appears as if the entire host of ereshkigal lies waiting, dreaming, drooling for my departure

ely. when the first gate has been entered and the name received, thou wilt fall back to earth amid thine temple. that which has been moving about thy gate on the ground will have gone. recite thine thanksgiving to the gods upon thine altar, strike the sword of the watcher that it may depart, and give the incantation of inanna which say how she conquered the realm of the underworld and vanquisheth kutulu. all idimmu will vanish thereby and thou wilt be thus free to depart the gate and extinguish the fire. thou mayest not call upon nanna till thou hast passed the gate of nanna. thou mayest not call nebo until his gate hast thou passed. similarly for the rest of the gates. when thou hast ascended to the limit of the ladder of lights, thou wilt have knowledge and power over the spheres, and wi

nvocation of the shammash gate spirit of the sun, remember! shammash, lord of the fiery disk, remember! in the name of the covenant sworn between thee and race of men, i call to thee! hearken and remember! from the gate of the beloved ishtar, the sphere of libat, i call to thee! illuminator of darkness, destroyer of evil, lamp of wisdom, i call to thee! shammash, bringer of light, i call to thee! kutulu is burned by thy might! azag-thoth is fallen off his throne before thee! ishnigarrab is scorched black by thy rays! spirit of the burning disk, remember! spirit of the never-ending light, remember! spirit of the rending of the veils of the night, dispeller of darkness, remember! spirit of the opening of the day, open wide thy gate! spirit who rises between the mountains with splendour, open

xorcism) boil! boil! burn! burn! utuk xul ta ardata! who art thou, whose son? who are thou, whose daughter? what sorcery, what spells, has brought thee here? may enki, the master of magicians, free me! may ashariludu, son of enki, free me! may they bring to nought your vile sorceries! i chain you! i bind you! i deliver you to girra lord of the flames who sears, burns, enchains of whom even mighty kutulu has fear! may girra< the ever-burning one, give strength to my arms! may gibil, the lord of fire, give power to my magick! injustice, murder, freezing of the loins, rending of the bowels, devouring of the flesh, and madness in all ways hast thou persecuted me! mad god of chaos! may girra free me! azag-thoth ta ardata! ia marduk! ia marduk! ia asalluxi! you have chosen me for a corpse. you h

covenant that exists between him and thee. know, thirdly, that by the power of the elder gods and the submission of the ancient ones, thou mayest procure every type of honour, dignity, wealth and happiness, but that these are to be shunned as the purveyors of death, for the most radiant jewels are to be found buried deep in the earth, and the tomb of man is the splendour of ereshkigal, the joy of kutulu, the food of azag-thoth. therefore, thine obligation is as of the gatekeep of the inside, agent of marduk, servant of enki, for the gods are forgetful, and very far away, and it was to the priests of the flame that covenant was given to seal the gates between this world and the other, and to keep watch thereby, through this night of time, and the circle of magick is the barrier, the temple

he books of chaos and the flames, and are the books of the shadows and the shells. and they worship the heaving earth and the ripping sky and the rampant flame and the flooding waters; and they are the raisers of the legions of maskim, the liers-in-wait. and they do not know what it is they do, but they do it at the demands of the serpent, at whose name even ereshkigal gives fright, and the dread kutulu strains at his bonds: mummu tiamat queen of the ancient ones! know, sixthly, that thou shalt not seek the operations of this magick save by the rules and governments set down herein, for to do other is to take the most awful risk, for thyself and for all mankind. therefore, heed these words carefully, and change not the words of the incantations, whether thou understand them, or understand

hind me, the armour behind me. be watchful, spirit of the southern ways, and remember! spirit of the south, remember! the invocation of the western gate thee i invoke, spirit of the land of mer martu! thee i invoke, angel of the sunset! from the unknown god, protect me! from the unknown demon, protect me! from the unknown enemy, protect me! from the unknown sorcery, protect me! from the waters of kutulu, protect me! from the wrath of ereshkigal, protect me! from the swords of kingu, protect me! from the baneful look, the baneful word, the baneful name, the baneful number, the baneful shape, protect me! be watchful, spirit of the western ways, and remember! spirit of the west gate, remember! the invocation of the four gates mer sidi! mer kurra! mer urulu! mer martu! zi dingir anna kanpa! zi

eshkigal, protect me! from the swords of kingu, protect me! from the baneful look, the baneful word, the baneful name, the baneful number, the baneful shape, protect me! be watchful, spirit of the western ways, and remember! spirit of the west gate, remember! the invocation of the four gates mer sidi! mer kurra! mer urulu! mer martu! zi dingir anna kanpa! zi dingir kia kanpa! utuk xul, ta ardata! kutulu, ta attalakla! azag-thoth, ta kalla! ia anu! ia enlil! ia nngi! zabao! here follows several particular invocations, for summoning various powers and spirits. there may be words of necromantic art, by which it is desirous to speak with the phantom of someone dead, and perhaps dwelling in absu, and thereby a servant of ereshkigal, in which case the preliminary invocation that follows is to be

ey are distant. they must be reminded. if they are not watchful, if the gatekeepers do not watch the gates, if the gates are not kept always locked, bolted and barred, then the one who is always ready, the guardian of the other side, iak sakkak, will enter and bring with him the hordes of the armies of the ancient ones, iak kingu, iak azag, iak azabua, iak huwawa, ishniggarab, iak xastur, and iak kutulu, the dog gods and the dragon gods, and the sea monsters, and the gods of the deep. watch also the days. the day when the great bear hangs lowest in the sky, and the quarters of the year measured thereof in the four directions measured thereof, for there the gates may be opened and care must needs be taken to ensure that the gates remain forever closed. they must be sealed with the elder sig

t noble power. his word is aggha and his seal: the twenty-seventh name is hegal as the power above, a master of the arts of farming and agriculture. bestows rich harvests. possesses the knowledge of the metals of the earth, and of the plough. his word is burdishu and his seal thus: the twenty-eighth name is sirsir the destroyer of tiamat, hated of the ancient ones, master over the serpent, foe of kutulu. a most powerful lord. his word is this apirikubabadazuzukanpa and his seal: the twenty-ninth name is malah trod the back of the worm and cut it in twain. lord of bravery and courage, and gives these qualities to the priest who desires it, or to others the priest may decide. the word is bachachadugga and the seal: the thirtieth name is gil the furnisher of seed. beloved of ishtar, his power

ereupon the heavens rest. his word is alalalabaaal and the seal is: the thirty-fifth name is zulummar giveth tremendous strength, as of ten men, to one man. lifted the part of tiamat that was to become the sky from the part that was to become the earth. his word is anndarabaal and his seal is: the thirty-sixth name is lugalabdubur destroyer of the gods of tiamat. vanquisher of her hordes. chained kutulu to the abyss. fought azag-thoth with skill. a great defender and a great attacker. his word is agnibaal and his seal is this: the thirty-seventh name is pagalguenna possessor of infinite intelligence, and determines the nature of things not yet made, and of spirits not yet created, and knows the strength of the gods. his word is arrababaal and his seal is this: the thirty-eighth name is lug

fixing their astral bodies as constellations that they may watch the gate of absu the gate of tiamat they watch the gate of kingu they oversee the gate whose guardian is iak sakkak they bind. all the elder powers resist the force of ancient artistry the magick spell of the oldest ones the incantation of the primal power the mountain kur, the serpent god the mountain mashu, that of magick the dead kutulu, dead but dreaming tiamat, dead but dreaming absu, kingu, dead but dreaming and shall their generation come again? we are the lost ones from a time before time from a land beyond the stars from the age when anu walked the earth in company of bright angels. we have survived the first war between the powers of the gods and have seen the wrath of the ancient ones dark angels vent upon the eart

r of the gate, open the door to ishtar and treat her as it is written in the ancient covenant. and ninnghizhidda loosed the bolt from the hatch and darkness fell upon ishtar the dark waters rose and carried the goddess of light to the realms of the night. and the serpent spoke: enter queen of heaven of the great above that kur may rejoice that cutha may give praise that kutu may smile. enter that kutulu may be pleased at thy presence and ishtar entered. and there are seven gates and seven decrees. at the first gate ninghizhidda removed the crown the great crown of her head he took away and ishtar asked why, serpent, has thou removed my first jewel? and the serpent answered thus is, the covenant of old, set down before time, the rules of the lady of kutu. enter the first gate. and the secon

naki, dread judges seven lords of the underworld drew around her faceless gods of absu they stared fixed her with the eye of death withe the glance of death they killed her and hung her like a corpse from a stake the sixty demons tearing her limbs from her sides her eyes from her head her ears from her skull. ereshkigal rejoiced. blind azag-thoth rejoiced iak sakkak rejoiced ishniggarrab rejoiced kutulu rejoiced the maskim gave praise to the queen of death the gigim gave praise to ereshkigal, queen of death. and the elder ones were rent with fear. our father enki lord of magick receiving word by ninshubur ishtar's servant ninshubur he hears of ishtar's sleep in the house of death he hears how ganzir has been opened how the face of abyss opened wide its mouth and swallowed the queen of heav

oc perform their rites. these are the prayers of the ensnarers, the liers-in-wait, the blind fiends of chaos, the most ancient evil. these incantations are said by the hidden priests and creatures of these powers, defeated by the elders and the seven powers, led by marduk, supported by enki and the whole host of igigi; defeaters of the old serpent, the ancient worm, tiamat, the abyss, also called kutulu the corpse-enki, yet who lies not dead, but dreaming; he whom secret priests, initiated into the black rites, whose names are writ forever in the book of chaos, can summon if they but know how. these words are not to be shown to any man, or the curse of enki are upon thee! such are the words: ia ia ia io io io i am the god of gods i am the lord of darkness, and master of magicians i am the

nitiated into our ways, for to do so would be the most frightful error. though they dwell beyond the gate, they may be summoned when marduk is not watchful, and sleeps, on those days when he has no power, when the great bear hangs from its tail, and on the four quarters of the year computed therefrom, and on the spaces between these angles. on these days, the mother tiamat is restless, the corpse kutulu shakes beneath the earth, and our master enki is sore afraid. prepare, then the bowl of tiamat, the dur of indur, the lost bowl, the shattered bowl of the sages, summoning thereby the firik of gid, and the lady shakuguku, the queen of the cauldron. recite the conjuration ia adu en i over it, and build the fire therein, calling gbl when thou dost, after his manner and form. when the fire is

call upon azag-thoth, as he is surely mad. rendered sightless in the battle, he is lord of chaos, and the priest can find little use for him. he is also too powerful to control once called, and gives violent struggle before sent back to the gate, for which only a strong and able magician may dare raise him. thus, for that reason, his seal is not given. of all the gods and spirits of abomination, kutulu only cannot be summoned, for he is the sleeping lord. the magician can not hope to have any power over him, but he may be worshipped and for him the proper sacrifices may be made, so that he will spare thee when he rises to the earth. and the times for the sacrifice are the same times as the sleeping of marduk, for this is when great kutulu moves. and he is the very fire of the earth, and p

rn wall of the place, and the only light shall be of one lamp, set on the altar, and the lamp need not be new, nor the altar, for it is a rite of age and of the ancient ones, and they care not for newness. and the altar should be of a large rock set in the earth, and a sacrifice acceptable unto the nature of the god should be made. and at the time of the calling, the waters of absu will roil, and kutulu will stir, but unless it be his time, he will not rise. and this is the conjuration of the dead god: may nammtar open my eyes that i may see. may nammtar open my ears that i may hear. may nammtar open my nose that i may sense his approach. may nammtar open my mouth that my voice will be heard to the far reaches of the earth. may nammtar strengthen my right hand that i shall be strong, to ke

t. the elder gods of the land the elder goddesses of the land shammash sin adad ishtar have gone to sleep in heaven. they are not pronouncing judgements. they are no deciding decisions. veiled is the night. the temple and the most holy places are quiet and dark. the judge of truth the father of the fatherless shammash has gone to his chamber. o ancient ones! gods of the night! azabua! iak sakkak! kutulu! ninnghizhidda! o bright one, gibil! o warrior, irra! seven stars of seven powers! ever-shining star of the north! sirius! draconis! capricornus! stand by and accept this sacrifice i offer may it be acceptable to the most ancient gods! ia mashmashti! kakammu selah! invocation of the powers spirit of the earth, remember! spirit of the seas, remember! in the names of the most secret spirits o

DEMONIC BIBLE

t noble power. his word is aggha and his seal: the twenty-seventh name is hegal as the power above, a master of the arts of farming and agriculture. bestows rich harvests. possesses the knowledge of the metals of the earth, and of the plough. his word is burdishu and his seal thus: the twenty-eighth name is sirsir the destroyer of tiamat, hated of the ancient ones, master over the serpent, foe of kutulu. a most powerful lord. his word is this apirikubabadazuzukanpa and his seal: the twenty-ninth name is malah trod the back of the worm and cut it in twain. lord of bravery and courage, and gives these qualities to the priest who desires it, or to others the priest may decide. the word is bachachadugga and the seal: the thirtieth name is gil the furnisher of seed. beloved of ishtar, his power

ereupon the heavens rest. his word is alalalabaaal and the seal is: the thirty-fifth name is zulummar giveth tremendous strength, as of ten men, to one man. lifted the part of tiamat that was to become the sky from the part that was to become the earth. his word is anndarabaal and his seal is: the thirty-sixth name is lugalabdubur destroyer of the gods of tiamat. vanquisher of her hordes. chained kutulu to the abyss. fought azag-thoth with skill. a great defender and a great attacker. his word is agnibaal and his seal is this: the thirty-seventh name is pagalguenna possessor of infinite intelligence, and determines the nature of things not yet made, and of spirits not yet created, and knows the strength of the gods. his word is arrababaal and his seal is this: the thirty-eighth name is lug

HP LOVECRAFT HISTORY OF THE NECRONOMICON

al-hazred there supposedly witnessed the horrible rituals at masshu, a mythical island at the mouth of the euphrates upon which utnapishtim, the babylonian noah, supposedly still resides today. whereas lovecraft describes the crimson desert as the place where al-hazred witnessed much of what he wrote down. note also that in the simon version, al-hazred warns against worshipping "iak-sakkak" and "kutulu, whereas lovecrafts claims he did just that. note also the improper use of the a.d. prefix until the next paragraph. kkc in a.d. 950 the azif, which had gained a considerable tho' surreptitious circulation amongst the philosophers of the age, was secretly translated into greek by theodorus philetas of constantinople under the title necronomicon (10) another inconsistency. simon claims that

THE NECRONOMICON SIMON VERSION

r, although the end of the first was not seen as it seemed to reach down into the very pit itself. these were followed by still more, and the ground began to tremble under the pressure of so many of these enormous arms. the chanting of the priests, for i knew them now to be the servants of some hidden power, became much louder and very nearly hysterical. ia! ia! zi azag! ia! ia! zi azkak! ia! ia! kutulu zi kur! ia! the ground where i was hiding became wet with some substance, being slightly downhill from the scene i was witnessing. i touched the wetness and found it to be blood. in horror, i screamed and gave my presence away to the priests. they turned toward me, and i saw a loathing that they had cut their chests with the daggers they had used to raise the stone, for some mystical purpos

markings as the stone, but i had the feeling i could almost read the characters, but could not, as though i once knew the tongue but had since long forgotten. my head began to ache as though a devil was pounding my skull, when a shaft of moonlight struck the metal amulet, for i know now what it was, and a voice entered into my head and told me the secrets of the scene i had witnessed in one word: kutulu. in that moment, as though whispered fiercely into my ear, i understood. these are the signs carved upon the grey stone, that was the gate to the outside: an this is the amulet that i held in my hand, and hold to this very day, around my neck as i write these words: of the three carved symbols, the first is the sign of our race from beyond the stars, and is called arra in the tongue of the

he heavens, as also into the hells, i received the formulae for the amulets and talismans which follow, which provide the priest with safe passage among the spheres wherein he may travel in search of the wisdom. but now, after one thousand-and-one moons of the journey, the maskim nip at my heels, the rabishu pull at my hair, lammashta opens her dread jaws, azag-thoth gloats blindly at his throne, kutulu raises his head and stares up through the veils of sunkun varloorni, up through the abyss, and fixes his stare upon me; wherefore i must with haste write this indeed, it appears as though i have failed in some regard as to the order of the rites, or to the formulae, or to the sacrifices, for now it appears as if the entire host of ereshkigal lies waiting, dreaming, drooling for my departure

ely. when the first gate has been entered and the name received, thou wilt fall back to earth amid thine temple. that which has been moving about thy gate on the ground will have gone. recite thine thanksgiving to the gods upon thine altar, strike the sword of the watcher that it may depart, and give the incantation of inanna which say how she conquered the realm of the underworld and vanquisheth kutulu. all idimmu will vanish thereby and thou wilt be thus free to depart the gate and extinguish the fire. thou mayest not call upon nanna till thou hast passed the gate of nanna. thou mayest not call nebo until his gate hast thou passed. similarly for the rest of the gates. when thou hast ascended to the limit of the ladder of lights, thou wilt have knowledge and power over the spheres, and wi

nvocation of the shammash gate spirit of the sun, remember! shammash, lord of the fiery disk, remember! in the name of the covenant sworn between thee and race of men, i call to thee! hearken and remember! from the gate of the beloved ishtar, the sphere of libat, i call to thee! illuminator of darkness, destroyer of evil, lamp of wisdom, i call to thee! shammash, bringer of light, i call to thee! kutulu is burned by thy might! azag-thoth is fallen off his throne before thee! ishnigarrab is scorched black by thy rays! spirit of the burning disk, remember! spirit of the never-ending light, remember! spirit of the rending of the veils of the night, dispeller of darkness, remember! spirit of the opening of the day, open wide thy gate! spirit who rises between the mountains with splendour, open

xorcism) boil! boil! burn! burn! utuk xul ta ardata! who art thou, whose son? who are thou, whose daughter? what sorcery, what spells, has brought thee here? may enki, the master of magicians, free me! may ashariludu, son of enki, free me! may they bring to nought your vile sorceries! i chain you! i bind you! i deliver you to girra lord of the flames who sears, burns, enchains of whom even mighty kutulu has fear! may girra, the ever-burning one gives strenght to my arms! may gibil, the lord of fire, givepower to my magick! injustice, murder, freezing of the loins, rending of the bowels, devouring of the flesh, and madness in all ways hast thou persecuted me! mad god of chaos! may girra free me! azag-thoth ta ardata! ia marduk! ia marduk! ia asalluxi! you have chosen me for a corpse. you ha

covenant that exists between him and thee. know, thirdly, that by the power of the elder gods and the submission of the ancient ones, thou mayest procure every type of honour, dignity, wealth and happiness, but that these are to be shunned as the purveyors of death, for the most radiant jewels are to be found buried deep in the earth, and the tomb of man is the splendour of ereshkigal, the joy of kutulu, the food of azag-thoth. therefore, thine obligation is as of the gatekeep of the inside, agent of marduk, servant of enki, for the gods are forgetful, and very far away, and it was to the priests of the flame that covenant was given to seal the gates between this world and the other, and to keep watch thereby, through this night of time, and the circle of magick is the barrier, the temple

he books of chaos and the flames, and are the books of the shadows and the shells. and they worship the heaving earth and the ripping sky and the rampant flame and the flooding waters; and they are the raisers of the legions of maskim, the liers-in-wait. and they do not know what it is they do, but they do it at the demands of the serpent, at whose name even ereshkigal gives fright, and the dread kutulu strains at his bonds: mummu tiamat queen of the ancient ones! know, sixthly, that thou shalt not seek the operations of this magick save by the rules and governments set down herein, for to do other is to take the most awful risk, for thyself and for all mankind. therefore, heed these words carefully, and change not the words of the incantations, whether thou understand them, or understand

hind me, the armour behind me. be watchful, spirit of the southern ways, and remember! spirit of the south, remember! the invocation of the western gate thee i invoke, spirit of the land of mer martu! thee i invoke, angel of the sunset! from the unknown god, protect me! from the unknown demon, protect me! from the unknown enemy, protect me! from the unknown sorcery, protect me! from the waters of kutulu, protect me! from the wrath of ereshkigal, protect me! from the swords of kingu, protect me! from the baneful look, the baneful word, the baneful name, the baneful number, the baneful shape, protect me! be watchful, spirit of the western ways, and remember! spirit of the west gate, remember! the invocation of the four gates mer sidi! mer kurra! mer urulu! mer martu! zi dingir anna kanpa! zi

eshkigal, protect me! from the swords of kingu, protect me! from the baneful look, the baneful word, the baneful name, the baneful number, the baneful shape, protect me! be watchful, spirit of the western ways, and remember! spirit of the west gate, remember! the invocation of the four gates mer sidi! mer kurra! mer urulu! mer martu! zi dingir anna kanpa! zi dingir kia kanpa! utuk xul, ta ardata! kutulu, ta attalakla! azag-thoth, ta kalla! ia anu! ia enlil! ia nngi! zabao! here follows several particular invocations, for summoning various powers and spirits. there may be words of necromantic art, by which it is desirous to speak with the phantom of someone dead, and perhaps dwelling in absu, and thereby a servant of ereshkigal, in which case the preliminary invocation that follows is to be

ey are distant. they must be reminded. if they are not watchful, if the gatekeepers do not watch the gates, if the gates are not kept always locked, bolted and barred, then the one who is always ready, the guardian of the other side, iak sakkak, will enter and bring with him the hordes of the armies of the ancient ones, iak kingu, iak azag, iak azabua, iak huwawa, ishniggarab, iak xastur, and iak kutulu, the dog gods and the dragon gods, and the sea monsters, and the gods of the deep. watch also the days. the day when the great bear hangs lowest in the sky, and the quarters of the year measured thereof in the four directions measured thereof, for there the gates may be opened and care must needs be taken to ensure that the gates remain forever closed. they must be sealed with the elder sig

t noble power. his word is aggha and his seal: the twenty-seventh name is hegal as the power above, a master of the arts of farming and agriculture. bestows rich harvests. possesses the knowledge of the metals of the earth, and of the plough. his word is burdishu and his seal thus: the twenty-eighth name is sirsir the destroyer of tiamat, hated of the ancient ones, master over the serpent, foe of kutulu. a most powerful lord. his word is this apirikubabadazuzukanpa and his seal: the twenty-ninth name is malah trod the back of the worm and cut it in twain. lord of bravery and courage, and gives these qualities to the priest who desires it, or to others the priest may decide. the word is bachachadugga and the seal: the thirtieth name is gil the furnisher of seed. beloved of ishtar, his power

ereupon the heavens rest. his word is alalalabaaal and the seal is: the thirty-fifth name is zulummar giveth tremendous strength, as of ten men, to one man. lifted the part of tiamat that was to become the sky from the part that was to become the earth. his word is anndarabaal and his seal is: the thirty-sixth name is lugalabdubur destroyer of the gods of tiamat. vanquisher of her hordes. chained kutulu to the abyss. fought azag-thoth with skill. a great defender and a great attacker. his word is agnibaal and his seal is this: the thirty-seventh name is pagalguenna possessor of infinite intelligence, and determines the nature of things not yet made, and of spirits not yet created, and knows the strength of the gods. his word is arrababaal and his seal is this: the thirty-eighth name is lug

fixing their astral bodies as constellations that they may watch the gate of absu the gate of tiamat they watch the gate of kingu they oversee the gate whose guardian is iak sakkak they bind. all the elder powers resist the force of ancient artistry the magick spell of the oldest ones the incantation of the primal power the mountain kur, the serpent god the mountain mashu, that of magick the dead kutulu, dead but dreaming tiamat, dead but dreaming absu, kingu, dead but dreaming and shall their generation come again? we are the lost ones from a time before time from a land beyond the stars from the age when anu walked the earth in company of bright angels. we have survived the first war between the powers of the gods and have seen the wrath of the ancient ones dark angels vent upon the eart

r of the gate, open the door to ishtar and treat her as it is written in the ancient covenant. and ninnghizhidda loosed the bolt from the hatch and darkness fell upon ishtar the dark waters rose and carried the goddess of light to the realms of the night. and the serpent spoke: enter queen of heaven of the great above that kur may rejoice that cutha may give praise that kutu may smile. enter that kutulu may be pleased at thy presence and ishtar entered. and there are seven gates and seven decrees. at the first gate ninghizhidda removed the crown the great crown of her head he took away and ishtar asked why, serpent, has thou removed my first jewel? and the serpent answered thus is, the covenant of old, set down before time, the rules of the lady of kutu. enter the first gate. and the secon

naki, dread judges seven lords of the underworld drew around her faceless gods of absu they stared fixed her with the eye of death withe the glance of death they killed her and hung her like a corpse from a stake the sixty demons tearing her limbs from her sides her eyes from her head her ears from her skull. ereshkigal rejoiced. blind azag-thoth rejoiced iak sakkak rejoiced ishniggarrab rejoiced kutulu rejoiced the maskim gave praise to the queen of death the gigim gave praise to ereshkigal, queen of death. and the elder ones were rent with fear. our father enki lord of magick receiving word by ninshubur ishtar's servant ninshubur he hears of ishtar's sleep in the house of death he hears how ganzir has been opened how the face of abyss opened wide its mouth and swallowed the queen of heav

oc perform their rites. these are the prayers of the ensnarers, the liers-in-wait, the blind fiends of chaos, the most ancient evil. these incantations are said by the hidden priests and creatures of these powers, defeated by the elders and the seven powers, led by marduk, supported by enki and the whole host of igigi; defeaters of the old serpent, the ancient worm, tiamat, the abyss, also called kutulu the corpse-enki, yet who lies not dead, but dreaming; he whom secret priests, initiated into the black rites, whose names are writ forever in the book of chaos, can summon if they but know how. these words are not to be shown to any man, or the curse of enki are upon thee! such are the words: ia ia ia io io io i am the god of gods i am the lord of darkness, and master of magicians i am the

nitiated into our ways, for to do so would be the most frightful error. though they dwell beyond the gate, they may be summoned when marduk is not watchful, and sleeps, on those days when he has no power, when the great bear hangs from its tail, and on the four quarters of the year computed therefrom, and on the spaces between these angles. on these days, the mother tiamat is restless, the corpse kutulu shakes beneath the earth, and our master enki is sore afraid. prepare, then the bowl of tiamat, the dur of indur, the lost bowl, the shattered bowl of the sages, summoning thereby the firik of gid, and the lady shakuguku, the queen of the cauldron. recite the conjuration ia adu en i over it, and build the fire therein, calling gbl when thou dost, after his manner and form. when the fire is

call upon azag-thoth, as he is surely mad. rendered sightless in the battle, he is lord of chaos, and the priest can find little use for him. he is also too powerful to control once called, and gives violent struggle before sent back to the gate, for which only a strong and able magician may dare raise him. thus, for that reason, his seal is not given. of all the gods and spirits of abomination, kutulu only cannot be summoned, for he is the sleeping lord. the magician can not hope to have any power over him, but he may be worshipped and for him the proper sacrifices may be made, so that he will spare thee when he rises to the earth. and the times for the sacrifice are the same times as the sleeping of marduk, for this is when great kutulu moves. and he is the very fire of the earth, and p

rn wall of the place, and the only light shall be of one lamp, set on the altar, and the lamp need not be new, nor the altar, for it is a rite of age and of the ancient ones, and they care not for newness. and the altar should be of a large rock set in the earth, and a sacrifice acceptable unto the nature of the god should be made. and at the time of the calling, the waters of absu will roil, and kutulu will stir, but unless it be his time, he will not rise. and this is the conjuration of the dead god: may nammtar open my eyes that i may see. may nammtar open my ears that i may hear. may nammtar open my nose that i may sense his approach. may nammtar open my mouth that my voice will be heard to the far reaches of the earth. may nammtar strengthen my right hand that i shall be strong, to ke

t. the elder gods of the land the elder goddesses of the land shammash sin adad ishtar have gone to sleep in heaven. they are not pronouncing judgements. they are no deciding decisions. veiled is the night. the temple and the most holy places are quiet and dark. the judge of truth the father of the fatherless shammash has gone to his chamber. o ancient ones! gods of the night! azabua! iak sakkak! kutulu! ninnghizhidda! o bright one, gibil! o warrior, irra! seven stars of seven powers! ever-shining star of the north! sirius! draconis! capricornus! stand by and accept this sacrifice i offer may it be acceptable to the most ancient gods! ia mashmashti! kakammu selah! invocation of the powers spirit of the earth, remember! spirit of the seas, remember! in the names of the most secret spirits o

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