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level, or spiritual standpoint. the final card is placed in the lower left-hand corner (between water and earth) and this is the earth card. it explains the spiritual aspect in regard to the mundane plane. this card is a very significant card, because in many ways it sums up the other three cards. nw we have what appears to be a cube, or a square. again significant of the cube of the universe as depicted in the book, the sepher yetzirah. a lot of study and time and meditation could be placed on the reading at this point. for spiritual advice on a particular matter, no other cards need be turned over. looking at these cards and meditating on them in their positions and influences can tell us a lot about ourselves, and about where we are and what is influencing us. however, for magical work

18276066 GRIMM JACOB TEUTONIC MYTHOLOGY VOL 1

e of the german cultus, and pleasing to contemplate. but it by no means follows that in the people's fancy the gods were destitute of a form like the human; without this, gods invested with all liuman attributes, and brought into daily contact with man, would be simply inconceivable. if there was any german poetry then in existence, which i would sooner assert than deny, how should the poets have depicted their god but ^vith a human aspect? attempts to fashion images of gods, and if not to carve them out of wood or stone, at least to draw and paint them, or quite roughly to bake them of dough (p. c3, might nevertheless be made at any period, even the earliest; it is possible too, that the interior parts of germany, less accessible to the eomans, concealed here and there temples, statues an

led disorder; so cliildrcn are frightened with her or her equally hideous train :2 'hush, there's hidle-hdz(-bruin, hidlc-popd(-bogie) coming' iiolle-2xicr, as well as hersche, harsche, hescheklas, euprecht, eupper (ch. xvii, house-sprites, is among the names given to the muffled servitor who goes about in holle's train at the time of the winter solstice. in a nurs3ry-tale (marchen no. 24) she is depicted as an old witch with long teeth; according to the difference of story, her kind and gracious aspect is exchanged for a dark and dreadful one. again, holla is set before us as a spinning-wife; the cultivation of flax is assigned to her. industrious maids she presents with spindles, and spins their reels full for them over night; a slothful spinner's distaff she sets on fire, or soils it^ t

kings and heroes in battle also fight in chariots. an 6xni^ for the god of thunder would at once be suggested by the natural phenomenon itself; and the conception of the sun-chariot driven by helios must also be very ancient. tlie' 0. miiller's archaeol. 559. 328 condition of gods. car of here, and how she harnesses her steeds to it, mounts it in company with athene, and guides it, is gorgeously depicted in ii. 5, 720-76; so likewise demeter and kora appear seated in a carriage. hermes is drawn by rams^ as the norse thorr [by hegoats. the okeanides too have their vehicle, aesch, prom. 135. but never are zeus, apollo, hermes or any of the most ancient gods imagined riding on horseback; it is dionysos, belonging to a different order of deities, that first rides a panther, as silenus does th

3 8 INITIATION CEREMONY

ur, equilibrated; whilst asch is the name of fire. the 31st path of the sepher yetzirah which answereth unto the letter shin, is called the perpetual intelligence, and it is so called because it regulateth the motions of the sun and moon in their proper order, each in an orbit convenient for it. it is therefore the reflection of the sphere of fire, and the path connecting the material universe as depicted in malkuth, with the pillar of severity on the side of geburah, through the sephira hod. hierophant, hegemon and theoricus come to west of altar. hiero: before you upon the altar is the 20th key of the tarot, which symbolically resumes the ideas. to the uninitiated eye it apparently represents the last judgement, with an angel blowing a trumpet and the dead rising from the tombs. but its

4 7 INITIATION CEREMONY

icities of the zodiac (places cross aside) the 29th path of the sepher yetzirah which answereth to the letter qoph, is called the corporeal intelligence, and it is so called because it formeth every body which is formed beneath the whole order of worlds, and the increment of them. it is there, the reflection of the sphere of the watery sign pisces, and the path connecting the material universe as depicted in malkuth, with the pillar of mercy, and the side of chesed through the sephira netzach. and through it do the waters of chesed flow down. hiero: heg: pract: move to west of altar. hiero: before you upon the altar is the 18th key of the tarot, which symbolically resumes these ideas. it represents the moon with four hebrew yods, like drops of dew falling, two dogs, two towers, a winding p

A PRACTICAL GUIDE TO WITCHCRAFT AND MAGICK SPELLS

cting, magick- in the form of dances, chants and cave paintings of animals- to attract the herds of animals that provided for the needs of the group, and to bring fertility to humans and animals alike. hunters would re-enact the successful outcome of a hunt and would carry these energies into the everyday world. offerings were made to the mistress of the herds and later to the horned god, who was depicted wearing horns or antlers to display his sovereignty over the herds. animal bones would be buried so that they, like humankind, would enjoy rebirth from the earth mother's womb. where hunter-gatherers today continue the unbroken tradition that stretches back thousands of years- for example, among the lapps in the far north of scandinavia and the inuits- these rites continue, led by a shama

n, or magick man, who negotiates with the mistress of the herds or fish in a trance for the release of the animals. one of the earliest recorded examples of shamanism is the dancing sorcerer. painted in black on the cave walls of les trois freres in the french pyrenees, this shamanic figure, which portrays a man in animal skins, dates from about 14000 bc and stands high above the animals that are depicted on the lower walls. only his feet are human and he possesses the large, round eyes of an owl, the antlers and ears of a stag, the front paws of a lion or bear, the genitals of a wild cat and the tail of a horse or wolf. by the neolithic period, which began around 7500 bc and lasted until about 5500 bc, the huntergatherer culture had given way to the development of agriculture, and the god

ificance than her male counterpart. others regard them as equal, assuming different aspects according to the season and ritual: she as the earth or moon deity, ruler of the summer months, he as the sun or corn god, ruler of winter and lord of the underworld after his death. along with other nature deities, the horned god became demonised with the advent of christianity, and the goddess was either depicted as a wicked witch or downgraded to the status of a faerie. thus the celtic warrior goddess maeve became the faerie mab, described thus by mercutio in shakespeare's romeo and juliet: she is the fairy's midwife, and she comes in shape no bigger than an agate-stone on the fore-finger of an alderman. contrary to popular belief, wiccans do not 'hex (cast curses) or seek revenge, although some

is especially associated with the life force and renewing health and energy. horus horus was the ancient egyptian sky god, represented as a falcon or a falcon-headed man. his eyes were the sun and moon and his wings could extend across the entire heavens. he was frequently associated with the morning aspect of ra, the sun god, and worshipped as re-harakhte. the son of isis and osiris, he is often depicted as an infant on his mother's lap and together the parents and child form a trinity. horus brings clarity of mind and purpose and the ability to seize upon an opportunity, and is effective for uncovering secrets, deception and illusion. lugh lugh, the celtic 'shining one, who gives his name to lughnassadh, celtic festival of the first harvest, was the young solar deity who replaced the dag

f-confidence rituals. she carries a sword and wears a helmet. kali kali, the dark side of the hindu mother goddess, came into being when shiva, the husband of the mother goddess shakti, taunted her for her dark skin. in fury she carried out rituals until her skin became golden inside. shakti then shed her black outer skin like a snake and it formed the avenging destroying persona of kali. kali is depicted with her four arms holding weapons and the heads of her victims, her tongue lolling out, and covered in blood, signifying her power over life and death. she is often pictured dancing on shiva whose body she trampled on, destroyed and then danced on once more to restore him to life. kali is invoked to remove fear and, it is said, to bring bliss to her devotees, and so she brings protection

cerunnos' importance has been in his continuing presence as the horned god, the male principle in witchcraft through the ages, in modern wicca and other neo-pagan faiths. he is also invoked for prosperity, fertility, instinctive power and knowledge of when it is necessary to hunt, whether to find employment or a home, and as protection against predators of all kinds. dionysus dionysus, sometimes depicted as a horned god, was a god of the grain, who died and was reborn every year as a child in a basket, representing the seed corn. he was the greek god of fertility, ecstasy and wildness, who bestowed great abundance on his followers; his cult performed savage rites at eleusius where human flesh was eaten as the bread of life. not an easy deity to use, without great experience and restraint

ping you to speak the truth that is in your heart. hermes can also be invoked for all medical and commercial matters, for good fortune of all kinds and for peaceful sleep. minerva minerva is the roman goddess of wisdom, who ruled with jupiter and juno as the triumvirate of justice and wise power. she also controlled commerce and all crafts and is credited with the invention of music. she is often depicted in armour. minerva, whose creature is the owl, can be invoked in employment rituals and for the development of skills, retraining and musical ability as well as for truth and justice. unlike bellona (see page 70) and the warlike gods, both athena and minerva are used in rituals for using legal means or oratory and persuasion, rather than direct action, to overcome injustice. thoth thoth w

ke bellona (see page 70) and the warlike gods, both athena and minerva are used in rituals for using legal means or oratory and persuasion, rather than direct action, to overcome injustice. thoth thoth was the ancient egyptian god of the moon, wisdom and learning. he was also god of time, languages, law and mathematical calculations, who invented the calendar and hieroglyphic writing. he is often depicted with the head of an ibis although he was worshipped as a baboon in hermopolis. appeal to him for all matters of magical wisdom, learning, intellectual pursuits, examinations and better time management. wise woman deities these goddesses are for transformation rituals, for endings that become beginnings and for accepting what cannot be changed. cailleach cailleach, meaning' the veiled one

and his colour is the deep blue or purple of midnight. raphael raphael is the healer and travellers' guide and is often associated with mercury, the messenger of the dawn. he is the angel who offers healing to the planet and to mankind and all creatures on the face of the earth and in the skies and waters and the promise that tomorrow really is another day. he is also guardian of the young. he is depicted with a pilgrim's stick, a wallet and a fish, showing the way and offering sustenance to all who ask. raphael stands in the east and his colour is yellow. michael archangel of the sun and light, michael is the warrior angel. he appeared to moses as the fire in the burning bush and saved daniel from the lions' den. as commander of the heavenly hosts, michael, with his flaming sword, drove s

ick of the native american indians. the spokes of the medicine wheel link the celestial, human and natural cycles. the medicine wheel was made of stones and could be created wherever a tribe camped. some were 90 feet in diameter, but research suggests that some were much smaller and were placed around ceremonial tepees to be used not only by the shaman but also by anyone seeking a spiritual path. depicted around the wheels are totem, or power, animals, representing each birth month and season, the four main directions and winds. the totems vary according to each tribe's mythology. there are more than 500 different systems in north america alone. in the southern hemisphere, as i explained on page 42, practitioners can re-time the magical associations so that, for example, the midwinter sols

ADEPTUS MINOR INITIATION

tals, representing the interchanging energies of m and the elements (chief leads aspirant out of tomb. two adepts replace altar, and all resume their places as at beginning of third point) chief "the head of the pastos is white, charged with a golden greek cross and red rose of 49 petals. the foot is black with a white calvary cross and circle placed upon a pedestal of two steps. on the sides are depicted the 22 colors of the paths, between light and darkness (aspirant is placed between lid and pastos. chief stands facing him on opposite side of the pastos) chief "now is the final consecration in the tradition of the ancients. we seal this rite with the most mystical mark, the mark of membership of the roseae rubeae et aurea cruces" wall of the vault 32 minutum mundum cross of victory 33 r

ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

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 heresy than it does of genuine christian dogma; yet, as a priest and former monk, i believe it is fair to say that this dogma is unfortunately very far removed from the majority of the faithfu

god and goddess also had both a good and an evil nature, and evil gods were banished in the exorcism formulae of that civilisation as well as the lesser forms of demon. the horned moon as mentioned, the god of the moon was called nanna by the sumerians. by the later sumerians and assyrians, he was called sin. in both cases, he was the father of the gods (of the planetary realm, the zonei, and was depicted as wearing horns, a symbol familiar to the witches as representative of their god. the horn shaped crown is illustrative of the crescent phases of the moon, and were symbolic of divinity in many cultures around the world, and were also thought to represent certain animals who were horned, and worshipped for their particular qualities, such as the goat and bull. they also represent sexual

and worshipped for their particular qualities, such as the goat and bull. they also represent sexual power. the fact that, in ancient sumeria and egypt, horns were solely representative of evil gods, but of many different deities, was used by the christian church in their attempt to eradicate pagan faiths. it was a simple enough symbol to identify with the author of evil, satan, which the church depicted as a half-animal, half-human creature with horns, claws, and sometimes a tail. the church's use of the horns as a sort of archetype of evil is quite similar to the feeling many people have today with regards to the swastika used by the nazis, a symbol which has become the archetype of an evil sigil in the west. the fact that it is a highly valued mystical and religious symbol in the east

ie so amply recreated in the book and the movie by blatty, the exorcist, and similarly recognised as the devil himself by the church. pazuzu, the beast, was brought to life by aleister crowley, and the demon walked the earth once more. with publicity provided by h.p. lovecraft. the devil pazuzu was a prime example of the type of devil of which the sumerians were particularly aware, and which they depicted constantly in their carvings and statues. the purpose of this iconography was to ward off the spiritual- and psychic- circumstances which would precipitate a plague, or some other evil "evil to destroy evil" although the ancient people of the world were conscious of an entity we might call the :author of all evil, the devil or satan, as evident in the sumerian creation epic and the rumour

ALEISTER CROWLEY LIBER 777

esheth (tharpesht) is unknown prior to g.d. material, although she appears to be a hybrid of bast and sekhet. line 24: typhon was a monster in greek myth, probably a personification of destructive forces of nature, who was identified with set in late classical times. add selket, whose symbol was the scorpion. i have no idea what khephra is doing here. line 25: add neith (net) who is traditionally depicted with a bow and arrows. line 26: khem is identified by budge (op. cit, i, 97) with the phallic god min or amsu, and is said to have been the god of apu (panopolis. line 28: ahephi is hapi, one of the children of horus. line 29: add hequet (hekt. line 31: kabeshunt is probably qebhsennuf, one of the children of horus. line 32: i have no idea who mako is. in the golden dawn z1 paper the chil

ALEISTER CROWLEY THE OLD AND NEW COMMENTARIES TO LIBER AL

it is impossible to grasp this subject properly by reason; only the understanding developed by meditation and spiritual experience avails. initiation is pantomorphously progressive. note that the secret divine letter sht which is the key of this book is by shape the sun united with the moon c= sh, o= t co= sht. weh note: elsewhere crowley calls this sign "the secret sigil of the beast" and it is depicted by a crescent attached to the left side of a circle. sometimes the circle is dotted. sometimes the greek lower case letters sigma-theta are written connectively for this (vide. liber mcclxiv, value 209, first edition, otonl-6 and note 28. al i,17 "but ye are not so chosen" the old comment 17 "ye" refers to the other worshippers of nuit, who must seek out their own election. the new commen

ALEISTER CROWLEY EQ I 5

titute the blood of someone else for their own blood, because they wanted to keep their personalities) 13 weh note: this is exactly the case in merkabah qabalah. these visions of crowley's are beyond the sephiroth as are the visions of the merkabah or chariot that is a part of them. traditional qabalah is very much in accord with his experience at this point. the sephiroth of the tree of life, as depicted in the standard tree and the golden dawn material, are not compatible with the visions approaching and beyond the abyss. there are other configurations, some including modified conceptions of the sephiroth, that do apply in some degree. see the "thelema lodge "calendar, issues for may and june of 1990 e.v. and a great bell begins to toll. and there come six little children out of the floo

ALEISTER CROWLEY EQUINOX EQ I 2 2

ft, six steps reaching up from the base (which forms a seventh step on this side only) to the middle of the altar at right. the altar is rectangular, height half length, with a horizontal carrying bar passing through two rings and extending on either side. the horns of the altar are represented (inaccurately) by two spiral horns sloping upward and away from the top corners of the altar. a fire is depicted as rising from the top center of the altar. the base and top of the detachable altar are depicted with rectangular copings extending slightly beyond the body, upper one thicker. the heptagram itself refers to the seven days of the week, and may also be made to show how their order is derived from the planets when placed at the angles of the heptagram. the lamp within the centre represents

n hb:aleph (ash) is the name of fire "the thirty-first path of the sepher yetzirah, which answereth to the letter hb:shin, is called the perpetual intelligence; and it is so called because it regulateth the motions of the sun and moon in their proper order; each in an orbit convenient for it. it is, therefore, the reflection of the sphere of fire; and the path connecting the material universe, as depicted in malkuth, with the pillar of severity and the side of geburah through the sephira hod" 11 this introduction of the samothracian mysteries is evidently a straining after effect. they were of a much lower order than the eleusinian, and a great deal more obscure; in fact, even at the time, people could not define with anything like accuracy what the kabiri really were. the student will fin

sources. the same is true of the particular method of division of this tree into the trees of life and the knowledge of good and evil "diagram 33. the garden of eden" this figure can be divided into three units, one atop the other. at the top is a large ring-circle. it contains a depiction of the sun with the name hb:aleph hb:bet hb:yod hb:aleph inside. there is a winged and crowned woman mostly depicted above the sun, with wings extending far beyond the larger ring. five stars are above the points of her crown, her hands appear to either side of the sun, and her lower gown and feet rest on a crescent moon (horns upward. to the left of her right hand is hb:mem-final hb:yod hb:heh hb:lamed hb:aleph. to the right of her left hand is hb:heh hb:vau hb:heh hb:yod. written on the crescent below

gemini_ taurus aquarius cancer scorpio leo_ virgo_ libra_ sagittarius_ capricorn_ pisces_ diagram 38. the calvary cross of twelve squares. illustration on page 278 described "diagram 39. the serpent of brass. this is a stylized tree of life. all ten sephiroth are represented by small white holes in black rings, like iron. the central pillar is the only vertical, and all three horizontal paths are depicted alike, as solid black strips connecting the sephiroth. the whole has the appearance of a grand hierophant's cross or patriarchal cross with perforated circular bosses. entwined mostly over and sometimes behind this cross is a serpent in the usual configuration for tail on path 32, all paths crossed in order, and head on path 11. only the paths represented by the cross are actually shown

ALEISTER CROWLEY EQUINOX EQ I 3 2

o the left by the symbols of the elements and the middle three with the hebrew mother letters to the right. the five sections of the shaft are marked from top to bottom thusly: white, dee red hb:shin, air yellow hb:aleph, water blue hb:mem, spirit black. illustration on page 211 described "diagram 66. the phoenix wand" this wand is shaped like the wes scepter, except that the slant top is clearly depicted as a head of anubis with elongated ears. the top of the shaft is white and the fork to the bottom completes a black band. between the white and black zones are seven bands with planetary symbols to the right and hebrew letters to the left. from top to bottom these are: mars hb:peh, sun hb:resh, mercury hb:bet, venus hb:dalet, moon hb:gemel, saturn hb:taw, jupiter hb:koph [all then face ea

ide: hb:heh hb:vau hb:shin hb:heh hb:yod. lower right, read from inside "mihi. lower left, read from inside "omnia [the "chief adept" then points out that the head end of the pastos is white and is charged with a golden greek cross and red rose of forty-nine petals,9 that the foot is black, with a white calvary cross and circle upon a pedestal or da s of three 222 steps, and that on the sides are depicted the twenty-two colours of the paths between light and darkness. the chief then gives the aspirant the grip of this grade and the third point is finished] illustration on page 223 described "diagram 81. the cross at the foot of the pastos" this is a square in solid black with a structure in solid white defined on it. the structure is a celtic cross on a three-step dais. this is seen as a c

ALEISTER CROWLEY EQUINOX EQ I 3

at powder. it is then to be kept in the dark standing upon a flashing tablet of jupiter for seven days. at the end of this time there should be a slight flashing about it, but if this come not yet, repeat the operation, up to three times, when a faint flashing light is "certain" to come. illustration on page 168 partly described and partly approximated: the layout is as shown, but the receiver is depicted as a cross section with rounded bottom and slightly inward sloping sides, two horizontal lines out to either side at top. in this outline is a circumscribed hexagram with point to top to represent the distillate. the curcurbite with dead head is represented as two figures, to the left a cross section of a slender container with rounded bottom and slightly inwardly sloping sides, horizonta

ALEISTER CROWLEY EQUINOX EQ I 4

le with a white or gray interior. the lower 3/5's of the rectangle is occupied by a frontal nude man 87 "ibid, chap. ii, 32. this chakkra corresponds to tiphareth. 88 "ibid, chap. v, 82. 89 "ibid, chap. v, 85, 86, 87. 90 "shiva sanhita" chap. v, 110. 91 "ibid, chap. v, 49. 92 though all hindu works proclaim that the sahasr ra has but one thousand petals, its true number is one thousand and one as depicted in the diagram called the yogi. 10001= 91 xx 11 (hb:nun-final hb:mem hb:aleph x hb:yod hb:nun hb:dalet hb:aleph; 91= hb:heh hb:vau hb:heh hb:yod+ hb:yod hb:nun hb:dalet hb:aleph 11= abrahadabra= 418 (38 x 11= achad osher, or one and ten= the eleven averse sephiroth= adonai. also 91= 13 x 7 hb:dalet hb:chet hb:aleph x ararita, etc, etc. 11 is the number of the great work, the uniting of th

brahadabra= 418 (38 x 11= achad osher, or one and ten= the eleven averse sephiroth= adonai. also 91= 13 x 7 hb:dalet hb:chet hb:aleph x ararita, etc, etc. 11 is the number of the great work, the uniting of the five and the six, and 91= mystic number (1+2+3+ 13) of 13= achad= 1. 93 "ibid, chap. v, 50. exactly as described in the padmasana asana described on page 83. he is bald. the six chakras are depicted as abstract devices at the positions described in the above text. muladhara is placed at the intersection of the crossed ankles, with a bit of the left ankle showing above and the symbol extending below the ankles: a dark disk with four petals created by the intersection of to vesicas, one horizontal and the other vertical. the area of intersection is white, the petals outside each have a

of inverted wings coming up like antlers to either side. the white brilliance is represented by 35 visible shaded beams radiating in all directions from the center of the crown band, behind it and stopping only at the clouds emanating from behind the knees "the head and neck of a beautiful woman with a stern and fixed expression, and hair long dark and waving- as described, but crude features are depicted. the hair comes down in two loose falls resembling braids to the waist on either side of the torso "the arms and hands, which are bare and strong, stretched out to the right and left at right angles to the body, in the left hand a gold cup and in right ears of ripe corn- the hands are clenched about these objects, palmer to the fore. the cup is ornamented by vertical, narrow bulges about

the arms and hands, which are bare and strong, stretched out to the right and left at right angles to the body, in the left hand a gold cup and in right ears of ripe corn- the hands are clenched about these objects, palmer to the fore. the cup is ornamented by vertical, narrow bulges about the bowl. the corn is british corn or wheat "from her shoulders dark spreading wings- as described, feathers depicted with primaries and secondaries. hb:aleph white light there. hb:dalet (6) having thus formulated the letters, take a deep breath hb:tzaddi hb:resh hb:aleph hb:heh hb:nun hb:yod hb:nun hb:dalet hb:aleph and pronounce the name slowly making the letters flash hb:yod (7) invoke the telesmatic image. let it fill the universe. hb:heh (8) then whilst once again vibrating the name absorb it hb:ale

this is written in the wrong direction for the alphabet of honorius "her feet are flesh coloured, and she wears golden sandals- as described, the sandals are open strap with two or three cross straps and a single long strap "her long yellow-green drapery is rayed with olive- looks like silk harem pants "and beneath her feet roll black clouds lit with lurid patches of colour- these are most oddly depicted. starting at the area behind the knees, there is a stretched out cloud with most of its bulk upwards to the center; it cuts off the radiant beams from the crown. there are two patchy clouds to the left on the illustration and three to the right below this large one. the figure is walking on something that looks like a cross between a dried lotus seed pod and a transected mud-daubber nest

e breaks. i seemed to collapse suddenly. went to devachan179 on astral journey. i found myself surrounded 116 by a wonderful pearly lustre, and then among great trees between the branches of which bright birds were flying. after this i saw a captain on his ship and also a lover contemplating his bride. the real inhabitants of this land to which i went were as of flame, and the imaginary ones were depicted as we physical beings are. then the images of my vision sped past me rapidly. i saw a mountaineer; my father preaching with me in his old home; my mother, his mother; a man doing rajayoga on white god-form. at last a wave of pale light, or rather of a silky texture passed through and over me; then one of the strange inhabitants passed through me unconscious of me, and i returned. golden d

ALEX SANDERS THE KING OF THE WITCHES

extent nqwa,days? a: both are, very much..people are still murdered by them, and unlike voodoo, the victim need not v.ecessa.illy be told of the curse. q: what equipment does a witch require /1: to begin with, nothing more than a, simple robe<\j:ld an athame.-a black-handled knife. before taking the secondgrade initiation he must ha,vethe full regalia of eight weapons. q: why are witches usually depicted as ugly old crones with broomsticks? a: the broomstick is the phallic symbol, and witchcraft has always been primarily a fertility cult; the women were originally shown as being ugly because at first they were feared, and then ridiculed. q: in all the time that witchcraft has been worked, have there been no major victories? a: certainly. when the armada was sighted in july 1588, witches a

ALICE A BAILEY04 A TREATISE ON COSMIC FIRE

in what corresponds to the head centre in man, if the planetary logos is of very advanced development. b. in the planetary correspondence to the heart centre. the throat centre is, of course, ever vibrant in all the logoi, as all are fully intelligent creators, having perfected this capacity in an earlier solar system. students should here bear in mind that these centres of force are to be found depicted in the central triangles upon the chart on page 373, though no indication is to be found through a study of such triangles as to the relative attainment of the planetary logos. within the chains likewise, will be found corresponding centres of energy, and also within the dense physical body of the logos of any scheme, the physical planet. one such centre is to be found at the north pole

h seven leaves and three white flowers" venus the school with five strict grades. this again is a planetary scheme closely related to ours, but its planetary logos is in a more advanced group of students in the cosmic sense than is our planetary logos. most of its hierarchical instructors come from the fifth cosmic plane, and are a peculiar group of manasadevas of very exalted rank. they are each depicted in the archives of our hierarchy as holding a trident of fire surmounted by five green emeralds. mars the school for warriors, or the open grades for soldiers. four of these planetary schools are responsible for the energy flowing through the foremost exponents of the four castes and this not only in india but in all parts of the world. its teachers are spoken of as the "graduates of the

make exoteric) is a radiant cross of coloured light; it has the long limb formed of the seven colours of the solar spectrum, and the transverse limb is composed of twelve gradations of colours as yet unknown to man. in the centre of the cross is to be seen a five-pointed star in a deep indigo shade, and behind it is a blazing sun of a warm dark blue. above the whole are certain sensa characters, depicted in gold, and conveying to the initiated adept the name of one or other of the planetary schools in which this particular line of study is undertaken. there are, as has been already said, seven such schools and candidates for this path from our planetary scheme are transferred to the inner round- 747- a treatise on cosmic fire copyright 1998 lucis trust and from thence to the jupiter schem

ALICE A BAILEY05 THE LIGHT OF THE SOUL

f the soul and its unfoldment. in the gita we have given us (in its eighteen chapters) a description of the soul, of krishna, the second aspect, in his true nature as god in manifestation, culminating in that marvellous chapter where he reveals himself to arjuna, the aspirant [page xiii] as the soul of all things, and the point of glory behind the veil of every form. in the new testament there is depicted for us the life of a son of god in full manifestation, wherein, freed from every veil, the soul in its true nature walks the earth. it becomes apparent to us, as we study the life of christ, what it means to develop the powers of the soul, to attain liberation, and become, in full glory, a god walking on earth. in the yoga sutras there are embodied for us the laws of that becoming, and th

rbable pertinacity and who go steadily, undeviatingly forward, eventually arriving at their goal. they are distinguished by intense tenacity. their progress is slow. they are the "tortoises" of the path just as the first group are the "hares" in some of the old books there are detailed accounts of these three groups of aspirants and they are portrayed under three symbols: 1. the intense group are depicted as goats, and aspirants of this type are frequently found in incarnation under the sign capricorn, 2. the moderate group are depicted by a fish, and many born under the sign pisces are found in this category, 3. the gentle or slow group are pictured as crabs and often come into incarnation under the sign cancer. in these three groups are to be found various subdivisions and it is interest

he three worlds is shown. this is the state of the master or the adept, of the soul who has come into its birthright, and is no longer under control of the forces and energies of the lower nature. there is given in this and the following three sutras, a picture of the liberated man who has passed through the cycle of incarnation and through struggle and experience has found the true self. here is depicted the nature of the solar angel, the son of god, the ego or the higher self. he is stated to be 1. untouched by limitation. he is no longer "cribbed, cabined and confined" by the lower quaternary. he is no longer crucified upon the cross of matter. the four lower sheaths dense, etheric, emotional and mental are no longer his prison. they are but instruments which he can use or vacate at wil

ed is constant meditation upon such great identities as krishna, the buddha and the christ, who have freed themselves from all sense reactions. this thought is brought out in some of the translations, but though indicated from one point of view, does not seem to be the main idea intended. freedom from attachment is brought about as the fires of desire are overcome, and though the sacral centre is depicted as having specific relation to the sex nature, yet that sex nature (as it expresses itself on the physical plane) is symbolic of any attachment between the soul and any object of desire other than the spirit. 38. peace (steadiness of the chitta) can be reached through meditation on the knowledge which dreams give- 52- the light of the soul copyright 1998 lucis trust the significant words

ts effects and produces the physical vehicle in its two aspects- 82- the light of the soul copyright 1998 lucis trust a. lower manas, or concrete mind is the basic factor in the production of the etheric body. b. kama, or desire is the prime factor in calling the dense physical vehicle into being. the two together are responsible for manifested existence. it is well known that the tree of life is depicted with the roots above and the flowering leaves downwards. in the tiny tree of life of the ego the same symbolic presentation holds true. the roots are found on the mental plane. the flowering forth into objectivity and fruition is to be seen on the physical plane. therefore it is necessary for the aspirant to lay the axe to the root of the tree, or to deal with the thoughts and desires whi

ropriate means, the seeing of divine beings can be accomplished by concentration upon that part of the body more nearly connected with them. this point the end of- 173- the light of the soul copyright 1998 lucis trust brahmarandhra-nadi is also the place where the connection is made between man and the solar forces" it is this light which causes the "face to shine" and is responsible for the halo depicted around the head of all saints and masters and which is seen by those with clairvoyant vision around the head of all advanced aspirants and disciples. dvivedi also gives the same teaching in the following words "the light in the head is explained to be that collective flow of the light of sattva which is seen at the brahmarandhra which is variously supposed to be somewhere near the coronal

ALICE A BAILEY07 FROM INTELLECT TO INTUITION

hway of light leads out. this has sometimes been called "the path" and there is a possibility that the prophet was not speaking merely symbolically when he said that "the path of the just is as a shining light that shineth more and more until the day be with us" in this light in the head, which seems a universal accompaniment of the illuminative state, we have probably also the origin of the halo depicted around the heads of the illuminati of the world. much investigation remains to be done along this line, and much reticence and prejudice has to be overcome. but many are beginning to record their experiences and they are not the psychopathics of the race, but reputable and substantial workers in the varying fields of human endeavor. the time may shortly be with us when the fact of illumin

ALICE A BAILEY08 A TREATISE ON WHITE MAGIC

nd real. i have sought in the above few phrases to give the gist of what is expressed in the commentary, through the means of a few symbols and a cryptic text. these old scriptures are not read in the way modern students read books. they are seen, touched and realized. the meaning is disclosed in a flash. let me illustrate: the words "the one enunciates the word which drowns the triple sound" are depicted by a shaft of light ending in a symbolic word in gold superimposed over three symbols in black, rose and green. thus are the secrets guarded with care. i felt it might be of interest to students to know this much about this ancient test book of the adepts- 46- a treatise on white magic copyright 1998 lucis trust our consideration of this rule will fall into two parts: the relation between

orth and lose their master- 123- a treatise on white magic copyright 1998 lucis trust the work of the eye the work of the eye we have for consideration now one of the simplest of the rules for magic yet at the same time one of the most practical, and one upon which the entire success of all magical work depends. i would like to point out to the investigating aspirant that the key to the situation depicted in the rule lies in the word contemplation found in the preceding one. let us therefore study that word with care and seek its accurate definition. to contemplate involves steady vision, one-pointedly directed towards a specific objective. the soul or solar angel might be regarded as gazing in three directions. 1. towards the light supernal, towards that central life or energy which holds

ALICE A BAILEY09 A TREATISE ON THE SEVEN RAYS VOLUME I ESOTERIC PSYCHOLOGY I

ality of the inner significance and the true spiritual basis of all that is and ever shall be. out of the relation of light and dark that which is invisible emerges into visibility, and we can see and know. christ, as the light of the world, revealed that reality. out of the darkness of time god spoke, and the fatherhood of deity was revealed. the drama of creation and the story of revelation are depicted for us, if we could but see truly and interpret our facts with spiritual exactitude, in the relation of the two sexes and in the fact of their intercourse with each other. when this relation is no longer purely physical but is a union of the two separated halves on all three planes, physical, emotional and mental then we shall see the solution of the sex problem and the restitution of the

"sex) is used with little thought and with no attention to its true meaning. basically, love and sex are one and the same thing, for both express the meaning of the law of attraction. love is sex, and sex is love, for in those two words the relation, the interplay and the union between god and his universe, between man and god, between a man and his own soul, and between men and women are equally depicted. the motive and the relation are emphasized. but the impelling result of that relation is creation and the manifestation of form through which divinity can express itself and come to be. spirit and matter met together, and the manifested universe came into being. love is ever productive, and the law of attraction is fruitful in results. man and god came together under the same great law

ALICE A BAILEY10 FROM BETHLEHEM TO CALVARY

e need of a death unto things material, the tendency of man to sin and to forget god, and the necessity for a change of heart or of intention have been the contribution of western christianity to the religious beliefs in the world. but we have been so preoccupied with the subject of sin that we have forgotten our divinity; and we have been so intensely individual in our consciousness that we have depicted a saviour who gave his life for us as individuals, believing that had he never died we could never enter heaven. on these truths the eastern christian has placed little emphasis, stressing the living christ and the divine nature of man. assuredly, only when the best of the two lines of presented truths are brought together and then reinterpreted shall we arrive at the basic concept upon w

ALICE A BAILEY11 A TREATISE ON THE SEVEN RAYS VOLUME II ESOTERIC PSYCHOLOGY II

for reorientation is at its highest and the aspirant knows it. he knows that upon the issue of that battle much depends. he is arjuna upon the field of kurukshetra. this is the chart of the man awakening. 4. the chart of a man's expression during the life wherein the orientation has been altered, the emphasis of the life forces changed, and the man becomes an accepted disciple. these four charts, depicted or drawn in colour according to ray, form the dossier of a disciple, for the master only deals with general tendencies and never with detail. general trends and predispositions and emphasised characteristics concern him, and the obvious life patterns. i would call to your attention the increasing use by the psychologists and thinkers of the race of the word "pattern. it is a word which ha

f the reactions to that acting. when man was little more than an animal, when he was in the- 336- a treatise on the seven rays- volume ii: esoteric psychology ii copyright 1998 lucis trust state which we have earlier called the lemurian consciousness and the early atlantean consciousness, he lived unthinkingly; life unrolled like a panorama before his eyes; he identified himself with the episodes depicted and knew no difference between himself and that which he seemed to be in the unfolding picture. he simply looked on, played his little part, ate, reproduced, reacted to pleasure and to pain, and seldom, if ever, thought or reflected. then comes the period, familiar to all of us, wherein the man becomes the dramatic center of his universe living, loving, planning, acting, conscious of his

ALICE A BAILEY12 DISCIPLESHIP IN THE NEW AGE VOLUME I

ead leads from the hierarchy and a point of tension in that hierarchy (such as the master at the centre of any ashram) to distant places, to many planes and into many hearts. this thread enables the disciple (if he has been permitted to learn how to use it) to return instantaneously to his centre of work and to reach at any desired moment the "master of his life" this triangular relation might be depicted thus: the master* the soul* the ashram* the disciple an extension of this idea lies behind much that i have taught anent the wesak festival and should be in your minds when you prepare to participate in it. shamballa* the buddha* the christ* the hierarchy* humanity- 571- discipleship in the new age- volume i copyright 1998 lucis trust the entire subject of the chela on the thread and the

ALICE A BAILEY14 THE REAPPEARANCE OF THE CHRIST

o be reached as the result of struggle and difficulty. he pointed to a goal toward which men must make their way, no matter what the obstacles; these obstacles he portrayed in the twelve labours of hercules which were dramas and not factual occurrences. he thus pictured for those who had eyes to see and hearts to understand the nature of the problem to be solved upon the path of return to god; he depicted the prodigal son's journey back to the father's house, and the tests and trials which all disciples, aspirants and initiates have to face and which all those who today compose the spiritual hierarchy have already faced. when this statement is considered, it must include also the christ who, we are told "was in all points tempted like as we are (heb. iv.15, but also passed triumphantly the

the planned, defined invocation of the spiritually oriented aspirants, the intelligently convinced worker, disciple and initiate by all, in fact, who form the new group of world servers. the science of invocation and evocation will take the place of what we now call "prayer" and "worship" be not disturbed by the use of the word "science" it is not the cold and heartless intellectual thing so oft depicted. it is in reality the intelligent organisation of spiritual energy and of the forces of love, and these, when effective, will evoke the response of spiritual beings who can again walk openly among men, and thus establish a close relation and a constant communication between humanity and the spiritual hierarchy. in order to clarify, it might be said that invocation is of three kinds: there

ALICE A BAILEY17 TELEPATHY AND THE ETHERIC VEHICLE

planetary centres; this produces a constant inflow of energies from- 75- telepathy and the etheric vehicle copyright 1998 lucis trust several different sources, and these energies galvanise these three centres into a new and increased activity. invocation is arising all the time between these centres and producing a consequent evocation of impressing energies. in these seven statements, you have depicted a pattern of the present planetary work or the present logoic thesis. an involutionary alignment (the guarantee of future successful alignments) constitutes most ancient history; an evolutionary alignment in which all three centres are involved is constantly producing an interplay of energies as well as a constantly successful impression of one centre upon another. humanity, as the throat

alising and embodiment of the three qualities of the central triangle. they will then discover, by direct- 106- telepathy and the etheric vehicle copyright 1998 lucis trust action, when and if mankind is ready for such an experiment of direct control and if it has developed the needed sense of responsibility a responsibility which will produce cooperation. all these three centres can therefore be depicted in the following manner: with the completed circle of the entire energy form, with the central triangle of energies carrying the qualities of the three major rays, and then the point at the centre which stands for the dynamic embodied life. in connection with shamballa, that point is sanat kumara himself; when the right time comes (though the hour is not yet) he will place his representat

ALICE A BAILEY18 A TREATISE ON THE SEVEN RAYS VOLUME III ESOTERIC ASTROLOGY

tant movement, of changing activity and recurrent mutations, and the symbol for the sign is expressive of this state of activity. it is, therefore, a sign in which the significance of cycles is mastered and understood by the initiate. the results of the valley experience (to use the well-known language of the mystics of all ages) and of the mountain top with its vision and light, are very vividly depicted by the sign. the aquarian can experience the depths of depression and of self-depreciation or he can know and pass through the exaltation of the soul and the sense of spiritual power which soul control gives, and know them to be the interplay and the action and reaction which are necessary for growth and comprehension. the law of such action and reaction is the law with which he works. in

soul from bondage with the two horns (duality) protecting the "eye of light" in the centre of the bull's forehead; this is "the single eye" of the new testament which makes the "whole body to be full of light" then capricorn, the goat, related particularly and closely to aries, but hiding (as an esoteric blind) the symbolism of the unicorn in which the two horns and the single eye are blended and depicted by the long straight horn of the unicorn in the centre of the forehead. behind all the above lies the dual mystery of leo, for leo is as far as humanity is concerned the key or clue to the entire zodiac and around the constellation leo two great mysteries are found: 1. the mystery of the sphinx, connected with the relation of leo and virgo, and tied up with the secret of the solar angels

referred to as the signs which when studied will reveal divine intent in man, will mark the points of crisis in his progress and will (when the three influences which they express have done their work) carry the man "from door to door, for leo is the next sign to cancer, and sagittarius is the sign which precedes capricorn" i am quoting from an ancient book on the signs. sagittarius is sometimes depicted as an archer on a white horse and a study of the meaning of this symbolism will reveal a great deal of inner teaching. this is one of the later ways of portraying this constellation. earlier, in atlantean days (from which period we have inherited what we know about astrology, the sign was frequently depicted by the centaur the fabulous animal which was half a man and half a horse. the hor

he personality and the other of the soul. from ambition to aspiration, from selfishness to an intense desire for selflessness, from individual one-pointed self-interest in leo to the one-pointedness of the disciple in sagittarius and thence to initiation in capricorn. it is interesting to note that the astrological symbol for this sign currently used is simply the arrow with a fragment of the bow depicted. the archer as well as the centaur have dropped out of the picture and this is largely because the emphasis or focus of human living today is not based upon the objective outer facts of life upon the physical plane but upon some form of inner focus or emphasis, which varies from the many stages of astral and emotional ambition to spiritual aspiration, and from the activities of the lower

. it really marks the distinction between the ordinary wheel of life and the reversed wheel. in the days before leo-virgo were divided into two signs, libra was literally the midway point. the situation was then as follows: aries. taurus. gemini. cancer. leo-virgo. libra scorpio. s agittarius. capricorn. aquarius. p isces. and in this round of the zodiac (as far as humanity is concerned) you have depicted the entire history of the race. this involves its mental beginnings in aries (the will to manifest) and the start of the outgoing life; you have its directed desire in taurus, producing manifestation; then emerges its dual consciousness in gemini or the soul-body realisation; the processes of physical- 137- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis

ic astrologers connected with the hierarchy, charts are kept of those members of the human family who have achieved adeptship and upwards. they are composed of superimposed squares, stars and triangles, contained within the zodiacal wheel and mounted upon the symbol of the cardinal cross. the squares, having each of their four angles and points in one or other of four zodiacal constellations, are depicted in black; the five-pointed star is depicted yellow or golden colour and its five points are in contact with five of the constellations on the great wheel; the triangles are in blue and have, above each point of the triangle, an esoteric symbol, standing for the constellations of the great bear, sirius and the pleiades. these symbols may not here be revealed but indicate the point of spiri

and of reality. they constitute the keynote or the motif of each of the seven initiations. each of these seven initiations permits entry into the state of divine consciousness on each of the seven planes of divine experience and expression. the influences of these seven constellations is symbolised by three triangles and a final synthesis or focal point. esoterically, these triangles are usually depicted as superimposed but for the sake of clarity we separate them [see figure] we have here three triangles but, at the same time, only seven influences for the effects of the conditioning forces of the two triangles predominantly active in the first two cycles are fused and blended in the third. these blended influences (with the aid of the remaining five constellations, sagittarius, libra, t

vidualisation to the path of discipleship. 2. eight constellations (which include three out of the seven) which bring the disciple from the stage of selfhood to that of the self-initiated and perfected soul. it is not my intention to analyse these crises. these, the student who is in earnest and who is observant can work out for himself. i would also point out that i have (again necessarily) only depicted the three triangles in a certain order with the lower points expressing the energy of certain constellations. in this form they depict the final outcome and the final results of a particular group of three crises. it must be remembered that only through much repetition and frequent focussed effort are these results attained. a crisis is brought about by a certain habit of mind, developed

sion of the unified intent of the three persons of the underlying trinity (each upon his own cross) emerges with clarity- 327- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis trust perhaps the simplicity of the following three symbols may serve somewhat to clarify that which i have tried to impart. the mutable cross of material change and constant movement can be depicted by the swastika. the man is unconscious of the nature of the four entering energies and interprets little in terms of the soul. the energies make their impact upon him and drive him into material activity. this cross of the personality dedicates the man who is crucified thereon to material ends in order that he may learn eventually their divine use. it is in the lower aspect of this cross

eauty in the dawning light and who know no love of human lives" to those who respond not to the lower aspects and effects of the whirling cross (as it is sometimes called "the swastika flings them from itself and far afield until they come to rest upon the cross of chosen crucifixion" the fixed cross of the pledged disciple. the symbol of the fixed cross (as far as humanity is concerned) might be depicted thus- 328- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis trust here you have the cross of humanity. on this cross, the man is illumined and conscious of the effects of the completed cycle (indicated by the circle) of the four energies to which he was subjected upon the mutable cross. the symbol for the cardinal cross is more complicated and can be portr

ALICE A BAILEY20 A TREATISE ON THE SEVEN RAYS VOLUME IV ESOTERIC HEALING

ore receives the bulk of the life energy as it comes down the life stream, from the soul, and likewise receives the energy of the stream of consciousness. 3. it is oriented, if i may so express it, outwards or towards the plane of physical experience. that orientation shifts at times and, temporarily in the case of the aspirant, turns inwards. just as the centres in man, the "lotuses of life" are depicted as turned downwards and with the stalk upwards in the undeveloped man, but are turned upwards in the case of the developed, so there are conditions in the astral body analogous to this. in the case of the highly evolved man, of the initiate or the master, the astral body is steadily oriented towards the soul. in the mystic, the- 26- a treatise on the seven rays- volume iv: esoteric healin

the healer must seek to link his soul, his heart, his brain and his hands. thus can he pour the vital healing force upon the patient. this is the technique of the lowest type of true spiritual healer, and for this reason two of the aspects of the dense physical body are included: the brain and the hands. the healer works, therefore, through a triangle and two lines of energy. the situation can be depicted in the following diagram: the triangle is completed when the healing work is done and the energy is withdrawn from the hands to the brain again and from thence returned by an act of the will to the soul. when the healer (through practiced alignment) has linked up with his soul, he then draws the soul energy down into his heart centre, from whence he transfers it to the brain, where it is

ALICE A BAILEY22 DISCIPLESHIP IN THE NEW AGE VOLUME II

sible it is for any of you to do more than register the more obvious significances of these formulas and then await the time when your inner growth warrants a fresh approach to their interpretation. this formula is seen by the disciple inscribed upon the plates of the unknown metal, described by me on page 249. it is formed of a series of lines which meet at a circle within a square, such as that depicted below: curiously enough, it is this ancient symbol, with its indicated reference to the emotional nature, and therefore to the atlantean consciousness, which points to a basis for progress, which is the subtle force behind the "flags of all nations" flags are symbols of the devotion of a people to their national soil and to their national spiritual objectives. they have of course been pro

he begins to learn its true meaning. all these four types of difficulties are further enhanced when you consider the fact that they are felt in all three aspects of the disciple's personality simultaneously. there is a reaction in his etheric body, in his emotional vehicle and in his mind. this makes what is sometimes called the "seven divine sorrows; these are symbolically and most inaccurately depicted in the christian discipline as the seven stations of the cross. as i told you elsewhere*(19 "from the standpoint of christian symbolism (even though the interpretation is as yet inadequate) these seven crises correspond to the seven stations of the cross which mark the way of an advancing world saviour" here again you have the four and the three brought together in a synthesis of service

ALICE A BAILEY23 THE EXTERNALISATION OF THE HIERARCHY

s through all the twelve signs of the zodiac. the period to which reference is made started in the sign aries, the ram. the orient, however, harks still further back, to a much earlier period and to a still more ancient date, remote in the night of time, when the greater world cycle started in the sign sagittarius, the archer. the symbol of this is sometimes (towards the latter part of the cycle) depicted as an archer, riding on a horse and (in the early part of the cycle) as a centaur, half man and half horse. both refer to an emerging revelation of the consciousness of deity as revealed through some great divine expression, through some manifesting son of god. the point to bear in mind is that this rider on the white horse is no extra-planetary entity or life, but is essentially one like

ual; they have transformed their human consciousness into divine awareness. the kingdom of man and the kingdom of god were brought into relationship. religion became a factor in the development of the human spirit and god drew nearer to his own. god transcendent first conditioned man's concept of deity. then god as the national controller took possession of man's mind, and the jehovah concept (as depicted in the jewish dispensation) appeared; next god was seen as the perfected human being, and the divine god-man walked the earth in the person of the christ. today, we have a rapidly growing emphasis on god immanent in every human being. such have been the results of the second great approach and such have been the results of the work of the world saviours and teachers down the ages, culmina

by the planned, defined invocation of the spiritually oriented aspirants, the intelligently convinced worker, disciple and initiate by all, in fact, who form the new group of world servers. the science of invocation and evocation will take the place of what we now call prayer and worship. be not disturbed by the use of the word "science" it is not the cold and heartless intellectual thing so oft depicted. it is in reality the intelligent organisation of spiritual energy and of the forces of love, and when effective, will evoke the response of spiritual beings who can again walk openly among men and thus establish a close relation and a constant communication between humanity and the spiritual hierarchy. it will be obvious to you that as humanity, through its most advanced units, prepares

ty is established via aspirants, disciples and initiates in physical existence who are responding to the love-wisdom of the universe in some measure and who work via the intelligent people in incarnation primarily, so rapport between shamballa and the hierarchy is being more closely established via the senior ashrams, and not via the secondary ones. you have, therefore, a situation which might be depicted somewhat as follows: i. first planetary centre..shamballa working through 1. the seven rays or the seven spirits before the throne. 2. certain great intermediaries. 3. the council chamber of the lord of the world. ii. second planetary centre..hierarchy working through 1. the seven major chohans and their ashrams. 2. the forty-nine masters of the secondary ashrams. 3. the sum total of the

well imagine, the use of an expert ability to remain untouched by the evil rampant upon the physical plane, and yet to remain in complete sympathetic and understanding contact with all humanity and with all events that affect humanity. it was prophecy which impelled the christ to say, when last in public appearance among men, that his disciples were "in the world and yet not of the world; christ depicted in simple yet profoundly revealing terms the life of the members of his ashrams (the entire hierarchy) when again he would walk with them in the plain sight of humanity. he pictured them as one with the father (the council of life in shamballa, and yet as one with him (as the hierarchical head, and as one also with all that breathes and that inhabits form. i advise all disciples who seek

ALICE A BAILEY24 A TREATISE ON THE SEVEN RAYS VOLUME V THE RAYS AND THE INITIATIONS

e master jesus which throw some light upon this fourth entrance through the door of initiation: the transfiguration and the crucifixion. in both of them the three aspects of the personality are symbolised. in the first case, they are symbolised by the three apostles who in bewilderment and profound humility took part in the third initiation, the transfiguration; in the second case, the three were depicted by the three crosses the two thieves and the central master. the difference in the fourth initiation is definite; it lies in the fact that the four aspects of the personality (counting the dense physical body as one aspect and the etheric vehicle as a second aspect of the physical body) are involved, for this fourth emanation of fire by friction has a potent and destructive effect upon th

rived at when the distinction is sharply defined and recognised between the integrated and potent personality and the soul. it is an occult truism to state that the aspirant is to be recognised by or triplicity; the disciple or recognised duality and the initiate by or unity. note that the symbol of duality for undeveloped humanity is in which the separation of the higher nature from the lower is depicted; in the case of the disciple, it is showing the "path across" or the narrow razor-edged path between the pairs of opposites, forming later the antahkarana. these symbols, simple as they are, embody and convey vast truths to the illumined mind. relatively speaking, and speaking in terms of the mental consciousness, the realisation of duality is only to be found in the three worlds and on t

he drought of the year 1947 which burnt up the terrain in europe and in great britain, being curiously enough preceded by the floods and waters of the earlier spring, thus evidencing the repetition of- 396- a treatise on the seven rays- volume v: the rays and the initiations copyright 1998 lucis trust cycles; this repetition is distinctive of natural process, leaving each stage of man's evolution depicted, but producing a climaxing point which is indicative of the past and of the present, but leaving (as is the case today) the future locked in the determinative processes of man's thinking and planning. as man thinks and decides "in his heart" so will the future of humanity prove to be, for it is the same process for mankind as a whole as it is for the individual. i would like to cover this

ALICE BAILEY THE LABOURS OF HERCULES

re in hand and willingly subjects it to the discipline which will eventually produce the emergence of divinity. out of an erring but sincerely earnest human being, intelligently aware of the work to be accomplished, a world savior is formed. two great and dramatic stories have been held constantly before the eyes of men down the ages. in the twelve labors of hercules, that path of discipleship is depicted, and his experiences preparatory to the great concluding cycle of initiation meet with a ready response from every aspiring man. in the life and work of jesus the christ, that radiant and perfected son of god, who "has entered for us within the veil, leaving us an example that we should follow his steps, we have portrayed the five stages of the path of initiation, which are the climaxing

ant killed two serpents, again emphasizing duality. in this act he forecast the future in which he demonstrated that the physical nature no longer controlled, but that he could strangle the serpent of matter and that the great illusion no longer had him imprisoned. he slew the serpent of matter and the serpent of illusion. if the serpent symbology is studied, we shall find that three serpents are depicted: one standing for the serpent of matter, another for the serpent of illusion, and the third for the serpent of wisdom. this last serpent is only discovered when the other two have been slain [19] this sense of duality is the first stage of the spiritual experience and colors the thoughts of all the great aspirants and mystics of the world. note how st. paul cries out as he wrestles with t

of the sign is to be found in the words of an ancient indian scripture "man does not rightly know the way to the heavenly world, but the horse does rightly know it" in the very ancient days in india, the horse sacrifice was linked with the sun god, and, yearly, we are told, the sun god, as the zodiacal horse, was supposed by the vedic aryans to die to save all flesh. the sun chariot of apollo is depicted as drawn by horses, and the "princely sign of the ram" is closely connected with the horse symbology, a fact to which this first labor bears witness. reference to books on symbology will show us that the horse [35] stands for intellectual activity. the white horse symbolizes the illumined mind of the spiritual man, and so we find in the book of revelations that christ comes forth riding u

capricorn initiate, who becomes the world server in aquarius; and the world savior in pisces. cancer admits the soul into the world center which we call humanity. capricorn admits the soul into conscious participation in the life of that world center which we call the hierarchy (esoteric astrology, p. 168) the three symbolic constellations jesus is often called the good shepherd, and he has been depicted many times as the shepherd leading his sheep. the thought of the sheepfold has been closely associated in the minds of people with christ. connected with the sign cancer are three constellations: ursa major, ursa minor and argo. the common occidental names for the two former are the great bear and the little bear, but it is one of the mysteries of astronomy as to how the name "bear" came

moting? because the energy sweeping through you has an effect upon your vocal apparatus. you are dealing with energies and you are misusing energies. watch yourself and begin to work in the world of forces within yourself. this sign inaugurates the school of world saviors. it is almost a "john the baptist" sign, a sign of preparation for what the next piscean age is going to bring in. aquarius is depicted as a man holding an inverted vase. the man inverts the vase and out of it come two streams of water, the river of life and the river of love, and those two words, life and love, are the two words that embody the technique of the aquarian age; not form, not mind, but life and love. two words we use constantly but which, back of them, do not bear any adequate concept. decanates, rulers and

ours of hercules gemini, the twins. simeon and levi "simeon and levi are brothers. cancer, the crab zebulon he "wished for habitation, dwelling at the haven of the sea. the crab carries its habitation on its back, and dwells on the sea shore. leo, the lion judah judah is a lion's whelp "he couched as a lion" virgo, the virgin asher this name is from ishtar. ashera is the goddess of plenty. she is depicted as a virgin, carrying a sheaf of wheat. see gen. 49, 20. libra, the scales or balances dan "dan shall judge his people" scorpio, the serpent or adder dan mentioned twice as two sons are assigned to gemini "dan shall be a serpent. that biteth the horses' heels" sagittarius, the archer joseph "his bow abode in strength. his horse is the one that scorpio follows fast after. capricorn, the go

there is always the danger of error and of mistake. his very virtues can become his problem and we are told that it is possible even for a high initiate son of god to drop back from the path of attainment. his failure is, however, only temporary. fresh opportunities occur. the consequence of his mistake has been delay, but the day of restoration and of renewal inevitably recurs. in virgo we have depicted the preparation for the first initiation, the birth of the christ, called in christianity the birth of the christ in the heart. this is a physical plane- 131- the labours of hercules happening as well as a transcendental one, as we find when we study the signs of virgo and of capricorn. in libra (september 22- october 21, the balance, hercules captures the boar and, through the performanc

ANALYSIS OF THE 5 6 INITIATION

m the fire of the sun" the knocks are symbolic of the hexagram above and the divine spirit, the \yhla jwr that hovered over the waters of creation. this represents the first ray of light, light rushing forth in one ray; the first breath of light. 3 the temple is now opened and placed in harmony with the work to follow. light then appears within the universe in the form of a flaming sword. this is depicted by the number twenty-one, the number of hyha. this is, the divine name of rtk. the descent of the light from rtk to twklm formulates the flaming sword and descendeth from the above to the below. in that trapt is a reflection of rtk and that which is in rtk is reflected in trapt, the rose and cross exists in rtk as a beam of brilliance and is made manifest and pronounced in trapt. the rose

BALANCE J

ities to the work of spare. transformations of man into animals along with animal totems and familiars populate his dense pictures. there are also numerous chthonic serpent, snake and large dragonlike creatures in his work, in addition to spirit portraits and the inclusion of multicoloured auras and rainbows. it has been left to anthropology to find precise meanings in all these various phenomena depicted in ameringo s art. perhaps such a correlative anthropological precision could be applied to the study of spare s art and his use of similar devices. they are clearly not there for mere decoration such areas of investigation are perhaps waiting to be explored. having renounced both good and evil conveniently, one should engage in spasmodic madness. the focus of life this proto-surrealist m

BANISHING THE SLAVE GODS

the actual symbol. here is a brief sex magical rite to open the "third eye. obtain crowley's book of thoth: tarot take out the devil and tower cards. you can: a. masturbate while gazing upon the tower card equating its symbology with the procreative force you are generating through arousal, then while holding back orgasm karezza switch attention to the devil card. focus on the "third eye" that is depicted on the goat. take on the head of the goat as in the manner of an assumption of a god form. as your sexual arousal begins to reach its pitch. imagine the focused force of that energy opening and shining out, projecting the pentagram as analogous to a laser projecting an image on a surface. with practice, you will eventually be able to summon this process by sheer will alone when the n aris

BELL CHRISTOPHER PAUL TSIU MARPO THE CAREER OF A TIBETAN PROTECTOR DEITY

pure realm of the central buddhist deity. this buddhist deity belongs to a five-part buddha family, with the key deity at the center, the four other buddhas in the immediate surroundings facing all four directions, and the consorts of these four buddhas residing in the intermediate quadrants between the cardinal directions. other bodhisattvas representing the retinues of each of these buddhas are depicted further outward. central to snellgrove s interpretation is that the ma..ala is a sacred space in contrast to and separate from the profane space around it.107 however, ronald davidson advances the understanding of the ma..ala not only by placing its development within the historical context of medieval india but also by stressing its importance as a symbol of ultimate place. davidson theo

o was once a malicious demon in pehar s entourage rather than an aspect of him; however, these two concepts may not be wholly contradictory. given the information provided in chapter 5, a denizen in pehar s retinue is also an emanation of him, since his entire entourage manifests from him anyway. such simple beginnings are certainly common with tibetan deities, and tsiu marpo has been known to be depicted iconographically within the train of other protector deities.264 this speculation may lead to further information concerning tsiu marpo s mythic growth through history, but yields nothing on the historical figures responsible for that growth. in this regard, two figures stand out as central to tsiu marpo s early history: ngari pa.chen, the writer of the warlord s tantra, and his younger b

BLAVATSKY H P ANTHROPOGENESIS

dent. the intellectual evolution, in its progress hand-in-hand with the physical, has certainly been a curse instead of a blessing- a gift quickened by the "lords of wisdom" who have poured on the human manas the fresh dew of their own spirit and essence. the divine titan has then suffered in vain; and one feels inclined to regret his benefaction to mankind, and sigh for those days so graphically depicted by aeschylus, in his "prometheus bound" when, at the close of the first titanic age (the age that followed that of ethereal man, of the pious kandu and pramlocha, nascent, physical mankind, still mindless and (physiologically) senseless, is described as "seeing, they saw in vain; hearing, they heard not; but like shapes in dreams, through the long time all things at random mixed" our savi

esires, when, with self-asserting insolence, they bid defiance to the restraints of law* prometheus having endowed man, according to plato's "protagoras" with that "wisdom which ministers to physical wellbeing" but the lower aspect of manas of the animal (kama) having remained unchanged[[footnote(s[[footnote continued from previous page] the champion and benefactor of mankind, whose condition. is depicted as weak and miserable in the extreme. zeus, it is said, proposed to annihilate these puny ephemerals, and to plant upon the earth a new race in their stead" we see the lords of being doing likewise, and exterminating the first product of nature and the sea, in the stanzas (v, et seq. prometheus represents himself as having frustrated this design, and as being consequently subjected, for t

ating the first product of nature and the sea, in the stanzas (v, et seq. prometheus represents himself as having frustrated this design, and as being consequently subjected, for the sake of mortals, to the most agonising pain, inflicted by the remorseless cruelty of zeus. we have, thus, the titan, the symbol of finite reason and free will (of intellectual humanity, or the higher aspect of manas, depicted as the sublime philanthropist, while zeus, the supreme deity of hellas, is portrayed as the cruel and obdurate despot, a character peculiarly revolting to athenian sentiment" the reason for it is explained further on. the "supreme deity" bears, in every ancient pantheon- including that of the jews- a dual character, composed of light and shadow* the animal world, having simple instinct to

gin is to this day unknown to history. mythologists connect it through mithras (the sun, called sabasius on some old monuments) with jupiter and bacchus. but it was never the property of the greeks, but dates from days immemorial. the translators of the drama wonder how aeschylus could become guilty of such "discrepancy between the character of zeus as portrayed in the 'prometheus bound' and that depicted in the remaining dramas (mrs. a. swanwick) this is just because aeschylus, like shakespeare, was and will ever remain the intellectual "sphinx" of the ages. between zeus, the abstract deity of grecian thought, and the olympic zeus, there was an abyss. the latter represented during the mysteries no higher a principle than the lower aspect of human physical intelligence- manas wedded to kam

e four cardinal and the four intermediate points "from an objective point of view the microcosm is represented by the human body. makaram may be taken to represent simultaneously both the microcosm and the macrocosm, as external objects of perception (pp. 113, 115. but the true esoteric sense of the word "makara" does not mean "crocodile" in truth, at all, even when it is compared with the animal depicted on the hindu zodiac. for it has the head and the fore-legs of an antelope and the body and tail of a fish. hence the tenth sign of the zodiac has been taken variously to mean a shark, a dolphin, etc; as it is the vahan of varuna, the ocean god, and is often called, for this reason, jala-rupa or "water-form" the dolphin was the vehicle of poseidon-neptune with the greeks, and one with him

BLAVATSKY H P COSMOGENESIS

otates on his axis always in the same direction in which the planets revolve in their respective orbits" astronomy teaches us[[vol. 1, page] 101 fire, the great symbol of deity. planetary world, and he is one of the three chief deities. he is called indifferently the son of dyaus and of aditi, because no distinction is made with reference to, or scope allowed for, the esoteric meaning. thus he is depicted as drawn by seven horses, and by one horse with seven heads; the former referring to his seven planets, the latter to their one common origin from the one cosmic element. this "one element" is called figuratively "fire" the vedas (aitareya-brahmana of haug also; p. i) teach "that the fire verily is all the deities (narada in anugita. the meaning of the allegory is plain, for we have both

ateral body "one whose base, and each of its sides, form equal triangles- must have four co-equal sides or surfaces, while a triangular plane will as necessarily possess five" demonstrates on the contrary the grandeur of the conception in all its esoteric application to the idea of[[vol. 1, page] 617 phantoms of the mind. the pregenesis, and the genesis of kosmos. granted, that an ideal triangle, depicted by mathematical, imaginary lines "can have no sides at all, being simply a phantom of the mind (if sides be imputed to which, they must be the sides of the object it constructively represents" but in such case most of the scientific hypotheses are no better than "phantoms of the mind; they are unverifiable, except on inference, and have been adopted merely to answer scientific necessities

BUCKLAND RAYMOND COMPLETE BOOK OF WITCHCRAFT

cted, the only artisans available to build them were from among the pagans themselves. in decorating the churches these stonemasons and woodcarvers very cleverly incorporated figures of their own deities. in this way, even if they were forced to attend the churches the people could still worship their own gods there. there are many of these figures still in existence today. the goddess is usually depicted as very much a fertility deity, with legs spread wide and with greatly enlarged genitalia. such figures are usually referred to as shiela-na-gigs. the god is shown as a horned head surrounded by foliage; known as a "foliate mask, and also sometimes referred to as "jack of the green" or "robin o' the woods. incidentally, these carvings of the old god should not be confused with gargoyles

used quite a lot in the craft. in gardnerian, for example, it is used for writing the high priestess's name on her bracelet. it is an attractive form of writing. the runes are angular, with no curves, because they were used for carving into wood and stone. but the theban was written on parchment, as well as being engraved and etched on talismans, so could be more elaborate. the theban alphabet is depicted in figure 3.9.1 will speak more on this alphabet, and several others, in the later lesson on charms and talismans. 38/ auckland's complete book of witchcraft. to know a person's name is to have a hold, a power, over them. for to know the name is to be able to conjure with it. sir james frazer tells the story of isis obtaining the most secret name of ra, the great egyptian sun god, so that

kuts of siberia, for instance, and many american indian and eskimo tribes, always dance before hunting. dance/rhythm is the first step to ekstasis the 'getting out of oneself. when the dance is for the increase of food, the dancers frequently imitate the movements of the animals, or the growing of the plants, which they are trying to influence..the masked dancer at four-neaudu diabk, dordogne, is depicted playing some form of musical instrument. this might indicate a ritual similar to that of the primitive semang, of the malayan jungle, who today enact the hunting of the coconut-ape through an action-song. it is performed partly for entertainment but mainly for magickal influence over the ape in the future hunt. the performance goes through the stalking of the ape to the actual killing, by

ion you will discover that not only is your spiritual consciousness awakening, but you are also revitalizing the physical self, as you begin to tap the great cosmic forces that are your birthright. dreams what is a dream? are dreams important? at first glance someone unfamiliar with them might take little note of some seemingly trivial shred of a half-remembered dream. the apparently silly antics depicted in some dreams appear little more than the doodling of an off-duty head! other more bizarre and frightening events cause the dreamer to wish that he might have no more of them. in either case the individual is likely to give little importance to these strange vignettes from the unknown world of sleep. but modern research continues to explore the dream world with intensity. are dreams impo

lying: see transportation. girl: immature feminine aspect. glass: perception; being able to see (sometimes into the future. graduation: initiation; completing a phase. hair: thought grey or silver hair indicates wise thought. hammer: power to drive forward. helpful animal: the instinctive self. highway: the path; the way ahead. horse: white horse symbol of life (the keltic goddess epona was often depicted on a white mare; prosperity. black horse change of fortunes. wild horse uncontrolled instinctive urges. winged horse transcendence from one state of being to another. house: the symbol of personality and conscious interest from the spiritual view. the particular room represents particular interest: bathroom cleansing; elimination of the undesired. basement place of refuge, retreat, concea

, of course, vibrate. animals and plants do the same, for all things radiate energy: a chair, a house, a tree, a flower, a bird. everything is vibration. so everything gives off an aura. this aura can most easily be seen in humans, however (possibly due to brain activity. the aura is sometimes referred to as the odic force. in christian art, from the fifth to the sixteenth centuries, it was often depicted around the heads of people believed to possess great spiritual power. there it was referred to as a halo or gloria. it also appeared as a ring of flames around the heads of moslem prophets. the headdresses of priests, kings and queens symbolize the aura. there are references to the aura in the christian bible. in sculpture, there is an excellent example in that of michaelangelo's figure o

BUDGE E

a-em-keb; the name of this city is best-aru-ankhet-kheperu; the name of the hour of the night which guideth this great god is tuatet-maketet-en-neb-s" the line of text which runs above the upper register reads "the hidden circle of amentet, through which this great god travelleth and taketh up his place in the tuat. if these things be made with their names after the manner of this figure which is depicted at the east of the hidden house of the tuat, and if a man knoweth their names whilst he is upon earth, and knoweth their places in amenti [he shall attain p. 188 to] his own place in the tuat, and he shall stand up in all places which belong to the gods whose voices (or, words) are maat, even as the divine sovereign chiefs (tchatcha) of ra, and the mighty ones of the palace (pharaohs, and

idden paths of this city is tentenit-uheset-khak-abu" in the middle register are- 1. the boat of the sun, in which the god stands under a canopy formed by the serpent mehen; he click to view the boat of af, the dead sun-god, in the tenth hour. holds the symbol of life in his right hand, and a serpent, which serves as a sceptre, in his left. 2. a large two-headed serpent called thes-hrau, which is depicted in the form of a pair of horns deeply curved towards the ends where they meet. the head which faces to the right has on it a white crown, and is directly opposite to the face of a goddess, who also wears a white crown, and is called p. 209 [paragraph continues] hert-erment, and the head which faces the left has on it a red crown, and is directly opposite to the face of a goddess, who also

n hall of the horizon, they also travel on in the train of this god" over the upper register runs a line of text, which reads: p. 215 [paragraph continues"[this is] the hidden circle of amentet, where kheper uniteth himself to the form of ra, and where the gods, and the spirits, and the dead hasten) in the hidden forms of akert. if a copy of these things be made according to the figures which are depicted on the east of the hidden chamber of the tuat, and if [a man] knoweth it, together with the names [of the gods, he shall journey round about and shall pass through the tuat, and he shall not be turned back from making himself a companion of ra" in the upper register are- 1. the god pankhi, who holds an ankh in his right hand, and a sceptre in his left. 2. a beetle, called kheper-ankh, app

e bent at right angles to their bodies, and in the space between them rests a disk; the serpents are called click to view (left) p-ankhi (right) kheper-ankh [paragraph continues] menenui. to the, right is a youthful goddess wearing a white crown, and to the left is a similar goddess wearing a red crown each holds the index finger of one hand to her mouth, after the manner of children, and each is depicted in the act of sitting, but lacks a seat or throne. p. 217 click to view the menenui serpents and the goddesses of the south and north. click to view the axe of god and the solar disk. p. 219 4. an axe, symbol of "god" standing on the handle end, with a disk resting on the side edge of the head. on the left is a goddess who is steadying the axe with her left hand, and on the right is a god

and north. click to view the axe of god and the solar disk. p. 219 4. an axe, symbol of "god" standing on the handle end, with a disk resting on the side edge of the head. on the left is a goddess who is steadying the axe with her left hand, and on the right is a goddess who is steadying the disk with her right hand; the names of the goddesses are netheth, and kenat, respectively. each goddess is depicted in the act of sitting, but lacks a seat or throne. the text which refers to these scenes reads "of those who are in this picture [the two goddesses on] the left come forth from the double serpent manenui, and [the two] on the right come forth from the axe setfit. they gather together the souls on earth, and they make pure the mighty spirits in the tuat by the hidden figures which are ther

t you, the blazing heat of hert-nemmat-s is against you, hert-sefu-s is against you, and she stabs at you, and hacks you in pieces, and cuts you up in such wise that ye shall never again see those who are living upon the earth "as for those who are in this picture in the tuat, it is the majesty of heru-tuati who giveth the order for their slaughter each day "those who are in this picture, who are depicted with the enemies of osiris of the tuat, and with her-utu-f, who is the guardian of this circle, live by means of the voice of the enemies, and by the cries of entreaty of the souls and shadows which have been placed in their pits of fire" next: chapter xii. the twelfth division of the tuat, which is called then-neteru sacred texts egypt ehh index index previous p. 256 chapter xii. the twe

CASSANDRA EASON A PRACTICAL GUIDE TO WITCHCRAFT AND MAGIC

cting, magick- in the form of dances, chants and cave paintings of animals- to attract the herds of animals that provided for the needs of the group, and to bring fertility to humans and animals alike. hunters would re-enact the successful outcome of a hunt and would carry these energies into the everyday world. offerings were made to the mistress of the herds and later to the horned god, who was depicted wearing horns or antlers to display his sovereignty over the herds. animal bones would be buried so that they, like humankind, would enjoy rebirth from the earth mother's womb. where hunter-gatherers today continue the unbroken tradition that stretches back thousands of years- for example, among the lapps in the far north of scandinavia and the inuits- these rites continue, led by a shama

n, or magick man, who negotiates with the mistress of the herds or fish in a trance for the release of the animals. one of the earliest recorded examples of shamanism is the dancing sorcerer. painted in black on the cave walls of les trois freres in the french pyrenees, this shamanic figure, which portrays a man in animal skins, dates from about 14000 bc and stands high above the animals that are depicted on the lower walls. only his feet are human and he possesses the large, round eyes of an owl, the antlers and ears of a stag, the front paws of a lion or bear, the genitals of a wild cat and the tail of a horse or wolf. by the neolithic period, which began around 7500 bc and lasted until about 5500 bc, the hunter-gatherer culture had given way to the development of agriculture, and the go

ificance than her male counterpart. others regard them as equal, assuming different aspects according to the season and ritual: she as the earth or moon deity, ruler of the summer months, he as the sun or corn god, ruler of winter and lord of the underworld after his death. along with other nature deities, the horned god became demonised with the advent of christianity, and the goddess was either depicted as a wicked witch or downgraded to the status of a faerie. thus the celtic warrior goddess maeve became the faerie mab, described thus by mercutio in shakespeare's romeo and juliet: she is the fairy's midwife, and she comes in shape no bigger than an agate-stone on the fore-finger of an alderman [insert pic p022- contrary to popular belief, wiccans do not 'hex (cast curses) or seek reveng

is especially associated with the life force and renewing health and energy. horus horus was the ancient egyptian sky god, represented as a falcon or a falcon-headed man. his eyes were the sun and moon and his wings could extend across the entire heavens. he was frequently associated with the morning aspect of ra, the sun god, and worshipped as re-harakhte. the son of isis and osiris, he is often depicted as an infant on his mother's lap and together the parents and child form a trinity. horus brings clarity of mind and purpose and the ability to seize upon an opportunity, and is effective for uncovering secrets, deception and illusion. lugh lugh, the celtic 'shining one, who gives his name to lughnassadh, celtic festival of the first harvest, was the young solar deity who replaced the dag

f-confidence rituals. she carries a sword and wears a helmet. kali kali, the dark side of the hindu mother goddess, came into being when shiva, the husband of the mother goddess shakti, taunted her for her dark skin. in fury she carried out rituals until her skin became golden inside. shakti then shed her black outer skin like a snake and it formed the avenging destroying persona of kali. kali is depicted with her four arms holding weapons and the heads of her victims, her tongue lolling out, and covered in blood, signifying her power over life and death. she is often pictured dancing on shiva whose body she trampled on, destroyed and then danced on once more to restore him to life. kali is invoked to remove fear and, it is said, to bring bliss to her devotees, and so she brings protection

ance has been in his continuing presence as the horned god, the male principle in witchcraft through the ages, in modern wicca and other neo-pagan faiths. he is also invoked for prosperity, fertility, instinctive power and knowledge of when it is necessary to hunt, whether to find employment or a home, and as protection against predators of all kinds [insert pic p075- dionysus dionysus, sometimes depicted as a horned god, was a god of the grain, who died and was reborn every year as a child in a basket, representing the seed corn. he was the greek god of fertility, ecstasy and wildness, who bestowed great abundance on his followers; his cult performed savage rites at eleusius where human flesh was eaten as the bread of life. not an easy deity to use, without great experience and restraint

ping you to speak the truth that is in your heart. hermes can also be invoked for all medical and commercial matters, for good fortune of all kinds and for peaceful sleep. minerva minerva is the roman goddess of wisdom, who ruled with jupiter and juno as the triumvirate of justice and wise power. she also controlled commerce and all crafts and is credited with the invention of music. she is often depicted in armour. minerva, whose creature is the owl, can be invoked in employment rituals and for the development of skills, retraining and musical ability as well as for truth and justice. unlike bellona (see page 70) and the warlike gods, both athena and minerva are used in rituals for using legal means or oratory and persuasion, rather than direct action, to overcome injustice. thoth thoth w

ke bellona (see page 70) and the warlike gods, both athena and minerva are used in rituals for using legal means or oratory and persuasion, rather than direct action, to overcome injustice. thoth thoth was the ancient egyptian god of the moon, wisdom and learning. he was also god of time, languages, law and mathematical calculations, who invented the calendar and hieroglyphic writing. he is often depicted with the head of an ibis although he was worshipped as a baboon in hermopolis. appeal to him for all matters of magical wisdom, learning, intellectual pursuits, examinations and better time management [insert pic p081- wise woman deities these goddesses are for transformation rituals, for endings that become beginnings and for accepting what cannot be changed [insert pic p082- cailleach s

and his colour is the deep blue or purple of midnight. raphael raphael is the healer and travellers' guide and is often associated with mercury, the messenger of the dawn. he is the angel who offers healing to the planet and to mankind and all creatures on the face of the earth and in the skies and waters and the promise that tomorrow really is another day. he is also guardian of the young. he is depicted with a pilgrim's stick, a wallet and a fish, showing the way and offering sustenance to all who ask. raphael stands in the east and his colour is yellow. michael archangel of the sun and light, michael is the warrior angel. he appeared to moses as the fire in the burning bush and saved daniel from the lions' den. as commander of the heavenly hosts, michael, with his flaming sword, drove s

ick of the native american indians. the spokes of the medicine wheel link the celestial, human and natural cycles. the medicine wheel was made of stones and could be created wherever a tribe camped. some were 90 feet in diameter, but research suggests that some were much smaller and were placed around ceremonial tepees to be used not only by the shaman but also by anyone seeking a spiritual path. depicted around the wheels are totem, or power, animals, representing each birth month and season, the four main directions and winds. the totems vary according to each tribe's mythology. there are more than 500 different systems in north america alone. seite 150 wicca01.txt [insert pic p247- in the southern hemisphere, as i explained on page 42, practitioners can re-time the magical associations

CHIREAU YVONNE BLACK MAGIC RELIGION AND THE AFRICAN AMERICAN CONJURING TRADITION

other supernatural traditions. he observed that the whites were "possessed with a large share of the superstition that prevail[ed] throughout the south" describing an african american conjurer whose duties varied from providing cures for ailing slaves to predicting the romantic prospects of white spinsters, and a black fortune-teller on whom white businessmen called for legal advice, wells brown depicted a brisk trade in supernatural practices to which both whites and blacks subscribed. these beliefs were maintained, he concluded, not only by "the ignorant negro, who brought it with him from his native land, but also by a great number of well-educated and influential whites" interest in the supernatural apparently persisted among some anglo-americans in some parts of the south in the year

e 15 of 144 http//content.cdlib.org/xtf/view?docid=kt600020q0&chunk.id=0&doc.view=print 7/14/2006 conjurers, the earliest dating from the seventeenth century, and often describe practitioners of the supernatural as "cunning men" or "witches" by the nineteenth century the terms for african american conjurers would change "hoodoos" and "root workers" were the most common vernacular expressions that depicted persons who were believed to be able to manipulate unseen forces or "work the spirits "root doctors" was a prevalent euphemism that described persons who practiced healing only, whereas "conjure doctors" could include those who possessed the power to do harm as well as heal "goopher-doctors "two-head doctors" or "wise men" were region-specific titles for folk practitioners, as were "longh

t as a derogatory, anachronistic referent, the association of the word with certain material forms appears to have carried into new world characterizations of indigenous african religions. in some diaspora traditions in the united states today, for example, spiritual forces are believed to be brought into human experience in the creation of supernaturally empowered objects. joseph murphy, who has depicted "ceremonial spirituality" as a fundamental principle of new world religions such as santeria and vodou, highlights this concept. in africanbased religions, spiritual force can be isolated and enclosed in time and space "the focus on ceremonial spirituality reveals an interdependence\ 41\ of humanity and spirit" murphy notes "this means that the spirit c can be localized or efixed f into p

incipalities. similarly, west and central africans would have viewed the cosmos as a heavily populated world in which a reciprocating traffic of invisible and visible beings moved, interacted, and influenced each other. while anglo-american christians utilized a colorful language of "wonder" and "remarkable providences" to bear witness to the proximity of the supernatural in their lives, africans depicted the universe in myth and beckoned the timeless inhabitants of the spiritual world with ritual. in some cases, images from european folklore wove their way into the cosmologies of africa. the earthly reality of witches, demons, and other purveyors of misfortune underwrote the oral traditions and beliefs of both races. stories passed on of restless souls and apparitions.such as "raw head an

of heresy. in contrast, black american ideas of witchcraft sprang from traditional african beliefs in the mixed potential of good and evil "negroes c seemed not to ascribe any undue wickedness or malevolence to the [witches" noted one nineteenthcentury reporter "as they tend to think him or her gifted with unusual capacity for either good or evil" witches in black american folklore were sometimes depicted as persons who were in the service of satan; but this devil was more deviously mischievous and magical than absolutely evil, more of a trickster than an archenemy. witches (or "hags" the more frequently appearing ghosts of witches) in black american folklore were subversive characters whose harming actions usually revealed some hidden, didactic purpose or moral lesson.[57] african witchcr

three crude and shameless conjurers, who epitomized the slave tradition. for joplin, conjure was the most conspicuous symbol of the moral impoverishment and backwardness of black people. his contempt for supernatural traditions was shared by other african americans who aspired to racial advancement. thus, even as it integrated african american experiences into musical theater, treemonisha frankly depicted the rival forces that engaged.and divided.many black americans as well. this chapter explores some of the public impressions of conjure in the decades between emancipation and the first half of the twentieth century. after slavery, black supernatural traditions acquired vastly different meanings as they were exposed to forces of change both within and outside their communities of origin

ocid=kt600020q0&chunk.id=0&doc.view=print 7/14/2006 to keep you from trying to hoodoo me so keep your hands off a f my mojo, go away and let me be[56] for blueswomen, charms, conjure, and hoodoo practices provided last-resort antidotes for loneliness, despair, or betrayal. female blues singers insisted that magic had the power to "bring that man home" and "treat me right" hoodoo was also healing, depicted as a potential cure among cures, as in clara smith's 1924 "prescription for the blues" on the columbia label: let me tell you doctor, why i'm in misery once i had a love and he went away from me been to see the gypsy, hoodoo doctors too shook their heads and told me, nothing they could do[57] supernatural healing and harming were also thematic constants in the blues, as they were in conju

s\ 148\ african american music and like the spirituals, they shared elements with other aspects of black culture, especially black religion. they were a powerful medium by which performers articulated personal tribulations and conveyed them to a receptive audience. blues singers were storytellers whose listeners affirmed and participated in the black experience. in this manner blues men and women depicted the intimate realities and afflictions of black american life, using modes of delivery that resonated with the prayer, testimonial, and preaching traditions in many african american churches. the "hoodoo blues" as the historian julio finn describes supernaturally themed blues, were also "songs of power" for their audiences they could "set off a reaction and bring about a desired effect" l

obert abzug and stephen maizlish (lexington: university press of kentucky, 1986; kennedy and parker "trials of sundry negroes" reprinted in starobin, denmark vesey, pp. 32; stuckey, slave culture, p. 50 "examination of billy [bulkley,"in killens, trial record, pp. 130, 131; kennedy and parker "trials of sundry negroes" 42; sobel, trabelin' on, p. 167. 20. a blacksmith by the name of tom rusell is depicted in the trial record as gullah jack's "partner" whom jack had taught the art of conjuring (killens, trial record, p. 79. another supernatural specialist amid the conspirators was philip, a blind "seer or fortuneteller" who was "born with a caul" in the manner of black conjurers, who may have also been one of the spiritual elders in the gullah religion, portrayed by creel as the "healers, i

CHRONOLOGIA RORISPERGIUS

james i of england. michael sendivogius -treatise on sulphur 1614 fama fraternitatis. isaac casaubon redates the works of hermes trismegistus. roemer visscher's sinnepoppen contains many aphorisms after the manner of the fama. in the preface to his sinnepoppen, the amsterdam poet roemer visscher refers to a cultural pasttime which forms the basis for his book "the practice of commenting on scenes depicted on a kind of playing cards- jochen becker `plaatjes en praatjes: emblemata, gespreksspelen, conversatie en kunstgeklets, p. 118-130. in: de zeventiende eeuw 15.1 (1999) 1615 confessio fraternitatis steffan michelspacher cabala, spiegel der kunst unnd natur. james maxwell- admirable and notable prophecies. julianus de campis defence of the rosicrucians was published. 1616 chymische hochzei

COLLIER IRENE CHINESE MYTHOLOGY

ith creation myths of those far-flung regions: a cosmic egg, separation of the world into opposing forces, and doomed gods. this story introduces the important concept of yin and yang. these opposing forces, which exist in everything found in nature, are not seen as evil and good, but as dark and light, female and male, earth and heaven. one cannot exist without the other. in this story, panku is depicted as a giant. in other versions, he appears in his withered human form, clothed in bearskin and leaves. 16 once, the world was a mass of swirling darkness. there was no heaven. there was no earth. all the forces of the universe were trapped inside a small egg, tumbling and spinning in utter chaos. inside the egg was a tiny creature named panku. he slept soundly, unbothered by the disorder a

CROSSING THE DESERT

f xepera xeper xeperu, whose physical form had entered the consciousness of magus aquino from budge's egyptian language, had as its most recent form before budge a spell of slaying apep and knowing the manifestations of re, written the same year that alexander the great died. an earlier form of the spell appears on a statue of ramses iii, second pharaoh of the xxth dynasty, in which ramses iii is depicted as the god khepher. the image of khepher exists at a shrine in the eastern desert, which travelers would stop at before attempting a crossing to the east. ramses iii is a significant figure among setian emperors, because he is described in the great harris papyrus as xu thenru ast ast a ari-f em suten (translated as "he did many glorious things and mighty deeds as high priest. this phrase

DAVID ICKE AND THE TRUTH SHALL SET YOU FREE

1. he said part of the text read "in a concave mirror, i saw a star in the form of a snail between the navel of pegasus, the girdle of andromeda, and the head of cassiopeia."7 what roger bacon describes in the manuscript that was acquired by john dee is now known to be accurate and the illustration he includes of the andromeda 32..and the truth shall set you free nebula is also correct, but it is depicted from an angle which cannot be seen from the earth! dee was an adept and channeller of great renown and claimed to communicate with an 'angel with a wand, an extraterrestrial. the knowledge held within the secret society network has always been far- often centuries- in advance of what the mass of the people are allowed to know. the knowledge of the existence of america and its long term pl

DAVID ICKE CHILDREN OF THE MATRIX

scientific" establishment and so he must have been saying something worth hearing. but his theme is now enjoying more and more sympathy. when the mariner 9 mission took pictures of venus, many of velikovsky's earlier descriptions were proved correct, including what appeared to be a comet-like tail. mariner's pictures of mars also supported some of his theories. he pointed out that ancient peoples depicted venus as a very bright object trailing smoke following a very different orbit and trajectory than we see today. the chinese, toltecs, and mayans recorded this. the early sumerian astronomical accounts did not include venus, but the later chaldeans in the same region did so. they described it as a "bright torch in heaven" that "illuminates like the sun" and "fills the entire heavens" one o

ibious and "serpent-featured- a recurring theme as you will see. temple suggests that the anunnaki of the sumerian tablets could be these beings from sirius. he further proposes that the body of the sphinx is that of a dog and not a lion, thus symbolising the dog star, sirius,9 and some researchers also suggest that the face of the sphinx is that of a woman, not a pharaoh. the egyptians certainly depicted their lion bodies very differently to that of the sphinx and the dog is a common symbol in ancient mythology.10 in fact, ancient egyptians revered the dog and their dog symbol was a code for sirius" the sirius system was symbolised as feminine and so a dog's body with a woman's face would make* it is the reptilian bloodline that most concerns us in this book, but there are others of extra

, sirius is perhaps more likely. the queen's shaft in the great pyramid was designed to point to sirius, according to modern researchers. robert temple presents a wealth of interconnecting evidence to support his belief that an amphibious race from sirius came to the earth in far ancient times and brought with them the knowledge that founded those advanced civilisations. the sirius system is also depicted as a snake or serpent in a greek representation in the louvre museum in paris.13 temple's research began when he heard that the dogon people in mali, northwest africa, had told french researchers in 1931 some remarkable information about the sirius system. according to these researchers, the dogon also knew about all the planets of the solar system out to pluto, and of moons that have onl

said that he rode in a ship that could go under the water or fly in the sky. he was described as a giant who had scales like a fish or reptile. in the babylonian legend, oannes was one of the "annedoti("the repulsive ones) who had the heads and legs of men, but the body and tail of a fish.32 this is the origin of the mermaid stories, no doubt. the greek gods known as the "old men of the sea" were depicted as "mermen. it was said that if you fought with them, they changed shape and the legendary founders of athens, cecrops and his son, were said to be half-human-half-serpent amphibians. the greek god, tython, was another halfman- half-serpent figure with mythological connections to sirius, and both isis and 36 children of the matrix osiris were portayed with fish or serpent tails in some ef

at of the son of king minos. his son was said to be the minotaur, the half man, half bull, which defended the labyrinth under the palace at knossos according to legend. how interesting, therefore, that nar-am, the son of menes, was known as the "strong wild bull".19 his name, nar-am, consisted of nar, meaning strong or mighty in both sumerian and egyptian, and am, meaning wild bull. naram is also depicted in egypt as a wild bull and it could well be that it was this son of menes (the real "king minos) who inspired the symbolic legend of the minotaur in the labyrinth at knossos. the minoan culture was a mirror of the sumerian and the period of menes in egypt. the art was the same or similar, and so were the clay seals used for writing and recording events. the sumerian-egyptian form of writ

s mirrors the ancient egyptian story about the golden penis of their key god, osiris, which is symbolised by the secret societies today, especially the freemasons, as an obelisk. the way the extraterrestrial is portrayed on the necklace, credo says, is merely symbolic because these "gods" were of a very distinct and unhuman form (reptilian) and they warned the people of instant death if they ever depicted them as they really looked. thus the "gods" were portrayed symbolically. hanging from the necklace of the mysteries is a large hand, full of symbols. among these are the all-seeing eye, symbolising, credo points out, the "watchers (the same as the illuminati image on the us dollar bill; also there is the constellation of orion, which modern researchers have constantly connected with extra

humanity on their behalf and to their agenda, the accounts reveal. this is the reason for the obsessive interbreeding of the ruling families over thousands of years. the sumerian texts call these anunnaki "royal" bloodlines the ab-gal, the "masters of knowledge" and the "seven elders, and they apparently go back to ten priest-kings before the deluge. atlantis and lemuria in other words. they were depicted with fish-like bodies, as was enki himself under another of his names, oannes. the fish symbolises the amphibious nature of the gods and that is right in line with the apparently amphibious extraterrestrials from sirius. these "royal" bloodlines have worked to maintain their anunnaki genetics through interbreeding and others have continued to be seeded for this purpose ever since, hence t

old me that the key "nefilim" bloodline is blood brothers 83 connected to a figure called aeneas, the alleged head of the roman empire through his descendants, romulus and remus. the latter are code names for the bloodline and not real people and that may be the same with aeneas. the names "noah" and "king david" are also used as codes for the bloodline, but they did not exist in the way they are depicted and portrayed. the legends of aeneas fit with the codes and themes of the illuminati bloodlines, including his association with troy. aeneas is said to have been born in troy, the city so sacred to the merovingians and the knights templar. in the hymn to aphrodite, the goddess proclaims that aeneas, the son she has conceived by the mortal anchises, will come to rule the trojans, as will t

ina of the lung wang or "dragon kings" who were described as part human, part serpent. the nagas were described as offspring from the interbreeding of humans with the serpent gods. at first it seems this union happened with a dark race, the black, negro-like, earth people i mentioned earlier, because the hybrids were described as dark-skinned with a flat nose. this sounds very much like the faces depicted at ancient sites in south and central america. however, the two indian epics also refer to how the reptilian nagas intermingled with the white peoples and although their relationship was often one of conflict and distrust, the two interbred, the epics report, to produce a reptilian-mammal hybrid that became .the aryan kings!7 these are the "divine" royal bloodlines or "demigods" and they

ed power because they descended from the nagas. buddha is claimed to have been of the royal line of the nagas, but then anyone said to be of a royal line in india would have to be so. it was the nagas who established what is now kashmir and again the ruling bloodlines descended from them. the chinese emperors were the same. they were known as lung or dragons and many of the earliest emperors were depicted with reptilian features, very much like the nagas. one of them, called huang ti, was said to have been born with a "dragon-like countenance. it was claimed that he was conceived by a ray of golden light that entered his mother's womb from the big dipper constellation.12 the big dipper includes the star alpha draconis, the star of set in egypt. alpha draconis is an alleged base of the "dra

as were symbolised by the snake and they wore bracelets and anklets in the image of a snake. the earliest of the royal bloodlines of central america claimed genetic descent from the serpent gods, quetzalcoati and itzamna. in the mycenaean age in greece the kings were, in the words of author jane harrison "regarded as being in some sense a snake".13 cecrops, the first mycenaean king of athens, was depicted as a human with a serpent tail. another, erectheus, who founded the eleusinian mystery school, was the unholy alliance 95 worshipped as a live snake after his death and, according to legend, king kadmus shape-shifted into a live snake when he died.14 the symbolism of the serpent lineage of the ancient royal bloodlines can be found on every continent. iran is another example. the arab poet

DAVID ICKE THE BIGGEST SECRET

mammi, from which comes mamaand mother. ninkharsag is symbolised in mesopotamian depictions by a tool used to cutthe umbilical cord. it is shaped like a horseshoe and was used in ancient times. she alsobecame the mother goddess of a stream of religions under names like queen semiramis,isis, barati, diana, mary and many others, which emerged from the legends of this allover the world. she is often depicted as a pregnant woman. the texts say of theanunnaki leadership:they summoned and asked the goddess,the midwife of the gods, the wise birthgiver (saying),t o a creature give life, create workers!create a primitive worker, that he may bear the yoke!let him bear the yoke assigned by enlil,let the worker carry the toil of the gods! 4enlil was commander of the anunnaki and enki was his half-brot

erious serpent-shaped mound in ohio;the east indians speak of the reptilian gods, the nagas (these were a race of demons inindian legend and their name means those who do not walk, but creep; theegyptians had their serpent god, kneph, and pharaohs were often pictured withserpents; the phoenicians had agathodemon, another serpent figure; the voodoo peoplehave a god they call damballah wedo, who is depicted as a serpent; and the hebrewshad nakhustan, the brazen serpent. the ancient british god, known as the dragon-ruler of the world, was called hu and from this, very appropriately i would suggest,we get the term, hu-man. the winged-disc symbol of the sumerians, which is found allover the ancient world, was normally featured with two serpents. the symbolism of theserpent and its association w

ncluding three caskets with dead females in them:a jewish girl, a native american and a black woman. another girl is holding a mayantablet that tells of the destruction of civilisation. a huge character, described as a greendarth v ader by alex christopher, stands over a destroyed city with a sword in his handand women are walking along a road holding dead babies. all the children of the worldare depicted taking weapons from each country and handing them to a figure of agerman boy with an iron fist and an anvil in his hand. denver is apparently scheduled tobe the headquarters of the western sector of the united states under the fascist globalstate called the new world order which is planned beyond the year 2000. atlanta is saidto be the centre for the eastern sector and i remember thinking

body and theyare the origin of the term winged serpent. they are also the origin of the term fallenangels and the winged gargoyles are symbolic of these draco. the cape worn by countdracula is symbolic of these wings and the character of dracula in the bram stokerstories is said to be a fallen angel. the winged draco are also known as the dragon raceand some of the ancient gods were described and depicted as birdmen. this could be oneof the origins of the phoenix and eagle in brotherhood symbolism, as well as the moreesoteric meanings. the biblical satan is depicted as a reptilian, too.some of the draco reptilian hierarchy are apparently white or albino white and notthe usual green or brown, and this connects with the description of the strange albinolizard humanoid in the building in auro

lbino white and notthe usual green or brown, and this connects with the description of the strange albinolizard humanoid in the building in aurora, near denver. the draco are the royalty ofthe reptilians and the highest caste are the albino whites, who apparently have conicalhorns midway between the brow and the top of the skull. this struck me immediatelybecause the ancient gods and royalty were depicted as wearing a horned headdress,symbolic of these royal reptilians, im certain. other species, like the soldier class andscientists, are known as reptoids. they dont have wings, but all of them are cold-blooded.44 their scales are much larger on their backs and they have three fingers withan opposing thumb. they have three toes with a fourth towards the side of their ankleand their claws ar

ace has been their main vehiclefor taking over the planet and the royal draco at the top of their hierarchy are albinowhite. significantly, when you look at ancient accounts, many of their hybrid creationshad blond hair and blue eyes. a major change would seem to have taken place soonafter the v enus upheavals because the ubaid culture (5,000-5,000 bc, in what is nowiraq, worshipped gods who were depicted as lizard-humanoids while the sumerians(4,000-5,000 bc, who lived in the same area, depict their gods as very human. thischange, and the crossbreeding programme in the caucasus region, are fundamentallyconnected, im sure. the anunnaki-human crossbreed elite was described by thesumerians and there are many other accounts of the interbreeding of extraterrestrialsand humans, or the gods and

it was exposed by a scientific commission as being no older than the 9th centurymore significantly, according to the catholic encyclopaedia, is that it is decorated bytwelve plates portraying the twelve labours of hercules. this same work claims thathercules was another name for nimrod before becoming a deity of the greeks.9 in 1825,pope leo xii authorised the production of a jubilee medal and it depicted a woman in apose that was blatant symbolism of queen semiramis. she had a crucifix in her lefthand, a cup in her right and on her head was a seven rayed crown like the one on thestatue of liberty, another depiction of semiramis which was given to new y ork byfrench freemasons. a contact who has relatives working in high positions in the v aticantold me how, during the reign of pope john p

june 23rd and celebrated his ascension from theunderworld. when he was resurrected, tammuz was known as oannes, the fish god,and oannes is a version of the name, john.14 for this reason, john has been used as asymbol for tammuz-nimrod in symbolic characters like john the baptist. june 23rd, thefeast of tammuz, became the christian day called st johns eve! the nimrod-semiramis combination has been depicted under countless names in the civilisationsand cultures which have followed. these deities throughout the world may seem to be54an unfathomable tidal wave of names, but they are overwhelmingly different names forthe same two figures. another deity widely used in satanism for the sacrifice ofchildren today is kronos, the king of the cyclops in greek legend. he was known asthe tower builder

hich later emerged as the civilisations ofminoan crete, classic greece and roman italy. they were also the brains behindmuch of the egyptian culture in this period, before it was hijacked by the reptilians.the egyptians knew the phoenicians as the panag, panasa and fenkha. the greekscalled them the phoinik-as, and to the romans they were the phoenic-es.28 there is asimple reason why the egyptians depicted many of their gods with white skin andblue eyes in exactly the same way as other cultures all over the world did. this63advanced race, called the phoenicians, were white skinned and often had blue eyes -the same as the reptilian-human crossbreeds and the same, it would appear, as the racefrom mars. thus we have the scandinavian races, which were installed by thephoenicians and other peopl

was considered a positivesymbol until the nazis turned it around and made it a symbol of destruction. l. a.waddell translated the markings on another stone in scotland, the newton stone in thedumfries and galloway region, to be phoenician-hittite and dedicated to their sun god,bel or bil. the classic british symbol of britannia comes from the phoenician goddess,barati. look at how the phoenicians depicted barati and how the british depictbritannia in figure 12! one of the major centres of the aryan-hittite-phoenicians wascilicia in asia minor and here barati was worshipped as perathea and later diana. sodiana and britannia originatefrom the same source. baratiwas the queen/goddess figure ofthe phoenicians as barat was thegod/king. these are possiblynames for the babylonian deitiesnimrod an

e nagas were the serpentgods of the hindus. the v edas, inspired by the aryans, tell how the serpent-humans, thenagas, could cause fantastic damage and instant death. the nagas were also said to haveappeared at the birth of the man who became known as buddha and the serpent plays a partin the legend of khrishna. the roman name for barati was fortune after her legend as thegoddess of fortune. they depicted fortune in the same way as the phoenicians symbolisedfigure 12: the phoenician depiction of barati (right) and the britishsymbol of britannia. they are the same deity and alternative namesfor queen semiramis in babylon and isis in egypt. 69barati and the british do with britannia. all were associated with water as you expectwith a sea-faring race like the phoenicians. the egyptians, too

DAVID ICKE RELATED THE HIDDEN GEARS OF FREEMASONRY

the message "new order of the ages" or "new world order" you are about to learn that the u.s. government is linked to satanism. you have already learned that the u.s. government is linked to several other governments and the church. and that it is all run by the secret society brotherhood. the street design in washington, d.c, has been laid out in such a manner that certain luciferic symbols are depicted by the streets, cul-de-sacs and rotaries. this design was created in 1791, a few years after freemasonry assumed the leadership of the new world order, in 1782. in europe, occult leaders were told by their familiar spirits as early as the 1740's that the new american continent was to be established as the new "atlantis, and its destiny was to assume the global leadership of the drive to t

nce you draw the natural continuation of louisiana and washington beyond their termination points you will see the 900 square perfectly formed. the freemason's rule, or straightedge, is clearly seen if you draw a straight line south from the white house center to the base of the washington monument and then straight east to the capitol. thus, all three of the sacred instruments of freemasonry are depicted in the layout of these streets. as i stated earlier, the deliberate planning of these governmental buildings so that they would be laid out so as to represent these three sacred tools of freemasonry, coupled with the luciferic goathead pentagram, clearly tell us that the brand of luciferic control and worship planned for this capitol city was freemasonry. this clearly shows that the new w

DAVIDSON DAN SHAPE POWER

ies was that of the substructure of the proton5. he discovered it was a vortex made of three sub-nuclear particles, also vortexes. further research led him to the idea that this three particle substructure continued down to smaller and smaller levels of particles within each particle. keely claimed to have learned to control the substructure 27 levels down from the basic proton. the keely atom is depicted in a stylized format in figure 1.2.2-1. the first level of substructure was finally theorized in the orthodox community by feynman in 1958. keely's discovery antedated feynman by over 60 years! feynman called three particles making up the proton "quarks. figure 1.2.2-1. keely "atom (i.e, proton) showing torroidal structure 1.2.3 magnetism magnetism exists as: 1. the earth's natural magnet

magnetic field. this means that intersecting lines or rods should also generate magnetic fields. measurements taken with an alpha laboratory model 3 tri-field meter figure 1.4.5-1 generation of magnetic and electrostatic fields with intersecting rods a simple experiment was performed to test the hypothesis that intersecting rods would generate a magnetic and electrostatic field. these results are depicted in figure 1.4.5-1. initial measurements were taken with a sensitive meter and a fluxgate magnetometer. the experiment was a resounding success. intersecting lines create a magnetic and electrostatic field. this is a major breakthrough discovery wherein shape power aetheric physics predicts a previously unknown phenomenon. further experiments were done to verify this effect. two types of p

above the earth. these are east-west/north-south energy grids that form a natural energy system which covers the entire earth. the curry net and the hartmann net are the two most well known of the earth grids. recent research by bruce cathie, a new zealander, has also discovered an energy grid which appears related to ufos. dr. manfred curry 1 discovered the grid named after him. the curry grid, depicted in figure 3.3-1, is very regular, stable and covers the entire earth. its lines run in an approximate northeast-southwest/northwestsoutheast direction and is thus running at a diagonal to the latitude and longitude directions. it is believed that the curry net is of earth origin. it has alternate charging and discharging nodes. the lines are 10-12 feet apart in the northern and southern h

as also independent of the material that the pyramid was made from. the effect could be explained away with metal pyramids; however, with dielectric materials this effect does not fit with any explanations of standard physics. as described in chapter 1, a simple experiment to test the hypothesis that intersecting rods would generate a magnetic and electrostatic field was proven. these results are depicted in figure 1.4.5-1. this effect of the pyramid being an actual generator of a magnetic field is very explainable with my discovery that the intersecting lines generate a flowing vortex of aetheric energy. the magnetic field of a permanent the late 1890s. also, see paul stowe's math in chapter 8 for the proof of this assertion. magnet is also a flowing vortex of aetheric energy as discussed

lowing vortex of aetheric energy as discussed in chapter 1 of this book. q.e.d- ergo- eureka! a pyramid of set of intersecting rods will therefore generate a magnetic field because the aetheric vortex flows at the intersecting of the lines are in fact magnetic fields. this means that intersecting lines or rods should also generate magnetic fields, and this was proven in laboratory measurements as depicted in chapter 1. 4.9 summary of pyramid energy the main theme of this chapter is that the pyramid shape is a natural transducer of aetheric energy into electromagnetic energy. the pyramid shape, as well as triangles made in the same proportion as the great pyramid, naturally collect and focus aetheric energies. because of the pyramid shape; the interacting aetheric energies are converted int

which depicts one of joe's first experimental setups to detect pyramid energy fields. this discovery has led to the possibility of a free energy machine, as well as a true space drive based on generation of gravitational force fields using rotating pyramid shapes. figure 7.2.1-1 early joe parr data collection setup one of the things which joe found in the pyramid energy conversion experiments, as depicted in figure 7.2.1-1, was that the pyramids quit responding now and then and he had no explanation as to why. he did find correlation with celestial events and his experiments. sun spot activity seems to affect the intensity of the pyramid energy bubble. the gravity energy sensor, which joe parr discovered, involves the great pyramid and pyramid shapes in general. this sensor uses a static (

he ion generator is not shown in figure 7.2.3-1. photographs of joe's gravity wheel experiment are shown in figures 7.2.3-2 and 7.2.3-3. figure 7.2.3-2 joe parr's gravity wheel experiment figure 7.2.3-3 close-up of joe's gravity wheel experiment 7.2.4 force fields of the gravity wheel experiment the parr experiments revealed the forcefields created by the spinning gravity wheel experiment and are depicted in figure 7.2.4-1. there are figure 7.2.4-1. ovoid forcefield around gravity wheel experiment and small energy bubbles surrounding each of the triangles of the gravity wheel two types of forcefields built up in and around the experiment. there is an ovoid shaped forcefield around each of the copper triangles. when these small force fields build up in intensity, they cause a drag on the mo

aco (the dragon, which was the pole star at the time of the pyramid's creation, and the southern air duct pointed to one of the stars in the constellation orion's belt around 2600 bc. more precise modern measurements7 have also shown that the king's chamber's north and south air ducts and the queen's chamber southern air duct date the pyramid at 2450 bc. the details of this discovery by bauval is depicted in figure 7.4.2-2. it is interesting to note that the earth is lined up with the sun and the three stars in orion's belt around the 13th-15th of december each year. in the first week of this year, 1997, at sunrise and sunset the sun was lined up with the three stars in orion's belt and with the axis of the gravity wheel experiment. figure 7.4.2-2. correlation of orion with great pyramid i

and elements are embedded in the structure of the atom, and probably many more that we don't yet know about. solve how the atom does its perpetual motion miracle and you have solved how the physical universe is constructed. gravity control and free energy will be some of the resulting developments when the atom is understood. in chapter one, the simple atom, as envisioned by john e. w. keely, was depicted as a torroidal vortex of aetheric force, with a substructure of torroids embedded within the larger torroid in a triple particle effect. the main torroid is made up of three smaller torroids rotating to form the larger main pattern, with each pattern repeating at each sub-level, possibly ad infinitum. modern physics envisions the atom as a collection of nuclear particles which are held to

his discoveries was that of the substructure of the proton 15. he discovered it was a particle made of three sub-nuclear particles. further research led him to the idea that this three-particle substructure continued down to smaller and smaller level of particles within each particle. keely claimed to have learned to control the substructure 27 levels down from the basic proton. the keely atom is depicted in a stylized format in figure 8.3-1. keely's atom was closer to spherical shells than torroids. the first level of substructure was finally theorized in the orthodox community by feynman in 1958. keely's discovery antedated feynman by over 60 years! feynman called the three particles making up the proton "quarks. figure 8.3-1. keely "atom (i.e, proton) showing torroidal structure figure

DEMONIC BIBLE

nt goddesses who represented various aspects of tiamat, either as goddess of the earth, goddess of fertility and pleasure, or goddess of death. astaroth is a form of ishtar, the babylonian goddess of pleasure who descends into the underworld to conquer her sister ereshkigal, the goddess of death. in this ancient myth, both ishtar and ereshkigal are forms of tiamat. the dark goddess was also often depicted carrying a phallic object a severed penis. the egyptian god set was originally a female deity and was identified with isis. the goddess set carried as a talisman the severed penis of osiris. isis and set, like the babylonian ishtar and ereshkigal, represent life and death and are both aspects of the dark goddess of chaos, tiamat. it was often said that witches of the middle ages gathered

DION FORTUNE MYSTICAL QABALA

consciousness, or throne; and fourthly, a special aspect of the deity. god as he is, in his entirety, being hidden behind the negative veils of existence, incomprehensible to unenlightened human consciousness. 20. the sephiroth may justly be considered macrocosmic, and the paths microcosmic; for the sephiroth, connected as they sometimes are in old diagrams by a flash of lightning, which is often depicted as hilted like a fiery sword, represent the successive divine emanations which constitute creative evolution; whereas the paths represent the successive stages of the unfolding of cosmic realisation in human consciousness; in old pictures a serpent is often depicted as twined about the boughs of the tree. this is the serpent nechushtan "who holdeth his tail in his mouth" the symbol of wis

DION FORTUNE PSYCHIC SELF DEFENSE

a fire, or driving nails into a wooden statue, baptised with the name of the victim, are frequently met with in the records of witch-trials. the actual driving of the nail has no conceivable effect upon the victim, but it helps the concentration of the operator. the talismanic method in various forms is also employed. a talisman is a symbol representing a certain force, or combination of forces, depicted upon a suitable substance and magnetised by ritual. it can be made from anything which will retain magnetism; metals, precious stones or parchment are usually employed; paper is less effective unless it be enclosed in a metal case. water and oil can be effectually magnetised but soon lose their potency. a talisman is made by invoking the requisite force, as already described, and then con

cross-bar, and which is the symbol of sacrifice. the equi-limbed cross refers to the four quarters of the globe and the four elements, and the formula associated with it proclaims the dominion of god over these, and thereby occultly formulates his kingdom within the sphere of the operator. the operator next imagines himself to be clasping in his right hand a large, cross-handled sword, such as is depicted in pictures of crusaders. he holds it point upright and says "in the name of god i take in hand the sword of power for defence against evil and aggression" and imagines himself to be towering up to twice his natural height, a tremendous armed and mailed figure, vibrating with the force of the power of god with which he has been charged by his formulation of the sword of power. he now proc

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

.e, about b.c. 1200-550, and was, like the theban, usually written upon papyrus. the chapters have no fixed order, and are written in lines in the hieratic character; the rubrics, catchwords, and certain names, like that of apep, are in red. the vignettes are roughly traced in black outline, and are without ornament; but at the ends of the best papyri well-painted scenes, in which the deceased is depicted making adoration to ra or horus, are frequently found. the names and titles of the deceased are written in perpendicular rows of hieroglyphics. the character of the handwriting changes in different periods: in the papyrus of the princess nesi-khonsu (about b.c. 1000) it is bold and clear, and much resembles the handsome style of that found in the great harris papyrus;[1] but within a hund

which means something like "sublime "noble" the doctrine of eternal life. http//www.sacred-texts.com/egy/ebod/ebod05.htm (7 of 21 [8/10/2001 11:23:20 am] and which has always hitherto been translated by "soul" the ba is not incorporeal, for although it dwells in the ka, and is in some respects, like the heart, the principle of life in man, still it possesses both substance and form: in form it is depicted as a human-headed hawk, and in nature and substance it is stated to be exceedingly refined or ethereal. it revisited the body in the tomb and re-animated it, and conversed with it; it could take upon itself any shape that it pleased; and it had the power of passing into heaven and of dwelling with the perfected souls there. it was eternal. as the ba was closely associated with the ka, it

r my shadow, may it see the great god. and again, in the lxxxixth chapter the deceased says- maa-a ba-a xaibit-a may i look upon my soul and my shadow.[2] the khu or intelligence. another important and apparently eternal part of man was the khu, which, judging from the meaning of the word, may be defined as a "shining" or translucent, intangible casing or covering of the body, which is frequently depicted in the form of a mummy. for want of a better word khu has often been translated "shining one "glorious "intelligence" and the like, but in certain cases it may be tolerably well rendered by "spirit" the pyramid texts show us that the khu's of the gods lived in heaven, and thither wended the khu of a man as soon as ever the prayers said over the dead body enabled it to do so. thus it is sa

meval mass of water which was shrouded in darkness and which contained within itself the germs or beginnings, male and female, of everything which was to be in the future world. the divine primeval spirit which formed an essential part of the primeval matter felt within itself the desire to begin the work of creation, and its word woke to life the world, the form and shape of which it had already depicted to itself. the first act of creation began with the formation of an egg[4] out of the primeval water, from which broke forth ra, the immediate cause of all life upon earth. the almighty power of the divine spirit embodied itself in its most brilliant form in the rising sun. when the inert mass of primeval matter felt the desire of the primeval spirit to begin the work of creation, it bega

o appear as male and female human forms with the heads of frogs or serpents.[7] the birth of light from the waters, and of fire from the moist mass of primeval matter, and of ra from nu, formed the starting point of all mythological speculations, conjectures, and theories of the egyptian priests.[8] the light of the sun gave birth to itself out of chaos, and the conception of the future world was depicted in thoth the divine intelligence; when thoth gave the word, what he commanded at once took place by means of ptah and khnemu, the visible representatives of the power which turned thoth's command into deed. khnemu made the egg of the sun,[9] and ptah gave to the god of light a finished body.[10] the first paut of the gods consisted of shu, tefnut, seb, nut, osiris, isis, set, nephthys and

vening. the moon followed the sun's the abode of the blessed. http//www.sacred-texts.com/egy/ebod/ebod08.htm (1 of 4 [8/10/2001 11:23:43 am] course along his mother's body, but sometimes a second female is represented bowed beneath nut [1 (fig. 2, and this is believed to signify the night sky across which the moon travels. in an interesting picture which m. j quier has published[2] the goddess is depicted lying flat with her arms stretched out at full length above her head; on her breast is the disk of the sun, and on her stomach the moon. those who believed that the sky was an iron plane imagined that the stars were a numbers of lamps which were hung out therefrom, and those who pictured the sky as a goddess studded her body with stars. one scene makes the morning and evening boats of ra

of the dead. the following are the principal gods and goddesses mentioned in the pyramid texts and in the later versions of the book of the dead- nu represents the primeval watery mass from which all the gods were evolved, and upon which floats the bark of "millions of years" containing the sun. this god's chief titles are" father of the gods" and begetter of the great company of the gods. he is depicted in the form of a seated deity having upon his head disk and plumes.[1] nut the female principle of nu; she is depicted with the head of a snake surmounted by a disk, or with the head of a cat.[2] ptah was associated with the god khnemu in carrying out at the creation the mandates of thoth the divine intelligence; his name means the "opener" and he was identified by the greeks with greek h

[1. lanzone, dizionario, tav. 166, no. 2. for fuller descriptions of the gods and their titles and attributes see brugsch, religion und mythologie, leipzig, 1884-88; pierret, le panth on gyptien, paris, 1881; wiedemann, die religion der alten aegypter, m nster, 1890; strauss and corney, der altaegyptische g tterglaube, heidelberg, 1889. for illustrations of the various forms in which the gods are depicted, see the dizionario di mitologia egizia, turin, 1881 (not yet complete. 2. lanzone, op. cit, tavv. 168-71. 3. greek tou^to de` tou^ h!fai'stou to` i!drusas ai e`n au?th (ii, 99] p. cviii and gave birth to his body, and established unending and unvarying right and truth upon the earth" as a solar god he is called "ptah, the disk of heaven, who illumineth the world by the fire of his eyes;

u to` i!drusas ai e`n au?th (ii, 99] p. cviii and gave birth to his body, and established unending and unvarying right and truth upon the earth" as a solar god he is called "ptah, the disk of heaven, who illumineth the world by the fire of his eyes; and in the book of the dead he is said to have "opened" the mouth of the deceased with the tool with which he opened the mouths of the gods.[1] he is depicted in the form of a mummy standing upon maat and in his hands he holds a sceptre on the top of which are the emblems of power, life, and stability; from the back of his neck hangs the menat (see p. 1, note 2.[2] ptah formed at memphis the chief member of the triad ptah-sekhet and nefer-tmu. in many texts the god ptah is often joined to the god seker whose individual attributes it is not easy

e day or the night is not certain. originally his festival was celebrated in the evening, wherefrom it appears that he represented some form of the night sun; but in later times the ceremony of drawing the image of the god seker in the hennu boat round the sanctuary was performed in the morning at dawn, and thus, united with ptah, he became the closer of the night and the opener of the day. he is depicted as a mummied body with the head of a hawk, and he sometimes holds in his hands emblems of power, sovereignty, and rule.[3] another form of ptah was ptah-seker-ausar wherein the creator of the world, the sun, and osiris as the god of the dead, were represented. a large number of fa ence figures of this triune god are found in graves, and specimens exist in all museums. he is represented as

e, and "the builder of men, the maker of the gods, and the father from the beginning" elsewhere he is said to be ari enti-s qemam unenet sa xeperu tef maker of things which are, creator of what shall be, the beginning of beings, father tefu ma ma of fathers, and mother of mothers. he supported the heaven upon its four pillars in the beginning, and earth, air, sea, and sky are his handiwork. he is depicted in the form of a man having a ram's head and horns surmounted by plumes, ur i with disks, etc; in one hand be holds the sceptre and in the other the emblem of life. occasionally he is hawk-headed, and in one representation he holds the emblem of water, in each hand. on a late bas-relief at phil we find him seated at a potter's table upon which stands a human being whom he has just fashion

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

to psychic and occult phenomena. the new age and beyond the hidden underlying reality described as the invisible spiritual structure of the universe is known as esotericism. this structure is enlivened by the cosmic energy or power that energizes the world at a more abstract level than the various forms of energy defined in classical physics. the esotericist characterizes the reality beyond that depicted by physicists in their observations of the world; these descriptions are termed meta-physics. esotericism, in contrast to bible-based religions and philosophies, is considered a third force in western thought. the esotericists approach to life is generated from human experience, in which, people spontaneously encounter psychic and mystic moments, seek magical means of forecasting the futu

g days of the franco- prussian war in 1871 that eugene and joseph barbadette (twelve and ten years old respectively) saw the virgin. their father, standing close by, saw nothing. as others gathered, the adults saw nothing, but two additional children, both female, immediately saw the apparition. the apparition closed with what resembled a set of tableux-like scenes of mary in the same position as depicted on the miraculous medal, and then a red cross appeared and a white cross. as the priest who had arrived led the group in their evening prayers, the vision faded. twentieth century apparitions the four french apparitions set the stage for what possibly were the most spectacular of the modern apparitions whose fame closely rivals that of lourdes. the apparitions at fatima, in central portug

: university books, 1973. azael encyclopedia of occultism& parapsychology. 5th ed. 136 b ba the egyptian conception of the soul, which, in the form of a man-headed bird, left the body after death and winged its flight to the gods. it returned at intervals to the mummy for the purpose of comforting it and reassuring it concerning immortality. sometimes carved on the lid of mummy cases, it might be depicted grasping the ankh and the nif; occasionally it was represented as flying down the tomb shaft to the deceased or perched on the breast of the mummy. in the book of the dead, a chapter promises abundance of food to the ba. the ba, or soul, should not be confused with the ka, the human double. in egypt the human had both. after death, the ba left the body. the ka remained in the tomb and ven

ce were recorded by the jesuit missionaries of the eighteenth century in cochin china. symbolism there are numerous mysteries of meaning in the strange symbols, characters, personages, birds, and beasts that adorn all species of chinese art objects. for example, a rectangular chinese vase is feminine, representing the creative or ultimate principle. a group of seemingly miscellaneous art objects, depicted perhaps upon a brush tray, are probably the po-ku, or hundred antiques emblematic of culture and implying a delicate compliment to the recipient of the tray. birds and animals occur with frequency on chinese porcelains, and, if one observes closely, it is a somewhat select menagerie, in which certain types are emphasized by repetition. for instance, the dragon is so familiar as to be no l

n cheek attempts by the encyclopedia of occultism& parapsychology. 5th ed. cottingley fairies 343 british press to report the historical facts of the episode while, at the same time, leaving no doubt that it was all in good fun. in 1973 the president of the folklore society in yorkshire delivered his annual address, in which he assured his audience that he did not believe the photographs actually depicted real fairies. he concluded this after watching elsie s 1971 interview. in 1976, another interview with both frances and elsie was televised in yorkshire. during this program both women confirmed the events recorded by doyle, hodson, and gardner. shortly thereafter, fred gettings discovered a picture in a book entitled princess mary s gift book (london: hodder& stoughton, 1914, which, unli

d this after watching elsie s 1971 interview. in 1976, another interview with both frances and elsie was televised in yorkshire. during this program both women confirmed the events recorded by doyle, hodson, and gardner. shortly thereafter, fred gettings discovered a picture in a book entitled princess mary s gift book (london: hodder& stoughton, 1914, which, unlike the price& sons advertisement, depicted dancing fairies very similar to those in the first of the photographs. ironically, princess mary s gift book also contained an article by doyle. in 1982 james randi, the famous magician, published blowups of the photographs to demonstrate that the fairy figurines in the cottingley photos were cutouts and that the last photograph was a double exposure. the same year randi s book appeared

eus was on the outer belt with the 36 decani surrounding him; representations of the 12 signs of the zodiac were on the second; and the third the sun and moon were on the third. he set the tablet on a tripod, and emptied out of a small box with models of the seven stars that were in the belts, and put eight precious stones into the middle belt. he arranged these in the places where he figured the depicted planets would be at the time of the birth of olympias. he then told her fortune from them. it should be noted that the use of the horoscope is much older than the time of alexander the great. a greek horoscope in the british museum is attached to an introductory letter from some master of the art of astrology to his pupil, named hermon, urging him to be very exact and careful in his appli

n contact with her body. according to rochas, i observed that when i pricked the first plate with a pin mme. lux felt nothing, when i pricked the second she felt it slightly, and when i pricked the third she felt it sharply, and this was a few minutes after the operation. three days later, wishing to discover to what extent this plate was sensitive, i gave two sharp blows with the pin on the hand depicted in the picture in such a manner as to tear the film of gelatino-bromide. lux, who was two metres distant from me, and could not see what part i had pricked, fell back at once with cries of pain. i had some difficulty in restoring her to her normal state; her hand hurt her, and a few seconds afterwards i saw appear on her right hand.the one i pricked in the photograph. some little red mark

ted from ancient indo-european folklore, and folk traditions have been made sophisticated in the tales of the countess d aulnoy and hans christian andersen. different beliefs and folk memories have no doubt merged, but when all this is sifted and evaluated there remains a body of tradition and testimony, even today, of an elusive ghostly order of life on the borderland of mind and matter, usually depicted in the natural setting of wild and lonely places rather than in the skeptical materialistic bustle of towns and cities. w. y. evans-wentz, in his the fairy-faith in celtic countries (1911) presents a living testimony of fairies, the recorded traditions of celtic literature and mythology, an examination of various theories for fairies, and a case for the reality of fairy life. in the final

louis was approaching and he rode out to meet him, but fell from his horse and died shortly afterward as a result of injuries sustained in the fall. a special interest attaches to galeotti in that he appears in sir walter scott s inimitable story of medieval france, quentin durward. early in the tale, soon after quentin has entered the scots guard of louis xi, the latter and his new guardsman are depicted as visiting the astrologer, the king being anxious for a prophecy regarding quentin s immediate future. the scene is a very memorable and graphic one, among the best in the whole book, and it is historically valuable because it contains what is probably a fairly accurate description of the kind of study used generally by an astrologer in the middle ages. galeotti is represented curiously

lore dating back to medieval times, deriving from a pagan god of vegetation and the woodlands. although his origins are shrouded in antiquity, he may also be related to myths of the arcadian goatgod, pan. the green man is usually represented by a human face embedded in foliage, but some ancient representations depict him as horned, suggesting a connection with a witchcraft deity. he has even been depicted in carved decorations on old churches and cathedrals, suggesting that at some period, pagan deities were supplanted by christianity. during the christian eras, the green man survived in folk plays and folklore customs, such as the may day revels, when he was called jack in the green or some similar name. traditions of the green man may also have merged with the legends of robin hood. gree

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

e is commemorated on november 11, but the feast of martinmas, which occurs on that date, and which of course derives its name from him, is, nevertheless, a survival of an old pagan festival. it inherited certain pagan usages, which accounts for the fact that martin is regarded as the patron saint of drinking, joviality, and reformed drunkards. certain miracles and other incidents in his life were depicted by noted painters. perhaps the finest picture of him is one by the flemish master hugo van der goes, which is now in the municipal museum at glasgow. it should be said that the term martinet, signifying a severe and punctilious person, is not derived from the saint s name, but from one jean martinet, a french soldier who, during the reign of louis xiv, won fame by his ardor in promoting d

ibed the rat as a symbol of destruction and said that the hebrew name of this animal is from a root that means to separate, divide, or judge. it has been remarked by one of the commentators on horapollo that the mouse has a finely discriminating taste. an egyptian manuscript in the bibliotheque royale in paris contains the representation of a soul going to judgment, in which one of the figures is depicted with the head of a rat. it is understood that the libian rats and the mouse of scripture are the same as the arabian jerboa, which is characterized by a long tail, bushy at the end, and short forelegs. sources: waite, arthur edward. the occult sciences. 1891. reprint, secaucus, n.j: university books, 1974. mysteria mystica aeterna a lodge of the occult society oto (ordo templi orientis) l

tbreak of the plague. flagellants preached that there was no remission of sins (and dissipation of accompanying disasters such as epidemics) without their self-inflicted punishment offered as penance. bands of them, gathering adherents everywhere, roamed obercit, jacques hermann encyclopedia of occultism& parapsychology. 5th ed. 1130 through city and country, clad in scanty clothing on which were depicted skeletons, and with frenzied movements publicly lashed themselves. it was to these exhibitions the name dance of death was first applied. the dancing mania, accompanied by aberration of mind and maniacal distortions of the body, was prevalent in germany in the fourteenth century, and in the sixteenth century in italy, where it was termed tarantism and was ascribed to the bite of the taran

. for, when the gods offered presents to juno on her nuptials with jupiter, the earth also brought golden apples. juno, admiring their beauty, commanded them to be planted in the garden of the gods; but finding that they were continually plucked by the daughter of atlas, she appointed a vast serpent to guard them. hercules overcame and slew the monster. hence, in this constellation the serpent is depicted rearing its head aloft, while hercules, placed above it with one knee bent, tramples with his foot upon its head, and brandishes a club in his right hand. the greeks placed the garden of the hesperides close to mount atlas, and then claimed it was far into the regions of western africa, yet all knowledge of its asiatic site was not erased from the classical mythologists. apollodorus state

t it could have been achieved only by supernormal techniques, such as levitating the great blocks of stone by mysterious occult force. however, tomb paintings, tool marks on stone, and quarry workings suggest more conventional technology. ruins found near the pyramid are thought to have been the barracks for about 4,000 skilled workmen. the heavy work could have been done by conscripted labor, as depicted on other tomb paintings. one such painting depicts about 172 men shifting a sixty-ton statue. the stones were probably moved on sleds and by barges and rafts. earthen mounds may have surrounded the pyramid in the course of construction, with ramps for elevating the stones. pyramidology, the attempt to impose metaphysical and cosmological meaning upon the great pyramid, dates back to the 1

ished in london (1864.66) and edited by j. h. powell and w. h. harrison. spirituelles addressbuch (directory) annual publication in german giving comprehensive listings of mystical, spiritual, yoga, and new age organizations all over germany. last known address: param, verlag gunther koch, kurz strasse 5, d-2161 ahlerstedt 1, germany. splitfoot a facetious name for the devil, who is traditionally depicted with hooves, sometimes expressed as old splitfoot or mr. splitfoot. when the fox sisters first encountered the mysterious rappings at hydesville, new york, that supposedly heralded the beginnings of spiritualism, the youngest child cathie reportedly said mr. splitfoot, do as i do and clapped her hands; the raps immediately repeated her clapping. at first, cathie thought somebody was trick

ic. new york: macmillan, 1970. stella tenebrarum stella tenebrarum (star of darkness) is a traditionalist satanic group that was founded on june 21 (the summer solstice, 1993, in croatia. on that date, three medallions were struck for the three leaders of the group. each medallion had an inverted pentagram, and they were made to be placed next to each other, at which time the full group motto was depicted: vexilla regis prodeunt inferi fulget stella tenebrarum( flag of the king flies through hell, shines the star of darkness. some of the original members of the group, including one who was killed, served in the croatian army during the croatian war for independence. the stella tenebrarum accepts the myth of satan as the fallen angel who rebelled against the autocratic god of jewish and chr

, a chicago medium. in the light, which showed every movement of the medium, he claimed to have seen more than fifty faces in an hour and a half. he writes: it was as though the medium s face were of plastic material being rapidly molded from one form to another by some master worker in plastics. oriental faces, indians, calm, dignified, serious, spiritual, in short, almost every type of face was depicted during the most unusual seance. one of the most striking was the impersonation of a paralysed girl whom i had known in the states. the medium s entire body, as well as face, was twisted out of all semblance of its normal state, to depict the condition of this victim of paralysis. h. dennis bradley, in his book the wisdom of the gods (1925, described an experience with the medium mrs. scal

lord of lirey s son (geoffrey ii) obtained permission to exhibit the shroud, but henry s successor as bishop of troyes, pierre d arcis, objected most strenuously. in a statement to the avignon pope clement vii, he complained that the exhibition was not for devotion, but for monetary gain, and that the relic was a forgery, a certain cloth cunningly painted, upon which by clever sleight of hand was depicted the twofold image of one man, that is to say the back and the front [the canons at lirey] falsely declaring and pretending that this was the actual shroud in which our saviour jesus christ was enfolded in the tomb. d arcis claimed that henry of poitiers, 30 years earlier, after diligent inquiry and examination had established that the shroud had been cunningly painted, the truth being att

s, and mob psychology. many followers of modern witchcraft continue to accept large portions of murray s version of earlier witchcraft. in essence, her version was this. the witch cult was a pre- christian religion centered on a fertility god (somewhat parallel to the greek pan, whom christian theologians deliberately confused with their devil in order to persecute the witches. this god was often depicted with horns, and a man portrayed and embodied him during group rituals (murray had much less to say about goddesses than did leland) covens of witches, ideally consisting of thirteen persons, grouped together at four major holidays.candlemas, around 1 february; may day; lammas, around 1 august; and all hallows or hallowe en. these large-group meetings, with their feasting and fertility rit

EXTRAORDINARY ENCOUNTERS AN ENCYCLOPEDIA OF EXTRATERRESTRIALS AND OTHERWORLDY BEINGS

s was running about an alleged underground realm populated by deros, demonic entities in possession of a fantastic atlantean technology, which they used to torment surface humans. in a variant of the legend, robert ernst dickhoff s agharta: the subterranean world (1951) contended that two and a half million years ago martians landed at antarctica, then 14 agharti the hidden world of shangri-la as depicted in the film lost horizon, directed by frank capra, 1937 (photofest) a tropical region, and created the first humans. then reptoid (that is, biped reptilian) venusians attacked, forcing the martians and their human associates to create two huge underground cities, connected by tunnels of vast length, in order to protect themselves. one of these cities was shambhala, under tibet, and the ot

became little more than a distant m e m o ry of saucerd o m s heady early days. hi s death in los angeles on july 24, 1993, was little noted. in his time, however, his claims attracted the attention of the celebrated psychologist and philosopher c. g. jung, who wrote about them in one of his last books. jung observed, the individuation process, the central problem of modern psychology, is plainly depicted. in an unconscious, symbolic form. although the author with his somewhat primitive mentality has taken it quite literally as a concrete happening (jung, 1959. see also: contactees further reading angelucci, orfeo, 1955. the secret of the saucers. amherst, wi: amherst press, 1959. son of the sun. los angeles: devorss and company. jung, c. g, 1959. flying saucers: a modern myth of things se

the lost continent of the pacific (1931, by h. spencer lewis (writing as wishar s. cerve, when lemuria broke up, a california-sized part of it crashed into north america s west coast and attached itself. in 1936, robert stelle of chicago founded the lemurian fellowship, based on his channeled messages from lemurians living inside mount shasta. in two books published between 1940 and 1952, stelle depicted lemuria as an enormous land mass and a lost paradise. in the mid-1940s, the ziff-davis sciencefiction magazines amazing stories and fantas- tic adventures ran a series of stories and allegedly factual articles based in part on richard s. shaver s memories of life in lemuria, some of whose inhabitants still reside under the earth. most have gone mad and use the advanced technology availabl

a claims that metatron was responsible for the restoration of his career in 1999 and 2000. during a meditation session metatron told him, we want to hook you back to the radio-airwave frequency and to reconnect the molecules to the light, presumably meaning renewed airplay and popular attention (gates and gordon, 2000. the name metatron comes out of traditional jewish mysticism, where metatron is depicted as an archangel, perhaps the highest of them all. some mystics believe that on earth he was the prophet enoch whom god took directly to heaven without the transi- metatron 173 tional detail of dying. other sources assert that it was he who led the israelites through the wilderness after the exodus. further reading arvey, michael, 1994. metatron. http//www.spiritweb. org/spirit/metatron-ar

79 the deeper the two went into the cave, the deeper it seemed. once they got twenty feet into it, the walls expanded to ten feet wide and eight feet high. they could see a hundred yards ahead to a point where the wall bent. they followed the bend off to the left and down, and they kept going until suddenly, realizing how far they were from the surface, 180 mount lassen a morlock (with victim) as depicted in the 1960 movie version of h. g. wells s the time machine (photofest) they began to get nervous. besides that, there was no evidence of guano. still curious, they decided to plow ahead and kept walking for another mile or two. then, with the aid of their flashlights, they made an amazing discovery: the floor was worn smooth, and the cavern walls and ceiling seemed cut artificially. what

ver as a visionary, a member of that ancient fellowship of re c e i vers of re ve a l e d shaver mystery 225 k n owledge, a prophet like moses or jo s e p h smith though without the religious trappings. even if sh a ver technologized hell, he re m a i n e d to the end an atheist and a materialist. to him the caverns existed in this world and had nothing to do with the supernatural. though usually depicted as a cynical exploiter of a deluded man whom any responsible adult would have directed to the nearest psychiatrist, palmer himself for all his promotional instincts, which he exercised vigorously in the long course of his association with shaver may have been caught up in the belief in at least something. perhaps, he sometimes suggested in public statements, shaver s experiences had occur

was causing a worldwide sensation. of particular interest to laughead were the footprints the venusian had left in the desert sand. they contained enigmatic symbols whose meaning adamski s followers were already discussing and debating. laughead returned to michigan with drawings of the prints, which his wife devoted the next five months to deciphering. she concluded that the left print s symbols depicted the sinking of the lost continents atlantis and lemuria, the right their reemergence from the ocean floor following geological cataclysms that soon would befall the planet. through an automatic-writing message given him by an acquaintance, dr. laughead heard from the elder brother, who later, according to laughead, identified himself as being jesus the christ and also sananda. laughead wa

angeles psychic. twe n t y- f o u r persons followed them to participate in furt h e r gatherings in california, colorado, and elsew h e re, where new believers we re solicited to become bo and pe e p s sheep. little of this attracted press attention until twenty members of an audience, which had come to hear the two in wa l d p o rt, oregon, disappeared with them the next day. newspaper accounts depicted the couple as mysterious. the account e ven seemed to leave open the possibility that the missing audience members had flown off in a ufo. in fact, they had joined the pilgrimage. six weeks later, two un i versity of mo ntana sociologists found them though not bo and peep in arizona. bo and pe e p, fearing assassination, had dropped out of sight. be f o re their depart u re, howe ve r, th

on the ufo s bottom. it was like the earlier one, except that now a horizontal bar crossed the vertical and linked the two reverse parentheses. the following day, antonio san antonio, a newspaper photographer, took a phone call from an anonymous young man. the caller said he had taken pictures of the ufo, and san antonio could pick them up at a certain photographic laboratory. one of the pictures depicted the curious logo. soon afterward, leaflets signed henri dagousset asserted that the ufo had left capsules in the area. dagousset offered three hundred dollars for each sample, referring takers to a general delivery address at madrid s main post office. in august, barcelona writer marius lleget, author of a recently published ufo book, received a letter with no return address from antonio

FELDMAN DANIEL QABALAH THE MYSTICAL HERITAGE OF THE CHILDREN OF ABRAHAM

universes (and their apparent sustenance and dissolution over time) upon the vast face of the deep. the generation of universes is brought about by the balanced tension between vast and small face, or between the ayin i and the manifest alef a of unity. in the sifra detzniyutha, this tension in the tree is called weight and the balancing in weight. the relationship between vast and small face is depicted in the tree of life (figure 3.1) some of the most important names of small face are yhvh hvhy, el la (pronounced ale, opposite of lo al, and adonai ynda (lord, master. each universe has its own small face who xlike a dreamer who knows he/she is dreaming xcreates, sustains, and dissolves the creation moment by moment by moment. our sense of time is formed by our imperfect perception of the

hile a case can be made that the mystical qabalah has the greatest diversity of different tree forms, other traditions such as the north indian tantrikas, taoists, and the polynesian kahunas also have maps of consciousness that present their respective worldviews. most such maps in other traditions are not specifically called trees of life. they may look diagramatically quite different, or not be depicted in a diagram at all. yet, it is possible to specifically correlate the names and allusions that they assign for the planes of existence and successive centers of consciousness to those in the hebrew trees. the tantric chakra system and the taoist map of the subtle centers are both depicted in highly detailed pictorial images. the before- and after-the-world sequences from the eighth wing

ng to compare the ancient hebrew sefer yetzirah (book of formation) with various aspects of the eighth and oldest wing of the chinese i ching (book of change, called the shuo qua. for instance, one can superimpose the circular version of the flat tree of life diagram from the sefer yetzirah (figure 4.9 on page 127) directly over the before-the- world sequence produced from verses of the shuo kua, depicted in figure 5.10. in the sefer yetzirah, the sefiroth are created in pairs. the phrase balancing in weight in the first verse of the sifra detzniyutha alludes to this. in the shuo kua, the three-lined trigrams are also created in pairs. earlier, we identified the three columns of the flat, vertical version of the qabalistic tree, with a middle column balancing two polarized side columns. on

c means occurring without loss or gain of heat! abyss: refers to the sefirah knowledge/first on the fallen tree; also called face of the deep. acharit (hebrew: the last: the fourth and final celestial head of meshiach l hvhy corresponding to the filter of the letter tav. adam kadmon: anthropomorphic allusion to vast face as the celestial man created (i.e. world of b riyah) in the image of elohim; depicted in merkabah literature as riding upon the celestial chariot, or seated upon the throne of el shadai. adam, as the archetype of the first man in the garden of eden, reflects the male (yang) aspect of small face in the lower world of yetzirah, with chavah (eve) representing the feminine (yin) aspect of small face as the energy of consciousness. with the allusion of the eating of the apple o

FRANCIS A YATES GIORDANO BRUNO AND THE HERMETIC TRADITION

and of jupiter, as health-giving, rejuvenating, anti- saturnian powers. the object described, or hinted at (for the description is very vague) would seem to be a model of the heavens constructed so as to concentrate on drawing down the fortunate influences of sol, venus, jupiter. certainly the colours of these planets are to predominate in it, and it may probably be presumed that their images are depicted in it. the inclusion of ceres in green as the earth is understandable, but vesta is strange. such an object, ficino seems to say, may be worn, or placed opposite to be looked at,2 suggesting that it is perhaps a medal, perhaps an elaborate jewel' ficino, p. 559. 2 "uel gestabit, uel oppositam imucbitur" ibid, loc. cit. 74 ficino's natural magic he then says that the figure of the world ma

a vast temple, of marvellous construction. it was perfectly round, and its great dome was supported on huge columns. on the altar, the only objects were a great "mappamondo" on which all the heaven 1 amabile, congiura, i, pp. 220 ff; blanchet, op. cit, pp. 66 ff. 2 campanella, cittd del sole, ed. e. solmi, modena, 1904. references are to this edition. 367 giordano bruno and tommaso campanella was depicted and another showing all the earth. on the ceiling of the dome were depicted all the greatest stars of heaven, with their names and the powers which they have over things below, with three verses for each; the representations on the dome were in correspondence with the globes on the altar. in the temple hung seven lamps, which were always lighted, called after the seven planets. on the out

FRATER ELIJAH ANGELS OF CHAOS

the reader is drawn out of a state of passivity, the ego must be brought into play, and play this surely is. our sex consumes. gemini, refers to the twins of horus-set, the letter zain. it grows tired of the endless sibling rivalry. another master, this one the lady of understanding (more of a way. we has drank deeply of her cup. this is sure folly. i/3b: 10 being the number of sephira. the face depicted has three blackened lines and one shaded line. a reference to chrnzn and our lady. i/4a: the represents the first excursion. dreamscape, the land of miasmic mists on the border conscious realms. this is (in reality) overlapped completely with perceptions (at times being more apparent than others. the goddess of dreams and silence governs here. as the sum-mind is the gateway of archetypes

s (in reality) overlapped completely with perceptions (at times being more apparent than others. the goddess of dreams and silence governs here. as the sum-mind is the gateway of archetypes, it is older than this race itself, but is continually molded by us. an automatic drawing evokes this in the viewer. i/4b: an image of our lady babalon whose gateway is 156. she is her. the number 156 commonly depicted by erisians under the number 23: 2-3= 1, 2+3= 5, 2*3= 6. she being of many faces, both terrible and wonderful. i/5a: a brief struggle of the author and writer, as i questioned the formulation of this book. babalon passed her chalice and helped me free myself for easier communication. the technique is very simple. a sexual congress turned inward. involuted light, which can be used for comm

ward fall. if the wheel were complete, it would not rotate. references of different methods employed by spell-casters. i/11b: oh you successful egotistical sorcerers! what we know is nothing. let us clap ourselves on the back and rot in the fetid stench of bravado and entrapment. what shall we do? i/12a: excursion 3. a bridged gateway to the force of chaos. how shall ye know truth? a highlight is depicted of ate. an automatic drawing (chaos. i/12b: a parable of life and the universe for the dancer. as we are the stuff of stars, when we move, the universe moves. to dance requires skill and movement. with stagnant rites and stuffy old corpses in robes, the modern rave is a prime example of the temple of our lady. i/13a: a infinite cardinal number is a concept of set theory, expressing how ma

FRATER TENEBROUS CULTS OF CTHULHU

ancers who attend azathoth at the throne of chaos. their soul and messenger is nyarlathotep, the crawling chaos, who mediates between the old ones and their human followers. his avatar manifests as a human figure dressed in black, with jet black skin but caucasian features. in this form he is recognisable as the black man of the witches sabbath an incarnation commonly associated with satan. he is depicted in seventeenth century tracts on witchcraft as a creature with ebony skin, the long black robe of a priest, and a conical hat a description substantiated by the testimonies of individuals in both europe and lovecraft s own new england. nyarlathotep s physical appearance also compares quite strikingly to that of the astral entity, aiwaz, who communicated the text known as the book of the l

FREEMASONS SATANISM AND SYMBOLISM

ving symbol of egyptian god mendes. and the representative of the sun [p. xviii] in one sentence, we see the admission that the phoenix bird of ancient satanic egypt was changed into the masonic eagle and then pike admits that the eagle is the symbol of the sun god and of the god of mendes, both symbols being common satanic symbols of satan/lucifer! remember also the satanic meaning of the phrase depicted below the eagle the two eagles "deus meumque jus" as explained in part 1 this is a typical satanic latin phrase, meaning. masons are saying that they are 'using occult methods' through lucifer, to achieve their rights and justice" but why would a two-headed eagle be adopted by masonry, instead of a one-headed eagle? masonic author, r. swinburne clymer, writing in the mysteries of osiris

through the agency of the serpent, and regenerated within the entrails of the vernal bull. the sun-god is finally victorious [ibid] note that masonry also identifies itself with the pagans who divine the future by studying the entrails of a bull. you consistently see the symbol of the bees and their beehive throughout freemasonry. christianity does not use this symbol "purity" and "salvation" are depicted by the honey. purity is depicted within the bible as either jesus himself or as white wool or as a white garment. salvation is depicted as the cross or jesus arising from the grave. but, the pagans are surely true to the biblical description of them as "worshipping the creature rather than the creator [romans 1:25] the july, 1998, issue of the scottish rite journal states that the eagle w

yang and yin [dr. c. burns, masonic and occult symbols illustrated, quoting masonic publication, short talk bulletin "the significant numbers" september, 1956, vol. 34, no. 9, p. 5; also wes cook, did you know? vignettes in masonry from the royal arch mason magazine, missouri lodge of research, 1965, p. 34] i had always wondered about the distinctive black and white squares on masonic floors, as depicted on washington's apron, above. now we know they represent the extremely satanic concept of yin and yang, the "favorite of sorcerers" masons also use two triangles joined together to represent yin and yang. therefore, their depiction of the hexagram also depicts yin and yang. we have described the sexual connotation to the mason of the hexagram, above. however, masonry also teaches standard

again. notice that freemasons teach that a person is born again through the masonic temple, with no mention ever being made of the shed blood of jesus christ. secondly, the masonic depiction of the pomegranate is sexually explicit in the extreme. in order to convince you of the paganism of freemasonry, i am going to depict it, below. you can see the way they have split the pomegranate, they have depicted a woman's sexual organ and both her legs [we will have the occult symbol of the pomegranate up here soon, so you can see how they have twisted something so simple as a pomegranate into depicting sex] i find it highly pagan to realize the obsession masons have about sex, when they depict it in so many of their symbols and even in their own lodge. can you imagine a mason thinking about ente

h is a symbol of the god. the goddess holding the torch would provide a good female symbol. thus, the freemason depicts the sex act every single day of every year, in new york harbor. sex and the masonic gavel "the gavel is an important masonic and eastern star symbol [dr. c. burns, masonic and occult symbols, p326] the first thing i noticed about the symbol of the gavels is that they were always depicted upside down. i would have thought they would have been depicted with the head of the gavel at the top. however, we are not thinking like a pagan, who worships sex in all forms, and never lets an opportunity slip by him to depict the great sex act. masonic author, george oliver, says that in ancient times, the gavel referred to the hammer of the god thor [oliver, signs and symbols, macoy p

in fact, thor is part of the pagan trinity in scandinavia [pike, morals and dogma, p. 552; also w.l. wilmshurst, the masonic initiation, trismegistus press, 1980, p. 92] however, albert pike makes identification of thor very easy for us, as he states, on page 15 of morals and dogma, that thor is another name for sirius, the blazing star or the pentagram. now you can see why this masonic web site depicted three different types of gavels in the familiar pentagram, above right. however, on page 381, pike also tells us that thor was the sun, the egyptian osiris, and kneph, the phoenician bel or baal. the bible tells us that worshipping baal is identical to worshipping the devil [1 kings 16:30-33, 22:53; 2 kings 17:16] god condemned baal worship, slaughtered the priests of baal, and finally ab

FULLER J F C SECRET WISDOM OF THE QABALAH

eloped into a world-embracing philosophy well adapted to the ideals of a world-scattered race. in secret wisdom of the qabalah page 13 it will be found hinduism, taoism, buddhism, zoroastrianism, christianity, theism, deism, dualism, agnosticism, pantheism, satanism, spiritualism, and atheism; for every cult, except polytheism, has burnt offerings on the altar of the qabalistic mystery- magically depicted in the form of the pan-like baphomet. it is this extraordinary universality which it is important to remember, for it has been the binding force which has kept judaism intact; it has waterproofed it against solvent influences. further still, the qabalah does offer to humanity a world religion or cult. in a silent and secret way its doctrine is the conquering mystery of the life-force. the

hem only, but for those intoxicated by them. secret wisdom of the qabalah page 41 plate 6: the mystery of aleph (a) aleph (b) the beginning of motion through opposition (c) the whirling forces of the zodiac (d) the female swastika (e) the male swastika. the 17 squares of the swastika refer to iao, whose numerical value is 17. secret wisdom of the qabalah page 42 in the first chapter of genesis is depicted the fall of the yetziratic deity through inversion due to reflection; the glory of this deity, that is the shekinah within it, being the agent which renders the formation of a simulacrum possible. according to the zohar, metatron gsets all his legions in motion by the power of a single letter [shin] h.21 this was the spoken word tetragrammaton, which created light, when the yetziratic ema

ed by the water out of which it had been formed. to carry this illustration further: suppose that the four worlds of the qabalistic cosmology are represented by ice, water, steam, and gas, and that their final state is called electricity, or complete dematerialization (no-thingness; then the ultimate object of the messianic act is to re-establish this nirvana. symbolically, this potent mystery is depicted in the eucharist, or high mass, in which the bread and the wine are transmuted into the body and blood of christ; that is matter into god. as we have already stated, it was on account of the potency of this mystery that it was so heavily shrouded. here existed an idea which could either re-create divinity or plunge mankind into still deeper depths of devilry. it could exalt man to supreme

GAMBLE ELIZA BURT THE GOD IDEA OF THE ANCIENTS OR SEX IN RELIGION

ss but priests and priestesses of the highest order. within these apartments are pictured the mysteries of birth, together with the symbols of generation emblems of procreation. on the banks of the river nile are observed the ruins of the temple of philae, which structure, it is said, represents the most ancient style of architecture. within these ruins is to be seen an inner chamber in which are depicted the birth scenes of the child god horus, and, indeed, everywhere among the monuments and ruins of egypt, is plainly visible the fact that the creative power and functions in human beings, in animals, and in vegetable life, together with wisdom, once constituted the god-idea. between the ruins of the palace of amunoph iii. and the nile are two colossal statues, each hewn from a single bloc

eator, an indivisible unity. this creator was the "beyond" the "most high god--om or aleim. it was the mother of the gods in whom were contained all the elements of the deity. among the representations of the god-idea which are to be observed on the monuments and in the temples of egypt appear triads, each of which is composed of a woman stationed between a male figure and that of a child. she is depicted as the light of the sun, or wisdom, while the male is manifested as the heat of the orb of day. she is crowned and always bears the male symbol of life- the crux-ansata. later, it is observed that the worship of light has in a measure given place to the adoration of heat, in other words light is no longer adored as essence of the deity, heat or passion having become the most important ele

by the danes to celebrate their victories, it is declared that such is the character of the hieroglyphics upon them as to make this theory worthless. besides, throughout the country of the danes and ostmen, there is nowhere to be found an example of architectural splendor such as is displayed in the construction of these columns. in the north of scotland was one of these monuments upon which were depicted war-like scenes, horses and their riders, warriors brandishing their weapons, and troops shouting for victory, while on the other side was a sumptuous cross, beneath which were two figures, the one evidently female, the other male. in cordiner's antiquities of scotland is a description of an elaborately carved obelisk. on one side of this column appears a mammoth cross, and underneath it

GLOBAL FREEMASONRY

day, humanism has become another name for atheism. one example of this is the enthusiasm for darwin typical in the american magazine, the humanist. emerged as the result of a continuous process. third: holding an organic view of life, humanists find that the traditional dualism of mind and body must be rejected. fourth: humanism recognizes that man's religious culture and civilization, as clearly depicted by anthropology and history, are the product of a gradual development due to his interaction with his natural environment and with his social heritage. the individual born into a particular culture is largely molded by that culture. fifth: humanism asserts that the nature of the universe depicted by modern science makes unacceptable any supernatural or cosmic guarantees of human values. s

philosophy of the organization. in reality, masonry is an organization that aims to systematically impose a specific philosophy on its members as on the rest of society. as we said at the beginning, the fundamental element of this philosophy, one which has transpired to masonry from pagan cultures, especially that of ancient egypt, is materialism. dcf materialism revisited the compass and square depicted with the eagle, one of ancient egypt's most important symbols. materialism in masonic sources i. belief in absolute matter today's masons, as did the pharaohs, priests and other classes of ancient egypt, believe in the eternity and uncreatedness of matter, and that out of this lifeless matter living things came to be by chance. in masonic writings we can read detailed accounts of these ba

ed below: when their brother hud said to them "will you not do your duty? i am a faithful messenger to you, so heed god and obey me. i do not ask you for any wage for it. my wage is the responsibility of no dcl materialism revisited masons believe in materialism and reject the idea of life after death. sometimes the concept of life after death appears in masonic texts, but, as inthe myth of hiram depicted here(left, what is meant by it is the continuation of the memory of a person's name in this world. one but the lord of all the worlds. do you build a tower on every hilltop, just to amuse yourselves, and construct fine buildings, hoping to live for ever, and when you attack, attack as tyrants do? so heed god and obey me (qur'an, 26: 124-131) the mistake these godless people committed was

GNOSTIC HANDBOOK

erology the numerical value of the serpent or snake is that of the messiah. many gnostic sects saw the serpent as the agent of redemption and the primary symbol of gnosis. the ophites (from the greek word for serpent, ophis, like many modern gnostic groups, ourselves included, believe that the serpent of the genesis story was a representative for the lord of light (as was jesus, while the creator depicted in the old testament was seen as the demiurge. it has been suggested that since there was no town known as nazareth existing in the first century common era, that the epithet nazarene may actually be naasarene which means the serpentine and refers to jesus ancestry within the gnostic communion. the iconography of the serpent links the gnostics with the earliest occult traditions. in ancie

GOLDEN DAWN RITUALS ZAM5

e way of the l.b.r.p. and b.r.anthe bornless middle pillar r. r. e t a. c. z e l a t o r a d e p t u s m i n o r 2 notes on the bornless middle pillar exercise by g. h. frater p. c. a. the bornless middle pillar is designed to equilibrate the elements within the sphere of sensation under the divine rulership of spirit. in the bornless middle pillar exercise, the letter c glowing above the head is depicted as black. let this not be confused with the blackness of evil and of ignorance. this is the light of the holy spirit, shining so intensely and so brilliantly that it appears as black to the naked eye. it is divine brilliance. at any given moment in one's sphere of sensation, there shines a pentagram. when the mind and heart is focused on the spiritual in every aspect of life, the pentagra

GOLDEN DAWN RITUALS ZAM8

and the hexagram would be for specific or concentration of energies, as well as sealing. you should remember that at times in magical workings, both of them may be employed, but the hexagon always initiates the whirl. we call the hexagram the signet star of the macrocosm. it is the sign of the macrocosm, the greater or outer world. the six angles easily represent the six-day period of creation as depicted in genesis, while its synthesis can be akin to the seventh day, a period of rest. this is summed up by its hexagonal center. 10 let us divert a moment to the subject of the unicursal hexagram. for years, it was thought by followers of aleister crowley that he had invented this particular hexagram. after studies of early order documents, it was determined that the unicursal hexagram was us

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

used on most world maps today, this enigmatic individual (who paid an unexplained visit to the great pyramid of egypt in 156310) was reportedly indefatigable in searching out. the learning of long ago, and spent many years diligently accumulating a vast and eclectic reference library of ancient source maps.11 significantly, mercator included the oronteus finaeus map in his atlas of 1569 and also depicted the antarctic on several he himself drew in the same year. identifiable parts of the then undiscovered southern continent on these maps are cape dart and cape herlacher in marie byrd land, the amundsen sea, thurston island in ellsworth land, the fletcher islands in the bellinghausen sea, alexander i island, the antarctic (palmer) peninsula, the weddell sea, cape norvegia, the regula range

l.13 his map reveals the subglacial topography of the entire continent, which even we did not have full knowledge of until 1958, international geophysical year, when a comprehensive seismic survey was carried out. that survey only confirmed what buache had already proclaimed when he published his map of antarctica in 1737. basing his cartography on ancient sources now lost, the french academician depicted a clear waterway across the southern continent dividing it into two principal landmasses lying east and west of the line now marked by the trans- antarctic mountains. such a waterway, connecting the ross, weddell and bellinghausen seas, would indeed exist if antarctica were free of ice. as the 1958 igy survey shows, the continent (which appears on modern maps as one continuous landmass) c

ominids incapable of advanced intellectual tasks like map-making. are we therefore to assume the intervention of alien cartographers in orbiting spaceships to explain the existence of sophisticated maps of an ice-free antarctica? or shall we think again about the implications of hapgood s theory of earth-crust displacement which allows the southern continent to have been in the ice-free condition depicted by buache as little as 15,000 years ago?14 14 for a fuller discussion of the evidence behind this theory see part viii of this book and hapgood's earth's shifting crust. graham hancock fingerprints of the gods 29 above left and right redrawings of the mercator and oronteus finaeus maps showing the progressive glaciation of antarctica. below left redrawing of the buache map. below right th

m they knew as inti, quite another deity was venerated as the most holy of all. this was viracocha, whose namesakes were said to have made the nazca lines and whose own name meant foam of the sea. 5 no doubt it is just a coincidence that the greek goddess aphrodite, who was born of the sea, received her name because of the foam [aphros] out of which she was formed .6 besides, viracocha was always depicted uncompromisingly as a male by the peoples of the andes. that much about him is known for certain. no historian, however, is able to say how ancient was the cult of this deity before the spanish arrived to put a stop to it. this is because the cult seemed always to have been around; indeed, long before the incas incorporated him into their cosmogony and built a magnificent temple for him a

ited in the jewish encyclopaedia, funk and wagnell, new york, 1925, vol. ii, p. 105. 9 peru, p. 182. graham hancock fingerprints of the gods 53 as painters represent the apostle saint bartholomew .10 other accounts of viracocha likened his appearance to that of the saint thomas.11 i examined a number of illustrated ecclesiastical manuscripts in which these two saints appeared; both were routinely depicted as lean, bearded white men, past middle age, wearing sandals and dressed in long, flowing cloaks. as we shall see, the records confirmed this was exactly the appearance ascribed to viracocha by those who worshipped him. whoever he was, therefore, he could not have been an american indian: they are relatively dark-skinned people with sparse facial hair.12 viracocha s bushy beard and pale c

been a white man of large stature, whose air and person aroused great respect and veneration .9 in another he was described as a white man of august appearance, blue-eyed, bearded, without headgear and wearing a cusma, a jerkin or sleeveless shirt reaching to the knees. in yet another, which seemed to refer to a later phase of his life, he was revered as a wise counsellor in matters of state and depicted as an old man with a beard and long hair wearing a long tunic .10 markhem, hakluyt society, london, 1873, vol. xlviii, p. 124. 5 south american mythology, p. 74. 6 ibid, p. 74-6. 7 ibid, p. 78. 8 ibid, p. 81. 9 john hemming, the conquest of the incas, macmillan, london, 1993, p. 97. 10 south american mythology, p. 87. graham hancock fingerprints of the gods 56 civilizing mission above all

rprints of the gods 104 were converted into birds to survive the catastrophe. the fourth sun is represented by the head of the water-goddess chalchiuhtlicue: destruction came in the form of torrential rains and floods. the mountains disappeared and men were transformed into fish. 10 the symbol of the fifth sun, our current epoch, is the face of tonatiuh, the sun god himself. his tongue, fittingly depicted as an obsidian knife, juts out hungrily, signalling his need for the nourishment of human blood and hearts. his features are wrinkled to indicate his advanced age and he appears within the symbol ollin which signifies movement.11 why is the fifth sun known as the sun of movement? because, the elders say: in it there will be a movement of the earth and from this we shall all perish. 12 and

hese people, just about everything boiled down to numbers, the passage of the years and the manifestations of events. the belief was that if the numbers which lay beneath the manifestations could be properly understood, it would be possible to predict successfully the timing of the events themselves.18 i felt disinclined to ignore the obvious implications of the recurrent destructions of humanity depicted so vividly in the central american traditions. coming complete with giants and floods, these traditions were eerily similar to those of the faroff andean region. meanwhile, however, i was keen to pursue another, related line of inquiry. this concerned the bearded white-skinned deity named quetzalcoatl, who was believed to have sailed to mexico from across the seas in remote antiquity. que

th quetzalcoatl: they were men of good carriage, well-dressed, in long robes of black linen, open in front, and without capes, cut low at the neck, with short sleeves that did not come to the elbow. these followers of quetzalcoatl were men of great knowledge and cunning artists in all kinds of fine work.15 like some long-lost twin of viracocha, the white and bearded andean deity, quetzalcoatl was depicted as having brought to mexico all the skills and sciences necessary to create a civilized life, thus ushering in a golden age.16 he was believed, for example, to have introduced the knowledge of writing to central america, to have invented the calendar, and to have been a master builder who taught the people the secrets of 11 not only obviously related but specifically related. votan, for e

to tula/tollan because it had been closely associated both with quetzalcoatl and with his arch-enemy tezcatilpoca, the smoking mirror.21 ever-young, omnipotent, omnipresent and omniscient, tezcatilpoca was associated in the legends with night, darkness and the sacred jaguar.22 he was invisible and implacable, appearing to men sometimes as a flying shadow, sometimes as a dreadful monster .23 often depicted as a glaring skull, he was said to have been the owner of a mysterious object, the smoking mirror after which he was named, which he made use of to observe from afar the activities of men and gods. scholars quite reasonably suppose that it must have been a primitive obsidian scrying stone: obsidian had an especial sanctity for the mexicans, as it provided the sacrificial knives employed b

o their children. we don t even know what ethnic group they belonged to. the exceptionally humid conditions of the gulf of mexico mean that not a single olmec skeleton has survived.12 in reality, despite the names we have given them and the views we ve formed about them, these people are completely obscure to us. it is even possible that the enigmatic sculptures they left behind, which we presume depicted them, were not their work at all, but the work of a far earlier and forgotten people. not for the first time i found myself wondering whether some of the great heads other remarkable artefacts attributed to the olmecs might not have been handed down like heirlooms, perhaps over many millennia, to the cultures which eventually began to build the mounds and pyramids at san lorenzo and la ve

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

to sacred woods, p. 72-4 (see suppl^ in greece, particularly in boeotia, it was customary for patients, on recovery, to set up in the temple a metal model of the part of the body which had been affected. amongst ava6i]ixara an inscription mentions 7rp6ao)7rov, tit66, alsolov ^etp &c^ these votive offerings were afterwards melted down to make sacred vessels. the custom of votive tablets with limbs depicted on them may indeed have been imported into germany by the romans while yet heathens, unless we will admit that our fathers themselves had known them before. the passage from gregory given p. 81 says expressly 'membra, secundum quod unumquemque dolor attigisset, sculpehat in ligno' and further on, wisi enim in 60 barbari gentili superstitione, modo auri argentique dona, modo fercula ad pot

GRIMM TEUTONIC MYTHOLOGY VOL 2 1883 COMPLETE

bharata also represents hidimbas the rakshasa (giant) x as a man-eater, misshapen and red-bearded: man s flesh he smells from afar, 2 and orders hidimba his sister to fetch it him; bat she, like the monster s wife or daughter in the nursery-tales, pities and befriends the slumbering hero (see suppl. our own giant-stories know nothing of this grim thirst for blood, even the norse iotunn is nowhere depicted as a cannibal, like the greek and oriental giants; our giants are a great deal more genial, and come nearer to man s constitution in their shape and their way of thinking: their savagery spends itself mainly in hurling huge stones, removing mountains and rearing colossal buildings. saxo gram. pp. 10. 11 invests the giantess harthgrepa with the power to make herself small or large at pleas

HAMIL THE ROSICRUCIAN SEER

ban holding a beautiful horse richly caparisoned""godin heavenl" cried major felix "nay" the boy resumed "this is an old frank; he has turned round while you are speaking, and by allah he has but one arm" major felix's brother lost his arm in the campaign of ava''itis here evident' says dr collyer 'that he did not see any real spirit or apparition, but merely theembodiedideaof the travellers, who depicted in their minds the imageofshakespear as he isgenerallyrepresented &c &c.drcollyer then proceeds to state that he has proved the 'possibility of mental transfer' beyond the remotest chance of doubt: he relates several experiments in which the recipients exactly described what the spectators wished them to perceive, it being necessary that the latter should form clear and vivid images, in t

HANDBOOK OF EGYPTIAN MYTHOLOGY

ads. 21 many of the most important themes of egyptian mythology, such as the journey of the sun god in his solar barque, the murder of the good god osiris, and the violent conflict between horus and seth, are already present in the pyramid texts. these texts are also the earliest source for the complex array of myths and symbols that the egyptians constructed on the theme of creation. the gods as depicted in the pyramid texts often seem violent, hostile, and terrifying beings, and this is a consistent picture in egyptian funerary texts. near the end of the sixth dynasty, sections of the pyramid texts began to be used in the tombs of important but nonroyal people in various parts of egypt. introduction 11 this has been seen as one of the symptoms of a breakdown of royal authority that led t

uld be expressed by moving divine statues between temples during religious festivals. these processions, in which the god was carried inside a boat-shaped shrine, gave ordinary people their only chance to get close to the sacred images of their deities. the names of some of the festivals listed in temple calendars suggest that reenactments of myths were involved, but such reenactments were rarely depicted. the majority of new kingdom temple reliefs show a ritualized exchange between the king representing humanity and a deity representing the divine realm. the king makes offerings or performs rituals. the god responds with a gesture or an object that symbolizes the bestowal of divine gifts, such as long 22 handbook of egyptian mythology figure 6. the osireion at abydos was built to represen

in texts. in spell 17, quotations from the coffin texts are interspersed with com- 26 handbook of egyptian mythology mentaries headed this means. in these explanatory passages, ancient creation myths are reinterpreted in terms of later theology. this is a clear example of the way in which the meaning and functions of egyptian myths could change from period to period. many deities are mentioned or depicted in the book of the dead, but the afterlife that the spells envisage is dominated by two gods, ra and osiris. some of the spells concerning ra were adapted from solar hymns used in temples. the spirits of the dead could join the crew of the sun boat or seek a place at the court of osiris, the ruler of the underworld. most of the spells designed to help nourish and protect the spirit on its

ed by drinking or bathing in water poured over the stela. most of the spells center on a briefly stated mythical event, such as ra- atum transforming himself into a mongoose to kill apophis. a few are fleshed out into narratives with lively dialogue. in the longest of these dramatized spells, isis is imprisoned by seth but escapes to the marshes of chemmis, where she gives birth to horus. isis is depicted as oppressed by powerful males, struggling with poverty, and in constant fear of losing her child. this was probably the lot of most ordinary women in ancient egypt. the cippi texts raise the question that must be answered by every religion: if god is good, why do innocent children suffer? an angry attitude toward divine indifference is put in the mouth of isis. her challenge to the sun g

is means that egyptian religion developed into a form of monotheism is explored in siegfried morenz, egyptian religion (london and ithaca, 1973; and in erik hornung, conceptions of god in ancient egypt: the one and the many, trans. john baines (ithaca, 1982 (see egyptian myth: annotated print and nonprint resources. 7. the main purpose of this ritual was to allow the ka (vital force) of the being depicted to enter and inhabit the statue. when performed on mummies, the ritual was thought to restore the senses of the deceased, so that they could breathe, speak, eat, hear, see, and smell again in the afterlife. 94 handbook of egyptian mythology 8. for the creator as an androgynous deity, see j. zandee, the birth-giving creator-god in ancient egypt, in studies in pharaonic religion and society

d the world egg; in others, amun fertilized or created this egg in his ram-headed serpent form known as kematef( he who has completed his moment. the temple of medinet habu in western thebes was sometimes identified as the location of this primal event. a cult statue of the amun of karnak regularly visited this temple to renew the process of creation. by the end of the new kingdom, amun was often depicted as a virile ram with curved horns or as a ram-headed sphinx. it was in these forms that he was primarily worshipped in nubia and libya. as early as the middle kingdom, amun had been linked with the god min to become the embodiment of male sexual power. amun-min, the bull of his mother, was an ithyphallic selfgenerating god. amun-ra was the mysterious originator of all life, the one who ma

temples of thebes he was given a partner in the form of a royal priestess known as the god s wife or god s hand. one of her duties seems to have been to physically arouse the god so that he would continue the ongoing work of creation by generating life. like the ram-god banebdjedet, amun was said to mystically unite with the queen of egypt to sire the heir to the throne. this royal-birth myth was depicted in several theban temples (see figure 20. the idea persisted as late as the greco-roman period, when legends were told about how the worldconquering macedonian king, alexander the great, was sired by amun. alexander seems to have been acknowledged as the god s son when he made a pilgrimage to the remote temple of amun at siwa oasis. according to some classical writers, alexander and his c

, 63 82. primary sources: p. chester beatty vii; hmp; p. leiden i 343 345.6; h&s andjety (anedjeti) andjety was the local god of busiris whose attributes were the crook and the flail. see also osiris 102 handbook of egyptian mythology anti (anty) an upper egyptian falcon god who was brutally punished for crimes against the gods, anti was closely associated with both horus and seth. he was usually depicted as a falcon in a boat, but he could be shown as a griffin or as a man with the distinctive head of the seth animal. anti sometimes embodies the bad qualities of horus, but in coffin texts spell 942 he is a manifestation of seth who is shaved or skinned by a goddess in revenge for turning the land upside down. a myth in papyrus jumilhac explains why the cult statue of anti is made of silve

s of creation. the worship of aten as the solar disk had been prominent from the beginning of the new kingdom. in the early years of akhenaten s reign, aten was identified with various manifestations of the creator sun god such as ra- horakhty and shu. later these references to other deities were purged, and aten was redefined as the light which comes from the solar disk. this could not really be depicted, so the disk-and-rays image of aten may be no more than an elaborate hieroglyphic writing of the god s name. the rays only hold out life to the king and the female members of the royal family. everyone else was expected to receive life from akhenaten and his chief queen, nefertiti, in return for absolute loyalty. the worship of the most popular creator god, amun-ra, was banned, and the cu

barque. this was the boat in which the sun god traveled across the sky and through the underworld. the solar barque was called the boat of millions because all the gods and all the souls of the blessed dead might be needed in its crew. the crew is sometimes referred to as rowing the solar barque, but this is never shown. instead, a number of deities, often in the form of jackals or cobras, can be depicted towing the boat along (see figure 43. in some underworld books there are two solar barques, the day boat (mandjet) and the night boat (mesektet. it is possible that the two huge cedar-wood boats buried beside the great pyramid of khufu (cheops) represented these barques. the sun god can be shown alone in the day boat, but in the night boat other deities usually stand on deck ready to defe

rtesy of geraldine pinch) many other feline deities acted as ferocious guardians. according to a temple ritual, the body of osiris was guarded by four lion goddesses: wadjyt, sekhmet, bastet, and shesmetet (smithis. in the pyramid texts the goddess mafdet helps the dead king by clawing out the eyes of evil snakes. her sacred animal may originally have been some kind of mongoose, but she was later depicted as a cheetah or a lynx. as the divine executioner, mafdet served justice by running down and slaughtering the enemies of ra. her symbol was a harpoon fixed to a block. the coffin texts mention pakhet the great who hunts by night as a lioness or a panther. her name means the one who scratches. the claw amulets worn by egyptian queens and princesses may evoke the protective might of this go

HEAVEN HELL

rially the chief features of the "field of peace" or "islands of the blessed" and before the close of the xixth dynasty, about 1300 years later, all the principal books relating to the tuat were profusely illustrated. in the copies of them which were painted on the walls of royal tombs, each division of the tuat was clearly drawn and described, and each gate, with all its guardians, was carefully depicted. both the living and the dead could learn from them, not only the names, but also the forms, of every god, spirit, soul, shade, demon, and monster which they were likely to meet on their way, and the copious texts which were given side by side with the pictures enabled the traveller through the tuat--always, of course, provided that he had learned them--to participate in the benefits whic

e of the streams or divisions are given, the region where ploughing takes place is indicated, and the positions of the staircase and the mystic boat are clearly shown. the name of the god hetep occurs twice, and that of osiris once. if now we compare this picture with that front the papyrus of nebseni we shall find that the actual operations of ploughing, reaping, and treading out of the corn are depicted on the papyrus, and that several figures of gods and the deceased have been added. the text speaks of offerings made by the deceased, and of his sailing in a boat &c, therefore the artist p. 59 click to view sekhet-hetepet (from the papyrus of anhai--xxiind dynasty) p. 61 click to view sekhet-hetepet (from the turin papyrus-ptolema c period) p. 63 added scenes in which he is depicted doin

a procession in front of it do not tow it. as we have already described these in vol. i (see pp. 4-8, it is needless to say here more than that they are all forms of the sun-god, or deified aspects of him, and that they accompany their lord, who has transformed himself. side by side with the boat of p. 107 [paragraph continues] afu-ra is a smaller boat, in which the coming into being of osiris is depicted, and the beetle is there to typify the presence of osiris, and to lead afu-ra on his way through the division (vol. i, p. 7. as afu-ra is preceded by a number of forms of the sun-god, so the "form of osiris" kheper-en-asar, is preceded by a number of osirian deities, three snakes and three goddesses, among them being neith of the north, neith of the south, and the rare goddess artet (vol

henti-amenti, i.e, governor of amenti, amenti, i.e, the "hidden" land, being a name for the underworld, or other world" in general. this being so, it is clear that when afu-ra came to the end of the first division of the tuat he arrived at the beginning of the dominions of khenti-amenti, whose attributes became absorbed subsequently into those of osiris. in the book of gates the first division is depicted in a different manner. the boat of the sun is seen passing through the mountain of the horizon, which is divided into two parts; the god appears in the form of a beetle within a disk, which is surrounded by a serpent with voluminous folds. the only gods with him in the boat are sa and heka, here the personifications of the intelligence and the word of power. the duty of sa is to make all

135 the secret abode of seker, by which it is hidden, once more descends to its former level. the land of seker is in the form of an elongated ellipse, and is enclosed by a wall of sand; it rests upon the backs of two man-headed sphinxes, each of which is called af and lives upon the voice, or word, of the great god. the duty of these is to guard the image of seker. the form in which this god is depicted is that of a hawk-headed man, who stands between a pair of wings that project from the back of a huge serpent having two heads and necks, and a tail terminating in a bearded human head. the land of seker is covered by a pyramid having its apex in the form of the head of a goddess, and above it is the vault of night, from which emerges the beetle of khepera when the boat of afu-ra comes to

of the neighbourhood of memphis were worshipped. the oldest presentment of the land of seker which we have is, of course, not older than the xviiith or xixth dynasty, and it must be remembered that it is the work of the priests of thebes, who would be certain to remove any texts, figures, or details which they found inconvenient for their views. it is tolerably certain that the form in which they depicted it is much shorter than that in which it existed originally, and that the attributes and duties of many of the gods have been changed to suit the necessities of the cults of osiris and amen-ra. such changes have resulted in great confusion, and at the present time it is impossible p. 139 to reduce these most interesting, but at the same time most difficult, scenes and texts to their origi

f the god ares (or sar, and when he has come to them, he orders the doors to open, and raises up the beings therein whose "souls are broken" and allots to them meat and drink. the hour-goddesses are the daughters of ra, and their work is to guide their father through the night; six of them represent the first six hours of the night, and the other six the last six. these are here (vol. ii, p. 123) depicted together, whilst in the book am-tuat each appears in the boat of afu-ra in the hour to which she belongs. on the right of afu-ra are the twelve gods who "carry their doubles (vol. ii, p. 131) and who live upon the offerings which are made to them and upon what is given to them by tesert-baiu, i.e, the place of holy souls. their duty is to offer their kau or doubles to the god, whom they a

the name of this division, or hour, or city, is best-aru-ankhet-kheperu, the gate is called saa-em-keb, and its hour-goddess is tuatet-maketet-en-neb-s. the boat of afu-ra now enters the last of the four divisions of the kingdom of osiris, and moves without the aid of towing. immediately in front of it are twelve sailor-gods, each grasping a short paddle with both hands; they appear to have been depicted in front of the boat because there was no room for them in it. the god is still under the form of mehen, and is still passing over the secret path of amentet, and his sailors sing to him, and as they do so they scatter water from the stream with their paddles on the spirits who dwell in this city (vol. i, pp. 189-191. in front of these are three deities, seated on baskets, and the god het

f mendes and busiris. before, however, the god can enter it, he must pass through the gate of the sixth division, which is called nebt-aha, and which is guarded by the monster serpent set-em-maat-f. in the gate or close to it, is the judgment hall of osiris, and it is tolerably certain that no soul entered his kingdom without being weighed in the balance of the god. the scene in which the hall is depicted is of great interest, for it is different in many important particulars from the representations of the judgment which we find on papyri, even in those which belong to the period of the xviiith and xixth dynasties. all the texts which describe it are written in hieroglyphics, but in many of them the hieroglyphics have, as champollion pointed p. 159 click to view nebseni being weighed agai

eference to the pig it is interesting to note that p. 161 click to view the judgement hall of osiris according to the book of gates (from champollionm, onuments de l' gypte, tom. iii, pl. cclxxii) p. 163 in the papyrus of nekht the deceased is seen grasping a chain by which a serpent is fettered, and spearing a pig. the chief point of interest in the whole scene is the fact that the judgment here depicted is of a more primitive character than that given in the book of the dead. the boat of afu-ra, having passed through or by the hall of osiris, now enters the abode of the blessed, and the pictures of the sixth division are intended to show us the occupations of those who have been declared to be "right and true" the boat is towed through this division by four gods of the tuat and immediate

HELENA BLAVATSKY THE KEY TO THEOSOPHY

nations we have to assist in the international exchange of useful arts and products, by advice, information, and cooperation with all worthy individuals and associations (provided, however, add the statutes "that no benefit or percentage shall be taken by the society or the 'fellows' for its or their corporate services. for instance, to take a practical illustration. the organization of society, depicted by edward bellamy, in his magnificent work looking backwards, admirably represents the theosophical idea of what should be the first great step towards the full realization of universal brotherhood. the state of things he depicts falls short of perfection, because selfishness still exists and operates in the hearts of men. but in the main, selfishness and individualism have been overcome

HP LOVECRAFT A DARK LORE

s through the strange, half-blackened panes of the great apsidal windows. the paintings on those windows were so obscured by soot that blake could scarcely decipher what they had represented, but from the little he could make out he did not like them. the designs were largely conventional, and his knowledge of obscure symbolism told him much concerning some of the ancient patterns. the few saints depicted bore expressions distinctly open to criticism, while one of the windows seemed to show merely a dark space with spirals of curious luminosity scattered about in it. turning away from the windows, blake noticed that the cobwebbed cross above the altar was not of the ordinary kind, but resembled the primordial ankh or crux ansata of shadowy egypt. in a rear vestry room beside the apse blake

f the most surprising sort, and the abnormalities of proportion could not be described. willett consents only to say that this type of thing must have represented entities which ward called up from imperfect salts, and which he kept for servile or ritualistic purposes. if it had not had a certain significance, its image would not have been carved on that damnable stone. it was not the worst thing depicted on that stone- but willett never opened the other pits. at the time, the first connected idea in his mind was an idle paragraph from some of the old curwen data he had digested long before; a phrase used by simon or jedediah orne in that portentous confiscated letter to the bygone sorcerer 'certainely, there was noth'g but ye liveliest awfulness in that which h. rais'd upp from what he co

HP LOVECRAFT AT THE MOUNTAINS OF MADNESS

e, unknown species larger than the greatest of the known king penguins, and monstrous in its combined albinism and virtual eyelessness. when we had followed the thing into the archway and turned both our torches on the indifferent and unheeding group of three, we saw that they were all eyeless albinos of the same unknown and gigantic species. their size reminded us of some of the archaic penguins depicted in the old ones sculptures, and it did not take us long to conclude that they were descended from the same stock-undoubtedly surviving through a retreat to some warmer inner region whose perpetual blackness had destroyed their pigmentation and atrophied their eyes to mere useless slits. that their present habitat was the vast abyss we sought, was not for a moment to be doubted; and this e

HP LOVECRAFT THE UNNAMABLE

in keeping with my lowly standing as an author. i was too fond of ending my stories with, sights or sounds which paralyzed my heroes' faculties and left them without courage, words, or associations to tell what they had experienced. we know things, he said, only through our five senses or our intuitions; wherefore it is quite impossible to refer to any object or spectacle which cannot be clearly depicted by the solid definitions of fact or the correct doctrines of theology- preferably those of the congregationalist, with whatever modifications tradition and sir arthur conan doyle may supply. with this fried, joel manton, i had often languidly disputed. he was principal of the east high school, born and bred in boston and sharing new england's self- satisfied deafness to the delicate overt

INFERNAL UNION

side and nightside respectively) allows them to seduce and command their wills. her various aspects include az (related to death,blood and darkness),that of lilith as the goddess of the earth, lilith hecate(or lucifera) as air or the bride of lucifer, and of babalon(also sekhet or sekhemet) who is fire, death, blood, passion and life. lilith has an angelic aspect as well as a bestial one. she was depicted by the hebrews as a beautiful woman from the waist up, but from the waist down covered in animal- hair or flame, and with birds feet. her animal is the screech owl and the connections to various other names (masks) by which she has been called throughout history may be traced by the owl representation of the nature of these goddesses. finally, she is the queen mother of vampires, which is

ISIS UNVEILED

r. inmui the virgin is represented in tn anyrian 'grove' the oaominaiton in on tyi* qf hu tiord, kccording to the bible propheta "the book in queition" uys the author "codtniu mimeroua ggurea, all resembling dosety the meaopotainun emblem of i^oar. hie ptewnce of the woman tt rnn identifie* tbe two u symbolic of ids, or ut natare; and a man bowing down b adoration thereof ihows tbe mme idea as ii depicted in asiyrian culptiike, whet males offer to the goddess symaajr of la >i(mbm" set anciml pagan and uod m ckrittian symmww, p. 91: 2nd ed. new york. digitizecoy google 110 isis nnteiled whole roman catholic image-worship the madonna element and reforming the faith to protestantism. the enforcement of the late dogma of the immaculation was prompted by this very secret reason. the science of

ce of man. worship of divinities, under the allegories of which is hidden respect for natural laws, drives away truth to the profit of the basest superstitions" vydsa-mdyd^ it was given to christianity to paint us god almighty after the model of the kabalistic abstraction of the 'ancient of days' from old frescos on cathedral ceilings. catholic missals, and other icons and images, we now find him depicted by the poetic brush of gustave dor6. the awful, unknown majesty of him, whom no 'heathen* dared to re- produce in concrete form, is figuring in our own century in dorfi lututrated bible. treading upon clouds that fioat in mid-mr, darkness and chaos behind him, and tiie world beneath his feet, a majestic old man stands, his left hand gathering his sowing robes about him, and his right rais

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

ifying the royal property (as it is used in france, similarly to the token, or symbol, or brand, denoting the royal domain, the property, or the sign upon royal chattels (the broad arrow, as used in england, is the lis, or the fleur-de-lis. the mark by which criminals are branded in france is called the lis fleur-de-lis. the english broad arrow the mark or sign of the royal property, is variously depicted, similarly to the following marks: fig 1. fig 2. fig 3. fig 4. fig 5. the english broad arrow. 49 fig. 6. these are the three nails of the passion. in figs, 1 and 2 they are unmistakably so, with the points downwards. figs. 3 and 4 have the significant horizontal mark which, in the first centuries of christianity, stood for the second (with feminine meanings) person of the trinity; but th

mystic banner, denominated beaus ant( beau- s ant, revealing a whole occult theosophy to the initiate, which the leaders of the templars undoubtedly were. the difference between these two figures, fig. 8 and fig. 9, is, that the fly of the ensign marked fig. 9 is bifurcated (or cloven) in the lighted part. we subjoin the representation of the wondrous banner of the poor soldiers of the temple, as depicted abundantly on the spandrels of the arches of the temple church, london. fig. 10. fig. 11. von hammer s mystery of baphomet revealed contains much suggestive matter relative to these mysterious supposed dreadful templars. the parisian templiers assert that there is a connection between the recent niskhi letter and the cufic characters, and that the origin of the secrets of the order of the

rg; also occult sciences, p. 93; london, 1855. the greek bacchanals were well acquainted with the mythos of eve, since they constantly invoked her, or a person under her name, in their ceremonies. black is the saturnian colour also that of the egyptian isis. under the strange head of the embodiment of deity under darkness, the following remarkable facts may be considered: the virgin and child are depicted black at the cathedral at moulins, at the famous chapel of the virgin at loretto, in the church of the annunciation at rome, at the church of st. lazaro and the church of st. stephen at genoa, at that of st. francisco at pisa, at the church of brixen in the tyrol, at a church in (and at the cathedral of) augsburgh, where the black figures are as large as life, at the borghese chapel in ro

or and misty unreliable historian, in his history of winchester, has the following superficial notice of this relic: the most distinguished ornaments on the top are doves breathing (they are not breathing, they are drinking) into phials surmounted with crosses fich e. and on the sides (the north side, he should say, which is faced wrongly, and ought properly to front the east) the doves are again depicted with a salamander, emblematic of fire; in allusion to that passage of st. matthew, he shall baptize you with the holy ghost and with fire. all the secrets of masonry are concealed in the hebrew or chaldee language. in the first chapter of the gospel according to st. john is contained the mythical outline of the cabala, in its highest part. les anciens astrologues, dit le plus savant les j

JESSUP MK THE CASE FOR THE UFO

lessness selective ruthlessness. there is something of evasion, or secretiveness. all are attributes of intelligence. the story is told by c.f. talman, in realm of the air of a ship which was expected to arrive in new york in colonial days. one sunday afternoon, after a violent storm she was floating in the air, every spar so clearly visible that there was no doubt about the identity of the image depicted in the sky. that was the last ever seen of her. mr. talman opines that this was a mirage, and that probably she had sprung a leak in the storm, and foundered before she got to port. air too cleared-up of dust& etc. after storm at sea. clouds show whole convoys coming over horizon, not air. especially such cleared air. we're in none to good a position to argue with the learned meteorologis

KASAK VEEDE UNDERSTANDING PLANETS IN ANCIENT MESOPOTAMIA

od fs name and its according magical number (parpola 1998: 281.285. however, we can console ourselves that it was difficult to understand relationships between sumerian and akkadian gods already in their times. even in the most exact-to-be bilinguals, concepts about the beginning of the world among sumerians and akkadians differ (clifford 1998: 67. figure 4. the constellations of hydra and leo as depicted on an astrological tablet of the seleucid era, the eight-pointed star on the left is named dsag.me.gar. jupiter (vat 7847; bottom side. lion (leo) is depicted stepping forth. this plate has been described in depth by n. postgate, who brings out the division of zodiac into subzodiacs on this tablet, while these subzodiacs are connected to different towns, plants, trees and stones (postgate

amian history till the end of cuneiform cultures he was considered the eldest of the planetary gods, thus his cult proliferated although he never played a great role in mythology. this archetypal place in the pantheon could be the reason why in the main parts of mesopotamia there never were alternative moongods (though there were some in the periphery, e.g. among the hittites and aramaic. sin was depicted as a horned bull (qarnu) and a efruit that grows by itself f (enbu .a ina ram ni.u ibbanu; a reference to the belief that the moon regenerates itself after each waning. gamong the astral deities, the moon-god was considered to be the most gentle and reliable, intimately connected with the fertility and fruitfulness of man and beast h (leick 1998: 152.153. and moon fs moving is really clea

tten as dgi..bar, dbil.gi, dgi.bil, dgiri, in emesal (sumerian women fs talk) also dmu.bar.ra. in horoscopes, mars is consistently an or mul2an, read as albatanu, not anu because despite the use of the sumerian sign an there is no evidence whatsoever about the connections of mars to the god anu; this can be merely an abbreviation that has preserved the end of the name. in astrology, mars has been depicted also as muliku (g193, which means a square measure. as iku has been identified with mars and mars in its turn with the plough (apin (gossmann 1950: 13, 79, we could suggest that mars has also been a gploughing star h. the less common names are mul/dim.dugud.mu.en or mul/danzu which are connected to anzu who (according to most sources) is a giant bird with a lion fs head (supposedly a rela

LAITMAN M KABBALAH REVEALED

o places in spirituality, only states. the higher the world, the more altruistic a state it represents. the reason our world is not mentioned anywhere is that the spiritual worlds are altruistic, and our world is, like us, egoistic. because egoism is opposite to altruism, our world is detached from the system of the spiritual worlds. this is why kabbalists did not mention it in the structure they depicted. moreover, the worlds don t actually exist unless we create them by becoming like the creator. the reason they are spoken of in past tense is that kabbalists who have climbed from our world to the spiritual worlds tell us what they ve found. if we want to find the spiritual worlds as well, we will have to recreate these worlds within us by becoming altruistic. the origin of creation 71 th

LAITMAN M KABBALAH ATTAINING THE WORLDS BEYOND

quantities, determined by the strength of one s ability to counteract it for one s correction. thus, the actions in these two conditions are opposite to one another, even though both are altruistic in purpose. even in our world, an individual who gives away everything is opposite in action to the one who receives, even in order to give away. in this light, many of the contradictions and conflicts depicted in the bible become more understandable. for example, the conflict between saul and david, the arguments and the contradictions between the schools of shamai and hilel, the conflict between mashiach ben- joseph (the kabbalist ari) and mashiach ben-david, and other, almost all of the contentious issues and wars, which are interpreted by those who are not in the spiritual realm as the confl

LAITMAN M KABBALAH SCIENCE AND THE MEANING OF LIFE

n describe. today, researchers understand that what had once been defined as absolute fact is destined to give way to new conclusions and new experiments. these, in turn, will yield to ever-newer formulae and experiments. k a b b a l a h, s c i e n c e, a n d t h e m e a n i n g o f l i f e 12 it is now evident that science does not present the absolute truth, but rather a picture of the world as depicted through current experiments, perceptions, and paradigms. moreover, the greater our knowledge of the world, the greater the uncertainties and contradictions we face. acknowledging the above has significantly diminished the predominance of natural science in general and physics in particular. instead, it positioned science as a tool that uncovers a limited part of reality, rather than the a

LEADBEATER C W THE HIDDEN LIFE IN FREEMASONRY 2E

ss of thoth, standing in an attitude strongly suggestive of the f c p c of f c, though not exactly agreeing with our present practice (see plate ii a) it is intended to represent an initiation, and the word given is gmaat-heru, h which means gtrue of voice h or gone whose voice must be obeyed h(*churchward, the arcana of freemasonry, p. 49) i have also seen a painting in which four attendants are depicted saluting a pharaoh with the p c s c of an i.m, and the s c of s c is often to be found on the monuments, and is characteristic of horus. the gavel was then made of stone, and was a model of the double-headed axe. 13. plate i 14. 15. in those days the aprons were made of leather, and were triangular. that of the first degree was pure white, as it is now; but the m.m. fs apron was brilliant

ic negroes, who emigrated long ago from egypt to central africa, when called to take an oath in a court of law, still do so with a gesture which, still do so with a gesture, were i at liberty to describe it in writing, would be universally recognized by the craft. 20. another point that struck me much on looking at engravings of vignettes in the book of the dead is that the h c s c of the f.c. is depicted perfectly clearly; a group of people is shown as worshipping the setting sun, or paying respect to it, in that attitude. 21. this book of the dead, as it has been somewhat unfortunately called, is part of a manual which in its entirety was intended as a kind of guide to the astral plane, containing a number of instructions for the conduct both of the departed and the initiate in the lower

ciousness is the order of the day in the open lodge. 120. the three pillars, the columns and the pedestals, the candlesticks and candles, all mean the same thing. the column on the desk or pedestal of each of the principal officers of the lodge is sculptured in a definite order of architecture which signifies his power or quality; his candlestick also is carved in the same design, and often it is depicted upon his candle as well. our columns and candlesticks are now usually made of painted wood, but in reality they should be of three different kinds of stone; that of the r.w.m. should be of freestone, that of the w.s.w. of granite, and that of the w.j.w. of marble. these three kinds of stone are typical specimens of the three great classes of rocks freestone is aqueous or sedimentary; gran

which symbolize the kundalini or serpent-fire which is presently to be set in motion along those channels, while the wings typify the power of conscious flight through higher planes which the development of that fire confers. fig. 14(a) shows the stimulated ida after the initiation into the first degree; this line is crimson in colour. to it is added at the passing the yellow line of the pingala, depicted in fig. 14(b; while at the raising the series is completed by the deep blue stream of the sushumna, illustrated by fig. 14(c. 686. the stimulation of these nerves and the forces which flow through them is only a small part of the benefit conferred by the r.w.m. when he wields the sword at the moment of admission. i have already referred to the widening of the connection between the indivi

LEADBEATER CW GLIMPSES OF MASONIC HISTORY

ful craftsman by whom the design for every part of the framework of the world was made(*sir e. a. wallis budge, the papyrus of ani, p. 170) 74. the brothers of horus 75. among the other deities who were especially connected with the mysteries, who still play a most important part in the inner working of our masonic ceremonies to-day, are to be found the four children or brothers of horus, who are depicted in the well-known judgment scene as standing on a lotus before the throne of osiris. these represent the gods of the four quarters, or of the cardinal points, who support the canopy of heaven at its four corners. the god of the north was hapi, who bore the head of an ape; the god of the east was tuamutef, who bore the head of a jackal; amset or kestha ruled the south, and had the head of

f a man stands for the physical body (earth; the ox or the bull (as in the case of the bull of mithra and the apis bull) typifies the emotional or astral body (water; the lion symbolizes the will or the mental aspect (air; and the soaring eagle is taken to indicate the spiritual side of man s nature (fire. the egyptian forms were a little different; but the same four elements and their rulers are depicted in that ancient symbolism, which indeed we find in all religions. there is a four-faced brahma; there is the fourfold jupiter, who is aerial, fulgurant, marine and terrestrial. and that leads us back to the reality behind all these symbols, the four great angel-rulers of the elements, the administrators of the great law, who are the gods or leaders of the hierarchies of angels of earth, w

scovered some conclusions may be drawn which are sufficient for our present purpose. 228. worship in crete 229. the main worship appears to have centred round the feminine aspect of the deity already mentioned who, like isis amongst the egyptians and demeter amongst the later greeks, symbolized the creative power and fostering care of mother-nature. connected with her worship was the sacred tree, depicted in so many presentations of minoan shrines, while the deity herself was associated with the dove, the lion, the fish and the snake, typifying her dominion over air, earth, water and the fire within the earth. 230. as i have written above, the most sacred symbol in minoan worship was the double axe or labrys. this, mounted on a stone column, is found in the shrines of ancient crete, and wh

icted in so many presentations of minoan shrines, while the deity herself was associated with the dove, the lion, the fish and the snake, typifying her dominion over air, earth, water and the fire within the earth. 230. as i have written above, the most sacred symbol in minoan worship was the double axe or labrys. this, mounted on a stone column, is found in the shrines of ancient crete, and when depicted on any object or building invariably denotes its sacred character (see plate i, 1 and plate iv, 1, following p. 50) 231. it was always an emblem of the most high god, and is in reality the ancestor of the master s gavel, which he bears because in his humble way he represents the all-commander, ruling his lodge in the name of the spiritual king. in crete we often find it associated with wh

eas. that of the kabeiroi in samothrace, which was held in great honour in the ancient world, is thought by some scholars to be the oldest of them all- a theory which is supported by the barbarous names of the deities involved. but even these are myths of death and resurrec-tion, the god being in this case called kasmillos. 412. it seems probable that when virgil, in the sixth book of the aeneid, depicted the descent of aeneas into hell, he intended to give a repre-sentation of what happened in some of these mysteries. 413. the mithraic mysteries 414. zarathustra and mithraism 415. the mysteries of mithra were in many ways similar to those of greece, but they always had certain characteristics which were especially their own, and the line of succession which they transmitted was distinct f

a pulpit at ravello, in one of their buildings of the thirteenth century, jonah is seen coming out of the whale s mouth, making the f.c.h.s(*freemasonry and the ancient gods, j. s. m. ward, ch. xviii, passim) at coire cathedral in switzerland, which is romanesque in style and contains abundant evidence of comacine work, several figures on the capitals of the pillars in the choir and sanctuary are depicted making masonic s s, notably the f.c.h.s, the g. and r. s, and several s s now associated with the rose-croix, knights templars, and other high degrees in freemasonry(*an outline history of freemasonry, j. s. m. ward, p. 34) in the town-hall at basle there is a fresco by hans dyg, painted in 1519, in which we may see the same s s, and also one of the mark degree. king solomon s knot is the

n architect, who had joined a survival of the stonemasons and was subsequently admitted into masonry, recognized the e.a. grip as identical with that of the steinmetzen of strasburg(*ibid, p. 146) a ceremony of admission was in use among them; but what it was is not known(*concise history, gould, p. 22) 533. at daberan in mecklenburg there is a carving of the last supper, wherein the apostles are depicted in well-known masonic attitudes(*an outline history of freemasonry, j. s. m. ward, p. 35) while according to the bulletin of the supreme council of the ancient and accepted scottish rite (southern jurisdiction, u.s.a) the legend of hiram abiff is carved in stone at strasburg(*op, cit, vii, 200) in the cathedral at wurzburg two pillars, inscribed jachin and boaz, originally stood at the po

records that many masonic scholars believe that it was compiled only at the beginning of the eighteenth century. even in the fourteenth and fifteenth centuries, when the old charges were written down, no mention is made of the legend of hiram; for this formed part of the secret ritual and therefore might not be divulged. a figure representing god the son in the porch of peterborough cathedral is depicted as making the f.c.h.s(*j. s. m. ward, op. cit, p. 116) showing that this s at least was known to our old operative brethren. 537. the rise of gothic architecture 538. the climax of mediaeval operative building was reached in the twelfth and thirteenth centuries in the rise and development of gothic architecture, which was inspired directly by the head of all true freemasons throughout the

LEWIS JAMES SATANISM TODAY AN ENCYCLOPEDIA OF RELIGION FOLKLORE AND POPULAR CULTURE

ey, ed. new grove dictionary of music and musicians.washington, dc: grove s dictionaries of music, 1980. dragons 73 dogma two modern-day fallen angels, bartelby and loki, are condemned to a fate almost as bad as hell when they are sent to wisconsin. although the cast of this 1999 movie is great, the plot is lame and too much time is wasted on boring nonsense and excessive profanity. dragons often depicted as a mixture of several creatures, the dragon is a fantastic beast that appears in mythology and folklore worldwide. although in oriental mythologies the dragon is seen as a beneficent animal and is often a symbol or a portent of prosperity, in most european mythologies it is viewed as a demonic beast hostile to humanity. in christian symbolism, for instance, the dragon represents the chi

gels fight against the dragon and his rebellious angels. the great dragon was thrown down, that ancient serpent who is called devil and satan, the deceiver of the whole world; he was thrown down to the earth, and his angels were thrown down with him. in hebrew scriptures, in which the dragon is mentioned several times in the same breath as the owl another creature with large, black eyes yahweh is depicted as a storm god. at his coming the earth trembled, and the heavens dropped, yea, the clouds dropped water, the mountains quaked before the lord (judg. 5:4 5. thou didst break the heads of the dragons on the waters says the psalmist (ps. 74:13, and the lord. shall slay the dragon that is in the sea (isa. 27:1. moreover, in psalms 91:13, the saints shall trample the dragon under their feet

of fertility rites meant to help the crops grow. before witches were recorded as riding on brooms, they were said to have danced with them, sometimes holding the brooms up high in the air and sometimes dancing astride them. in addition to riding brooms and shovels, sixteenth-century art shows witches riding pokers, benches, and animals. sorcerers also flew on brooms, although they were more often depicted as riding on pitchforks. witches have been shown with the broom brushes down to sweep their tracks from the sky and with the brush up, often with a candle in the brush to light the way. see also demons; satan for further reading: gordon, stuart. the encyclopedia of myths and legends. london: headline, 1991. guiley, rosemary ellen. the encyclopedia ofwitches and witchcraft. new york: facts

ting the antichrist, or more generally, evil passions, paganism, or the oppressive powers of this world. in the book of revelation (12, it is described as big and red, with seven heads and ten horns. in the war in heaven, the archangel michael is usually represented as the slayer of the dragon, and his angels fight against the dragon and his rebel angels. in hebrew scriptures, yahweh is sometimes depicted as a storm god. at his coming the earth trembled, and the heavens dropped, yea, the clouds dropped water, the mountains quaked before the lord (judg. 5:4 5. thou didst break the heads of the dragons on the waters says the psalmist (ps. 74:13, and the lord. shall slay the dragon that is in the sea (isa. 27:1).moreover, in psalms 91:13, the saints shall trample the dragon under their feet

wish folklore appears to have originally been a mesopotamian night demoness with a penchant for destroying children. lilith is the archetypal seductress, and the personification of the dangerous feminine glamour of the moon. lilith was said to search for newborn children to kidnap or strangle, and to seduce sleeping men in order to produce demon sons. she is a patroness of witches, and is usually depicted as a beautiful vampire,with great claws as feet. lilith can be found in iranian, babylonian, mexican, greek, arab, english, german, oriental, and north american indian legends, and is often associated with other characters, such as the queen of sheba and helen of troy. according to muslim legend, lilith slept with satan. in the talmud, she was the first wife of adam who refused to accept

one day be freed from hell by muhammad. see also islam for further reading: the encyclopaedia of islam. leiden: e. j. brill, 1978. glass, cyril. the concise encyclopedia of islam. san francisco: harper san francisco, 1989. mammon in folklore, mammon is a fallen angel, now residing in hell as the demon of avarice. he personifies greed and a lust for money. in john milton s paradise lost, mammon is depicted as always looking downward, at heaven s golden pavement, rather than up at god. after the war in heaven, when mammon is relegated to hell, he is the one who finds underground precious metal that the devils use to build pandemonium, their capital city. in the bible (matt. 6:24 and luke 16:13) mammon is referred to as being hostile to god. and in the dictionnaire infernal by de plancy, mamm

cted even in some of the human characters of shakespeare s tragedies. goethe s devil no longer embodies an exclusively a christian meaning. he is, rather, a more complex, multifaceted, and ambiguous character, representing not only evil against good, but also the oppositions of matter-spirit and chaos-order, as well as the stimulus to creativity. although in the late nineteenth century new operas depicted mephistopheles s and dr. faust s story, goethe s mephistopheles remained the masterpiece of the mephistopheleses represented in literature. see also faust; pact with the devil for further reading: davidson, gustav. a dictionary of angels including the fallen angels. new york: free press, 1967. rudwin,maximilian. the devil in legend and literature. chicago: open court, 1931. mesoamerica th

al, liber venifica, was published. see also church of satan for further reading: parker, john. at the heart of darkness: witchcraft, black magic and satanism today. new york: citadel, 1993. ordo lux kethri the ordo lux kethri was formed in 1982 by april schadler bishop and michael albion macdonald, of the builders of the adytum. the order, which is also known as the order of the kethric light, is depicted as a fraternal order, and is similar to the rosicrucian one. among its teachings are the cabala, alchemy, ritual magic, and hermetic meditation, including the techniques of visualization and astral travel of franz bardon. for further reading: bardon, franz. the practice of magical evocation. wuppertal, germany: deiter rueggeberg, 1970. macdonald,michael-albion. the secret of secrets. berk

icularly in the apocalyptic literature. but in the third century, the christian philosopher origen fully established the association between satan and the snake. in the following centuries the snake was conceived of as either the tool of satan, or as his incarnation. satan, however, is not only the symbol of death and evil. in judeo-christian and islamic folklore traditions, where he is typically depicted as the horned one, he appears in association with fertility and sexuality cults and in the practice of witchcraft. the devil was held responsible for the healing powers of witches practicing the sabbath rituals for centuries throughout europe. satan has also inspired literature, poetry, art and music throughout history. there are numerous accounts of imaginary trips to the underground kin

ons. a lonely, miserable teen metal musician dies in a hotel fire. his spirit expresses itself in a music album, entitled songs in the key of death. hell is not a place, but is, rather, about being cruel, perverse, and abusive. twilight zone the movie this 1983 movie does not capture the suspense of rod serling s television series, but it does have the intensity of the twist of fate so poignantly depicted in all of the tv episodes. vic morrow plays an angry bigot who blames minorities for the personal defeats he has experienced in his life. the narration by burgess meredith announces that the bigot is about to be catapulted into the darkest regions of the twilight zone. vic morrow is then transformed into every minority he had previously despised. ufos and demons unidentified flying object

pending upon social status was an innovation of the ancient egyptians. aristocrats were believed to travel to celestial blessed lands to enjoy a life devoid of pain and suffering. common people, on the other hand, were believed to spend eternity near their own tombs or in the netherworld (they were buried in dry sand that accelerated the decomposition process. the netherworld of ancient egypt, as depicted in the book of the dead, was ruled by osiris (originally, possibly a divinity of the vegetation) who according to myth was dismembered by his jealous brother and recomposed by his wife isis. a less negative conception of the underworld was found in greco-roman civilization where the underworld was ruled by king hades (roman pluto) and his wife persephone (roman proserpina: upon death, the

LIBER 777

be a hybrid of bast and sekhet. line 24: typhon was a titan in greek myth (son of tartaros and gaia, probably a personification of destructive forces of nature, who was identified with set in late classical times. add selket, whose symbol was the scorpion. the attribution of khephra is explained by crowley s remarks on this line in the animals column. line 25: add neith (net) who is traditionally depicted with a bow and arrows. line 26: khem is identified by budge (op. cit, i, 97) with the phallic god min or amsu, and was identified by the greeks with pan. line 28: ahephi is hapi, one of the children of horus. line 29: add hequet (hekt. line 31: kabeshunt is probably qebhsennuf, one of the children of horus. line 32: i have no idea who mako is. in the golden dawn z1 paper the children of h

LIBER HHH

solo version of liber 671 which has been published is adequate for the purposes of exploring the parallels, although one suspects the meditation-practice will be more effective for one who has gone through the ritual ceremonially and imprinted the revelant symbols. 8 approx .corpse-position. the .corpse. and .dying buddha .sanas (along with the .hanged man. posture mentioned in cap. i v. 10) were depicted in a supplement to .liber e. which was printed at the start of equinox i (7, and also in the 1994 and 1997 weiser .blue brick. edition of magick. 9 this possibly refers to something communicated in the zelator initiation (see note below. 10 iaida or .the highest. is a name or title of god appearing in the angelic keys of dee and kelly. see casaubon (ed, a true and faithful relation. 11 th

LIBER V VEL REGULI

deities an argument could be made for either: compare for example the statue of anhur and the carving of min as shown in the new larousse encylopedia of mythology. 3 the reference is to a photograph of crowley titled .the student. which appears at the start of .aha. and not as the frontispiece to the volume as a whole. 4 there is some uncertainty about this sign. the .lesser man of vitruvius. is depicted (e.g. in the illustrations from caersarino.s edition, reproduced in the canon) as a male human figure framed by a square, the legs spread, feet turned out, and arms raised so the hands and toes mark the corners of the square, whose centre is at the figure.s navel; this is approximately how the sign mulier is interpreted in the blue brick, apparently based on a sketch by crowley in a lette

LINDOW JOHN NORSE MYTHOLOGY A GUIDE TO THE GODS HEROES RITUALS AND BELIEFS

st famous skalds served at the courts of kings and other powerful rulers. sometimes these men gave the skalds valuable gifts, such as a shield, and if the shield was decorated with scenes taken from narrative, the skald might compose a poem describing those scenes as thanks for the gift. such a shield poem can be of considerable interest in the study of mythology and heroic legend, for the scenes depicted on shields tended to be from those realms. there are other examples of this sort of ekphrasis (greek: ga plain declaration, h in this context a text about an image) in the skaldic corpus, such as ulf uggason fs husdrapa, which describes carvings in a newly built hall in late-tenth-century iceland. in some cases we lack the context of a poem but can surmise the existence of an ekphrasis. s

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

. it is also quite probable that serapis was worshiped in the form of a serpent, in common with many of the higher deities of the egyptian and greek pantheons. serapis was called theon heptagrammaton, or the god with the name of seven letters. the name serapis (like abraxas and mithras) contains seven letters. in their hymns to serapis the priests chanted the seven vowels. occasionally serapis is depicted with horns or a coronet of seven rays. these evidently represented the seven divine intelligences manifesting through the solar light. the encyclop dia britannica notes that the earliest authentic mention of serapis is in connection with the death of alexander. such was the prestige of serapis that he alone of the gods was consulted in behalf of the dying king. the egyptian secret school

eak, but warning their disciples that a great sorrow comes to all who take their own lives. this, in substance, constitutes the esoteric doctrine given to the initiates of the lesser mysteries. as the degree dealt largely with the miseries of those who failed to make the best use of their philosophic opportunities, the chambers of initiation were subterranean and the horrors of hades were vividly depicted in a complicated ritualistic drama. after passing successfully through the tortuous passageways, with their trials and dangers, the candidate received the honorary title of mystes. this meant one who saw through a veil or had a clouded vision. it also signified that the candidate had been brought up to the veil, which would be torn away in the higher degree. the modern word mystic, as ref

ind told hermes that click to enlarge thoth, the ibis-headed. from wilkinson's manners& customs of the ancient egyptians. it is doubtful that the deity called thoth by the egyptians was originally hermes, but the two personalities were blended together and it is now impossible to separate them. thoth was called "the lord of the divine books" and "scribe of the company of the gods" he is generally depicted with the body of a man and the head of an ibis. the exact symbolic meaning of this latter bird has never been discovered. a careful analysis of the peculiar shape of the ibis--especially its head and beak--should prove illuminating. p. 39 the light was the form of the spiritual universe and that the swirling darkness which had engulfed it represented material substance. then out of the im

he underworld--red. the fiery condition of the inferno merely symbolizes the nature of the sphere or plane of force of which it is composed. in the greek mysteries the irrational sphere was always considered as red, for it represented that condition in which the consciousness is enslaved by the lusts and passions of the lower nature. in india certain of the gods--usually attributes of vishnu--are depicted with blue skin to signify their divine and supermundane constitution. according to esoteric philosophy, blue is the true and sacred color of the sun. the apparent orange-yellow shade of this orb is the result of its rays being immersed in the substances of the illusionary world. in the original symbolism of the christian church, colors were of first importance and their use was regulated

eoples. the mysteries caught that man's only lasting adornments were his virtues and worthy characteristics; that he was clothed in his own accomplishments and adorned by his attainments. thus the white robe was symbolic of purity, the red robe of sacrifice and love, and the blue robe of altruism and integrity. since the body was said to be the robe of the spirit, mental or moral deformities were depicted as deformities of the body. considering man's body as the measuring rule of the universe, the philosophers declared that all things resemble in constitution--if not in form--the human body. the greeks, for example, declared delphi to be the navel of the earth, for the physical planet was looked upon as a gigantic human being twisted into the form of a ball. in contradistinction to the bel

in the mysteries the seven logi, or creative lords, are shown as streams of force issuing from the mouth of the eternal one. this signifies the spectrum being extracted from the white light of the supreme deity. the seven creators, or fabricators, of the inferior spheres were called by the jews the elohim. by the egyptians they were referred to as the builders (sometimes as the governors) and are depicted with great knives in their hands with which they carved the universe from its primordial substance. worship of the planets is based upon their acceptation as the cosmic embodiments of the seven creative attributes of god. the lords of the planets were described as dwelling within the body of the sun, for the true nature of the sun, being analogous to the white light, contains the seeds of

from picart's religious ceremonials. the fish has often been associated with the world saviors. vishnu, the hindu redeemer, who takes upon himself ten forms for the redemption of the universe, was expelled from the mouth of a fish in his first incarnation. isis, while nursing the infant horus, is often shown with a fish on her headdress. oannes, the chaldean savior (borrowed from the brahmins, is depicted with the head and body of a fish, from which his human form protrudes at various points. jesus was often symbolized by a fish. he told his disciples that they should became "fishers of men" the sign of the fish was also the first monogram of the christians. the mysterious greek name of jesus, icqus, means "a fish" the fish was accepted as a symbol of the christ by a number of early canoni

the flashes from its eyes are the lightning. birds were used to signify the vital breath; and among the egyptians, mysterious hawklike birds with human heads, and carrying in their claws the symbols of immortality, are often shown hovering as emblems of the liberated soul over the mummified bodies of the dead. in egypt the hawk was the sacred symbol of the sun; and ra, osiris, and horns are often depicted with the heads of hawks. the cock, or rooster, was a symbol of cashmala (cadmillus) in the samothracian mysteries, and is also a phallic symbol sacred to the sun. it was accepted by the greeks as the emblem of ares (mars) and typified watchfulness and defense. when placed in the center of a weather vane it signifies the sun in the midst of the four corners of creation. the greeks sacrific

spel and of the apocalypse, named ioannes (bryant's analysis of ancient mythology) in masonry the dove is the symbol of purity and innocence. it is significant that in the pagan mysteries the dove of venus was crucified upon the four spokes of a great wheel, thus foreshadowing the mystery of the crucified lord of love. although mohammed drove the doves from the temple at mecca, occasionally he is depicted with a dove sitting upon his shoulder as the symbol of divine inspiration. in ancient times the effigies of doves were placed upon the heads of scepters to signify that those bearing them were overshadowed by divine prerogative. in medi val art, the dove frequently was pictured as an emblem of divine benediction. the phoenix clement, one of the ante-nic an fathers, describes, in the first

ause of its plainly perceptible affinity for the sun, was given high rank among sacred plants. p. 96 which contained the seeds of the new human race. among the ancient mysteries the pomegranate was also considered to be a divine symbol of such peculiar significance that its true explanation could not be divulged. it was termed by the cabiri "the forbidden secret" many greek gods and goddesses are depicted holding the fruit or flower of the pomegranate in their hands, evidently to signify that they are givers of life and plenty. pomegranate capitals were placed upon the pillars of jachin and boaz standing in front of king solomon's temple; and by the order of jehovah, pomegranate blossoms were embroidered upon the bottom of the high priest's ephod. strong wine made from the juice of the gra

ing sword struck the flashing lapis exilis from the coronet of his adversary, and the green stone fell through all the celestial rings into the dark and immeasurable abyss. out of lucifer's radiant gem was fashioned the sangreal, or holy grail, from which christ is said to have drunk at the last supper. though some controversy exists as to whether the grail was a cup or a platter, it is generally depicted in art as a chalice of considerable size and unusual beauty. according to the legend, joseph of arimathea brought the grail cup to the place of the crucifixion and in it caught the blood pouring from the wounds of the dying nazarene. later joseph, who had become custodian of the sacred relics--the sangreal and the spear of longinus--carried them into a distant country. according to one ve

MICHAEL FORD WITCHMOON

mpowering our tradition of the witch cult is channeled through the goddess, hecate. her titles are many; the dark goddess, protectress of herds and sailors, goddess of the crossroads (which would draw a parallel towards baron samedhi of several voudoo traditions, being the lord of the crossroads and the mysteries of death) as well as the sender of nocturnal visions (dreaming visitation. hecate is depicted as a woman or hag with three heads, each facing a different direction. it is said that hecate is seen in all three phases of the moon. mythology has painted a vision of the witch mother with two or sometimes all three heads being that of beasts. each animal represents an atavistic desire which manifests in her current of lunar energy. this power would propel her towards the goddess incarn

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

eat physical strength and stature and could live for many hun-dreds of years.a people great and tall, the children of the anakims, whom thou knowest, and of whom thouhast heard say, who can stand before the children of anak (deuteronomy 9:2)atlantis, alien visitation, and genetic manipulation63 reptilians, priestesses, and strange genes the arabian historians spoke of the strange adites:they were depicted as men of gigantic stature; their strength was equal to their size, andthey easily moved great blocks of stone (lenormant and chevalier, ancient history of theeast, v olume 2) in july 1877, four prospectors moved through along the hills of spring v alley near eureka,nevadausing their picks, the prospectors soon chipped out human legs and foot bonesthat had been encased in solid quartzitef

acture of bronze was an importation into those continents fromsome foreign country (p. 267)the fact that in america alone of all the world is found the copper age, which must necessarily havepreceded the bronze age, teaches us to look westward of europe and beyond the sea for that foreigncountry (p. 267)gigantic menthe adites are remembered by the arabians as a great and civilized race. they were depicted as menof gigantic stature; their strength was equal to their size, and they easily moved great blocks of stone.(from ancient history of the east, v ol 2, p. 269, lenormant and chevalier)atlantis, alien visitation, and genetic manipulation199 appendix b: book abstracts lenormant goes on to comment:in these legends we find traces of a wealthy nation, constructors of great buildings, with an

level. it contains mine shafts and smelting facilities. this dates from the stone age.atlantis, alien visitation, and genetic manipulation201 appendix b: book abstracts the mediterraneanwas not as large as it is today. under the sea now exist many land masses that were above the waterlevel. the atlantic rose and flooded the land of the countries of mediterranean. domesticated horsesthese are seen depicted on wall drawings in france, as having bridles over 25,000 years ago. concretean unusual site in y ugoslavia, lepiniski vir, has revealed that a small village culture of not more than130 houses had constructed dwellings on poured-cement foundations incorporating indirect centralheating at least 7,000 years ago (p. 161)optical lensesin 1853, sir david brewster of the british association for

ped him out of fear of retribution.gardner writes on enlil..it was he who had instigated the semitic invasions which led to the confusion of tongues and thefall of sumer. it was he that brought about the devastating flood, and it was he who had leveled the citiesof sodom and gomorrahnot because of their wickedness, as related in genesisbut because of thewisdom and insight of their inhabitants, as depicted in the coptic paraphrase of shem. it was jehovahwho removed the israelites from their homeland, sending them into seventy years of captivity by kingnebuchadnezzar ii and his five babylonian successors down to king balshazzer (545 539 b.c (p.118)babylons declineas the centuries progressed, babylon fell to various other invadersthe written legacy of theannunaki was, henceforth, confined to

f irishlegend, a cruel but civilized maritime race who tyrannized over that island until they were ultimatelydestroyed by the de danaan. they were said in hibernian legends to have ruled ireland before theflood a significant admission (p. 27-28)the saturnian cultthe flood, or more justly the great catastrophe, destroyed the cult of saturn, which became discreditedto many, including the egyptians, depicted to them as malignant devil in the shape of an immense celes-tial serpent with a hundred voices who spat lightening. he is the old serpent of revelation who wascast into the bottomless pit of hades for a thousand years (p. 30)abrahamreally abram or son of the ram, the high ram, relating to ammon. leader of the israelites, the cultof saturn.terah means terrorabraham son of terah, meant that

cave art in arnhem land depicts giant marsupials, among other animals.wullagun, a tribal elder, once described them:when giant fellas alive, them big animals still bin walkabouts this country. white men say they all dead, but we savvy one place where him still live. ground shake when he walk. he eat peo-ples similar traditions are built around the charcoal painting of two five-metre-tall figures depicted upon theside of a rock overhang near townsville, representing two illankanpanka giant men who wandered mountainsthereabouts in the long ago dreamtime. orange nswsouth-west of orange, nsw, embedded in a 3.6-metre by 6.6 metre lump of solid mudstone is an appar-ent giant manlike footprint, an astounding 1.6 metres long by one metre wide across the toes. the ques-tion is whether the footprin

on,maintenance and annihilation of this universe. he is like the two threads that form the length andbreadth of a woven cloth. the entire world is controlled by him just as a bull is controlled by a rope inits nose (bhagavata purana 6.3.12) his position is between the living beings (jiva-tattva) and the supreme lord, vishnu (vishnu-tattva, inthe category of his own, shiva-tattva. shiva is usually depicted in painting and sculpture as white or ash-colored, with a blue neck (from hold-ing in his throat the poison thrown up at the churning of the cosmic ocean, which threatened to destroyhumankind, his hair arranged in a coil of matted locks (jatamakuta) and adorned with the crescentmoon and the ganges (he allowed her to trickle through his hair. he has three eyes, the third eyebestowing inwar

in of the queen of england, part of the black nobility which traces itspower back 5,000 years. 1948 crowleyean ritual magic allegedly worked by jack parsons and reputed naval intelligence agentron hubbard, who would later found the church of scientology, based on initiatory grades and a cos-mology reminiscent of theosophy. interestingly, the symbol of scientology is identical to the crowleyemblem depicted in the book of thoth. hubbard is reported to have maintained that he was a reincarna-tion of cecil rhodes. 1948 assassination of gandhi in india. 1948 israel creates central institute for intelligence and security. 1948 world council of churches founded in amsterdam, holland. 1948 operation ohio, a cia plan for assassination, begins. over 100 european figures are assassinatedunder this pr

MICHAEL WYNN THE SOUL TRAVELERS

ses of the animal kingdom; warm-blooded animals are, on the average, more intelligent than reptiles. considering the serpent to be a creature of wisdom is an interesting choice considering that the serpent is mostly instinctual. egypt, a civilization dating back to 2500bc (allegedly, also has a pantheon of gods associated with the serpent. in fact it is nearly unheard of for an egyptian god to be depicted without a serpent. even the pharaohs (kings) of egypt wore a ureaus on their headpiece. the ureaus was a serpent which symbolized the immortals. gods of greek mythology are likewise associated, and often depicted, with snakes. meanwhile, here in the new world, the mythologies of the mayans, aztecs, incas, and native americans is replete with serpent symbolism. hinduism, the prevailing rel

ut it is said that he periodically reappears among humans. the ancient mesopotamians, in present-day iraq, have a civilizer of their own whom they called oannes. this being was amphibious, but spoke human languages with ease. oannes would emerge out of the water, teaching and giving instruction to humans. he taught people writing, the sciences, the arts, architecture, and agriculture. he is often depicted as a man with the scales of a fish. and lets not forget lone man, the savior figure of the mandan people. lone man, like jesus, was born of a virgin, settled turbulent waters while aboard a boat, and was perfect in all his ways. and finally the god faro from the tales of the people of mali. faro, as stated before, transformed himself into a fish and eventually sacrificed himself to undo t

. black magicians often equate azazel from the book of enoch, with lucifer and the greek god prometheus. the reason is that prometheus, against the wishes of zeus (god, stole fire from the gods and gave it to humanity. zeus, the furious god of mount olympus, punishes prometheus by binding him to a rock, and commanding an eagle to peck away at this liver, which regenerated every day. prometheus is depicted as incredibly intelligent, deceptive, and rebellious; prometheus, azazel, lucifer, the torch-bearer, the light bringer. the flame, or torch of the olympics, and it s corresponding tradition, is a commemoration of prometheus theft of fire from zeus. the statue of liberty, whose likeness is based on the goddess ishtar, who was said to have fallen with azazel, also bears the torch of illumin

bed as quite ancient. for centuries, it appeared that the piri reis map was terribly incorrect in its depiction of the shape and size of antarctica. in 1949, however, a joint british and swedish expedition set out to survey antarctica and ascertain what the southern continent looks like below the ice. later, in early the 1960s, it was noticed by a man named charles hapgood, that the piri reis map depicted the atlantic chunk of antarctica not as it is in modern times, but instead showed its profile before it was enveloped in ice. the paradox is that, according to orthodox history, antarctica has been frozen over for 6000 years (at the very least. piri reis readily admitted that his map was in fact a compilation of many pre-existing maps, so how did this those previous cartographers manage t

kness, submissiveness, and infertility will be found in food and water; medications resulting in pliability will be forced on children. cancer will be the new way to die. tv, clergy, movies, and schools will be the vectors by which highly advanced mind-control techniques will be delivered. vanity and fear will be subtly dolled out on every show. you we see global government or a global arbitrator depicted as the solution. evil men will be praised and placed in positions of power; the good will be silenced, murdered, and consistently demoted. the individual will grow estranged from their family and friends; the children will be distant from their parents, and families will splinter. the distinction between the genders will--michael wynn's "the soul travelers" 73 fade as homosexuality become

els; now a race whose numbers are forever in decline. it is also remarked that jehovah transformed his children, the arch-angels, into new kinds of beings when they were young. god exists outside of creation, and when god desires to drop down into lower realms such as the heavens or earth, he is often described as no longer all-knowing, but instead capable of being deceived. jehovah is frequently depicted as an aging old man whose love for humans exceeds his love for the race he spawned, the angels. osiris too is said to have reclaimed all his parts, except his phallus. i can t believe it s not fiction: god enfleshed the chosen one (2007) the archangels [5.2] it was arch-angel michael and his army who expelled satan (his uncle/brother) from heaven. satan, and the other expelled angels, wer

ices before a 35 foot stone owl. this owl, which was long suspected to be symbolic of the ancient canaanite god moloch, is in fact symbolic of lilith, who is babylon the great and the bride of lucifer. tiamat may also be symbolized by a red dragon, and is known as a devouring goddess. in the bible, lilith goes by the titles whore of babylon, mother of harlots, and babylon the great. this woman is depicted holding a golden cup and wearing many precious stones and robed in the colors purple and scarlet. scarlet is plain red with a slight hint of orange. the imagery commonly relates her as riding a scarlet beast. this woman is described--michael wynn's "the soul travelers" 78 as drunk (intoxicated) from the blood of the saints. lilith being the mother of vampires, this is fitting. the whore o

of vampires, this is fitting. the whore of babylon is also related to a city or location. this city has had relations with all the rich men of the earth, and is a haven for demons. it is understood that this character, or city, currently rules the world and uses sorcery to do so. hecate, also equated with lilith, is the greek triple goddess. she is the goddess of the crossroads, who is frequently depicted with three heads; one of a dog, one of a snake, and one of a horse. this goddess is often associated with witchcraft and childbirth, and was accompanied by an owl during her travels. she is known as the virgin goddess, and is also reported to have a following of ghosts and lives in the underworld with hades, lord of the underworld. another goddess related to lilith is the egyptian goddess

diana, is also a goddess of the hunt, childbirth, the moon and also known as the virgin goddess. artemis is also closely related to selene, yet another moon goddess. in hinduism, lilith goes by the name kali. kali is a goddess identified with death, carnage, and the feminine principle. she often called mother kali and the mother goddess who is the consort of the god shiva, the destroyer. kali is depicted as a naked woman with black skin, who wear a necklace of skulls and holds a bloody sword. similar to the babylonian account of tiamat, kali s body parts constitutes the universe of space and time. the goddess kali, along with her husband shiva, roam the cremation grounds; this is a likely reference to the qliphoth or underworld. in the persian narration, az is the mother of demons and the

rdian of the abyss is considered mentally unstable and evil even by the worst magicians. this spirit is regarded as a devouring demon who seeks to steal the life-force and sanity from all who cross his path. this entity s reputation for inducing insanity is legendary, for he is truly the embodiment of dispersion and chaos. his greed for collecting and retaining souls is insatiable. hades is often depicted as more intelligent than his brother zeus. this god waits in the abyss for the magician who seeks union with his guardian angel, so that in order to be transformed, the magician must master choronzon. the abode of coronzon is a dark place where those long dead gesture and stumble aimlessly; a place where hope is not to be found. hades sided with zeus and the other olympians in the war aga

the essence of lucifer, whose number is 666 and therefore complete. apep, who became the shadow aspect of set, has titles like the great rebel and the evil one. this guardian of the abyss, is sometimes spoke of as a female character and is frequently associated with a single, lid-less eye. this being is also closely associated with the triangle (being a 3-sided shape, and his seal has often been depicted as 3 triangles in an arrangement that resembles a nuclear or radiation symbol. leviathan appears to be another name for the demon choronzon, and is associated with the west and is called the guardian of the gate to the abyss. leviathan is commonly described as a writhing mass of demons bound in a single body. leviathan is also closely related to the primal goddess tiamat, because it said

MICHAEL W FORD NOX UMBRA

ortal fountain of life, which the vampyre seeks to bask in eternally. remember, in bram stoker's immortal "dracula" novel, the prince of vampyres is transformed not by another vampyre. but rather his own self-iniliatory work and black magic. dracula itself was based from two historical figures, vlad dracul, whom was of a family of the order of the dragon, and elizabeth bathory, whose family crest depicted three wolf teeth surrounded by a dragon(leviathan, ahriman. the history of bram stoker's novel dracula has its own curious beginnings in association with folklore and historical figures. specifically, in dracula was a woman by raymond t. mcnally, stoker had an original manuscript of the novel which was later deleted, which was published in 1807. the character harker traveled from munich t

MYTHS AND LEGENDS OF ANCIENT CIVILIZATIONS E

ods of olympus, personified the earth, and was regarded as the great mother and unceasing producer of all plant-life. she was also believed to exercise unbounded sway over the animal creation, more especially over the lion, the noble king of beasts. rhea is generally represented wearing a crown of turrets or towers and page 19 seated on a throne, with lions crouching at her feet. she is sometimes depicted sitting in a chariot, drawn by lions. the principal seat of her worship, which was always of a very riotous character, was at crete. at her festivals, which took place at night, the wildest music of flutes, cymbals, and drums resounded, whilst joyful shouts and cries, accompanied by dancing and loud stamping of feet, filled the air. this divinity was introduced into crete by its first col

157 amplified by the poets into that above described, and the moira are henceforth the special presiding deities over the life and death of mortals. the moira are represented by the poets as stern, inexorable female divinities, aged, hideous, and also lame, which is evidently meant to indicate the slow and halting march of destiny, which they controlled. painters and sculptors, on the other hand, depicted them as beautiful maidens of a grave but kindly aspect. there is a charming representation of lachesis, which depicts her in all the grace of youth and beauty. she is sitting spinning, and at her feet lie two masks, one comic, the other tragic, as though to convey the idea, that, to a divinity of fate, the brightest and saddest scenes of earthly existence are alike indifferent, and that s

iend. but though the ancients regarded thanatos as a gloomy and mournful divinity, they did not represent him with any exterior repulsiveness. on the contrary, he appears as a beautiful youth, who holds in his hand an inverted [143]torch, emblematical of the light of life being extinguished, whilst his disengaged arm is thrown lovingly round the shoulder of his brother hypnus. hypnus is sometimes depicted standing erect with closed eyes; at others he is in a recumbent position beside his brother thanatos, and usually bears a poppy-stalk in his hand. a most interesting description of the abode of hypnus is given by ovid in his metamorphoses. he tells us how the god of sleep dwelt in a mountain-cave near the realm of the cimmerians, which the sun never pierced with his rays. no sound disturb

nts in human life, whether good or evil. if a person succeeded in all he undertook without possessing any special merit of his own, tyche was supposed to have smiled on his birth. if, on the other hand, undeserved ill-luck followed him through life, and all his efforts resulted in failure, it was ascribed to her adverse influence. this goddess of fortune is variously represented. sometimes she is depicted bearing in her hand two rudders, with one of which she steers the bark of the fortunate, and with the other that of the unfortunate among mortals. in later times she appears blindfolded, and stands on a ball or wheel, indicative of the fickleness and ever-revolving [148]changes of fortune. she frequently bears the sceptre and cornucopia[49] or horn of plenty, and is usually winged. in her

inmost thoughts might be read. he [150]also found fault with a house built by athene because, being unprovided with the means of locomotion, it could never be removed from an unhealthy locality. aphrodite alone defied his criticism, for, to his great chagrin, he could find no fault with her perfect form.[50] page 167 in what manner the ancients represented this god is unknown. in modern art he is depicted like a king's jester, with a fool's cap and bells. eros (cupid, amor) and psyche. according to hesiod's theogony, eros, the divine spirit of love, sprang forth from chaos, while all was still in confusion, and by his beneficent power reduced to order and harmony the shapeless, conflicting elements, which, under his influence, began to assume distinct forms. this ancient eros is represente

iginal divine essence, must be purified by the chastening sorrows and sufferings of its earthly career.[51] page 173 eros is represented as a lovely boy, with rounded limbs, and a merry, roguish expression. he has golden wings, and a quiver slung over his shoulder, which contained his magical and unerring arrows; in one hand he bears his golden bow, and in the other a torch. he is also frequently depicted riding on a lion, dolphin, or eagle, or seated in a chariot drawn by stags or wild boars, undoubtedly emblematical of the power of love as the subduer of all nature, even of the wild animals. in rome, eros was worshipped under the name of amor or cupid. hymen. hymen or hymenaus, the son of apollo and the muse urania, was the god who presided over marriage and nuptial solemnities, and was

ished rank, is nevertheless represented as cup-bearer to the gods; a forcible exemplification of the old patriarchal custom, in accordance with which the daughters of the house, even when of the highest lineage, personally assisted in serving the guests. hebe is represented as a comely, modest maiden, small, of a beautifully rounded contour, with nut-brown tresses and sparkling eyes. she is often depicted pouring out nectar from an upraised vessel, or bearing in her hand a shallow dish, supposed to contain ambrosia, the ever youth-renewing food of the immortals. in consequence of an act of awkwardness, which caused her to slip while serving the gods, hebe was deprived of her office, which was henceforth delegated to ganymedes, son of tros. hebe afterwards became the bride of heracles, when

which we call winter. in some parts of greece there were but two hora, thallo, goddess of the bloom, and carpo, of the corn and fruit-bearing season. the hora are always regarded as friendly towards mankind, and totally devoid of guile or subtlety; they are represented as joyous, page 192 but gentle maidens, crowned with flowers, and holding each other by the hand in a round dance. when they are depicted separately as personifications of the different seasons, the hora [165]representing spring appears laden with flowers, that of summer bears a sheaf of corn, whilst the personification of autumn has her hands filled with clusters of grapes and other fruits. they also appear in company with the graces in the train of aphrodite, and are seen with apollo and the muses. they are inseparably co

accounts, aolus was a king of the aolian islands, to whom zeus gave the command of the winds, which he kept shut up in a deep cave, and which he freed at his pleasure, or at the command of the gods. in later times the above belief underwent a change, and the winds came to be regarded as distinct divinities, whose aspect accorded with the respective winds with which they were identified. they were depicted as [171]winged youths in full vigour in the act of flying through the air. the principal winds were: boreas (the north wind, eurus (the east wind, zephyrus (the west wind, and notus (the south wind, who were said to be the children of eos and astraus. there are no myths of interest connected with these divinities. zephyrus was united to chloris (flora, the goddess of flowers. of page 198

ed towards him as a guardian angel, comforting him in sorrow, and guiding him throughout his earthly career. in the course of time a second genius was believed to exist, of an evil nature, who, as the instigator of all wrong-doing, was ever at war with the beneficent genius; and on the issue of the conflict between these antagonistic influences, depended the fate of the individual. the genii were depicted as winged beings, greatly resembling our modern representations of guardian angels. every state, town, or city (as well as every man, possessed its special genius. the sacrifices to the genii consisted of wine, cakes, and incense, which were offered to them on birthdays. the genius which guided a woman was called, after the queen of heaven, juno. among the greeks, beings called damons wer

killed a relative in the chase, tydeus was also a fugitive; but being mistaken by polynices in the darkness for an enemy, a quarrel ensued, which might have ended fatally, had not king adrastus, aroused by the clamour, appeared on the scene and parted the combatants. by the light of the torches borne by his attendants adrastus observed, to his surprise, that on the shield of polynices a lion was depicted, and on that of tydeus a boar. the former bore this insignia in honour of the renowned hero heracles, the latter in memory of the famous calydonian boar-hunt. this circumstance reminded the king of an extraordinary oracular prediction concerning his two beautiful daughters, argia and deipyle, which was to the effect that he would give them in marriage to a lion and a boar. hailing with de

NAUDON PAUL THE SECRET HISTORY OF FREEMASONRY

the construction of the masonry of the three chapels in the alley between said church and the hostel of said priest. p the mention of remon du temple, sworn master mason, must be singled out. this master, better described as an architect and sculptor, practiced between 1363 and 1404. he was the master builder of notre dame in paris and built the famous beauvais college on rue des carmes. his seal depicted a shield bearing a hammer flanked by a square and trowel, with both crowned and flanked by fleurs de iys.24 while working on the louvre and performing construction miracles there, he drew the recognition of charles v, who called him his "beloved sergeant of arms and mason* at this time there could be no question of any kind of alliance with an order that had been suppressed since 1312. ma

ature" in 1547 the court of parliament reorganized trinity and delegated five "good bourgeois of the city of paris to administer it."28 cocheris points out the existence in trinity chapel of a confederation of the ascension, which he connects to tailors of religious habits. it may be more likely, however, that this was the seat of a confederation of stonecutters, for the ascension of our lord was depicted on the coat of arms of the association of masons and stonecutters.29 according to a trade legend, it was a stonecutter who unsealed the stone that covered the tomb of jesus and a mason who demolished the rest of it to enable jesus to ascend to heaven.'0 trinity chapel was also the seat of the confederation of the passion and resurrection of our lord, which received patent letters from cha

him by saint joseph. the livre des confreries also mentions an organization of stonecutters "brotherhood of the ascension of our lord, erected in the parish church of notre dame de bonne nouvelle for the brotherhood of journeymen stonecutters, having then in charge philippe hubert and pierre jouanne in 1663" its coat of arms "was a compass, triangle, plumb line, hammer, and chisels" the ascension depicted on the coat of arms of the community of masons("an acension of the son of god, all in gold) compels us to accept the fact that it refers to the craft of masonry.12 certain craftmen in the building trade, such as roofers, worshipped saint anne. in fact, in the temple there was an altar dedicated to her. finally, saint john was worshipped by sculptors and carvers of stone and plaster whose

to 160 from the art of building to the art of thinking his wants for only one meal and to give him two sols and six deniers."15 the same patron saints found in paris were also worshipped by the brotherhoods of these provincial builders, with the addition of saint gregor, saint alpinien, saint martin, saint marin, saint etienne, saint barbara, and especially the apostle saint thomas, who is often depicted holding a square. purposes and traditions of the brotherhoods the purpose of the brotherhoods is defined as follows in an edict issued on march 1319 restoring a brotherhood of saint james and saint louis that had been abolished in 1306 "to provide through one's work the gifts of large alms, to feed the indigent brothers, to have masses said for both the living and the dead, and to busy on

building to the art of thinking the contruction of the southern side of the ancient parisian church saint jacques de la boucherie.8 this same nicholas flamel gave two paintings to this church in 1413, one of which is called an image of a misericorde of our lord, whereas the other depicts the passion and the resurrection.9 it so happens that the coat of arms of the parisian masons and stonecutters depicted the resurrection and ascension of jesus christ. another famous architect and hermetic philosopher from a later time is philibert delorme, the builder of many "dwellings for philosophers" who was "general master of the masonry of the kingdom as well as the king's chaplain.10 it is important to underscore that the immense symbolism, the true thought of the middle ages, was not only the phil

PHILIP NEIL MYTHS LEGENDS EXPLAINED

the sun god, represents the creative consciousness of this all-powerful god, and the rest of the gods, brought into being by re, represent other aspects. egyptian gods were also interrelated or merged: amun, the hidden, the chief god worshipped at karnak, was a god of the air, but as amun-re he was a sun god and as amun-min, a fertility god. known by various names, most of the gods could also be depicted in animal as well as human form. mother of the stars nut s union with her brother geb and the birth of her children, the stars (often shown as decoration on her clothing, infuriated her father shu, who cursed her so that she would never again give birth in any month of the year. but nut gambled with thoth, the moon god and reckoner of time, and won from him five extra days outside the 12

soundlessly, its long legs trailing. the benu bird reached a rocky pyramid, just breaking through the surface of the water. it opened its beak, and let out a harsh cry. the sound rang out across the endless waters, shattering the eternal silence. as the light of the first dawn broke over the darkness, the world was filled with the knowledge of what was, and what was not, to be. the benu bird was depicted as a gigantic heron; the greeks later called it the phoenix, recognizing that the bird was really an aspect of the sun god, re. at the great temple of amun at karnak, a duck was released across the waters of the sacred lake each morning in imitation of the benu bird. re, the sun god 14 re, the sun god r e, the sun god, took three main forms: khepri, the scarab beetle, who was the rising s

practical purpose as a spell against poison. reciting the text over the images of four gods, including isis and horus, and making the patient eat a paper inscribed with the spell was guaranteed to be successful a million times. 15 re, the sun god the egyptian cat goddess bastet uraeus the enraged cobra is the symbol of the sun god (and of the pharaohs, who wore it on their foreheads; it is often depicted attached to the sun disc. according to one myth, the world was created by the archer goddess neith from the primeval waters of nun. she created the gods by saying their names, and then (in cow form) gave birth to the all-powerful re. re was born in an egg, and when he emerged from the egg he was dazzled by the light, and cried: mankind was formed from his tears. nun, fertility of the nile

oness, sekhmet. her bloodlust brought plague and death into existence. this goddess, who could only be appeased by being made drunk, gradually became revered under a more gentle guise as the cat goddess bastet. the domestic cat was regarded as sacred to her, and many cats were mummified in religious rituals. young girls were often nicknamed kitten. but cats were also trained for the hunt, and are depicted in egyptian art retrieving birds felled by their masters throwing sticks. the greeks identified bastet with artemis, goddess of the hunt (see pp. 36 37, and herodotus describes her annual festival as an orgy. osiris, isis, and horus 16 like the greek demeter during her search for persephone (see p. 29, isis, in her search for osiris, becomes a nursemaid to a prince; both goddesses try to

hoth, the gods scribe, they pieced osiris back together as the first mummy. isis transformed herself into a kite and, hovering over the body, she fanned life into it with her wings; it was at this moment that she conceived a son, horus, who would avenge his father. the revived osiris went down to the dark and desolate underworld to be the lord and judge of the dead. falcon s head horus is usually depicted either as a hawk or as a man with a hawk s head. he was originally a god of the sky, and his eyes were said to be the sun and the moon; in his role as sun god he merged with re. hence, when he lay dying as a child, the sky went dark (see box above. wife and mother isis was the archetypal wife and mother; with her hand echoing the shape of osiris shoulder, mirrored on the other side by hor

he was originally a god of the sky, and his eyes were said to be the sun and the moon; in his role as sun god he merged with re. hence, when he lay dying as a child, the sky went dark (see box above. wife and mother isis was the archetypal wife and mother; with her hand echoing the shape of osiris shoulder, mirrored on the other side by horus, she emphasizes the unity of this family. she is often depicted nursing the infant horus. cow s horns isis wears a solar disc between cow horns, revealing her close affinity with the cow mothergoddess hathor. both isis and hathor were at different times regarded as the mother of horus, and, therefore, of the egyptian king, who was a human manifestation of horus. worker of magic isis was a worker of magic, and could even practice her art on the gods (s

e carved the arches from the living rock, and made the pool from a spring of pure water. daughter of the river artemis is attended by the nymph crocale whose father was ismenus, god of the river ismenus in boeotia, near thebes, and a son of apollo and the nereid, melia. as crocale binds her hair, artemis suddenly starts back in horror at the sight of actaeon. artemis maids of honor the six nymphs depicted here are crocale, nephele, hyale, rhanis, psecas, phiale just a handful of artemis huge retinue which included 60 ocean nymphs, who acted as maids of honor, and 20 river nymphs, who looked after her clothes and her dogs. artemis, goddess of hunting, used her skills to protect her mother leto in the sacred grove at delphi, striking down the giant tityus who was trying to rape her. water ny

. climbing into her bed, pan tried to embrace her, only to discover the couple had exchanged clothes in their loveplay and he was embracing hercules. hercules kicked pan out of bed and across the floor. caduceus, a messenger s emblem in ancient greece to ensure safe passage winged sandals for swift travel hermes hermes, shown here on a greek red-figure cup dating from the late 5th century bce, is depicted as an athletic young man. beautiful nymph syrinx was so beautiful that she was often mistaken for her mistress, the goddess artemis. the only way to tell them apart was that syrinx carried a bow made of horn and artemis one of gold. chaplet of fir pan wears a chaplet of fir on his head, a reference to pitys, a lover who was transformed into a fir tree. river goddess the river goddess hear

although married to hera (juno, he had many children by other women, immortals and mortals alike, who became gods or heroes. zeus did not waste time on the niceties of courtship, and many of his seductions were in fact rapes, as is the case with both dana and europa. god of love although he did not play an actual part in the story of zeus seduction of dana, eros (cupid, the god of sexual love, is depicted here. his presence indicates that love can overcome all obstacles, even barred doors and armed guards. bow and arrow eros always carries a bow and arrow. the poet ovid said that there were two kinds of arrow golden ones to inspire love, and leaden ones to take love away. hesiod calls dana rich-haired europa and zeus europa was the daughter of the phoenician king agenor one day, zeus saw h

re of laius identity, oedipus went to thebes, rid the town of the sphinx, became king himself, and married jocasta. when a plague broke out some time later, the oracle blamed it on king laius murderer, and oedipus gradually realized that he was the killer. the revelation of his birth soon followed. aghast, jocasta hanged herself and oedipus put out his own eyes. at the end of his life, oedipus is depicted by sophocles as a blind beggar, wandering from place to place, pursued by the furies (see p. 26. he died at colonus, welcomed to the underworld in the end by hades (pluto) himself, and granted a beatific inner vision of persephone (proserpine) akin to that experienced by the initiates at eleusis (see p. 29. oedipus and the sph inx by jean-auguste- dominique ingres (1780 1867) this paintin

grotesque creatures as a punishment. the sirens song tells, falsely, of the pleasures of the underworld. they also claimed the power of prophecy. thwarted cheated of their prey, the sirens are supposed to have drowned themselves in anger and frustration. the body of one, parthenope( maiden-voice) was washed ashore at naples, and the city originally bore her name. sailors peril the sirens here are depicted as mermaids, seductive maidens, half-human, half-fish, who sing to sailors of the delights of life under the sea, luring them to shipwreck. near the sirens island are two further dangers the deadly whirlpool charybdis, and the ravenous sea monster scylla. steering a course between the two, odysseus sailed too close to scylla, and the monster snatched six sailors from his ship one with eac

RABBI MOSHE WISNEFSKY APPLES FROM THE ORCHARD THE ARIZAL ON THE PARASHAH

e four kings of amrafel fs alliance are the dross of the four rootletters of the aforementioned name havayah, while the five kings of sodom, gomorrah, etc. are the dross of the five letters used to spell out this name havayah, i.e, the 52-name spelled out with the letter hei. this is the mystical meaning of the verse, g cfour kings against the five. h the four letters of the name havayah are thus depicted as waging war against the letters used to spell them out. the reason for this war, and why it was waged specifically at this point in history, will be understood via our sages f statement5 that their intention was actually to capture abraham himself. by capturing his nephew, lot, abraham would come to his rescue, and they would then capture him, too. the mystical significance of this is b

sod of ima, which is called a gwell. h she then gfilled up her pitcher h from the well, the yesod of ima, gand ascended, h meaning that these lights reflect back up, causing her and her crown to mature. thus, she acquires three thirds, just like her husband, z feir anpin. now, regarding these three gpitchers h [i.e, 24 fs, each one refers to another name havayah. for there are three names havayah depicted with eyes, each one of which is drawn with 24 circles, giving a total of 72, the numerical value of chesed, as mentioned elsewhere. thus, each gpitcher h is another name havayah, meaning that there are three names havayah here. in the vision of ezekiel, the angels are described as having gbacks, tall and frightening, for the backs of all four were covered all over with eyes. h4 in the zoh

tcher h is another name havayah, meaning that there are three names havayah here. in the vision of ezekiel, the angels are described as having gbacks, tall and frightening, for the backs of all four were covered all over with eyes. h4 in the zohar,5 this verse is interpreted as referring to the gbacks, h i.e, the separate strokes, used to write the four letters of the name havayah. each stroke is depicted as being formed by three eyes: we see here that the four letters of the name havayah are formed by 8 strokes, each here depicted as having 3 geyes, h giving a total of 24 eyes. thus, although we usually associate the name havayah with the number 26, its numerical value, we see here that gstructurally h it can be associated with the number 24. these three names havayah are three shades of

of tiferet. by pouring the four pitchers three times over his sacrifice, elijah was reconstructing nukva, the conglomerate of the souls of israel, giving it the three gpitchers h (24 fs) or thirds of chesed of tiferet it is supposed to possess. we see from the above exposition that the female is to play a decisive role in the process of redemption. indeed, at least in this scene, z feir anpin is depicted as being helpless and dependent on rebecca/nukva to restore its broken tiferet, or heart. we may perhaps visualize this as the jaded or cynical mood that affects those who have suffered too much and are worn down by the state of exile. such people need a boost of inspiration to lift their spirits. this is provided, in the present scenario, by nukva, the spouse, who, faced with a languid

h king was shaul from rechovot hanahar. this is [the evil] gevurah, which is derived from binah, which is called rechovot hanahar[ gthe widening of the river h, as it is written, gi am binah, gevurah is mine. h5 in the verse, gand a river went forth from eden to water the garden, h6 eden signifies chochmah, the river flowing out of it signifies binah, and the garden signifies malchut. chochmah is depicted as a wellspring, as in the verse, gthe source of wisdom is like a bubbling stream. h7 binah, as we know, is the expansion of the initial insight of chochmah, which surfaces from the supra-conscious mind like water bubbling forth from a subterranean well. as we have seen previously, binah is the source of gevurah. in expanding the insight of chochmah, binah must use discernment and discrim

repentance of one year does not help for another year. time in judaism is not a monolithic entity. every moment in time has its own unique nature and gpersonality, h a result of the changing hues of divine energy constantly recreating the world. as part of this, every year has its own personality, and therefore mitzvot designated to be performed in a specific year must be done so. above, this is depicted as the gprince h or angelic personality of a specific year not being able to trespass into another year fs gspace. h this is why [the heavenly court] annuls a decree of seventy years [of suffering, for the individual falls under the power [of the forces of evil] for only seventy years. g-d therefore has mercy on him and annuls this power. but when a person becomes eighty years old [the fo

rive to manifest that source in the reality. the male gneeds h the female in order to actualize its abstract inspiration; the female gneeds h the male to inspire and sustain the direction of its drive toward actualization. the implication of this is that each facet, male and female, is given a personality (or in kabbalistic terms: a sefirotic makeup) tailored to its focus. the female is therefore depicted as having its head on the level of the male fs heart; in other words, the female intellect is a priori oriented toward thinking of ways to actualize what the male has already emotionally reacted to. were the female fs head to be on the same level as the male fs (i.e, that of abstract inspiration, it could not focus on its intended goal. this also explains why women are generally shorter t

other and mate. similarly, the partzuf of rachel, once emanated, must be further developed in order to mate with z feir anpin. this is the process of kindling the lamps of the menorah, as will be explained now. its seven lamps are [the physical manifestation of] the seven lower sefirot [of the partzuf of rachel, from its chesed to its malchut. these [together] are called its gbody, h and they are depicted like the three branches of the menorah: left, right, and center. the menorah, of course, had seven branches, but what is meant here is the general subdivision of three branches to the right, three to the left, and the central shaft. as is known, the five states of gevurah in [nukva fs] da fat spread throughout its seven lower sefirot, similar to the way the five states of chesed spread th

the way eve is created out of adam in the garden of eden) the word used in this verse for gcontribution h is terumah, which literally means ga portion lifted up and out of the mass from which it is taken. h thus, giving the one-five-hundredth to eleazar signifies the making of malchut into an independent entity of z feir anpin. in contrast [at the later stage of her development] when [malchut] is depicted as the gwide step h protruding from the lower hei, she does not take anything from the soldiers [i.e, the states of gevurah within the womb of ima. she takes only from her husband, z feir anpin, who is called gisrael, h as in the mystical meaning of the verse: gbefore there reigned any king over the children of israel. h10 once malchut has emerged and is developing as partzuf in her own r

lds. h based on this (and other verses, the sages say that g-d created this world with the letter hei and the world to come with the letter yud.3 thus, it follows that g-d gused h the divine name kah, i.e, the two letters yud-hei, to create the two worlds: this world and the next. concerning these angels that elevate prayers, it is written, gtheir legs are a straight leg. h4 angels in general are depicted has having one, straight leg. since angels are personified divine attributes or facets of consciousness, they are static; they do not grow, develop, or progress in any way (if they would, they would cease to be what they are and turn into a different angel) so, they therefore have no need for any means of walking, and their gleg h serves only as a pedestal to stand on. thus, one leg is en

eitzei (2) 784 rather, the mystical understanding of this matter is as follows: there are a number of great and holy souls that have been gcaptured [while] in the scale, h and [have descended into this world as] non-jews. in the imagery of the zohar,4 the world operates (presently) under the tree of knowledge of good and evil, meaning that evil and good are intermixed in our reality. this tree is depicted as a balance-scale with two pans, one tending toward good and the other toward evil. there are evidently certain souls that at certain points of their life are in these pans, and if the world at large is sinful, the scale tips in the direction of evil and these souls become ensnared by the forces of evil. also, the jewish men who participated in this war were all righteous, as it says, gw

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

from all else, it lays down the simplest possible forms or principles upon which ceremonies should be constructed. though the manufacture of the elemental weapons is a simple enough procedure, although a time-consuming one, these should be postponed until all the conseaation ceremonies have been studied closely enough to have yielded their ultimate secrets. there are far more complicated rituals depicted in volume i11 (old edition) but these particular shorter consecration ceremonies take the prize for simplicity, sincerity and efficacy. i was particularly impressed by the skill and ingenuity involved in the writing, for example, of the consecration ceremony for the four elemental weapons. its virtuosity renders it altogether unique. these matters make one ponder anew the origins of the g

nly as the complementary and in order that due equilibrium may elohim moved upon the face of the waters" elements which, intelligently controlled <55> eventually to the restoration of paradise may be re-created from it had fallen. for the light may not legitimately within him, until chaos has been turned enlightenment. not until order has been kingdom, neither peace nor inner security the symbols depicted while traversing of fire and water, indicate the results as tarot card shown demonstrates the destruction holes blasted in the walls syrnbolise the divine through and following the destruction water, warmth and moisture, are essentially being of the neophyte draws his attention, condition of his natural existence, and ignorance and spiritualimpotence have his soul, these elements equally

bim, to the qlippoth, and to the astral plane. it is the reflection of the sphere of saturn. it represents the connecting and binding link between the material and formative worlds, assiah and yetsirah, and necessarily passes through the astral plane, the abode of the elementals and the shells of the dead. it is the rending of the veil of the tabernacle, whereon the kerubim and the palm trees are depicted. it is the passing of the gate of eden. hierophant rises and leads zelator to the west ofaltar. hedraws attention to the key of the universe. these ideas are symbolically resumed in the representation of the twenty first key of the tarot, in front of you. within the oval formed of the 72 circles, is a female form, nude save for a scarf that floats round her. she is crowned with the lunar

the name of fire (puts pyramid aside) the thirty first path of the sepher yetsirah which answereth unto the letter shin is called the perpetual intelligence, and it is socalled because it regulateth the proper motion of the sun and the moon in their proper order, each in an orbit convenient for it. it is therefore a reflection of the sphere of fire, and the path conneding the material universe as depicted in malkuth with the pillar of severity and the side of geburah, through the sephirah hod. hierophant rises. hegemon steps back and when he has descended from the dais, indicates to theoricus to follow him. he leads theoricus to the west of <104> the altar, hegemon follows and stands on the south side- hierophant being on the north. before you upon the altar, is the twentieth key of the ta

licities of the zodiac. places cross aside. the 29th path of the sepher yetsirah which answereth unto the letter qoph is called the corporeal intelligence- and it is so called because it forms the very body which is so formed beneath the whole order of the worlds and the increment of them. it is therefore the reflection of the watery sign of pisces and the path connecting the material universe as depicted in malkuth with the pillar of mercy and the side of chesed, through the sephirah netzach, and through it do the waters of chesed flow down. hiero, hegemon and practicus come to the west of the altar. before you upon the altar is the 18th key of tarot which symbolically resumes these ideas. it represents the moon with four hebrew yods like drops of dew falling, two dogs, two towers, a <130

presenting the interchanging energies of the spirit and the elements. chief leads aspirant out of tomb. two adepti replace altar, and all resume their places as at beginning of third point. chief the head of the pastos is white, charged with a golden greek cross and red rose of 49 petals. the foot is black with a white calvary cross and circle placed upon a pedestal of two steps. on the sides are depicted the 22 colours of the paths, between light and darkness. aspirant is placed between lid and pastos. chief stands facing him on opposite side of the pastos. chief frater (vel soror) i now greet you with the grip of this grade which is given thus (shows it) the fingers of the right hand are held so as to form the letters l. v. x. the thumb and first fingers are stretched to form the letter

be placed in an area of the shape 5' x 6. hence in the fama, ten squares are marked and salient- they are the sephiroth. besides the ten sephiroth, there are the following: there are the four kerubim, three alchemical principles, three elements, seven planets, twelve zodiacal signs, one wheel of the spirit- thus 40 in all. the spirit wheel is on every side and always in the centre, and is always depicted unchanged in black upon white. upon the side there are always the 4 kerubic emblems- zodiacal, yet different, for the eagle replaces scorpio (scorpio has three forms, the scorpion, the eagle, and the snake for the evil aspect) these kerubim represent the letters of the name yhvh, and <285> note that they are always arranged in the hebrew order of the letters. yod for the lion, heh for the

of the universe) 10. probably alludes to the three principles. 11. this was, i believe, but am not certain, the motto of our frater count adrian a meynsicht, otherwise known as henricus madathanus <50> 12. the christ from the christ. the mercury from the mercury, through the path of the cross, through the life of the light, god shall be thy help (note: an illustration accompanying this manuscript depicted a conventional nude figure of mercury, winged helmet and sandals, diving into the sea. in the right hand was the caduceus, and the left bore a scroll showing the words described in the text.-1.r) talismans the formation of talismans and f'lashing tablets a talisman is a magical figure charged with the force which it is intended to represent. in the construction of a talisman, care should

and messages. swiftness) therein rule nithahiah and haayah. moon in sagittarius, 10"-20. xxxn. the lord of great strength <165> 9 of wands four hands as in the previous symbol holding eight wands crossed four and four, but a fifth hand at the foot of the card holds another wand upright, which traverses the point of junction with the others. flames leap therefrom. above and below the symbols luna (depicted horizontally) and sagittarius. tremendous and steady force that cannot be shaken. herculean strength, yet sometimes scientifically applied. great success, but with strife and energy. victory preceded by apprehension and fear. health good and recovery, yet doubt. generous, questioning and curious, fond of external appearances, intractable, obstinate. yesod of yod (strength, power, health

the lovers. the impact of inspiration on intuition, resulting in illumination and liberation-the sword striking off the fetters of habit and materialism, perseus rescuing andromeda from the dragon of fear and the waters of stagnation (note: incidentally note that this is the design of the order card. andromeda is shown manacled to a rock, the dragon rising from the waters at her feet. perseus is depicted flying through the air to her assistance, with unsheathed sword. the design is wholly different from that of the waite pack.-i.r <212> the colours are orange, violet, purplish grey and pearl grey. the flashing colour of orange gives deep vivid blue while the flashing colour for violet is golden yellow. the flashing colours may always be introduced if they bring out the essential colour me

RITUEL ET DOGME DE LA HAUTE MAGIE BY ELIPHAS LEVI PART I

which nothing can check, a will which cannot be broken, and a prudence which nothing can corrupt and nothing intoxicate. to know, to dare, to will, to keep silence such are the four words of the magus, inscribed upon the four symbolical forms of the sphinx. these maxims can be combined after four manners and explained four times by one another. on the first page of the book of hermes the adept is depicted with a large hat, which, if turned down, would conceal his entire head. one hand is raised towards heaven, which he seems to command with his wand, while the other is placed upon his breast; before him are the chief symbols or instruments of science, and he has others hidden in a juggler's wallet. his body and arms form the letter aleph, the first of that alphabet which the jews borrowed

a current of wrath. this ambient and all-penetrating fluid; this ray loosened from the sun's splendour and fixed by the weight of the atmosphere and the power of central attraction; this body of the holy spirit, which we term the universal agent, while it was typified by the ancients under the symbol of a serpent devouring its tail; this electromagnetic ether, this vital and luminous caloric, is depicted in archaic monuments by the girdle of isis, twice-folded in a love-knot round two poles, as well as by the serpent devouring its own tail, emblematic of prudence and of saturn. motion and life consist in the extreme tension of two forces. i would thou wert cold or hot, said the master. as a fact, a great sinner is more really alive than is a tepid, effeminate man, and the fullness of his

tion of the world can be explained in a natural and magical sense. the astral light, or soul of the world, was the instrument of adam's omnipotence; it became afterwards that of his punishment, being corrupted and troubled by his sin, which intermingled an impure reflection with those primitive images which composed the book of universal science for his still virgin imagination. the astral light, depicted in ancient symbols by the serpent devouring its tail, represents alternately malice and prudence, time and eternity, tempter and redeemer; for this light, being the vehicle of life, is an auxiliary alike of good and evil, and may be taken not only for the fiery form of satan but for the body of the holy ghost. it is the instrument of warfare in angelic battles, and feeds indifferrealizati

RITUEL ET DOGME DE LA HAUTE MAGIE BY ELIPHAS LEVI PART II

ablish between them and ourselves a current of contrary but analogous influence which may subject us to them instead of subjecting them to us, as happens frequently enough in those operations which have the sympathy of love for their object. hence it is highly essential to be on our guard while we are attacking, so as not to inspire on the left while we respire on the right. the magical androgyne depicted in the frontispiece of the gritual h has solve inscribed upon the right and coagula on the left arm, thus recalling the symbolical architects of the second temple, who bore the sword in one hand and their trowel in the other. while building they had also to defend their work and disperse their enemies. nature herself does likewise, destroying and regenerating at the same time. now, accord

or which the material agent, alone responsible, must alone and for ever bear the penalty, because the soul is impassible in its nature and can suffer only by materializing. the caduceus, which, replaces the generative organ, represents eternal life; the scale-covered belly typifies water; the circle above it is the atmosphere, the feathers still higher up signify the volatile; lastly, humanity is depicted by the two breasts and the androgyne arms of this sphinx of the occult sciences. behold the shadows of the infernal sanctuary dissipated! behold the sphinx of mediaeval terrors unveiled and cast from his throne! quomodo cedidisti, lucifer! the dread baphomet henceforth, like all monstrous idols, enigmas of antique science and its dreams, is only an innocent and even pious hieroglyph. how

nctuaries, that word which the bacchantes seemed to divine in their intoxication when they worked themselves into frenzy for io evohe. what then was the meaning of this mysterious term? it was the name of four primitive letters of the mother-tongue: jod, symbol of the vine-stock, or paternal sceptre of noah; he, type of the cup of libations and also of maternity; vau, which joins the two, and was depicted in india by the great and mysterious lingam. such was the triple sign of the triad in the divine word; but the mother-letter appeared a second time, to express the fecundity of nature and woman and to formulate the doctrine of universal and progressive analogies, descending from causes to effects and ascending from effects to causes. moreover, the sacred word was not pronounced: it was sp

RUBY TABLET OF SET

ewly-created as form by set. in the top part of the second panel we find four gods and one goddess of emptiness: harpocrates, osiris, isis, horus the elder, and ra, four of which are gods created by man, and one of which is the model for the others. each represents a hindrance, a pitfall, on the path which xem-set follows. harpocrates is the child in all of us. osiris is death. because xem-set is depicted as being male, isis represents the physical pleasures which tempt him. horus the elder is harwer- the black hole of emptiness, the "id monsters" that would consume xem-set were he not who he is. ra is the last opportunity xem-set has to renounce his being and return to the dead world of finite man. each of these also represents how, by rejecting the gods and goddesses of light, the black

ive psyche in setian thought, both ancient and modern. second, even after the overt symbols of set had become anathema in the decaying egyptian cultural establishment, the more esoteric image of set embodied in classification: v2- a41- 1 author: stephen e. flowers ii date: xix html revision: dec 06, 1997 ce subject: set image reading list #2g the 'm and ws scepters continued to be carried by gods depicted in elaborate iconography. this second fact would seem to indicate that, though on one level the post-xx-dynasty egyptians had rejected set as they became increasingly lost in the white-light of guilt and national weakness, they nevertheless recognized the (psychic) power represented by set as absolutely necessary to the very existence and functioning of the gods. the fact that the set-ani

s sinistre and either unknowingly or uncaringly assigning that eye a somewhat negative worth. knowing physicians as i do, i doubt they would be very impressed with such a discourse; but you can now look knowingly if such treatment is prescribed. it is perhaps not completely magus crowley's fault that he erred in his lord's correct name. after all, harwer was known as horus the elder also, and was depicted with the familiar hawk's head which horus the younger made famous. the similarity ends there, and the name of horus becomes almost exclusively associated with the younger horus, the 'crowned and conquering child' a pity, because harwer had many positive attributes and associations, being also both lord of the south and the lord of ombos (a cult center of set. he also became associated wit

other lowered and the left foot forward. it is also said in egyptian writings that the pharaoh is set while he is sitting. combining the two seems the best choice. in this case we have the magician seated cross legged, with the left arm raised, for the energy of the left hand path, and the other lowered. this makes the connection between the greater spiritual essences and the physical. it also is depicted in the ancient carvings and drawings of the great horned god, and the devil in the tarot deck. the opening of the gate is simple. the magician will demand that the guardian of the abyss throw open the doors to the dark realm. the magician can envision a fiery land of powerful and fecund energies for the primal aspect of set, or deep, dark and stygian for apep. reading from the book of com

alter for all items, plus with it, the body. this is the fourth gate. the fifth gate is a number of magicians separate but not divided, uniting and creating the gate or doorway which will cause, for want of a better term, a "dimensional warp" through which set can pass. when all are in one realm, all will become obliterated, and the new universe will be created by joint will, and indeed hell (as depicted in the diabolicon) will reign. i will be doing further communication, research and workings to gain more new, ancient knowledge of how to enhance and realize the great work! blackness i, thoth, speak through the writing of my hand- so it is written- so it is done! those who use words idly or mock maat's name in vain shall see a twisting truth or fall away to self-deceit. those that seek t

in the so-called "male" principles of action, strength, power, and the like. the figure of your self in the right ellipsoid is of course a representation of how you appear today, and makes obvious the link between the past aeon and the present aeon. it also demonstrates exactly who "the prince of darkness" has been, and is now. set: yes, ptah, but can you think of no other reason why i should be depicted twice upon the card? ignore the fact that i may assume whatever form i choose, and concentrate instead upon why i might be twice upon the same card. ptah [after several minutes] i am aware this night of something i have only rarely heard discussed among the elect. set: and that is? ptah: that a black magickian has the opportunity to experience or master temporal fugue- the ability to be i

ind's eye) representation of cosmic energy, mindless and mechanical, as the diabolicon paints it. if such is indeed the case, i would be rather reluctant to pass into the light [to be assimilated into the cosmos] and would opt instead for the treasures stored within the velvet darkness. the master of the temple examining trump ix will see an aspect of himself in the figure of the hermit. the form depicted is not only alone despite the surrounding objects, he is also absorbed in contemplation and experiencing the magisterial quality of understanding. that characteristic cannot be explained to those who have not experienced it and an analysis of it is unnecessary for those who possess it. pure understanding can in its way be a far more pleasurable pursuit even than dynamics since it feeds th

riably a spirit which opposes progress along the desired path. tjose religions which have deteriorated to a state of mere lip service find their devils necessary to the fragments of faith remaining to them. there otherwise would be no reason for believing in striving and the entire comfortable structure would become apparent as a framework of fantasy designed to lock out greather truths. the goat depicted in the card's center hearkens back to the association of satan with that animal. it never seemed particularily appropriate, but there is no accounting for the variety of symbolic assignment by the human mind. the goat of khar found its way into the pentagram of the church of satan, a "curious corruption" permitted by set since it was done with due reverence for the prince as viewed throug

hed an universe& nought remains" with these words from the book of the law atu xx can be viewed as an exploration into the nature of the lord of the aeon as applicable through ipsissimus crowley's understanding. previously known as the last judgement or the angel, atu xx is more properly a representation of the aeon of harwer as seen through the eyes of that god's magus. the older representations depicted graves opening along with other nuances of death worship. the newer croeley/harris card ignores the osirian slant and focuses instead on the possibility of life in an aeon established in the then-present rather than any remote celestial realm. the red background represents the unique presence of life and the baptism of fire which gave birth to the aeon of harwer. the arched body of nuit p

ce. in short, the abyss is a menace only to those slaves of the universal consistency, who have refused the gift of set and sought to extinguish the black flame. since the self-aware black magician is inherently unnatural, the natural forces of dispersion can have no power over him. this is symbolized perfectly in the pentagram of set, which does not touch the self-devouring circle in which it is depicted. aethyr 9- zip monday 10th january xxix aes, 12:57 a.m. at first i perceived only my self suspended alone in a mist, which was grey, tinged with pink. i was wholly alone. i then realized that if i concentrated my attention, i could perceive the world beyond my self as a thing detached and apart. unattached to it, i could perhaps truly appreciate its beauty in its own right, and my naked m

SALMANRUSHDIE THESATANICVERSES

had to put in his own cash. after the two flops, producers have been pulling out fast. so if this one goes down, he's broke, done for _funtoosh" gibreel had embarked on a modern--dress remake of the ramayana story in which the heroes and heroines had become corrupt and evil instead of pure and free from sin. here was a lecherous, drunken rama and a flighty sita; while ravana, the demon-king, was depicted as an upright and honest man "gibreel is playing ravana" george explained in fascinated horror "looks like he's trying deliberately to set up a final confrontation with religious sectarians, knowing he can't win, that he'll be broken into bits" several members of the cast had already walked off the production, and given lurid interviews accusing gibreel of "blasphemy "satanism" and other

SATANIC BIBLE

n struggle for survival of the fittest, that only the strong survive and the earth will be ruled by those who fight to win the ceaseless competition that exists in all jungles- including those of urbanized society. abhor this brutal outlook if you will; it is based, as it has been for centuries, on real conditions that exist in the world we inhabit rather than the mystical lands of milk and honey depicted in the christian bible. in the satanic bible, anton lavey has explained the philosophy of satanism more profoundly than any of his ancestors in the kingdom of darkness, while describing in detail the innovative rituals and trappings he has devised to create a church of realists. it has been clear from the first edition that many people want to read this book to learn how to start satanic

though the overall doctrines and impressions of godliness are nearly the same. for example: the catholics believe that the protestants are doomed to hell simply because they do not belong to the catholic church. in the same way, many splinter groups of the christian faith, such as the evangelical or revivalist churches, believe that the catholics are heathens who worship graven images (christ is depicted in the image that is most psychologically akin to the individual worshipping him, and yet the chrisitans criticize "heathens" for the worship of graven images) and the jews have always been given the devil's name. even though the god in all of these religions is basically the same, each regards the way chosen by the others as reprehensible, and to top it all, religionists actually pray fo

represents opposition to all religions which serve to frustrate and condemn man for his natural instincts. he has been given an evil role simply because he represents the carnal, earthly, and mundane aspects of life. satan, the chief devil of the western world, was originally an angel whose duty was to report human delinquencies to god. it was not until the fourteenth century that he began to be depicted as an evil deity who was part man and part animal, with goat-like horns and hooves. before christianity gave him the names of satan, lucifer, etc, the carnal side of man's nature was governed by the god which was then called dionysus, or pan, depicted as a satyr or faun, by the greeks. pan was originally the "good guy, and symbolized fertility and fecundity. whenever a nation comes under

, later a devil cimeries- rides a black horse and rules africa coyote- american indian devil dagon- philistine avenging devil of the sea damballa- voodoo serpent god demogorgon- greek name of the devil, it is said should not be known to mortals diabolus (greek "flowing downwards" dracula- romanian name for devil emma-o- japanese ruler of hell euronymous- greek prince of death fenriz- son of loki, depicted as a wolf gorgo- dim. of demogorgon, greek name of the devil haborym- hebrew synonym for satan hecate- greek goddess of the underworld and witchcraft ishtar- babylonian goddess of fertility kali (hindu) daughter of shiva, high priestess of the thuggees lilith- hebrew female devil, adam's first wife who taught him the ropes loki- teutonic devil mammon- aramaic god of wealth and profit mani

s first wife who taught him the ropes loki- teutonic devil mammon- aramaic god of wealth and profit mania- etruscan goddess of hell mantus- etruscan god of hell marduk- god of the city of babylon mastema- hebrew synonym for satan melek taus- yezidi devil mephistopheles (greek) he who shuns the light, q. v. faust metztli- aztec goddess of the night mictian- aztec god of death midgard- son of loki, depicted as a serpent milcom- ammonite devil moloch- phoenician and canaanite devil mormo (greek) king of the ghouls, consort of hecate naamah- hebrew female devil of seduction nergal- babylonian god of hades nihasa- american indian devil nija- polish god of the underworld o-yama- japanese name for satan pan- greek god of lust, later relegated to devildom pluto- greek god of the underworld proserp

SATANIC RITUALS

her be black, or mirrored. a mirrored chamber provides greater confrontation for the celebrant, making him hyperconscious of his role. mirrors also serve to "rob the soul" according to old tradition. an austere chair is provided in which the celebrant sits during the first part of the ritual. the coffin may be of any type, although a traditional hexagonal style is recommended, as this is the type depicted in the actual sigil of the sixth degree of the templars and, combined with the skull and crossbones, is retained in masonic symbology. the coffin must be large enough to accommodate two persons, hence special construction or modification is likely to be necessary. the usual devices of satanic ritual are all employed. additional accouterments include a cat-o'-nine-tails with which to scour

other congregants may be present at the invitation of the child's parents. black robes are worn by all participants except the child, who wears a bright red gown with open-faced hood. the talisman of satan is suspended by a chain or ribbon worn around the neck on the outside of the red gown. the child is seated (or lain, if a very young infant) upon the altar platform before the symbol of satan, depicted on the west wall of the chamber. in addition to the accouterments standard to satanic ritual (see the satanic bible, earth and sea water, and an appropriate receptacle for each, will be needed. it should be noted that incense is not employed in this rite. the use of incense is so firmly entrenched in secular religious procedure- an aspect of life not yet known to the child-that establishi

SCHLAGER NEIL WORLD RELIGIONS REFERENCE LIBRARY

ventual victory reflecting the unification of the two countries by menes during his sixty-two year reign. world religions: almanac 41 ancient religions of egypt and mesopotamia before this time, however, nature gods and animals had been worshipped for at least two millennia among the people who inhabited the nile valley. these animal deities later took human form, but their heads were still often depicted as that of an animal. some gods even became associated with more than one animal. for example, thoth, the god of the moon and of wisdom and protector of scribes, was depicted by the egyptian ibis, a wading bird, by a baboon, and by a figure of the moon. about the ancient religions of egypt and mesopotamia belief. mesopotamian religion saw humans as the servants of the gods, who had to be

d conquerors in the region all brought their own gods and goddesses. these were mixed with those already found in mesopotamia. the sumerians had their city gods and harvest gods, but nomads who invaded mesopotamia from the north or the east brought with them water gods and sand gods. people who came from high mountain regions brought gods of thunder and lightning. ancient egyptian gods were often depicted in human form, although they could appear with the head of an animal. among the central deities were horus (left, with the head of a falcon, osiris, and isis. adam woolfitt/ corbis. 46 world religions: almanac ancient religions of egypt and mesopotamia the three chief gods in the sumerian pantheon were an, the sky god, enlil, the god of weather and storms, and enki, god of wisdom and the

l intends to destroy mankind in a flood. enlil: the god of air, wind, and storms. enlil is one of the most important mesopotamian gods. he guards the tablets of destiny, on which the fate of everything on earth is written. ishtar: the goddess of love and war. she is also known as inanna. ishtar journeyed to the underworld to retrieve her love, tammuz. she is often described as very violent and is depicted holding several weapons and standing on a lion. marduk: the god of babylon who later came to be the supreme god. marduk fought an army of demons led by the goddess tiamat. the new year s festival celebrates the king s fitness to rule through a ceremony in which he bows to a statue of marduk. sin: the moon god. he is also known as nanna. he is lord of the calendar and oversees the seasons

is also known as nanna. he is lord of the calendar and oversees the seasons. sin wears a beard of the blue stone lapis lazuli and rides a winged bull. gods of the egyptian pantheon amen: called the king of gods. amen, also spelled amon or amun, was often combined with ra, or re. amen-ra was an even more powerful god. anubis: the god of embalming, or of preserving the bodies of the dead. anubis is depicted as a jackal or as a man with the head of a jackal. horus: the god of the sky. horus is the child of osiris and isis. after set killed osiris, horus fought set for the rule of egypt. he is represented by the image of a hawk or as a man with a hawk s head. the pharaoh was considered to be the living horus. isis: a protective goddess. isis was important to egyptians as the mother of the livi

it. the buddha also noted that there were corresponding opposites in the universe. the buddha determined that if there was suffering, there must also be no suffering. another major principle of buddhism is the idea of the impermanence of all things, anicca. by failing to understand that existence is impermanent, people suffer. for the buddha the idea of emptiness means that the buddha s birth is depicted with him as a young child, standing on a lotus flower and surrounded by devotees. a dream by his mother before he was born predicted that he would become a great ruler or a great spiritual leader. leonard de selva/corbis. 98 world religions: almanac buddhism there is no separate self. rather, people are all part of the same network or fabric. in a sense, reaching nirvana means losing one

filled with other icons and symbols. the dove is another among the symbols sacred to christianity are the cross and a primitive drawing of a fish. the cross is used as a symbol of jesus s sacrifice for humankind, while the fish was first used as a means by which christians could identify one another. royalty-free/ corbis. world religions: almanac 137 christianity christian symbol, especially when depicted with a halo of three rings. the dove is used to represent the holy spirit, while the three rings of the halo represents the trinity. the image of a lamb similarly symbolizes jesus, the lamb of god (agnus dei in latin. worship the form of worship for christians was established in the early days of the church. at first some of the worship service was borrowed from jewish forms, so that the

ng both a beginning and an ending, or the continuous cycle of the universe. the eight immortals are popular daoist gods who often get involved with humans to help them on their path to realizing the dao. they are based on actual historical figures. kevin r. morris/corbis. 192 world religions: almanac daoism among the hundreds of daoist deities are the ba xian, or eight immortals, many of whom are depicted with symbols of their power. the eight immortals represented to believers eight aspects of daily life: men and women, young and old, noble and peasant, and rich and poor. lu dongbin (also known as lu yan, for example, is primary among these immortals. he is associated with medicine and also has charms that can control evil spirits. his symbol is the sword. typical paintings portray him wi

ars have pointed out heraclitus s links with eastern religions. for example, the idea of permanent flux or change is similar to the buddhist concept of impermanence. the logos is often equated with the dao, or the way, in daoist belief. world religions: almanac 221 greco-roman religion and philosophy directly from zeus s forehead. because she was the protector and defender of athens, she is often depicted as armed. artemis, the goddess of hunting and wild places, was also a moon goddess. she was apollo s twin sister, and young men and girls held her sacred because she was a virgin. hermes was the messenger of the gods. apollo was the sun god and the god of music and prophesy, or predictions on the future. he also represented law and order, appearing in court in aeschylus s plays. hephaestu

ies, in turn, can take several forms, or manifestations. the central deities are the hindu trinity (brahma, vishnu, and shiva) but there are many more gods and goddesses that also represent important aspects of hindu beliefs. brahma: part of the hindu trinity. brahma is the god of creation. he created earth and the universe. brahma is usually represented with four heads and four arms. he is often depicted sitting on a lotus. devi: the divine mother. devi is the mother of life and is present in all women. she takes many forms, including that of durga and kali. devi is represented with eight arms and holds a sword in one hand. ganesh: the god of knowledge. ganesh is the son of shiva and parvati and is known to remove obstacles and cast blessings. he is shown with an elephant s head, a large

uding that of durga and kali. devi is represented with eight arms and holds a sword in one hand. ganesh: the god of knowledge. ganesh is the son of shiva and parvati and is known to remove obstacles and cast blessings. he is shown with an elephant s head, a large belly, and four arms. hanuman: known for his courage and bravery. hanuman is loyal to rama and represents devotion and hope. hanuman is depicted as a monkey and holds a mace (staff) in one hand. kali: the goddess of destruction. kali is a dark-skinned goddess with eight hands, usually shown atop the corpse of a demon. she is a form of parvati. krishna: a manifestation of vishnu, krishna is a popular figure of worship. krishna is known for his bravery and fight against evil. he is often depicted in images as playing a flute, someti

known for his bravery and fight against evil. he is often depicted in images as playing a flute, sometimes accompanied by his friend radha. lakshmi: the goddess of beauty, prosperity, and good fortune. lakshmi emerged from the milk ocean and is married to vishnu. she has four hands, one of which is always extended in blessing. parvati: also known as durga or kali. parvati is wife to shiva and is depicted as having eight arms, with either dark or very light skin. when parvati is shown with dark skin, she is in the form of kali, the goddess of destruction. parvati is worshipped for having a happy family life. rama: considered to be the ideal man, rama is the hero of the epic story the ramayana. he is shown with a bow and arrow or with his wife and brother. sarasvati: the goddess of knowledg

SIR WALLIS BUDGE EGYPTIAN MAGIC

ift up the goddess nut from the embrace of the god seb, so that her body, supported by her stretched-out arms and legs, might form the sky, he found that he was not tall enough to do so; in this difficulty he made use of a flight of steps, and having mounted to the top of these he found himself able to perform his work. in the fourth section of the elysian fields 1 three such flights of steps are depicted. in the xxiind chapter of the book of the dead the deceased prays that he "may have a portion with him who is on the top of the steps" i.e, osiris, and in funeral vignettes this god is seen seated upon the top of a flight of steps and holding his usual symbols of sovereignty and dominion. the amulet of the steps is usually made of green or blue glazed porcelain. p. 63 20. the amulet of th

with magical figures and words of power, and it was, undoubtedly, placed in some conspicuous place in a courtyard or in a house to protect the building and its inmates from the attacks of hostile beings, visible and invisible, and its power was believed to be invincible. there is not a god of any importance whose figure is not on it, and there is not a demon, or evil animal or reptile, who is not depicted upon it in a vanquished state; the knowledge of the ancient egyptian mythology p. 152 and the skill shewn by the designer of this talisman are very remarkable. the small cippi of horus contain nothing but extracts from the scenes and texts which we find on the "metternichstele" and it, or similar objects, undoubtedly formed the source from which so many of the figures of the strange gods

the sea, alexander and his two companions were able to watch the various marine monsters which passed by, and he saw that although they had human bodies they had the heads of beasts; some had axes, some had saws, and some had hammers, and they all closely resembled workmen. as they passed in front of the box alexander and his two draughtsmen copied their forms upon paper with great exactness, and depicted their hideous countenances, and stature, and shape; this done, a signal was made, and the box was drawn up to the surface. as soon as alexander reached the land he ordered his stone and metal workers to make reproductions of the sea monsters according to the drawings which he and his friends had made, and when they were finished he caused them to be set up on pedestals along the p. 156 se

alphabet, which some suppose to p. 180 refer to the seven heavens; and on the back of the amulet, on which the figure of khnoumis occurs, is usually found the sign of the triple s and bar. khnoumis is, of course, a form of the ancient egyptian god khnemu, or "fashioner" of man and beast, the god to whom many of the attributes of the creator of the universe were ascribed. khnemu is, however, often depicted with the head of a ram, and in the later times, as the "beautiful ram of ra" he has four heads; in the egyptian monuments he has at times the head of a hawk, but never that of a lion. the god abrasax is represented in a form which has a human body, the bead of a hawk or cock, and legs terminating in serpents; in one hand he holds a knife or dagger, and in the other a shield upon which is

as lost at an early date, and that it p. 181 soon degenerated into a mere magical symbol, for it is often found inscribed on amulets side by side with scenes and figures with which, seemingly, it cannot have any connexion whatever. judging from certain gnostic gems in the british museum, abrasax is to be identified with the polytheistic figure that stands in the upper part of the metternich stele depicted on p. 153. this figure has two bodies, one being that of a man, and the other that of a bird; from these extend four wings, and from each of his knees projects a serpent. he has two pairs of hands and arms; one pair is extended along the wings, each hand holding the symbols of "life "stability" and "power" and two knives and two serpents; the other pair is pendent, the right hand grasping

ght hand grasping the sign of life, and the other a sceptre. his face is grotesque, and probably represents that of bes, or the sun as an old man; on his head is a pylon-shaped object with figures of various animals, and above it a pair of horns which support eight knives and the figure of a god with raised hands and arms, which typifies "millions of years" the god stands upon an oval wherein are depicted figures of various "typhonic" animals, and from each side of his crown proceed several symbols of fire. whether in the gnostic system abraxas absorbed all the names and attributes of this god of many forms cannot be said with certainty. footnotes 157:1 line 169. 158:1 pepi ii (ed. maspero, 1. 669, ff. recueil, tom. xii. 1892, p. 146. 161:1 see my paper in archaologia, vol. lii, london, 18

. 199 the ceremony of "opening the mouth" being performed on the mummy of hunefer, about b.c. 1350 (from the papyrus of hunefer, sheet 5) p. 201 were usually said four times, once in honour of each god, and the rubrical directions on this point are definite. in the limited space of this book it is not possible to reproduce all the scenes of the ceremony of opening the mouth and the eyes which are depicted in the tombs and elsewhere, but on page 199 is a general view of the ceremony as it is often given in the papyri of the xviiith and xixth dynasties. on the right we see the pyramidal tomb in the theban hill with its open door, and by the side of it is the funeral stele with a rounded top inscribed with a figure of the deceased standing in adoration before osiris, and with a prayer to the

SPENSER THE CULT OF THE ALL SEEING EYE 1960

nd at wainwright house, rye, new york, and the prayer room in the u.s. capitol. their great temple of understanding is soon to be erected in washington, d.c. the strange, fascinating history of the great seal of the united slates was included in this study because the symbolism of the three rooms and the temple is centered around the all-seeing eye which appears on the reverse side of the seal as depicted on the one dollar bill. the cult is seeking to obliterate the christian ideal by attempting to destroy all honoured standards and traditions set up during the past nineteen centuries for the protection of the civilized world. the lure of famous names associated with the cult has drawn many naive supporters into its fold who would recoil in horror from its evil teachings were the truth onl

tter rested until 1782 when ben franklin secured william barton, a.m. a private citizen of philadelphia, as the second designer. gaillard hunt identified william barton as the son of reverend thomas barton, rector of st. james episcopal church, his mother being a sister of the famous david rittenhouse.4 william barton published a memoir of rittenhouse in 1813. the first device submitted by barton depicted among other emblems an eagle on the summit of a doric column, the all-seeing eye, and the stars:5 -24- the eagle displayed is the symbol of supreme power and authority, and signifies the congress; the pillar, upon which it rests, is used as the hieroglyphic of fortitude and constancy, and, its being of the doric order (which is the best proportioned and most agreeable to nature& composed

STEINER RUDOLF CHRISTIANITY AS MYSTICAL FACT

ry-places the spirit had been poured out upon the mystai of old. through the mystery of golgotha it was poured out upon the whole christian community. there was still a place for initiation. for whereas faith allows a person to participate unconsciously in the content of the mystery of golgotha, initiation leads to a fully conscious connection with the power that streams invisibly from the events depicted in the new testament, and which ever since then has pervaded spiritually the life of humanity. chapter 6 the evidence of the gospels the materials we have for a historical investigation into the life of jesus are furnished by the gospels. from other sources we have in total no more than would easily be written on a single page (quarto; these are the words of adolf harnack, the greatest hi

TEXE MARRS CODEX MAGICA SECRET SIGNS MYSTERIOUS SYMBOLS AND HIDDEN CODES OF THE ILLUMINATI

her indication of napoleon's secret society involvement. wearing red, the color of rothschild and blood, napoleon signifies his lefthand path orientation. the symbology of the threetowered church in the background of the painting (behind the curtain) signifies the boast that napoleon, a political sovereign, is also lord over the spiritual realm. in this famous painting of napoleon, the emperor is depicted using his right-hand in giving the royal arch mason handsign. 74 codex magica irish-american politician and author ignatius donnelly caused a sensation in 1882 with his book, atlantis: the antediluvian world. donnelly claimed scientific evidence for the existence of the fabled lost continent of atlantis, which sunk under the sea, predecessor of modern civilization. donnelly's book even co

n. but if so, why give it in france? actress meryl streep gives the sign of the devil just over the head of "angels in america" director, mike nichols. in 2004, the hbo series "angels in america" was aired. it was possibly the most evil tv program ever broadcast. the director and actress were given "golden globe" awards, indicating how hateful hollywood and the tv networks have become. the series depicted angels having sex with homosexuals and blasphemously mocked god. it praised communist spies like ethel rosenberg (photo: newsweek, november 17, 2003) eight secret handshakes of the illuminati t h e secret hand signs of illuminists are thought to work magic, to evoke supernatural beings, and, of course, to communicate messages. for example, the higher degree mason, rosicrucian, or other il

sicrucian design. in fact, luther was a rosicrucian. masonic signs and grips closely parallel those of rosicrucians (christian news, february 18, 2003, p. 1. in an article on the internet entitled "calvinism" john paul jones quoted masonic scholar manly p. hall, 33o, as affirming that protestant reformer martin luther was a rosicrucian initiate. in the article, luther's official seal, middle, was depicted, along with the seal (far right) on martin luther's ring. at far left is luther's seal with author jones showing how if the petals of the flower are connected, an occult pentacle results. hand on heart 323 christopher walken, actor, seems to be favored by the elite. he is often cast in strange roles as deranged psychos, mob killers, etc. interview magazine devoted this entire page in its

medieval books of magic, to invoke the protection of female spirits and entities. in fact, the dragon's eye bears a remarkable resemblence to the sign of the spear point, and the name dragon's eye is approprate, indeed. symbol from the back cover of the fascinating book, the talisman of the united states: the mysterious street lines of washington, d.c, by charles westbook, ph.d (1990. the symbol depicted is a spear point superimposed by a modified fleur de lis, a symbol of the merovingian royal dynasty "shield of the trinity" in the british museum, which turns out to be an emblem of the priory of sion. drawing of the rock of sion and the sign of the priory of sion (from the book, holy blood, holy grail) 408 codex magica first lady hillary rodham clinton, wearing a "mao tse tung" peasant o

la formulas and rituals. an enduring cabalistic tale is that of the golem. in medieval times, it was taught that by use of the magic word and by other means, an inanimate man made of clay or dust could be made to come alive. a huge and powerful monster, or beast, the golem would then do the magician's bidding. in 1920, the classic film der golem created a stir. directed by paul wegener, der golem depicted the monster variously wearing either the five-pointed star with one point up (white magic) or two points up (satanic. also the six pointed star of david played a part in the film's plot as a jewish rabbi, rabbi low, using the secret word "aemact" brought life and breath into the artificial man. in der golem, rabbi low employs the magic word and the pentagram star to bring life to the crea

odex magica every man and woman is a star 551 high priest lavey and followers at a 1966 ritual. observe the pentagram on the wall. in the 1990s, president george bush's national endowment for the arts (nea) gave photographer robert mapplethorpe a $15.000 grant from the tax trough (that's my money and yours) to produce photographs. regrettably classified as "art" some of mapplethorpe's photographs depicted homosexuals "enjoying" violent, degrading sex acts. mapplethorpe also produced vulgar and unseemly pictures of little boys and girls displaying their sexual genitals. extremely satisfied with robert mapplethorpe's pornographic art, the nea's artist community promptly arranged for his lewd photographs to be put on exhibit in some of america's finest art museums. all this, of course, was fu

president boris yeltsin displays the fist of soviet communism while speaking in 1992 to a joint session of the u.s. congress. the senators and representatives responded with prolonged applause (photo and story: the washington post, june 18, 1992, p. 1) 580 codex magica the communists adopted both the hammer and sickle and the red star for their official logos, or symbols. the ancient god saturn, depicted here in a 15th century drawing, was said to carry the sickle as the symbol of death. note also the radiant star in saturn's genital area, the horns of the goat (satan) and the water bearer (satan's astrological age of aquarius. occultists view the planet saturn as representing satan, because it is the sixth planet from the son and because of saturn's role as taught in the mythologies. blo

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e, africa, and australia depict animal- human hybrids. such therianthropes, or hybrid beings, appear to be the only common denominator in primitive art around the planet. these werewolves, were-lions, and werebats belonged to an imagined world which early humans saw as powerful, dangerous, and frightening. images of these creatures persisted into the historical period. the ancient egyptians often depicted their gods as human-animal hybrids. pharaoh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks

who have served him faithfully since the beginning. there, those christians who have been redeemed through faith in jesus as the christ will be with him forever in glory. liberal christians acknowledge that, as jesus promised, there are many mansions in his father s kingdom where those of other faiths may also dwell. for more fundamental and conservative christians, the terrifying graphic images depicted over the centuries of the last judgment have been too powerful to be eliminated from doctrinal teachings, so they envision a beautiful place high above the earth where only true believers in jesus may reign with him. hell, in traditional christian thought, is a place of eternal torment for those who have been damned after the last judgment. it is generally pictured as a barren pit filled

nd draws itself to it, so the self, having left behind it [a body] unconscious, takes hold of another body and draws himself to it. by the third century b.c.e. hinduism had largely adopted a cyclical worldview of lives and rebirths in which the earlier concepts of heaven and hell, an afterlife system of reward and punishment, were replaced by intermediate states between lifetimes. hindu cosmology depicted three lokas, or realms heaven, earth, and a netherworld and 14 additional levels in which varying degrees of suffering or bliss awaited the soul between physical existences. seven of these heavens or hells rise above earth and seven descend below. according to the great hindu teacher sankara, who lived in the ninth century, and the school of advaita vedanata, the eventual goal of the soul

omb was called the het ka, the house of the ka, suggesting that the egyptians not only considered the ka an essential aspect of a human being, but understood that a provision for it, as well as for the physical body, must be made at the time of death. the ba is generally understood by modern scholars as representing that aspect of the essential self that is commonly referred to as the soul. often depicted in ancient egyptian art and hieroglyphs as a bird with a human head male or female, corresponding to the sex of the person represented the ba hovers near its physical counterpart. in cultures throughout the world, the bird is often utilized as a symbol for the soul. and certainly, in the egypt of thousands of years ago, the high-flying, free-moving creature of the air would have seemed an

aires, and correspondence. a total of 385 respondents reported 1,318 cases wherein deathbed patients claimed to have seen apparitions or phantasms. fifty-two percent of these apparitions represented dead persons who were known to the patients; 28 percent were of living persons; and 20 percent were of religious figures. visions that either gave the dying patient a view of the traditional heaven or depicted scenes of wondrous beauty and brilliant color were reported by 248 respondents to have been observed in 884 instances. mood elevation that is, a shift in the patient s emotions from extreme pain and fear to tranquility was reported by 169 respondents in 753 cases. about half of the apparitions reported by the dying patients seemed to have appeared for the purpose of guiding them through t

ence that has been accumulated. sources: boundary institute. http//www.boundaryinstitute.org. 15 october 2001. boundary institute got psi? maclaine s (1934) book out on a limb (1987, which dealt with many subjects exciting to new age enthusiasts, such as reincarnation, extraterrestrial visitation, ancient mysteries, and spirit communication. perhaps the most captivating segments of the miniseries depicted maclaine receiving spirit communication through channeler kevin ryerson. the actress and the channeler played themselves in the five-hour dramatization on prime-time television, and an international audience of millions were able to see for themselves how tom mcpherson, the 400-year-old spirit of an irishman, spoke through ryerson to advise maclaine. due to the popularity of out on a limb

nessed by a large assembly, including 20 medical doctors and seven professors. investigated by scientists and psychic researchers from all over the world, the mediumship of mirabelli offered yet another question mark to the skeptical mind and another source of reassurance to the believer. in 1990, dr. gordon stein found a picture in the collection of the london society for psychical research that depicted mirabelli in a white laboratory coat levitating to a height of several feet in the air. the photograph was inscribed to theodore besterman, an spr researcher who was known to have visited the medium in august of 1934. at the time, besterman had prepared a contradictory report about mirabelli s paranormal abilities which, according to mirabelli s defenders, reflected more upon besterman s

uld detect that the tiny beings had actually been moving while having their images snapped by the girls camera. furthermore, he stated firmly, he could not detect the slightest evidence of any fakery in the photographs. doyle wisely sought another opinion, so he took the negatives to the kodak company s offices in kingsway. while these experts declined to acknowledge that the photographs actually depicted fairies, they did issue a statement that they could find no evidence of trick photography or any tampering with the film. yet a third analyst expressed his opinion that the most significant factor in the cottingley photographs was that the fairy figures seemed clearly to have been caught in motion as they hovered over the flowers and the girls. as the british press spread the charming sto

other medical fact is that a spike driven through the space of destot in the wrist will lacerate the median nerve, causing the thumb to flex sharply into the palm. the man of the shroud has no discernible thumbs. would an artist in the middle ages have known such medical idiosyncrasies? the man was crowned with a cap of thorns, typical of the near east judeans, not the greek-style wreath so often depicted in artists renderings of jesus crown of thorns. t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d religious phenomena 235 the bloodstains on the shroud are precisely correct, both biblically and anatomically. if the shroud had been lifted off the man, one of two things would have happened: if the blood was still wet the stain on the cloth would smea

es have wielded little political influence, surely none that would place them in world-threatening positions. there have been such men as aleister crowley (1875 1947, who actually appeared to covet and campaign for the position by calling himself the beast and 666. hollywood has capitalized on the fascination of certain christians and horror movie fans with the menacing evil of the antichrist and depicted him in a number of motion pictures. in rosemary s baby (1968, an unsuspecting young wife (mia farrow) is selected to bear the antichrist after her husband (john cassavetes) makes a pact with satan. the omen (1976) spawned a series of three films that follow the antichrist from early childhood to his position of wealth, power, and charismatic mastery as an adult. in the first of these film

considered to be divine, representatives of the many gods of ancient egypt, and the earthly incarnation of the great god, the sun god, ra. during the middle kingdom (c. 2000 1785 b.c.e) when the egyptian power base shifted from heliopolis, near the junction of upper and lower egypt, to thebes in upper egypt, the theban god amun became combined with ra to become amun-ra. although he was generally depicted in human form, amun-ra was still considered the great god/creator being and still identified with the sun, and since egypt under the theban kings entered into a period of great power and posterity, he was esteemed as a mighty and benevolent god. when amenhotep iv became pharoah about the year 1367 b.c.e, he inherited his father s name, as well as his throne. amenhotep means amun is conten

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e, africa, and australia depict animal- human hybrids. such therianthropes, or hybrid beings, appear to be the only common denominator in primitive art around the planet. these werewolves, were-lions, and werebats belonged to an imagined world which early humans saw as powerful, dangerous, and frightening. images of these creatures persisted into the historical period. the ancient egyptians often depicted their gods as human-animal hybrids. pharaoh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks

r on the filmstrip. first, they stated, they would have to create a set of artificial muscles, train an actor to walk like the thing on the film, then place him in a gorilla skin. most scientists remained skeptical, and the controversy raged for 30 years. on october 19, 1997, just prior to a press release by the north american science institute that would announce their analyses that the creature depicted on the film was genuine, stories appeared in the media claiming that john chambers, the academy award-winning makeup artist of the planet of the apes (1968, had been responsible for creating the gorilla suit that had fooled the monster hunters. according to howard berger of hollywood s knb effects group, it was common knowledge within the film industry that chambers had designed the costu

lilim, which is found in talmudic and kabbalistic literature as a term for spirits of the night. sometimes the word lilith is translated as night-owl, which would seem to refer to lilith, the succubus, having wings and being capable of flight. sometimes, according to hebrew scholars, the term lilith represents wind-spirit, and in hebrew the word for spirit (ruach) also means wind. lilith is often depicted as a beautiful woman with long, unkempt hair and large batlike wings. t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d mysterious creatures 79 jersey devil, 1901 illustration (fortean picture library) succubi appear to men as beautiful, sensual women, but they also may be vampires thirsting for human blood. m delving deeper fodor, nandor. between t

s scoffed and argued that the images were not taken in sequence, as johnston had said they were. in 2001 janet mcbain, curator of the scottish screen archive, found the original 16mm film that first launched the nessie craze. made on september 22, 1936, by glasgow filmmaker macolm irvine for the scottish film productions company, the film had become nearly as legendary as the lake monster that it depicted. mcbain said that while the existence of the irvine newsreel was well documented, it was thought to have been destroyed and lost. according to eyewitness accounts, irvine had first sighted the creature in 1933, but his camera jammed. three years later, irvine and his film crew spent three weeks at the lakeside before he got the footage he wanted. on the footage, which lasts about one minu

who guard the home and look after the barn, stables, and farm animals. in many traditions, especially in the british isles and scandinavia, the fairy folk were supernormal entities who inhabited a magical kingdom beneath the surface of the earth. in all traditions, the wee people are t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d mysterious creatures 99 depicted as possessing many more powers and abilities than humans, but somehow they are strongly dependent on human beings and from time to time they seek to reinforce their own kind by kidnapping both human children and adults. while the wee people and their associated entites elves, gnomes, and leprechauns are most often depicted as sweet, little winged tinkerbells and jolly forest creatures in

they seek to reinforce their own kind by kidnapping both human children and adults. while the wee people and their associated entites elves, gnomes, and leprechauns are most often depicted as sweet, little winged tinkerbells and jolly forest creatures in bright costumes and pointed hats, each of the fairy folk and their kin have a dark side. some of the nursery tales throughout the centuries have depicted a certain mischievous nature to the wee people, but the creatures can become downright nasty even dangerous if provoked. medieval theologians seemed to favor three possibilities to explain the origin of these beings: 1. they are a special class of demoted angels, 2. they are spirits of the dead or a special class of the dead, or 3. they are fallen angels. most of the ancient texts declare

ey became men and women. among the superstitions associated with the dog is the ancient belief that the howling of dogs portends death and calamities. this appears to be a relic of the time when humans made deities of animals, and as a deity, the dog was supposed to be able to foresee death and give warning of it by howling or barking. this superstition became perpetuated among the egyptians, who depicted the god that presided over the embalming of the dead as anubis, the jackal-headed deity. it was also anubis s task to lead the spirits of the deceased to the hall of judgment. among many native american tribes, it is the dog who awaits the spirit of the newly deceased on the way of departed spirits and who accompanies the entity to the land of the grandparents. in addition to its role as

agued the u.s. air force investigation for 20 years. in fact, hynek observed, the percentage of unknowns in the condon report appeared to be even higher than in the air force investigation that led to the condon investigation in the first place. two former condon committee members, david saunders and roger harkins, later wrote the book ufos, yes! where the condon committee went wrong (1968, which depicted a group of investigators at the university of colorado who had little confidence in the chief scientist, condon, and who were preoccupied with strenuously avoiding any conclusion that suggested the actual existence of the flying objects sighted by so many people through the years. saunders and harkins also showed condon, the principal investigator, giving statements to the press and to va

modern era of ufos. the alien beings, when they are at last revealed on screen, appear to be childlike, benevolent entities, seemingly so innocent as to be incapable of interstellar travel. and when neary is selected to return with them to their world, many moviegoers were touched vicariously and felt their spirit prepare to lift off with them. such a positive portrayal of alien lifeforms as that depicted in close encounters of the third kind was in sharp contrast to the monsters and the invaders that had populated so many science fiction motion pictures, and the way was paved for the arrival of spielberg s e.t. the extraterrestrial (1982. in this film, an amphibian/reptilian entity so lived on the love vibration that audiences could not resist its charm. the evil alien appeared banished f

uest will be refused, he escapes from the hospital and moves anonymously into a rooming house, posing as a man named carpenter. the alien emissary becomes friends with bobby (billy gray) and his mother, helen (patricia neal, and the boy leads him to professor barnhardt (sam jaffe, a physicist, who is impressed, rather than frightened, by klaatu s superior knowledge. the scientists in the film are depicted as dedicated individuals who are trying their best to live outside the political bickering and backstabbing of the cold war era and who are willing to arrange for klaatu to address an international assemblage of the leaders of world science. realizing that earth s heads of state are too chauvinistic to set aside their petty differences and listen to his message, klaatu arranges a demonstr

e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d 286 invaders from outer space orson wells acting out his famous war of the worlds radio broadcast (archive photos, inc) and a talented cast simulating a live news broadcast of an invasion of earth by mechanized martian war machines. because the account of unstoppable alien beings landing in the new jersey farmlands was depicted so realistically and because many listeners tuned in after the mercury theatre production was already in progress the greater part of the nation was in panic over the invaders from mars. invading aliens continued to be a popular theme in a number of motion pictures throughout the 1950s. invaders from mars (1953) remains in many moviegoers memory as the single most frightening film of thei

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africa, and australia depict animal- human hybrids. such gtherianthropes, h or hybrid beings, appear to be the only common denominator in primitive art around the planet. these werewolves, were-lions, and werebats belonged to an imagined world which early humans saw as powerful, dangerous, and frightening. images of these creatures persisted into the historical period. the ancient egyptians often depicted their gods as human-animal hybrids. pharaoh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks

a supernatural agency as that of the loa mounting its ghorse. h there is a great difference, the hungan maintains, between possession by a loa and possession by an evil spirit. an evil spirit would bring chaos to the dancing and perhaps great harm to the one possessed. the traditional dances of vodun are conducted on a serious plane with rhythm and suppleness but not with the orgiastic sensuality depicted in motion pictures about voodoo or in the displays performed for the tourist trade. all vodun ceremonies must be climaxed with sacrifice to the loa. chickens are most commonly offered to the loa, although the wealthy may offer a goat or a bull. the possessed usually drinks of the blood that is collected in a vessel, thereby satisfying the hunger of the loa. other dancers may also partake

ison, he put aside his vow of celibacy and married a 16- year-old girl, whose parents soon had the union annulled. it was after his painful separation from his wife that alphonse louis constant assumed the identity of eliphas levi and began to devote his time to an intensive study of alchemy and the occult. often his focus was on the kabbalah and the tarot, believing firmly that the ancient cards depicted a concise summary of all the revelations that had come down to humankind through the ages. levi saw in the symbolism of the tarot cards the key to the egyptian hieroglyphs, the mysteries of solomon, and the truths hidden in the apocryphal text of the book of enoch and the scrolls of hermes trismesgistus. to do a spread of the tarot cards, in levi fs opinion, was to establish communication

theory perhaps closest to the true origin of the tarot cards as they appear today dates from the renaissance (14th.17th century. prior to this time, gnostics, who are believed to have introduced the tarot into southern europe, had to take their faith underground in order to escape persecution. to preserve their teachings, they recorded the fundamentals of their beliefs on a set of 22 plates that depicted the spiritual growth of humankind. each plate, or card, in the 22 major mysteries (the major arcana) told the story of a single aspect of an individual initiate fs inner spiritual progress to the state of complete perfection. the major arcana follow humankind fs spiritual pilgrimage toward the state of final perfection. the minor arcana trace humanity fs journey through time. essential to

THE GOD OF THE WITCHES

50ge figure "his face was terrible, his nose like the beak of an eagle, great burning eyes, his hands and legswere hairy, with claws upon his hands, and feet like the griffin"[34] yet there is probably not less than eightthousand years between the painting and the recorded description. again in a scene of worship on anegyptian papyrus of the xxiind dynasty, about the tenth century b.c, a woman is depicted in the act ofpraying to her god (plate vi. but the description given by isobel gowdie in 1662 of a ceremony performedby herself and her coven would apply to the scene on the papyrus "when we had learned all these wordsfrom the devil, we all fell down upon our knees, with our hair down over our shoulders and eyes, and ourhands lifted up, and our eyes steadfastly fixed upon the devil, and s

THE GOLDEN ESSENCE

n. the nine worlds of indo-european mythology were all born from her womb, and at the world-doom, they were withdrawn back into her darkness, to await regeneration, and only she remained, as she was in the beginning. she was the spinning goddess, who spun the threads of fate, and the stars and moon floated in the darkness of her immense being. as the source of life and the place of death, she was depicted as half- fair and half dark and decaying; the outward life of the earth can also be seen as her fair face and the darkness below as her dark face. the original darkness that she embodies, which is the darkness of the mystery of fate, also links her to the figures of sophia or dame wisdom, which as we will see, is an important element in her theology, as her presence acts as a kind of fina

THE KEY TO THE MYSTERIES

alf- hearted and the cowardly. under penalty of reprobation, one must work, one must act. nature, moreover, sees to this, and if we will not march on with all our courage towards life, she flings us with all 256 her forces towards death. she drags those who will not walk. a man whom one may call the great prophet of drunkards, edgar poe, that sublime madman, that genius of lucid extravagance, has depicted with terrifying reality the nightmares of perversity "i killed the old man because he squinted "i did that because i ought not to have done it" there is the terrible antistrophe of tertullian's "credo quia absurdum" to brave god and to insult him, is a final act of faith<crowley's "john st. john "the dead praise thee not, o lord" said the psalmist; and we might add if we da

THE MAGICIAN S KABBALAH

atory system, for example "the world changed into purity around me, and my heart felt as if i had entered a new world. the teachings of the merkabah mystics became part of the "heikhalot" school, whose name means "palace, referring to the spiritual planes through which the mystics ascended. the description of these journeys seems to bear similarities to the journey of the soul into the underworld depicted in the egyptian book of coming forth by day, with magical words or appropriate names of the gods to be spoken before each door is passed and each palace entered. three classical texts formulate the basic structure of traditional kabbalah, being; the sefer-ha-zohar; book of splendour- first printed 1558-60 and 1559-60 the sefer yetzirah; book of formation- first printed in mantua 1562 the

g the mind of the magician from slavishly adhering to what have previously been considered immutable laws which are in effect merely habits of nature. it is this very principle that has helped examine, and at the same time, confound the "greenhouse effect" and global warming. the magician must remain open to possibilities and opportunities that those blinded by expectation cannot see, and this is depicted by the "fool" of the tarot deck, who should be considered the esoteric emblem of the new physics. another extension of the lattice idea is that of the link between macrocosm and microcosm, the "greater" world and the "lesser" world. it can be seen that if the whole universe is modelled as a latticework of reflective spheres, each point in the universe reflects everything else. thus, if a

t, although in the networked nature of the tree, each of the sephiroth is more truly created by a conflux of prior sephiroth, and result as their convergence. for example, tiphareth (sometimes called the "son, is the result of the convergence of kether, chockmah, binah, chesed and geburah. a good example of this is da'ath "knowledge, which is seen as the union of chockmah and binah, and sometimes depicted as a "non-sephirah" on the abyss which separates the upper three sephiroth from the rest of the tree. this complex sub-system within each sephirah was developed by cordovero and is known as the doctrine of the behinot, the infinite number of aspects which can be differentiated within each of the sephiroth. in addition to this type of description, two other versions describe how each sephi

n each sephirah, apart from the emanative process, in that they model reciprocal influence between the sephiroth, and not the "lightning flash" itself. this doctrine is obviously more in accord with the standard occult map of the "paths" of the tree of life. one of the other fundamental concepts of kabbalah is that of the existence of a number of worlds. this can range from the millions of worlds depicted as the strands of the beard of the "long face" of god, to the "aborted" worlds which preceded our own and referred to as the "kings of edom (see the later chapter on the klippoth. again, we can make a parallel of this concept to modern physics, and the "cophenhagen interpretation" with its many "observer-created" worlds. the final outcome of the variations of the many-worlds doctrine came

the later chapter on the klippoth. again, we can make a parallel of this concept to modern physics, and the "cophenhagen interpretation" with its many "observer-created" worlds. the final outcome of the variations of the many-worlds doctrine came around the 14th century, but is also mentioned in the zohar, and was developed by the lurianic school (amongst others) in the 16th century. this version depicted four worlds (a) olam ha-azilut, the world of emanation (the sephiroth (b) olam ha-beriah, the world of creation (the throne& chariot (c) olam ha-yezirah, the world of formation (the angels (d) olam ha-asiyyah, the world of making (the terrestrial sphere) the four worlds obviously can be connected with the four letters of the divine name yhvh, the four quarters, the four elements, and othe

hockmah. as symbolic of manifestation, the universe card depicts chockmah as the first manifestation of unity, the first visibility of kether in the "first swirlings" of the primum mobile, the zodiac. indeed the "golden dawn" tarot card depicts the spheres of the zodiac arranged around the central figure of the atu (see later chapter for further explanations of the creative process of chockmah as depicted by the zodiac. spelt in full, tau is tau-vau, the universe and the hierophant. this affirms the hierophant as symbolic of god's wisdom (the translation of chockmah being "wisdom) and as the interface between god (kether) and the rest of creation (binah to malkuth. this idea is mirrored in that the attribution of yhvh to the sephiroth links kether to chockmah as the upper and lower parts o

(transcendent understanding) which is the state of the magister templi in the initiatory system (attributed to binah, who tends his "garden (the sephiroth below the abyss. this then perhaps develops into a state where the understanding becomes a mirror of the divine will and the mystic achieves chockmah by becoming a pure interface of god. finally, the way is completed (yod as symbolic of the way depicted on the hermit tarot card) by recognising the unity of all things, and hence the same letter covers both kether and chockmah. incidentally, the hermit tarot card to which yod is attributed is also associated with the neophyte ceremony of the golden dawn, and demonstrates that even from the first step on the path, the goal is always already there if we could but be aware of it. resh in bina

oal. the value 73 reduces to 7+3=10, again repeating the value of yod, and the connection between kether and malkuth. the cards to which the letters cheth, kaph, mem and heh are attributed are as follows: chariot the vision of the chariot (ezekiel 1, 1-28) deems that the "spirit of the living creature was in the wheels, and these wheels are the auphanim, attributed to chockmah. one of the symbols depicted on the rider-waite deck is that of a spinning-top, which is a suitable demonstration of chockmah (the wheel) rotating about kether (the axis. the chariot runs between binah and geburah, and is primarily a symbol of binah, not chockmah, although it bears meanings in both. wheel of fortune the wheel of fortune is set in motion by the extension of kether into manifestation through the sephir

el of the universe itself being composed of a series of shells. the first kernel is the light of ain soph, with the first shell being kether, enclosing ain soph. then kether becomes the kernel of the shell which is chockmah, and so on. beyond the malkuth of assiah come the thickest of the shells, with hardly any of the light of ain soph in them. in terms of the practical kabbalah, the 'husks' are depicted as the singular enemy of the kabbalist. as rabbi chaim vital (1543-1620) states, when talking about the decline in kabbalistic practice. they [the practitioners] no longer make use of these techniques to ascend to the orchard. people only make use of the techniques involving the universe of assiah. since this is the lowest of the universes, its angels have only a little good, and are most

t puts it. the sepher yetzirah says this of the sephiroth "their end is lost in infinity. the word of god moves in them; leaving and returning ceaselessly like a whirlwind, they execute the divine word in an instant" the paths, on the other hand, as kircher puts it, are "luminous roads by which one can attain the hidden centres. that is to say, the paths are the observable symptoms of the process depicted by the sephiroth, but only through our knowledge of the paths can we come to appreciate the nature of the sephiroth, which in themselves remain unknowable. in a sense, we are in the position of playing a cosmic version of the children's' game of "battleships, where the crosses we make on the sheet of guesses everytime we choose a position where the battleship is not eventually outline the

nd geburah, as discernment. with these qualities, one can discover the secret "arcana" or mysteries of universal processes. the lower path on the pillar is that called the "stable intelligence, and is "the cause of consistency in all the numerations. this quality comes from the interaction of geburah, with its defining nature and hod, with its aspect of reverberation. the stability referred to is depicted in the tarot card attributed to this path, which is that of the hanged man, which shows both judgement, in the gallows, and reverberation, in the hanging or pendulum symbol. diagram part b the pillar of mercy is composed of paths 16 and 21, the first of which is the "triumphal" or "eternal" path, connecting chockmah and chesed. as the sephiroth of this pillar symbolise the expansive "forc

THE MIDDLE PILLAR

low, systole and diastole. nature itself is the embodiment of the two extremes, the two opposites of the trinity. to the student of the psyche, to the one who the knowledge of his higher self, the counsel given to avoid the opposites. his task is to refrain of extreme actions. in certain schools of magic, where the rites of by adepts who at one time thoroughly they employed, initiation ceremonies depicted higher self and its rebirth by means of a techrucal and meditation. therein, the higher self was always some sacred figure of the major religions-a man always shown as the son of cod. the essence of these systems was to develop the son w be born in you "look with; thou are buddha" these images could possibly have reference to any we know of. but rather i surmise these refer into conscious

ctual chakra, although most modern practitioners do. salamanders: elemental spirits of fire. glossary 261 sammasati: a form of buddhist meditation that examines and cultivates the memory. self-realization: complete development or fulfillment of one's own spiritual and psychological potential. sephiroth: hebrew word meaning "numbers, spheres, emanations" refers to ten divine states or god-energies depicted on the qabalistic tree of life. the singular form is sephirah. shaddai el chai: hebrew phrase meaning "almighty living god" divine name of yesod used in the exercise of the middle pillar. shadow: the sum of all personal and collective elements which are rejected or refused expression in life and consequently unite into a somewhat independent splinter personality. siddhis: from a sanskrit

THE NECRONOMICON SIMON VERSION

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 heresy than it does of genuine christian dogma; yet, as a priest and former monk, i believe it is fair to say that this dogma is unfortunately very far removed from the majority of the faithfu

god and goddess also had both a good and an evil nature, and evil gods were banished in the exorcism formulae of that civilisation as well as the lesser forms of demon. the horned moon as mentioned, the god of the moon was called nanna by the sumerians. by the later sumerians and assyrians, he was called sin. in both cases, he was the father of the gods (of the planetary realm, the zonei, and was depicted as wearing horns, a symbol familiar to the witches as representative of their god. the horn shaped crown is illustrative of the crescent phases of the moon, and were symbolic of divinity in many cultures around the world, and were also thought to represent certain animals who were horned, and worshipped for their particular qualities, such as the goat and bull. they also represent sexual

and worshipped for their particular qualities, such as the goat and bull. they also represent sexual power. the fact that, in ancient sumeria and egypt, horns were solely representative of evil gods, but of many different deities, was used by the christian church in their attempt to eradicate pagan faiths. it was a simple enough symbol to identify with the author of evil, satan, which the church depicted as a half-animal, half-human creature with horns, claws, and sometimes a tail. the church's use of the horns as a sort of archetype of evil is quite similar to the feeling many people have today with regards to the swastika used by the nazis, a symbol which has become the archetype of an evil sigil in the west. the fact that it is a highly valued mystical and religious symbol in the east

ie so amply recreated in the book and the movie by blatty, the exorcist, and similarly recognised as the devil himself by the church. pazuzu, the beast, was brought to life by aleister crowley, and the demon walked the earth once more. with publicity provided by h.p. lovecraft. the devil pazuzu was a prime example of the type of devil of which the sumerians were particularly aware, and which they depicted constantly in their carvings and statues. the purpose of this iconography was to ward off the spiritual- and psychic- circumstances which would precipitate a plague, or some other evil "evil to destroy evil" although the ancient people of the world were conscious of an entity we might call the :author of all evil, the devil or satan, as evident in the sumerian creation epic and the rumour

THE PATH OF KABBALAH

ur lives as one big classroom, where the creator is our teacher, that he has all the knowledge and that he gives it to us only as much as we are able to perceive at any given moment, then slowly but surely, the sensation of the creator will come to our every newborn spiritual sense. the creator created this ladder so that we climb it and reach him. this ladder (the same ladder that jacob saw) was depicted by rabbi yehuda ashlag, who was named baal hasulam (the owner of the ladder) for it, and also by my teacher, rabbi baruch ashlag. however, for the time being we keep turning our backs to the source. we will be able to face it and approach him, only if we make a conscious effort. that is why the creator sends us books and group mates, for the purpose of spiritual progress. the student is i

THE STAR IN THE WEST BY CAPTAIN FULLER A CRITICAL ESSAY ON THE WORKS OF ALEISTER CROWLEY

author of gprometheus, h and attuned it to the rustle of blake fs angel-winged voice, that it can be said that a certain system of irregularities in metre became admissible in the formal court of poetry. as the rossetti brotherhood of painters returned to the stiff and simple elegance as displayed in the gprimavera h of botticelli, so did swinburne go back to the simple beauty of greek tragedy as depicted in euripides* crowley does the same, as we see in gthe tale of archais, h also in gthe mother fs tragedy h and gthe fatal force h; but in these two latter dramas with this important difference, that instead of applying greek style to greek scenery, he applies it to a totally different end, namely to the expression of modern surroundings, or to his own intrinsic ideas, as in the last-named

fully later on, at present we shall content ourselves in dealing with the first phase of love. love in youth* hperverted h i object to here, as it is but a synonym of econverted f from a different point of view. in gwhy jesus wept, h which is a satirical serio-comedy, mingled with heterodox ribaldry, and a shrewd and sweeping cynicism on the utter rottenness of social life, we find love in youth depicted in the person of sir percy percival, aged sixteen. the first effusion of puberty is described in the-following three lines: cwhat shall slake this terrible thirst, this torment accurst *why jesus wept, vol. iii, p. 28. this, as is usually the case, finds an outlet in the first pretty maid who happens to cross youth fs burning path, and in this case the fair damozel is molly tyson, and the

ake the discussion of gnymphomaniacs h a tabooed subject, whilst she trumpets from the top of her holy bordel (st. paul fs) deafening blasts of chaste) gbibliomania. h often these unfortunates are of noble and generous character; who, striving against their fearful adversity, have not the strength of will to cast off and slay the dragon of their despair. the horror of this mental struggle is well depicted in gjephthah h when jared says: those eyes upon me, torturing my soul and threatening revenge? those fingers gross, purple, and horrible, to blister me with infamous tearing at my throat. o hell! vomit thy monsters forth in myriads to putrefy this fair green earth with blood, but make not me the devilish minister of such a deed as this *jephthah, vol. i, p. 84. such was the almost frenzie

r, into a wild and fearful nightmare; and in his brutal fury we find that perhaps the sadism of to-day is but an avatar of those past days, when our progenitors, like some still existing savages, carried on their courtship with club and spear, and solemnized their marriage with rape and ravishment. still one more phase of perverse love remains for us to study; the curious lust of man for woman as depicted in gjezebel, h a curious manifestation of what is known as masochism, which after the death of the object of its fascination, grows almost into the vampire desire of necrophilia. in ga saint fs damnation, h which is included under the same cover, we see the power of love caught in the arms of restraint slowly smoulder into a burning desire: passion to feed upon your shoulders bare, and pa

earlier poems of crowley, we find not only a reverential handling of the christ idea, but an almost orthodox adoration for the christ himself. in the last two verses of gaceldama h this is strongly brought out. gthy love will stand while ocean winds endure h; and again, ghere i abandon all myself to thee. h*1. in gsongs of the spirit h we find this veneration acutely portrayed, and the christ as depicted in gthe goad h closely resembles the one as described in gthe farewell of paracelsus to aprile. h here is a passage from each: i contemplate the wound stabbed in the flanks of my dear silver christ. he hangs in anguish there; the crown of thorns pierces that palest brow; the nails drip blood; there is the wound; no mary by him mourns, there is no john beside the cruel wood; i am alone to

and exposes hypocrites, till he imagines that all are religious and himself the single one on earth that ever broke a net. now hear a plain fact: swedenborg has not written one new truth. now hear another: he has written all the old falsehoods. and now hear the reason: he conversed with angels who are all religious, and conversed not with the devils who all hate religion c goethe, in faust, also depicted this same moral idea, and most religions have experienced this unity of virtue and vice; the early christians applauded it, and even now in christian churches is still sung the beautiful hymn: nearer, my god, to thee, nearer to thee, e fen though it be a cross that raiseth me! still all my song shall be nearer, my god, to thee, nearer to thee. to raise oneself through the vicious and the

eaven the likeness of a man in glory set; the sun is blotted, and the skies are riven. a god flames forth my spirit to beget; and where my body and his love are met a new desire possesses altogether my whole new self as in a golden net of transcendental love one fiery tether, dissolving all my woe into one sea of weather *songs of the spirit, vol. i, p. 43. in many other of these poems do we find depicted other phases of the philosophy of the qabalah; one, the hermetic maxim, gthat which is above is as that which is below, h we find stated in gthe philosopher fs progress h: that which is highest as the deep is fixed, the depth as that above: death fs face is as the face of sleep; and lust is likest love *songs of the spirit, vol. i, p. 34. in gthe quest h and in several parts of gtannhause

ch the heights are attained indirectly, and through man fs struggle with the elemental powers. h *gargoyles, vol. iii, p. 84. only by energy and strife may man attain the eternal rest, dissolve the desperate lust of life by infinite agony and zest. thus, o my kali, i divine the golden secret of thy shrine *gargoyles, vol. iii, p. 98. the strife to attain to this golden secret we have already seen depicted in so many of aleister crowley fs poems. but what is it? and crowley at once, with east and west, answers, ga higher state of consciousness. h that a higher consciousness exists is certain; that it is unknowable is certain c unless indeed, we can truly unite it with itself *time, vol. ii, p. 281. and that this supreme union is possible he explains: prevent sense-impressions from reaching

THE BOOK OF GATES

s field. baiu-shetaiu (i.e, hidden souls) is the name of the gods who are in this field, and whosoever knoweth their names upon earth shall be able to approach to the place where osiris is, and there shall be given unto him water for his field. net-neb-ua-kheper-auatu is the name of this field. whosoever shall know these hidden similitudes of the hidden souls in the correct forms wherein they are depicted in ament of the tuat--now the beginning of such representations should be from amentet-[these figures i say] shall act as magical protectors to that man upon earth [and] in neter-khert, regularly and unfailingly. whosoever knoweth these, when he is making his journey past them shall escape from their roarings, and he shall not fall down into their furnaces (or, pits. whosoever knoweth thi

he name of the gate of this city through which this great god passeth. metch-qa-utebu is the name of this city [this is] the secret circle of amentet whereto khepera joineth himself before ra, and the gods, and the spirits, and the dead cry out from it over the secret representations (or, images) of akert. whosoever shall make [a copy of] these [representations] according to the figures which are depicted on the east [wall] of ament, and whosoever knoweth them by their names shall journey round about in the tuat, and shall travel through it, and he shall not be driven back, and he shall flourish with ra. tentenit-hesq-khakabu is the name of the hour of the night which guideth this great god through the secret ways of this city. next: the eleventh hour sacred texts egypt ehh index index pre

seth on his way, and [he] cometh forth at the eastern mountain of the sky, the eater of eternity. the form thereof is in the presence of the serpent petra, which dwelleth in this city, and they (i.e, the gods) place themselves in the train of [ra] when the birth of kheper upon earth is about to take place. whosoever shall make [a copy] of these [representations] according to the figures which are depicted on the east [wall] of the palace of ament in the hidden [places] of the tuat, and whosoever knoweth them shall be in the position of him that divideth his offering, and of him who is a spirit who is suitably equipped [to travel] both in heaven and upon earth, regularly and unceasingly. sebit-neb-uaa-khesef-sebiu-em-pert-f is the name of the hour of the night which guideth this great god i

nd riseth from between the thighs of the goddess nut. thenen-neteru is the name of the gate of this city. kheper-kekui-kha-mesti is the name of this city [this is] the secret circle of the tuat, wherein this great god is born, when he maketh his appearance in nu, and taketh up his place in the body of nut. whosoever shall make [a copy] of these [representations] according to the figures which are depicted on the east [wall] of the palace of ament of the tuat, they shall be magical protectors to him that knoweth them upon earth, both in heaven and on earth. at this point the light beginneth [to come, and it is the end of the thick darkness which ra travelleth through in amentet, and of the secret matters which this great god performed therein. he who hath no knowledge of the whole) or part)

! let enter the bones of osiris, king men-maat-ra, whose word is maat, the son of the sun, seti mer-en-ptah, whose word is maat, let them enter into their foundations. pure is the dead body which is in the earth, p. 53 and pure are the bones of osiris, king men-mast-ra, whose word is maat, like ra [for ever" on the bottom of the sarcophagus is a large, full-length figure of the goddess nut who is depicted in the form of a woman with her arms ready to embrace the body of the king. her face and the lower parts of the body below the waist are in profile, but she has a front chest, front shoulders, and a front eye. her feet are represented as if each was a right foot, and each only shows the great toe. one breast is only shown. the hair of the goddess is long and falls over her back and should

ra. let him that is in the shrine have the mastery over it, and let the serpent [mehen] guard him well. may the flames of khuti which are in the corners of the hidden shrine grow stronger' and there shall be given to them meat in the place of peace in their circle" p. 96 the above passage refers to the "righteous who are in the tuat" on the left side of the boat of ra are: 1. the god tem, who is depicted in the form of an aged man, leaning heavily on a stick which he grasps in his right hand. 2. four male beings who are lying prostrate on their backs. 3. twenty male beings, with their backs bowed, and their arms tied together at their elbows behind their backs. the our beings are described as "the inert" and the twenty as "the apostates of the hall of ra, who have blasphemed ra upon earth

TRUE HISTORY OF WITCHCRAFT

ning it while first-hand evidence is still available" janet and stewart farrar in the witches' way, 1984 "it has been alleged that a book of shadows in crowley's handwriting was formerly exhibited in gerald's museum of witchcraft on the isle of man. i can only say i never saw this on either of the two occasions when i stayed with gerald and donna gardner on the island. the large, handwritten book depicted in witchcraft today is not in crowley's handwriting, but gerald's" doreen valiente in witchcraft for tomorrow, 1978 "aidan kelly..labels the entire wiccan revival `gardnerian witchcraft' the reasoning and speculation in aidan's book are intricate. briefly, his main argument depends on his discovery of one of gardner's working notebooks, ye book of ye art magical, which is in possession of

sexual magick of aleister crowley "the wickedest man in the world" by some accounts, and from crowley's organization, the ordo templi orientis. why gardner chose to do this is speculative, but i've got some idea. but, i'm getting ahead of myself. while turner showed me a blasphemous cross shaped from the body of two nude women (created for the 18th century infamous "hellfire clubs" in england and depicted in the man myth and magic encyclopedia;i bought it, of course) and a statue of beelzebub from the dusty garderian archives, a thought occurred to me" you know" i suggested "if you ever, in all this stuff, happen across a copy of the book of shadows in the handwriting of aleister crowley, it would be of considerable historical value" i understated the case. it would be like finding the boo

TYSON DONALD NEW MILLENNIUM MAGIC

are spoken. geburah is the name of the fifth sephirah, located on the left side of the tree; gedulah is an alternate name of the fourth sephirah, which is more usually called chesed, on the right side of the tree. it is impossible to know what was in the minds of the founders of the golden dawn when they made this assignment. it may simply have been a mistake. the tree of the sephiroth is usually depicted from the back, in the same way that mod- ern medical illustrations of the human heart are depicted, with the left side of the tree on the left side of the page, and the right side of the tree on the right side of the page, from the perspective of the observer. the golden dawn founders may have wrongly assumed that the tree was depicted from the front, which would require its inversion fro

virgin mary among christians, the veneration of the matronit and shekhinah among jews, the worship of shakti among hindus. the women's movement has sparked a revival of interest in the goddess. the contemporary pagan religion of wicca wor- ships the earth mother in her many guises. as for the worship of god as a child, christianity is the most obvious example. in the middle ages, jesus was often depicted as a babe in arms with a wise adult head, or as a slender effeminate figure with a narrow waist and broad hips. child- god cultures are characterized by an ambivalence between the active and passive impulses. no question is more puzzling to christians than when, and if, they should turn the other cheek. the western world suffers the incongruity of warrior popes and saintly caesars because

it served to confirm their intuited understanding that humanity and the pentagram are closely bound together. the ordering of the points of the star is of some importance in practical work- ing. it defines the structure of many rituals. the lower four points, which form a rough square, are given to the four elements and have been set in their order for thousands of years. they are emblematically depicted by the four beasts: 1) the lion (fire) on the lower right, 2) the eagle (water) on the upper right, 3) the angel (air) on the upper left, 4) the bull (earth) on the lower left. the fifth point of spir- it, or light, emanates the four and is their origin. spirit is the fifth element, the quintessence, of ancient philosophy. here is one way of drawing the five-pointed figure that shows the

TYSON DONALD SOUL FLIGHT

lity and thus duplicity, after the manner of the forked tongue of the serpent. or it can be a homely farm implement such as a pitchfork, which had two prongs in early times, or a corn broom. witches are shown in old woodcuts straddling the broom or sitting astride it sidesaddle. usually the bush of the broom points forward, but there is no rule about this, and sometimes the handle of the broom is depicted foremost. this is the archetypal image of the flying witch that has come down through the centuries to our modern celebrations of halloween. more than any other single visual image, it embodies the popular conception of the witch of folklore. that the witch is flying in the image is significant. flight is an absolutely essential part of the archetype. sometimes witches were said to fly to

garden is a hedge maze, and the plants that form its walls are covered with red and yellow flowers. birds keep up a ceaseless chatter in the tops of the trees, and swoop down to peck at the seeds in the heads of the sunflowers. the air is heavy with heat and shimmers as it rises from the path. the sound of music leads you into the maze. the ruling intelligence is the god apollo, who is sometimes depicted in the form of a young boy. he is a god of healing, but can also cause sickness and death with the arrows of his golden solar bow. at his shrine in the center of the garden maze, you may consult his oracle through the mediation of his solemn white-robed priest, who utters the inspired responses of the god. xx the last judgement hebrew letter: shin (tooth) correspondence: fire path: thirty

fourteen t here are many sets of esoteric symbols that might be used both as keys and as gateways for astral travel. the tattwa were extremely popular within the ranks of the golden dawn, as were the individual hebrew letters. astrological and alchemical symbols are effective, both the simple glyphs and the more complex compound symbols-it is quite possible to project the astral body into a scene depicted in an alchemical illustration. indeed, the alchemical woodcuts and paintings that depict the various stages of the great work seem almost designed for astral investigation. they contain complex architectural structures with doors, corridors and windows, walled gardens, caves, meadows, roads and pathways, and are populated not only with human beings but with numerous strange creatures of d

TYSON DONALD THE POWER OF THE WORD

if we look at these four letters separately we shall find that each of them has equally a recondite meaning. the first letter, which also stands for the number ten, and which by its form reminds us of the mathematical point, teaches us that god is the beginning and end of all things. the number five, expressed by 7 the second letter, shows us the union of god with nature-of god inasmuch as he is depicted by the number three, i.e, the trinity; and of visible nature, inasmuch as it is represented by plato and pythagoras under the dual. the number six, expressed by 1, the third letter, which is likewise revered in the pythagorean school, is formed by the combination of one, two, and three, the symbol of all perfection. moreoever the number six is the symbol of the cube, the bodies (solids, o

WAITE ASPECTS OF MASONIC SYMBOLISM

ho are properly warranted. so far as it is possible to speak of the kabiric mysteries, there was in those an episode of symbolical death, because kasmillos, a technical name ascribed to the candidate, was represented as slain by the gods. some of the rites which prevailed within and around greece in ancient times are concerned with the idea of a regeneration or new birth. the mysteries of bacchus depicted the death of this god and his restoration to light as rhea. osiris died and rose, and so also did adonis. he was first lamented as dead and then his revivification was celebrated with great joy. there is no need, however, to multiply the recurrence of these events in the old mysteries nor to restrict ourselves within their limits, for all religions have testified to the necessity of regen

WHO ARE THE DRACONIANS

common existence- i discovered some interesting biological facts concerning "reptilians. it seems that biologists agree that snakes ultimately mutated from lizards, and lizards from the larger "thunder lizards" or dinosaurs of ancient times. and what was the earliest dinosaur discovered? well the two contenders are the eoraptor [which gave rise to the very cunning and dexterous veloci-raptors as depicted in the jurassic park movies] and a similar saurian bi-ped which walked upright like a man, about the size of a human being, and with hands that were ideal for grabbing and ripping flesh, the herrerasaurus: both were meat-eaters, however there are enough differences and similarities between eoraptor and herrerasaurus to suggest that they had a common ancestor a "few branches down" the saur

actions with the following parallel reality. the question would be, did time-agents go back into the past to create or to prevent this nuclear attack in the fall of 1997? if you are one who desires to be part of a universe that you can put in a box and fully comprehend, then such discussions of a multi-faceted holographic reality may not be for you. i do not believe in infinite actuality lines as depicted in the sliders series [sci-fi channel] however i do suspect that if there are any muti-dimensional imperialistic parasites that could be equivicated to the "cromags" in that series, it would be the dracos. here is the post as it was sent to me: i am forwarding two posts (this is the first one) that jim and i have written so others who did not have a chance to see this can know what jim an

ng three caskets with dead females in them: a jewish girl, a native american and a black woman; another girl is holding a mayan tablet that tells of the destruction of civilisation. a huge character, described as a 'green darth vader' by alex christopher, stands over a destroyed city with a sword in his hand and women are walking along a road holding dead babies. all the children of the world are depicted taking weapons from each country and handing them to a figure of a german boy with an iron fist and an anvil in his hand. denver is apparently scheduled to be the headquarters of the western sector of the united states under the fascist global state called the new world order which is planned beyond the year 2000. atlanta is said to be the centre for the eastern sector and i remember thin

WICCA EIGHT SABBATS OF WITCHCRAFT

eight sabbats of witchcraft get any book for free on: www.abika.com 31* in most pagan cultures, the sun god is seen as split between two rival personalities: the god of light and his twin, his 'weird, his 'other self, the god of darkness. they are gawain and the green knight, gwyn and gwythyr, llew and goronwy, lugh and balor, balan and balin, the holly king and the oak king, etc. often they are depicted as fighting seasonal battles for the favor of their goddess/lover, such as creiddylad or blodeuwedd, who represents nature. the god of light is always born at the winter solstice, and his strength waxes with the lengthening days, until the moment of his greatest power, the summer solstice, the longest day. and, like a look in a mirror, his 'shadow self, the lord of darkness, is born at th

WICCA WITCHCRAFT TODAY

m consisted. another story was that it was coined from the first letters of the following sentence written backwards: templi omnium hominum pacis abbas: the father of the temple of universal peace among men. now could this word have been coined to represent the consoler, the the comforter, the giver of peace, death and what lies beyond? many writers say that the journey to the grail castle really depicted the journey of the soul through the underworld to reach paradise, and that this is made very clear by various exhibitions which are given to the hero whenever he cannot understand certain incidents (see the high history of the holy grail; also j.s.m. ward, the hung society, for full details) now this secret castle was said to be in a far land and to belong to the templars. to reach it you

WOLFSON ELLIOT ALEF MEM TAU KABBALISTIC MUSINGS ON TIME TRUTH AND DEATH

ent of parmenides preserved by simplicius in his commentary on aristotle s physics. according to the wisdom imparted to and by parmenides, time is not a flux of becoming with past or future but rather the saturation of being characteristic of that which is, the eternity of the nunc stans: it was not in the past, nor shall it be, since it is now, all at once, one, continuous. 37 congruently, plato depicted the instant as the point of transition between motion and rest, the point through and in which what is at rest comes to motion and what is in motion comes to rest. when, being in motion, it comes to rest and when, being at rest, it changes to being in motion, it must itself not be in one time. it is simply not possible for it to admit being earlier at rest and later in motion and later at

the judgment, the stamp of truth that makes the edict stand. hence, the adage that the signet of god is truth from which springs the observation that emet is composed of the first, middle, and last letters of the alphabet. to think the essence of this matter, to submit to the call of what must be thought,45 is to discern the correlation of truth and language, or, more precisely, hebrew, which is depicted in rabbinic lore (and all the more so in the esoteric accretions to the tradition) as the cosmic language, a pure or originary speech, the proto/verb inscripted as spoken, spoken as inscripted.46 at this juncture, we do not yet know what this correlation is supposed to communicate, but in time the matter will be unraveled. what can be posited here is that medieval kabbalists introduced (o

all, god forbid. however, in the time-thatwas- no-time and in the moment-that-was-no-moment [bi-zeman she-eino zeman uve- et she-eino et, he brought about every beginning [hathalah] for the created entities, and they have no prior beginning, god forbid, other than ein sof alone, for he is the origin [ro sh] and beginning [hathalah] of all that exists. 126 the temporal eternity of the infinite is depicted as a state of timelessness, in the sense of being not devoid of but rather replete with time, a time in which all moments are indistinguishably the same, a present that has no past that is not future nor future that is not past (a position reminiscent of augustine as well as of the notion of sempiternitas posited by later neoplatonists).127 the eternal temporality of the sefirotic emanati

not cease, but the finite times cease since they are from a finite order, and they revert to what they were in the beginning, and thus it is permanently such that in their end they return to their beginning. 186 mundane time approximates the ceaselessness of timeless time in the nature of cosmic cyclicality, things returning in their end to their beginning, the luminal emanations themselves often depicted in medieval kabbalistic literature by the description of the sefirot in sefer yesirah mentioned above: their end is fixed in their beginning and their beginning in their end. in the final remark concerning the permanent return of all things to their beginning, azriel alludes to the eschatological doctrine of apokastasis, the return of the many to the one, which, in this context, is formul

mmush] when malkhut is on the head of her husband, and there are no new souls, therefore there is in it no eating etc. and this is the secret of the earth was destroyed, and binah remains alone, for all of them are concealed in her midst.210 the eschatological state of redemption characteristic of the seventh millennium, the cosmic sabbath or desolation that follows the cycle of six millennia, is depicted both as the return of all things to the womb of binah, the maternal fountainhead in the sefirotic pleroma, and as the elevation of malkhut to the head of her husband. the latter image conveys the asceticism appropriate to redemption, a point underscored by the symbolic connection between binah, the worldto- come, and yom kippur. in her transformed condition, the female is a crown on the m

e skull [loven shel ha-gulggolet. with this in mind we can better comprehend the interpretation of the verse your garments should be white in every moment (eccles 9:8: the nature of the moment can be fathomed from keter, the ancient one, coterminous with the infinite and yet renewed, albeit unremittingly, as that which has eternally been what is yet-tobecome; inasmuch as the supernal emanation is depicted as the attribute of whiteness or as the whiteness of the skull, it is incumbent that an individual s garment be white in every moment. in the zoharic passage cited earlier, the gender transformation of this process is brought into sharper relief. shekhinah assumes the posture of the moment (et) when she receives from and is thereby incorporated into the male. the transposition is alluded

must irrigate [the trees] from the spring, as it says, the beginning of wisdom is the fear of the lord, a sound understanding for all who 126 chapter three practice it (ibid, 111:10. if you say she will be lacking something, thus it says, praise of him [tehillato] is everlasting (ibid).63 the beit is the fullness with which god took counsel at the beginning an obvious allusion to torah, which is depicted in similar terms in the rabbinic tradition, based on the image of wisdom in proverbs 8:30 as the playmate with which god is enrapt two thousand years prior to creation. note, again, that the word for beginning is tehillah, the expression used in conjunction with the question of the whereabouts of the bayit that shelters and exposes the king, the beit that begins torah, beginning of the op

wer as feminine, a cosmological theme attested in classical rabbinic literature. the relevant references in the older texts make it unambiguously clear that the gender imagery has a decidedly sexual nuance. thus, in the dictum of r. levi, the supernal waters are masculine and the lower feminine, the earth that opens to receive the heavenly overflow, which is linked exegetically to isaiah 45:8, is depicted 130 chapter three as a woman opening for the man. 83 if the upper is male and the lower female, the link connecting the two is presumably the phallus. this surmise would go well with the phallic image of the spring to which i have already referred, the spring of wisdom that emerges spontaneously from the rocks and waters the garden in which the king and his world delight. in an alternativ

way of sha ashu a, projecting out to hold in. the parabolic image of a king cutting rocks and carving stones in the effort to build his palace in all likelihood alludes to divine creativity through inscription, since inscribing, too, involves removing material, hollowing out a space on the stone surface, as the letters are engraved or etched. if this surmise be accepted, then sha ashu a should be depicted as a bemusing tied to the act of writing and the object written. especially against this background, the holding-in of the glory becomes palpable as the persistence of speech in the silencing of silence, the reverberation of inscription in the erasing of erasure. moving beyond the positing of two elements that would have to be resolved dialectically, we can imagine a convergence such that

h of the jewish male semiotically sealed with the inscription of the divine name?52 as i have suggested, this is precisely the metaphoric implication of the double nun in yinnon. we are now in a better position to comprehend the bahiric interpretation of the two shapes of mem. insofar as the essence of mem relates to the masculine iqqar ha-mem hu ha-zakhar it follows that the closed mem, which is depicted as masculine, discloses the symbolic nature of the letter. but the closed mem, we have already noted, is associated with the shape of the womb from above or when it is looked at from without. how do we account for this apparent discrepancy? 53 the masculine depiction of the closed mem and the image of the womb evinces that, in the absence of male seed, the woman is like the man who does n

om- within mem/ returning forward 147 ily focuses on two letters, final mem and he, which are assigned to binah, referred to as the supernal world (alma ila ah) or the world of the masculine (alma didekhura, in contrast to shekhinah, the lower world (alma tata ah) or the world of the feminine (alma de-nuqba. when binah is consolidated as a point sealed within the supernal thought (hokhmah, she is depicted iconographically as the final mem, in the shape of a square closed on all four sides. in this state, binah, the divine mother, cannot give birth, as the zoharic author explicitly declares: this is the mystery of abram, ever mem, this one does not reproduce, for it is the closed mem, and it is not generative. 59 however, when the he is added to abram, his name is changed to abraham, which

ZALEWSKI SECRET INNER ORDER RITUALS OF THE GOLDEN DAWN OCR

self sacrifice, and crucifixion contained in the 5=6 grade by g.h. frater d.d.f.c. this lecture was delivered on good friday, march 31st, 1893, to the adepti in college assembled. dealing first of all with the diagrams in the first order and proceeding upwards, it will be noticed that in the lowest grade in the outer (0=0) there are no diagrams, properly so called, but that on the two pillars is depicted the symbolism of the passage of the soul from the egyptian ritual of the dead; this being as it were a sympathetic aspect to be developed and explained with the advance of the candidate through the various stages. after the first grade comes the 1=10, where we find the first form of the sephiroth in the tree of life; this is the representation of the flaming sword descending, but it is no

ands, as it were, before the synthetical god of all things. that is the only real way to become the greatest adept, and is directly dependent on your life and your actions in life. and upon the lid of the pastos this process is symbolically resumed: there we see the suffering man, pitiful and just, before whose injustice and purity the heads of the dragon fall back, but on the upper half there is depicted a tremendous and a flaming god, the fully initiated man: the adept who has attained his supreme initiation. it will be noticed that in the 4=7 diagram the heads of the dragon have seized the sephiroth but, as before remarked, on the lid of the pastos they are falling back from the figure on the cross: they are dispossessed only by the sacrifice of the lower self. recall to your mind that

wherein the key of temperance, the 14th tarot key, is discovered for your encouragement and support. it is the way of combination and equilibrium, of providence in desirable change, as for example, in the transit from the material that is without to the spiritual that is within. it is also the principle of sacramental life, the ascent of human nature that the divine may come down therein. as here depicted, the key of temperance is really a synthesis of tiphereth and of the path which leads thereto. that path in the sepher yetzirah is called the intelligence of temptation or of trial, because it is the test of merit which god applies to those whom he calls to his service. the sacred name of tiphereth is bound upon the breast of the figure before you; the star of the hexagram is beneath it

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