Michael Wynn's Occult Reference Library
FAUST

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ABRAMELIN1

eally obtainable by those who were willing to quit their home and their country to undergo dangers and hardships in its quest; and this idea even obtains to an extent in the present day. the life of the late madame blavatsky is an example in point. this period in which abraham the jew lived was one in which magic was almost universally believed in, and in which its professors were held in honour; faust (who was probably also a contemporary of our author, cornelius agrippa, sir michael scott, and many others i could name, are examples of this, not to mention the celebrated dr. dee in a later age. the history of this latter sage, his association with sir edward kelly, and the part he took in the european politics of his time are too well known to need description here. that abraham the jew w

of the three calendars and the five ladies of bagdad, that of beder and giauhare, etc, etc; as distinct from the voluntary transformation of the magician into another form, as exemplified in the story of the second calendar, the symbols for which are given in the twenty-first chapter of our third book. again these chapters will recall to many of my readers the extraordinary magical effects which faust is said to have produced; who, by the way, as i have before remarked, was in all probability contemporary with abraham the jew. introduction xvi but the mode of their production as given in this work is not the black magic of pact and devil-worship, against which our author so constantly inveighs, but instead a system of qabalistic magic, similar to that of the key of solomon the king and th

BEHOLDERS OF NIGHT

visms and the lesser and greater famulus of the self, that the sabbatic path awakens our potential as gods and goddesses. reach forth into the shadow, for it is there that lucifer and iblis emerge, and through the nightside may the gates of immortality open. i wish to thank those who have offered friendship, assistance and their own ideas in whatever way that it manifests: douglas grant, armiluss faust, charles gonzales, aaron besson, frater scorpius nokmet, stephen cass, nathan harris (red priory) and the independent initiates of the luciferian path. vox barathrum, michael ford [1] iblis, the black light by peter lamborn wilson. gnosis magazine [2] yatuk dinoih, a grimoire of persian and left hand path witchcraft by michael w. ford [3] lilith, awlraun-lilith, see azothoz by michael w. for

BLACK SERPENT1

school stated her removal as a bus driver for the district was for the safety of the children. ms. carpenter was otherwise an exemplary employee and never discussed her religion with the children. http//wcco.com/topstories/local_story_014123111.html even non-occultists have been victims. tresa waggoner, the colorado music teacher whose attempts to introduce local children to opera using gounod's faust drew a storm of criticism, has decided to take legal action after being forced to take administrative leave from the bennett school after showing the opera led to accusations that the married mother of two was a lesbian promoting homosexuality; the plot of faust, where the title character sells his soul to the devil to recapture his youth, led to her being labeled a devil worshipper. both ac

e news italy jails 5 satanic killers (february 1, 2006; from bbc online) http//news.bbc.co.uk/1/hi/world/europe/4669944.stm their victims were a woman shot and buried alive in 2004 and a teenage couple murdered in 1998. the case has shocked italy- a devoutly roman catholic country that has become increasingly concerned about the spread of satanic cults. colorado music teacher defends screening of faust video (february 3, 2006; from playbill arts online) http//www.playbillarts.com/news/article/3850.html tresa waggoner, the colorado music teacher whose attempts to introduce local children to opera resulted in her being branded a devil worshipper, has decided to take legal action after being forced to take administrative leave from the bennett school. the controversy began after waggoner, who

has decided to take legal action after being forced to take administrative leave from the bennett school. the controversy began after waggoner, who teaches elementary, middle and high school students at the k-12 school in a small town about 25 miles east of denver, tried to pique the curiosity of the first, second, and third graders in one of her classes about opera. she chose a video of gounod's faust (which she found on the classroom shelf) to teach the children about bass and tenor voices, the use of props, and "trouser roles" in opera. the latter, she says, led to accusations that the married mother of two was a lesbian promoting homosexuality; the plot of faust, where the title character sells his soul to the devil to recapture his youth, led to her being labeled a devil worshipper. f

BOOK OF DOOM

ater algolis, o.a.i. published by: ordo algolis interstellaris copyright by frater algolis, pontifex maximus ordinis caputis medusae. all rights reserved. no part of this book may be reproduced in any form without prior permission in writing by the author or publisher. published by o.a.i, box 666-033, marietta, ga 30066 if you dare to violate this copyright or the copyright of any other o.a.i. or faust material (doctor johannes faust's miracle and magic book, or the black raven or the threefold coercion of hell, doctor johannes faust's infernal tarot, etc, or if you are in possession of the book of doom or any faust material that has been produced in violation of this copyright, you will be automatically the target of the most powerful magical attack unless you destroy these materials! the

f the infernal hierarchy have to tell you, and all the power will be yours. 3.18. the structure of the o.a.i. is following the principles of the infernal hierarchy and so should all groups that are truly left path, small and large, from the top to the bottom. translator's note: the algolic spiritual hierarchy is somewhat reflected in the grimoire "the threefold coercion of hell by doctor johannes faust" translated into english by k.h.w. however, the names of the infernal spirits have been somewhat distorted in this german classic. the hierarchy of the o.a.i. is indeed following these ancient principles as shown in this chapter, and so is the hierarchy of all branches of the o.a.i. caput quartum: the infernal alphabet of doom part 1: letters from f through g 4.1. the first letter of the inf

CHIREAU YVONNE BLACK MAGIC RELIGION AND THE AFRICAN AMERICAN CONJURING TRADITION

say smith, the autobiography of james l. smith, including also reminiscences of slave life, recollections of the war, education of freedmen, causes of the exodus, etc (norwich: society of the founders of norwich, connecticut, 1881, p. 171 for another account of a conjurer's assistance to a fugitive slave. 12. rawick, american slave, texas narratives vol. 5, p. 161; added emphasis. 13. drew gilpin faust, james henry hammond and the old south: a design for mastery (baton rouge: louisiana state university press, 1985, pp. 82, 93. see also levine, black culture and black consciousness, p. 75; blassingame, slave community, p. 45; eugene genovese notes that while the conjurer "helped build an inner and autonomous black world for his brothers and sisters" he simultaneously "reinforced the image o

COSIMANO CHARLES ELEMENTARY PSIONICS

far as teaching tech is concerned so there is no longer the need for the extreme details of the first edition. but here it is and i hope you will enjoy it. introduction in the beginning was the thought, and thought created a form, and from that came the word "thoughtform" ok, i couldn't resist having my little joke, but it is true that everything begins with a thought of some sort. goethe has his faust come to that conclusion and he was right, for it is the action of consciousness that gets everything going. this book is about thought. it is about taking the power of human thought and making it do things for you, not for humanity, but for you. there will be no idealism in this book, no do-gooderness. i am not that type of person. what i am going to do here, in this work, is continue what i

DION FORTUNE PSYCHIC SELF DEFENSE

of nuts and may, in which the one who is sent "to fetch her away" is gripped round the waist by the leader of a chain of supporters. the real pressure comes on his own abdominal muscles, as anyone who has played the game will remember. and when the magical operation is over, what then? will the operator be left to enjoy his victim in peace? is it likely? this is the mystical basis of the story of faust. the devil might be not only willing but anxious to enable dr. faustus to win margarita, but he came for his soul at the appointed time. we may also remember that if margarita had not responded to the lure of the jewel song she would not have fallen a victim. the weak spot in the defence was after all in her own nature. we have considered the modus operandi of telepathic suggestion in detail

DONALDTYSON MIRACLES

wrought by god are true and enduring changes, whereas the changes worked by magicians are temporary illusions. hence in christian folklore you read of the glamours of witches, who can make a man believe that his penis has fallen off, or that he has transformed into a beast such as a swine or a donkey, even though these things have not actually taken place. you encounter tales of magicians such as faust who could transform for a time bits of twigs and stones into the semblance of gold and silver coins, or could make a lavish banquet seem to appear in a twinkling- but eventually the coins became twigs again, and the food of the banquet failed to fill the stomachs of the guests. this explanation has always struck me as a bit flimsy. who is to say that the loaves and fishes miraculously multip

or could make a lavish banquet seem to appear in a twinkling- but eventually the coins became twigs again, and the food of the banquet failed to fill the stomachs of the guests. this explanation has always struck me as a bit flimsy. who is to say that the loaves and fishes miraculously multiplied by jesus to feed his flock (matthew 14:15-21) were any different in kind than the banquets created by faust and other famous magicians to feed their dinner guests? when the magician of the pharaoh of egypt cast down a staff before moses and transformed it into a serpent, was this really any less miraculous than the staff cast down and turned into a serpent by moses himself? if true changes of essence are the measure of a miracle, then what are we to make of the alchemical act of transforming base

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

f tertullian, basil, and bonaventure, the fearless monarch gave his sanction to such masters as practiced the art of divination by the stars, and in one part of his code enrolled astrology among the seven liberal sciences. in germany many eminent men pursued astrology. a long catalog could be made of those who have considered other sciences with reference to astrology and written on them as such. faust has, of course, the credit of being an astrologer as well as a wizard, and we find that singular but splendid genius, cornelius agrippa writing with as much zeal against astrology as on behalf of other occult sciences. of the early developments in astrology in england little is known. bede and alcuin have been mentioned. roger bacon included it among his broad studies. but it is the period o

f the lapwing and bat, soot, aconite, and deadly nightshade. francesco-maria guazzo, author of compendium maleficarum (1608) states that the witch unguent was made from a thick stew of boiled children, preferably unbaptized. this was a fantastic allegation made earlier by sylvester prierias, in 1521. it was claimed that this ointment gave witches the power of transvection, flying through the air. faust a legendary occult magician of the sixteenth century, famous in literature. there is some evidence that such a person existed. trithemius mentioned him in a letter written in 1507, in which he referred to him as a fool and a mountebank who pretended he could restore the writings of the ancients if they were wiped out of human memory, and blasphemed concerning the miracles of christ. in 1513

famous in literature. there is some evidence that such a person existed. trithemius mentioned him in a letter written in 1507, in which he referred to him as a fool and a mountebank who pretended he could restore the writings of the ancients if they were wiped out of human memory, and blasphemed concerning the miracles of christ. in 1513 konrad mudt, a canon of the german church, also alluded to faust in a letter as a charlatan. in 1543 johann gast, a protestant pastor of basel, apparently knew faust, and considered a horse and dog belonging to the magician to have been familiar spirits. johan weyer, who opposed the excesses of witch-hunters, mentioned faust in a work of his as a drunkard who had studied magic at cracow. he also mentioned that in the end satan strangled faust after his ho

sel, apparently knew faust, and considered a horse and dog belonging to the magician to have been familiar spirits. johan weyer, who opposed the excesses of witch-hunters, mentioned faust in a work of his as a drunkard who had studied magic at cracow. he also mentioned that in the end satan strangled faust after his house had been shaken by a terrific din. from other evidence it seems likely that faust was a wandering magician or necromancer whose picturesque character won him notoriety. no doubt the historic faust was confused in legend with johan fust, the pioneer of early printing, whose multiplication of books must have been ascribed to magic. by the end of the century in which faust flourished, he had become the model of the medieval magician, and his name was forever linked with thos

n him notoriety. no doubt the historic faust was confused in legend with johan fust, the pioneer of early printing, whose multiplication of books must have been ascribed to magic. by the end of the century in which faust flourished, he had become the model of the medieval magician, and his name was forever linked with those of virgil, roger bacon, pope silvester ii, and others. the origins of the faust legend are ancient. the essentials underlying the story are the pact with satan, and the supposed vicious character of purely human learning. the idea of the pact with satan belongs to both jewish and christian magicoreligious belief, but is probably more truly kabalistic. the belief can scarcely be traced further back, unless it resides in the idea that a sacrificed person takes the place o

ying the story are the pact with satan, and the supposed vicious character of purely human learning. the idea of the pact with satan belongs to both jewish and christian magicoreligious belief, but is probably more truly kabalistic. the belief can scarcely be traced further back, unless it resides in the idea that a sacrificed person takes the place of the deity to which he gives up his life. the faust tale soon spread over europe and the story of faust and his pact with the devil was celebrated in broadside ballads. the first dramatic representation of the story was christopher marlowe s tragicall history of dr. faustus. the dramatist g. e. lessing wrote a faust play during the german literary revival of the eighteenth century, but it remained for goethe to grant faust some degree of immo

tory of dr. faustus. the dramatist g. e. lessing wrote a faust play during the german literary revival of the eighteenth century, but it remained for goethe to grant faust some degree of immortality through the creation of one of the great psychological dramas of all time. goethe differed from his predecessors in his treatment of the story in that he gave a different character to the pact between faust and mephistopheles, whose nature is totally at variance with the devils of the old faust books. goethe took the idea of faust s final salvation from lessing. it may be said that although in some respects goethe adopted the letter of the old legend he did not adopt its spirit. probably the story of faust has given to thousands their only idea of medieval magic, and this idea has lost nothing

ects goethe adopted the letter of the old legend he did not adopt its spirit. probably the story of faust has given to thousands their only idea of medieval magic, and this idea has lost nothing in the hands of goethe, who cast about the subject a much greater halo of mystery than it contained. fat of the sorcerers encyclopedia of occultism& parapsychology. 5th ed. 550 sources: bates, paul a, ed. faust: sources, works, criticism. new york: harcourt, brace, and world, 1968. grim, william e. the faust legend in music and literature. lewiston, n.y: edwin mellen press, 1988. palmer, philip m, and robert p. more. sources of the faust tradition from simon magus to lessing. oxford: oxford university press, 1936. reprint, new york: haskell house, 1965. fawcett, colonel percy harrison (1867.1925) b

ife, the innermost secrets of nature. some people believed the activities of these men to be nothing more than pacts with the devil. the knowledge that the alchemists gained could be acquired only by evil means. religious people reasoned that the soul of the magician was the price promised and demanded by the evil one. these myths and imaginings centered around one magician especially, and in the faust legend we may find the general attitude and belief of the middle ages regarding the interaction of learning and supernatural beliefs. mystical societies while the alchemist conducted rudimentary scientific research, they were gnostic mystics, as their writings testify. their work fits into the larger gnostic world whose exponents were rosicrucians and theosophists. among the more notable mys

er, preacher of peace and clemency to monarchs and princes; heinrich zschokke, the gothic novelist; and dr. justinus kerner (1786.1862, believer in magnetism and historian of two cases of possession and mediumship, the maid of orlach and frederica hauffe, the seeress of prevorst. also during this period, the poet, playwright, philosopher and novelist, johann wolfgang von goethe whose own story of faust made his name synonomous with the struggle between good and evil, showed serious interest in the occult, particularly dreams. his grandfather s dreams seemed to be prophetic, and goethe served as a witness to the truth of them. goethe himself was considered psychic. the cures said to be affected by prince hohenlohe, a dignitary of the church occured early in the nineteenth century. he was le

ppear indifferent to the study of law, he succeeded in becoming an advocate in 1771 and returned to frankfurt. goethe had already written a quantity of verse and prose, and he began to write critiques for some of the newspapers in frankfurt. at the same time he started writing goetz von berlichingen and werther. these works were soon followed by prometheus, and in 1774 the author began working on faust. the following year saw the production of some of goethe s best love poems, written for lilli schonemann, daughter of a frankfurt banker. nothing more than poetry, however, resulted from this new devotion. scarcely had it come and gone before goethe s whole life was changed, for his writings had become famous. as a result the young duke carl august of weimar, anxious for a trusty page, invit

ouble) the year 1806 was a significant one in goethe s life, marked by his marriage and also by the entry of napoleon into weimar. the conquering general and the german poet found much in each other to admire, and napoleon decorated goethe with the cross of the legion of honour. in 1811 goethe wrote dichtung und wahrheit, wilhelm meister s wanderjahre; in 1821 he began working at a second part of faust. during this time he had two famous visitors. beethoven from vienna and thackeray from london. although the composer thought himself coldly received, the novelist spoke with enthusiasm of the welcome accorded him. goethe was then well advanced in years, however, and his health was beginning to fail. he died march 22, 1832. few great writers.not even disraeli or sir walter scott. had fuller l

th was beginning to fail. he died march 22, 1832. few great writers.not even disraeli or sir walter scott. had fuller lives than goethe. his love affairs, besides those mentioned here, were many, and his early taste for the graphic arts continued to the end of his days, resulting in a vast collection of treasures. his interest in mysticism manifested itself in various forms besides the writing of faust. with a temperament aspiring to the unattainable, goethe s mind was essentially a speculative one. during his childhood at frankfurt he did symbolic drawings of the soul s aspirations to the deity, and he later became immersed in the study of the christian religion. eventually he grew skeptical on this subject, his ideas being altered not only by his own ruminations but by reading various ic

y he was a keen student of alchemy, reading deeply in welling, jean baptiste van helmont, basil valentine, and paracelsus, and even fitting up a labora- encyclopedia of occultism& parapsychology. 5th ed. goethe, johann wolfgang von 649 tory where he spent long hours in arduous experiments. no doubt it was while thus engaged that goethe first conceived the idea of writing a drama on the subject of faust, and his alchemistic and other scientific research certainly proved advantageous when he was composing that work. the story s main outlines are visible in calderon s and marlowe s versions, as well as in the operas of gounod, schumann, and berlioz. it is mainly because of faust that goethe is considered a great mystic, for his rendering of the immortal theme is acknowledged as among the fine

ageous when he was composing that work. the story s main outlines are visible in calderon s and marlowe s versions, as well as in the operas of gounod, schumann, and berlioz. it is mainly because of faust that goethe is considered a great mystic, for his rendering of the immortal theme is acknowledged as among the finest in the whole of mystical literature. sources: cottrell, alan p, ed. goethe s faust: seven essays. chapel hill, n.c: university of north carolina press, 1976. davidson, thomas. philosophy of goethe s faust. boston, 1906. reprint, haskell, 1969. goethe, johann wolfgang von. the autobiography of johann wolfgang von goethe. 2 vols. chicago: university of chicago press, 1975. gray, ronald d. goethe, the alchemist: a study of alchemical symbolism in goethe s literary& scientific

county dublin and springhill manor in county londonderry. scotland in scotland there are also numerous haunted buildings, notably holyrood palace and the castles of hermitage and glamis. the ghost of hermitage is considerably addicted to exercise and in truth his story marks him as having been a man of rare activity and ambition. lord soulis was his name, and, possibly hearing of the exploits of faust, he vowed that he too would invoke the devil, who generously made his appearance. vast power will be yours on earth, said the devil to soulis, if you will but barter your soul therefor, so his lordship signed the requisite compact with his life s blood and from then on his days were given over to the enjoyment of every conceivable pleasure. soon, however, he felt that his end was near, and c

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

her reasons, having made a pact with the devil and then having intercourse with him. the publication of the witches hammer launched the great era of witch-hunts that culminated in the incidents at salem village, massachusetts, three centuries later. overwhelmingly, accounts of pacts with the devil are tied to witchcraft persecution. in 1587 the first book appeared recounting the story of johannes faust, the legendary magician who made the most famous pact with a devil figure, the demon mephistopheles. in exchange for his soul, mephistopheles agreed to serve faust for 24 years. he was granted every wish for that period, only to be killed by the demon when the 24 years ended. faust has inspired a number of literary reflections upon the individual s relationship with evil. signs of the devil

een. the abc of witchcraft past and present. new york: st. martin s press, 1973. sabbathi this angel, in the jewish rabbinical legend of the celestial hierarchies, is assigned the sphere of saturn. he receives the divine light of the holy spirit and communicates it to the dwellers in his kingdom. sabellicus, georgius (ca. 1490) a magician who lived about the same time as the legendary necromancer faust, at the end of the fifteenth century. sabellicus s chief claim to fame as a sorcerer rests on his own wide and arrogant advertisement of his skill in necromancy. he styled himself: the most accomplished georgius sabellicus, a second faustus, the spring and centre of necromantic art, an 1337 astrologer, a magician, consummate in chiromancy, and in agromancy, pyromancy and hydromancy inferior

urity, his name is familiar for various reason. first, the poet dante referred to him in his inferno, speaking of him as one singularly skilled in magical arts, while scott was also mentioned by boccaccio, who hailed him as among the greatest masters of necromancy. moreover, samuel taylor coleridge planned a drama dealing with scott, who scott asserted was a much more interesting personality than faust. there is a novel about him by allan cunningham, but above all, he figures in sir walter scott s the lay of the last minstrel. sir walter scott, not a very careful antiquarian, identified the astrologer with one sir michael scott of balwearie, who, along with sir david wemyss of wemyss, went to bring the maid of norway to scotland in 1290. however, this identification is manifestly wrong, fo

he wrote a treatise on the subject, another on the supposed administration of the world by its guardian angels, translated into english in 1647 by the astrologer william lilly. he wrote a third book on geomancy, or divination by means of lines and circles on the ground, a fourth upon sorcery, and a fifth on alchemy. in his work on sorcery, trithemius made an early mention of the popular story of faust, and recorded his experiences with the spirit named hudekin. reportedly, trithemius gave the emperor maximilian a vision of his deceased wife, the beautiful mary of burgundy. reputedly he defrayed the expenses of his monastic establishment at spanheim by resources obtained from the philosophers stone. sources: seligmann, kurt. the history of magic. new york: pantheon books, 1948. reprinted a

FAUST

r of the united cosmic council; a commander in chief in charge of directing technical transmissions via mental telepathy of the combination of mediumistic telepathy under the direction of the confederation of cosmic space beings (keel, 1975. zandark s people are here to bring peace, and they have been here a long time. they built the sphinx, the pyramids, and other classic ancient structureth1808 faust johann wolfgang von goethe translated by george madison priest goethe, johann wolfgang von (1749-1832- german poet, writer, and playwright who was a dominant influence in german literature. his primary focus was on the natural evolution of things rather than abstract theories. faust (1808) a play about the legend of faust who promises his soul to the destructive spirit mephistopheles in orde

grass to sing the same old thing. if in the grass he always were reposing! but in each filthy heap he keeps on nosing. the lord you ve nothing more to say to me? you come but to complain unendingly? is never aught right to your mind? mephistopheles no, lord! all is still downright bad, i find. man in his wretched days makes me lament him; i am myself reluctant to torment him. the lord do you know faust? mephistopheles the doctor? the lord yes, my servant! mephistopheles he! forsooth, he serves you most peculiarly. unearthly are the fool s drink and his food; the ferment drives him forth afar. though half aware of his insensate mood, he asks of heaven every fairest star and of the earth each highest zest, and all things near and all things far can not appease his deeply troubled breast. the

aught that ever may appear, to float and waver, make steadfast in enduring thought! heaven closes, the archangels disperse. mephistopheles [alone] i like to see the old man not infrequently, and i forbear to break with him or be uncivil; it s very pretty in so great a lord as he to talk so like a man even with the devil. the first part of the tragedy night in a high-vaulted, narrow gothic chamber faust, restless in his chair by his desk. faust i ve studied now philosophy and jurisprudence, medicine, and even, alas! theology all through and through with ardour keen! here now i stand, poor fool, and see i m just as wise as formerly. am called a master, even doctor too, and now i ve nearly ten years through pulled my students by their noses to and fro and up and down, across, about, and see t

spirit invoked! near me, i feel, thou art! unveil thyself! ha! how it rends my heart! to unknown feeling all my senses burst forth, reeling! i feel my heart is thine and to the uttermost! thou must! thou must! though my life be the cost! he clutches the book and utters the sign of the spirit in a tone of mystery. a ruddy flame flashes up; the spirit appears in the flames. spirit who calls to me? faust [turning away. appalling apparition! spirit by potent spell hast drawn me here, hast long been tugging at my sphere, and now- faust oh woe! i can not bear thy vision! spirit with panting breath thou hast implored this sight, wouldst hear my voice, my face wouldst see; thy mighty spirit-plea inclineth me! here am i- what a pitiable fright grips thee, thou superman! where is the soul elated? w

vision! spirit with panting breath thou hast implored this sight, wouldst hear my voice, my face wouldst see; thy mighty spirit-plea inclineth me! here am i- what a pitiable fright grips thee, thou superman! where is the soul elated? where is the breast that in its self a world created and bore and fostered it? and that with joyous trembling expanded as if spirits, us, resembling? where art thou, faust, whose voice rang out to me, who toward me pressed with all thy energy? is it thou who, by my breath surrounded, in all the deeps of being art confounded? a frightened, fleeing, writhing worm? faust am i, o form of flame, to yield to thee in fear? tis i, i m faust, i am thy peer! spirit in the tides of life, in action s storm, up and down i wave, to and fro weave free, birth and the grave, a

art confounded? a frightened, fleeing, writhing worm? faust am i, o form of flame, to yield to thee in fear? tis i, i m faust, i am thy peer! spirit in the tides of life, in action s storm, up and down i wave, to and fro weave free, birth and the grave, an infinite sea, a varied weaving, a radiant living, thus at time s humming loom it s my hand that prepares the robe ever-living the deity wears. faust thou who dost round the wide world wend, thou busy spirit, how near i feel to thee! spirit thou art like the spirit thou canst comprehend, not me! vanishes. faust [collapsing] not thee! whom then? i, image of the godhead! and not even like to thee! somebody knocks. o death! i know it- tis my famulusthus turns to naught my fairest bliss! that visions in abundance such as this must be disturbe

ee! spirit thou art like the spirit thou canst comprehend, not me! vanishes. faust [collapsing] not thee! whom then? i, image of the godhead! and not even like to thee! somebody knocks. o death! i know it- tis my famulusthus turns to naught my fairest bliss! that visions in abundance such as this must be disturbed by that dry prowler thus! wagner in dressing-gown and night-cap, a lamp in his hand.faust turns round impatiently. wagner pardon! i ve just heard you declaiming. twas surely from a grecian tragic play? at profit in this art i m also aiming; for much it can effect today. i ve often heard the boast: a preacher might take an actor as his teacher. faust yes, if the preacher is an actor, there s no doubt, as it indeed may sometimes come about. wagner ah! if thus in his study one must

iming; for much it can effect today. i ve often heard the boast: a preacher might take an actor as his teacher. faust yes, if the preacher is an actor, there s no doubt, as it indeed may sometimes come about. wagner ah! if thus in his study one must stay, and hardly sees the world upon a holiday, scarce through a telescope, and far off then, how through persuasion shall one lead one s fellow-men? faust unless you feel, naught will you ever gain; unless this feeling pours forth from your soul with native, pleasing vigour to control the hearts of all your hearers, it will be in vain. pray keep on sitting! pray collect and glue, from others feasts brew some ragout; with tiny heaps of ashes play your game and blow the sparks into a wretched flame! children and apes will marvel at you ever, if

lect and glue, from others feasts brew some ragout; with tiny heaps of ashes play your game and blow the sparks into a wretched flame! children and apes will marvel at you ever, if you ve a palate that can stand the part; but heart to heart you ll not draw men, no, never, unless your message issue from your heart. wagner yet elocution makes the orator succeed. i feel i am still far behind indeed. faust seek for the really honest gain! don t be a fool in loudly tinkling dress! intelligence and good sense will express themselves with little art and strain. and if in earnest you would say a thing, is it needful to chase after words? ah, yes, your eloquence that is so glittering, in which you twist up gewgaws for mankind, is unrefreshing as the misty wind, through withered leaves in autumn whi

twist up gewgaws for mankind, is unrefreshing as the misty wind, through withered leaves in autumn whispering. wagner ah, god! how long is art! and soon it is we die. oft when my critical pursuits i ply, i truly grow uneasy both in head and heart. how hard to gain the means whereby a man mounts upward to the source! and ere man s ended barely half the course, poor devil! i suppose he has to die. faust parchment! is that the sacred fountain whence alone there springs a draught that thirst for ever quells? refreshment? it you never will have won if from that soul of yours it never wells. wagner excuse me! but it is a great delight to enter in the spirit of the ages and to see how once a sage before us thought and then how we have brought things on at last to such a splendid height. faust oh

mirrored age itself reveals. then, truly, that is oft a sorry sight to see! i vow, men do but glance at it, then run away. a rubbish-bin, a lumber-garret it may be, at best a stilted, mock-heroic play with excellent, didactic maxims humming, such as in puppets mouths are most becoming. wagner but, ah, the world! the mind and heart of men! of these we each would fain know something just the same. faust yes, know! men call it so, but then who dares to call the child by its right name? the few who have some part of it descried, yet fools enough to guard not their full hearts, revealing to riffraff both their insight and their feeling, men have of old burned at the stake and crucified. i beg you, friend, it s far into the night, we must break off our converse now. wagner i d gladly keep awake

their feeling, men have of old burned at the stake and crucified. i beg you, friend, it s far into the night, we must break off our converse now. wagner i d gladly keep awake for ever if i might converse with you in such a learned way; tomorrow, though, our easter-sunday holiday, this and that question you ll allow. i ve studied zealously, and so i know much now, but all i fain would know. exit. faust [alone] how strange a man s not quitted of all hope, who on and on to shallow stuff adheres, whose greedy hands for hidden treasure grope, and who is glad when any worm appears! dare such a human voice resound where spirits near me throng around? yet still i thank you, poorest one of all the sons of earth, for what you ve done. torn loose by you, from that despair i m freed that nearly drove

juice, one s quickly drunk with it. with its brown flood it fills thy ample bowl. this i prepared, i choose this, high upborne; be this my last drink now, with all my soul, a festal, lofty greeting pledged to morn! he puts the goblet to his lips. the sound of bells and choral song. chorus of angels. christ is arisen! joy to mortality, whom earth s carnality, creeping fatality, held as in prison! faust what a deep humming, what a clarion tone, draws from my lips the glass with mighty power! ye deep-toned bells, make ye already known the easter-feast s first solemn hour? ye choirs, do ye the hymn of consolation sing, which angels sang around the grave s dark night, to bring assurance of new covenant and dower? chorus of women. rare spices we carried and laid on his breast; we tenderly burie

s dark night, to bring assurance of new covenant and dower? chorus of women. rare spices we carried and laid on his breast; we tenderly buried him whom we loved best; cloths and bands round him, spotless we wound him o er; ah! and we ve found him, christ, here no more. chorus of angels. christ is ascended! blessed the loving one who endured, moving one, trials improving one, till they were ended! faust ye heavenly tones, so powerful and mild, why seek ye me, me cleaving to the dust? ring roundabout where tender-hearted men will hear! i hear the message well but lack faith s constant trust; the miracle is faith s most cherished child. i do not dare to strive toward yonder sphere from whence the lovely tidings swell; yet, wonted to this strain from infancy, back now to life again it calleth

not at all. soldiers castles with lofty ramparts retaining, maids who are haughty, scornful, disdaining, fain i d be gaining! bold is the venture, grand is the pay! we let the trumpet summon us, wooing, calling to pleasure, oft to undoing. that is a storming! life in its splendour! maidens and castles both must surrender. bold is the venture, grand is the pay! then are the soldiers off and away. faust and wagner. faust from the ice they are freed, the stream and brook, by the spring s enlivening, lovely look; the valley s green with joys of hope; the winter old and weak ascends back to the rugged mountain slope. from there, as he flees, he downward sends an impotent shower of icy hail streaking over the verdant vale. ah! but the sun will suffer no white, growth and formation stir everywhe

a-rah! rang shouts and fiddle-playing. old peasant good doctor, this is fine of you, that you don t scorn us here today, and now amid this crowding throng, a highly-learned man, you stray. hence take in turn the finest mug that with a fresh, cool drink we ve filled. i pledge you, sir, and wish aloud not only that your thirst be stilled: for every drop the mug conveys, a day be added to your days! faust i take the refreshing drink and thus i too return the health with thanks to all of you. the people gather round in a circle. old peasant forsooth, it is indeed well done that you on happy days appear. you have aforetime with us too been kind when days were evil here! full many a one stands here alive, whom your good father still did wrest from burning fever s deadly rage when he set limits t

your good father still did wrest from burning fever s deadly rage when he set limits to the pest. and you as well, a young man then, to every sick man s house you went around. many a corpse did men bring forth, but from within you came out sound, withstanding many a test severe; the helper over us helped our helper here. all health to the man whom we have tried, long may he be our help and guide! faust to him on high with reverence bend, who teaches help and help doth send! he goes on with wagner. wagner oh, what a feeling you must have, great man, thus venerated by this multitude! oh, happy he who, through his own gifts, can draw such a gain, such gratitude! the father shows you to his brood, each asks and hastes and nearer draws; the fiddle stops, the dancers pause. you go, they stand in

ing you must have, great man, thus venerated by this multitude! oh, happy he who, through his own gifts, can draw such a gain, such gratitude! the father shows you to his brood, each asks and hastes and nearer draws; the fiddle stops, the dancers pause. you go, they stand in rows to see. the caps are quickly lifted high; a little more and they would bend the knee as if the holy sacrament came by. faust only a few steps farther, up to yonder stone! here let us rest a little from our straying. here often, wrapped in thought, i sat alone and tortured me with fasting and with praying. in hope full rich, firm in the faith possessed, with tears, sighs, wringing hands, i meant to force the lord in heaven to relent and end for us the fearful pest. the crowd s applause now sounds like scorn to me

sands, ere they pined away; and i must live to hear the shameless murderers praised and blessed. wagner how can you give yourself to such lament? does not a good man do his part in practising transmitted art exactly and with good intent? if you revere your father as a youth, gladly from him you will receive; if as a man you further knowledge and the truth, then can your son a higher goal achieve. faust oh, happy he who still hopes that he can emerge from error s boundless sea! what man knows not, is needed most by man, and what man knows, for that no use has he. but what fair blessing that this hour can show let s not with mournful thoughts like these embitter! behold how in the evening sunset-glow the green-encircled hamlets glitter. the sun retreats- the day, outlived, is o erit hastens

hours of my own, yet such an impulse i have never known. one s sated soon if on the woods and fields he look; i ll never envy any bird his wing. how differently the joys of spirit bring us on from page to page, from book to book! then winter nights become so sweet and fair, a blessed life warms up our every limb; and ah! if one unrolls a parchment really rare, the whole of heaven descends on him. faust by one impulse alone are you impressed. oh, never learn to know the other! two souls alas! are dwelling in my breast; and each is fain to leave its brother. the one, fast clinging, to the world adheres with clutching organs, in love s sturdy lust; the other strongly lifts itself from dust to yonder high, ancestral spheres. oh, are there spirits hovering near, that ruling weave, twixt earth a

and plain. they like to hear, on mischief gaily bent, they like to hearken, for they like to try to fool us, pose as if from heaven sent, and lisp like angels when they lie. but let us go! the world s already grey, the air grows chill, the mists of evening fall! tis now we treasure home the most of allwhy do you stand and stare? what is the trouble? what in the gloaming seizes you in such a way? faust you see that black dog streaking through the grain and stubble? wagner i saw him long since; not important did he seem to me. faust observe him well! what do you take the beast to be? wagner why, just a poodle; in his way he s worrying in his attempt to find his master s traces. faust but do you note how in wide spiral rings he s hurrying around us here and ever nearer chases? and if i err n

FREEMASONRY AND CATHOLICISM BY MAX HEINDEL

ristic of unselfishness developed in former lives that fitted the spirit of solomon which inhabited the body of jesus for the high mission it was destined to fulfill; to serve as a vehicle for the unifying unselfish christ spirit, for the purpose of bringing to an end the division between the sons of seth and the sons of cain and uniting them in the brotherhood forming the kingdom of heaven. when faust made the pact with mephistopheles, as recorded in the ancient soul-myth of that name, he was about to sign it in ink but mephisto says "no, sign it in blood" for this request faust asks the reason and mephistopheles says knowingly and cunningly "blood is a most peculiar essence" it is said in the bible that the blood of bulls and calves will not take away sins and that is reasonable, but how

GILBERT THE MAGICAL MASON

who was born to combat satan, the prince ofthedemons, the ruler of the powers of the air, the king of this world.thecommon conception of the devil of our time has been much influenced by the works of milton, notably by hisparadise lost,in which the devil appearsundera newname-lucifer;and by goethe in hisfaust,in which mephist255 opheles appears in a german town as a fiend in human form, tempting faust to sin for pleasure.themost modern tendency, however, is to cast doubts on the ideal satan as a being, and to consider him rather as a type or symbol of the evil tendencies which arise in the mind, and are displayed in the actions of men.theoccult students of the middle ages recognized devils in general, and also personal chieftains among them, and so do the more modern rosicrucian students

rman rosicrucian theosophist, rudolph steiner, the author of several very instructive books in regard to man's origin, constitution and destiny, has issued a little essay upon'theoccult significance of blood, calling it a very 'special fluid, which phrase he quotes from the lips of mephistopheles, the personified spirit of evil in goethe'sfaust;it was spoken in the scene where mephistopheles asks faust, the old student, to sign with his blood and so make the contract effectual and secure his soul after the temporary return to youth given as a boon. steiner remarks that commentators have erroneously explained this requirement as being due to the evil spirit's hatred of man and so of man's blood; he adds that a better reason is that mephistopheles knew that the blood was of the vital essence

GOETIA LUCIFERIAN

solate and separate from the ain soph, or limitless light. one should remember, it is the limitless light from which azazel lucifer sought to be independent from. the goetia is indeed a tough, powerful and to some a dreadful real grimoire. those who have hissed and vibrated the sacred names and candle lit summons of the demons of this book have empowered it to heights which revival the legends of faust and even horror fiction author h.p. lovecraft and his tales of the macabre. with aleister crowley, whom, in his youth brought forth the shades of the goetia into boleskine and other homes, he did so in an experiment of will. while on the surface, he had appeared to consciously evoke the goetic spirits to appease his carnal desires, and other material quests; subconsciously he was breaking gr

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

e of an eagle, flew his fleetest, and suttungr as a second eagle gave chase. the aesir saw osinn come flying, and in the courtyard of asgar^ they set out vats, into which o^inn, hard pressed by suttung, spat out the mead, and thus it turned into spittle again, as it had been at first^ the mead is given by osinn to the ases, and to men' hein, as. ban, engl, hone, swed. hen, sskr. s'ana. 2 like dr. faust fooling the seven topers into cutting each other's noses off. 3 here o^inn plays the part of strong hans (kinderm. 90, or of siegfried with the smith* mentioned also in smm. 23; evidently from' rata' permeare, terebrare, goth, vraton, so that it would be vrata in gothic. 5 it is added 'en honum var l^a sva nier korait at suttungr mundi na honum, at hann sendi aptr (behind) suman miodinn, ok

eligens, pertaining to the god's messenger-maidens (p. 417, seems archaically applied to the raven; it is true, even jerome's commentary on job 38, 41 had already in a far-fetched way made the (black) raven mean the devil. in danish folksongs the vllde ravn, vilde val-ravn (the corvus stragis, ohg. walahraban) takes exactly the place of the diabolic trold, dv. 1, 186-7. in the puppet-play of dr. faust, it is remarkable that the raven, who is bearer of the written covenant with the devil; is called the bird o mercury, which would be exactly right of wuotan. within the last few centuries only i find the vulture (geier) put for the devil^ still more frequently the cuckoo, whose connexion with magic was spoken of, p. 679. another bird 1 wahtelbein (quail-bone, decoy-whistle) des tiuvels' bert

their brooms, squirting water up in the air, shooting gravel, scatteriug sand toward sunset, witches barbelee, qui porte a verge pelee plus de qatre vingts ans' eenart 28286; conf. meon 4, 478' remest ausi moncle com la verge qui est pelee' 1 ds. no. 251. wolf's niederl. sagen 245. 381-2. wodana xxxvi^ so, by magic, wine is struck out of the post, superst. g, line 262; conf. the legend of doctor faust. 3 on the eve of s. philip and s. james, i.e. may 1, people in the i. of eiigen run about the fields with large fire-bladders: this they call molkentoverschen hrennen eugian. laudgebr. cap. 243' milchdiebin und uiiliold' h. sachs iii. 8, 5. witches' doings. 1073 bring on storm and hail (p. 909, to beat down their neighbour's corn and fruit. for the same purpose they are said to boil bristles

the same purpose (p. 1083-i. the ohg. liahalruna, tsrcina, lagoridia are named after the letters' hahal, is, lago; clofruna and stofruna remain doubtful, the latter appar. the mere tip (stupf, apex. helliruna means necromancy, death-rune, and plainly refers to halja, hella; i connect with it our jiouen-zwang, control over hell, by which is understood the mightiest of magic spells, such as doctor faust possessed. holzruna is to be taken not of a thing, but of a person, the wood-wife, lamia (p. 433, not without some allusion to her moaning and muttering. the ohg. women's names kundriin, hiltirun, sigiriin, fridurun, paturun, are properly those of valkyrs, but also traceable to a non-personal hundruna, liiltlriina, sujiruna, friditrilna, patunlna; and it is worth noticing, that the personal

INTRODUCTION TO THE SEVEN FACES OF DARKNESS

hey started as you can, and you must arrive at the same destination. in determining the destination, which must by necessity be individual given the nature of magic, we do have the popular accounts of the lives of practicing hermeticists. indeed such accounts may have already shaped our minds about the nature of magicians, the popular greek novels of late antiquity had a strong effect on goethe's faust and the emergence of the magic story in modern times. this emphasis on objective data gathering is also an emphasis on self-reliance. the current magical practice of relying on the channelings or revelations of others bespeak a spiritual laziness. rather than seeking out the beginning and ending points, many prefer to take the half-cooked models of another individual's mind- an individual wh

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

993. wigoder, geoffrey. the encyclopedia of judaism. new york:macmillan, 1989. angel on my shoulder this 1946 film was first made as a comedy then remade for television in 1980. the central narrative is built around the timeworn theme of making a bargain with the devil. the plot involves freeing criminals to harass society. the remake was about the resurrection of a convict. other movies with the faust theme and comic foils are the devil and max devlin and damn yankees. the anticult movement one of the groups that weighed in on the satanic ritual abuse issue in its heyday was the so-called anticult movement (acm. when the acm first emerged as a coherent movement, its focus of concern was minority religious movements. it was only after ritual abuse became a popular topic that it was incorpo

ernal regions, whereas according to francis barrett in the magus i, he is called diabolus in the greek language. it is said that when he is invoked astaroth manifests as a beautiful angel astride a dragon and carrying a viper in his right hand. according to voltaire, astaroth was an ancient god of syria, whereas j. a. s. collin de plancy argues that he was one of the 7 princes of hell who visited faust. see also demons; faust;magic and magical groups for further reading: davidson, gustav. a dictionary of angels including the fallen angels. new york: free press, 1967. asuras asuras are south asian demons, prominent in both hinduism and buddhism. hinduism is a complex, multilayered tradition that has changed across the several millennia of its existence. in the vedas, india s earliest recove

gioustolerance.org/chr_cul.htm. ship of fools. the beast of belgium. http//ship-of-fools.com/myths/06myth.html. beast of the yellow night in this 1970 film, a man makes a deal with the devil a plump, cheerful chap for the usual goodies, money, and power. he doesn t realize until it s too late that the price he pays is to become an ugly monster. bedazzled stanley donen s 1967 comedy built around a faust theme was written and performed by comedians peter cook and dudley moore. stumbling and bumbling stanley (moore) wants to attract the attention of his coworker, a beautiful waitress who is unattainable. he wastes most of the seven wishes that are given to him by the devil (played by cook) in exchange for moore s soul following his suicide attempt. harold ramis was the cowriter-coproducer of

r in this 1936 short story by stephen vincent benet, an impoverished farmer from new hampshire, devil s advocate 69 jabez stone, sells his soul to the devil in exchange for seven years of prosperity. however, when the time comes due for jabez to relinquish his soul, he becomes frightened and hires the famous lawyer daniel webster to get him out of the contract an interesting american twist on the faust legend. mr. scratch, the representative for the devil, agrees to litigate on the condition that he be allowed to choose every jury member, whom he recruits from the worst of the underworld s sinners, and whom he assumes will decide against the farmer. instead,webster makes such a superb defense that the jurors feel much remorse for their own bad deeds, and they vote not to condemn jabez to h

tasy art, a style that depicts themes of the dark and macabre, sets the stage for the spectacle of souls being ravaged by flames and demonic forces that accomplish their dark deeds by night and hide before dawn breaks. disney has done a superb job of creating entertainment that impresses imaginations all over the world with fearful, frightening images fodder for nightmares in young and old alike. faust the devil s pact idea entered into the popular consciousness of the middle ages via the tale of theophilus, who according to legend had been the treasurer of a church in the sixth century. unfairly dismissed from his job, he sought revenge with the aid of a magician. this sorcerer invoked the devil, theophilus sold his soul, and he was subsequently restored to his position. however, he event

d been the treasurer of a church in the sixth century. unfairly dismissed from his job, he sought revenge with the aid of a magician. this sorcerer invoked the devil, theophilus sold his soul, and he was subsequently restored to his position. however, he eventually regretted his actions, prayed to the virgin mary, and was saved. the legend of theophilus provided a model for the later narrative of faust easily the most famous man to sell his soul to satan though faust was motivated by pride rather than by the urge for revenge. also, unlike theophilus, faust did not escape his infernal fate in most versions of this story. the story of faust became the basis for a series of literary productions, including plays by johann von goethe and christopher marlowe. in the short story the devil and dan

avid g. bromley. the satanism scare. new york: aldine de gruyter, 1991. victor, jeffrey. satanic panic: the creation of a contemporary legend. chicago: open court, 1993. wakefield, hollida, and ralph underwager. return of the furies. chicago: open court, 1994. mephistopheles the legend of faustus, who signed a pact with the devil by selling his soul to mephistopheles, became popular with goethe s faust. the basic narrative is, however, much older, originating as a mythical story during the medieval period. dr. faust s story drew upon the life of a philosopher who decided to make a living by casting horoscopes and predicting the future. in subsequent decades, faust s life was transformed into the legend of a philosopher who decided to abandon philosophy and devote himself to magic practices

by casting horoscopes and predicting the future. in subsequent decades, faust s life was transformed into the legend of a philosopher who decided to abandon philosophy and devote himself to magic practices and spells. once, while practicing magic invocations,mephistopheles appears to the doctor with a proposal: mephistopheles will teach the doctor the devil s knowledge and powers in exchange for faust s soul after twenty-five years. mephistopheles s name etymologically means he who loves not the light, in contrast with lucifer( light bearer. the name originated in the renaissance period as a combination of greek, latin, and possibly hebrew elements, which explain the existence of variants of the name, such as mephisto, mephistophilus (in shakespeare s merry wives ofwindsor),mephist, and m

he existence of variants of the name, such as mephisto, mephistophilus (in shakespeare s merry wives ofwindsor),mephist, and mephisto. the faustus legend has animated popular culture since the middle ages.with the creation of doctor faustus by christopher marlowe (1564 1593, however, it became a topic of artistic inspiration in poetry and music throughout the following centuries, culminating with faust: eine trag die by johann wolfgang von goethe (1749 1832. although goethe s work is regarded as the apex of the development of this story, the legend continued to inspire nineteenth-century literature on the devil. following twenty-five years of devilish practice, goethe s faust repents having sold his soul to the devil and is saved. in marlowe s work, by contrast, faustus is lost. the devil

racters 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 the aboriginal societies of the amer

there have, nevertheless, been satanist groups that have incorporated this bit of infernal folklore into their religion. for example, the brotherhood of the ram, a satanist organization that operated in southern california in the 1960s and the 1970s required new recruits to cut their fingers and rub some of their blood on a piece of paper bearing their signature. see also brotherhood of the ram; faust for further reading: cavendish, richard. the black arts. new york: capricorn books, 1967. guiley, rosemary ellen. the encyclopedia ofwitches and witchcraft. new york: facts on file, 1989. kramer, heinrich, and james sprenger. malleus maleficarum. 1486. transl.montague summers. new york: benjamin blom, 1970. lavey, anton szandor. the satanic bible. new york: avon, 1969. oppenheimer, paul. evi

s from the custom of burying the dead underground. again similar to the mesopotamian underworld, sheol was not much more than a gloomy pit. see also judaism; underworld for further reading: nielsen, niels c. jr, et al. religions of the world. new york: st.martin s press, 1983. west, james king. introduction to the old testament. new york:macmillan, 1981. shock em dead a rock n roll rewrite of the faust story. in this 1990 film a young man sells his soul to the devil in exchange for being made into a rock star. sorceress there are a number of films using the name sorceress. this 1994 movie is about a lawyer whose career is being advanced by the black magic of his wife. unfortunately, another witch is determined to hurt his career. sorcery sorcery refers to the casting of spells and magicall

ng bonfires and making various kinds of loud noises. the apparent source for the name is st.walburga, although her festival falls on february 25. it also seems to be a relic of the celtic festival of beltane. walpurgisnacht is significant for modern satanism because, according to lavey, he shaved his head and founded the church of satan on april 30, 1966.walpurgisnacht was made famous by goethe s faust, one of lavey s sources of inspiration. see also church of satan; sabbat for further reading: lavey, anton szandor. the satanic bible. new york: avon, 1969. wheatley, dennis. the satanist. 1960. london: arrow books, 1974. war in heaven the earliest account about angels who rebelled and were punished for it is contained in the apocryphal book of the secrets of enoch. according to christian le

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

d to symbolize this astral light. it is identical with baphomet the mystic pantheos of those disciples of ceremonial magic, the templars, who probably obtained it from the arabians. p. 102 black magic has merely passed through a metamorphosis, and although its name be changed its nature remains the same. a well-known magician of the middle ages was dr. johannes faustus, more commonly known as dr. faust. by a study of magical writings he was enabled to bind to his service an elemental who served him for many years in various capacities. strange legends are told concerning the magical powers possessed by dr. faust. upon one occasion the philosopher, being apparently in a playful mood, threw his mantle over a number of eggs in a market-woman's basket, causing them to hatch instantly. at anoth

d concerning the magical powers possessed by dr. faust. upon one occasion the philosopher, being apparently in a playful mood, threw his mantle over a number of eggs in a market-woman's basket, causing them to hatch instantly. at another time, having fallen overboard from a small boat, he was picked up and returned to the craft with his clothes still dry. but, like nearly all other magicians, dr. faust came at length to disaster; he was found one morning with a knife in his back, and it was commonly believed that his familiar spirit had murdered him. although goethe's dr. faust is generally regarded as merely a fictional character, this old magician actually lived during the sixteenth century. dr. faust wrote a book describing his experiences with spirits, a section of which is reprinted b

at length to disaster; he was found one morning with a knife in his back, and it was commonly believed that his familiar spirit had murdered him. although goethe's dr. faust is generally regarded as merely a fictional character, this old magician actually lived during the sixteenth century. dr. faust wrote a book describing his experiences with spirits, a section of which is reprinted below (dr. faust must not be confused with johann fust, the printer) extract from the book of dr. faust, wittenberg, 1524 (an abridged translation from the original german of a book ordered destroyed "from my youth i followed art and science and was tireless in my reading of books. among those which came to my hand was a volume containing all kinds of invocations and magical formul. in this book i discovered

MORALS AND DOGMA

han on the intellect of its kings and legislators. a civil war in america will end in shaking the world; and that war may be caused by the vote of some ignorant prize-fighter or crazed fanatic in a city or in a congress, or of some stupid boor in an obscure country parish. the electricity of universal sympathy, of action and reaction, pervades everything, the planets and the motes in the sunbeam. faust, with his types, or luther, with his sermons, worked greater results than alexander or hannibal. a single thought sometimes suffices to overturn a dynasty. a silly song did more to unseat james the second than the acquittal of the bishops. voltaire, condorcet, and rousseau uttered words that will ring, in change and revolutions, throughout all the ages. remember, that though life is short, t

lumber the virtues of a socrates, the intellect of a bacon or a bossuet, the genius of a shakespeare, the capacity to benefit mankind of a washington; and that in rescuing him from the mire in which he is plunged, and giving him the means of education and development, the lodge that does it may be the direct and immediate means of conferring upon the world as great a boon as that given it by john faust the boy of mentz; may perpetuate the liberties of a country and change the destinies of nations, and write a new chapter in the history of the world. for we never know the importance of the act we do. the daughter of pharaoh little thought what she was doing for the human race, and the vast unimaginable consequences that depended on her charitable act, when she drew the little child of a heb

pyramids, a little boy was playing in the streets of mentz, son of a poor artisan, whose apparent importance in the scale of beings was, compared with that of tamerlane, as that of a grain of sand to the giant bulk of the earth; but tamerlane and all his shaggy legions, that swept over the east like a hurricane, have passed away, and become shadows; while printing, the wonderful invention of john faust, the boy of mentz, has exerted a greater influence on man's destinies and overturned more thrones and dynasties than all the victories of all the blood-stained conquerors from nimrod to napoleon. long ages ago, the temple built by solomon and our ancient brethren sank into ruin, when the assyrian armies sacked jerusalem. the holy city is a mass of hovels cowering under the dominion of the cr

supernatural worlds is accomplished like the initiation into the mysteries of eleusis and thebes. he escapes from that gulf of hell over the gate of which the sentence of despair was written _by reversing the positions of his head and feet, that is to say _by accepting the direct opposite of the catholic dogma_ and then he reascends to the light, by using the devil himself as a monstrous ladder. faust ascends to heaven, by stepping on the head of the vanquished mephistopheles. hell is impassable for those only who know not how to turn back from it. we free ourselves from its bondage by audacity. his hell is but a negative purgatory. his heaven is composed of a series of kabalistic circles, divided by a cross, like the pantacle of ezekiel. in the centre of this cross blooms a rose, and we

PHOSPHORUS THE SHADOWING FORTH OF LUCIFER

him. he won't preach piety and divine bliss but will show ways for the knowledge to change into divine sensation, into the devotion of the cosmic spirit. lucifer knows that the radiant sun may only rise in the heart of the individual; but he also knows that only the paths of perception lead up to the mountain where the sun appears in his divine radiation. lucifer is no devil leading the searching faust to hell; he shall be an awaker of those who believe in knowledge who want to change into the gold of divine wisdom -from luzifer-gnosis, rudolph steiner. lucifer stands on the threshold of dawn and dusk. the bringer of light, symbol of thelemic strength and divine wisdom emerges. the age of lucifer is the uprising of what blatavatsky termed "phosphorus, the cosmic force of illumination and l

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

bove all in ordeals of introduction 13 courage, discretion and will. it was a novitiate similar to that of those priests who, under the name of jesuits, are so unpopular at the present day, but would govern the world notwithstanding, had they a truly wise and intelligent chief. after passing our life in the search for the absolute in religion, science and justice; after revolving in the circle of faust, we have reached the primal doctrine and the first book of humanity. at this point we pause, having discovered the secret of human omnipotence and indefinite progress, the key of all symbolisms, the first and final doctrine: we have come to understand what was meant by that expression so often made use of in the gospel the kingdom of god. to provide a fixed point as a fulcrum for human activ

aspires to be a sage and to know the great enigma of nature must be the heir and despoiler of the sphinx: his the human head, in order to possess speech; his the eagle's wings, in order to scale the heights; his the bull's flanks, in order to furrow the depths; his the lion's talons, to make a way on the right and the left, before and behind. you therefore who seek initiation, are you learned as faust? are you insensible as job? no, is it not so? but you may become like unto both if you choose. have you overcome the vortices of vague thoughts? are you without indecision or capriciousness? do you consent to pleasure only when you will, and do you wish for it only when you should? no, is it not so? not at least invariably, but this may come to pass if you choose. the sphinx has not only a m

neration. the kabalistic usage of the pentagram can determine therefore the appearance of unborn children, and an initiated woman might endow her son with the characteristics of nero or achilles, with those of louis xiv or napoleon. we shall indicate the method in our ritual. the pentagram is called in kabalah the sign of the microcosm, that sign so exalted by goethe in the beautiful monologue of faust: ah, how do all my senses leap at this sight! i feel the young and sacred pleasure of life quivering in my nerves and veins. was it a god who traced this sign which stills the vertigo of my soul, fills my poor heart with joy and, in a mysterious rapture, unveils the forces of nature around me? am i myself a god? all is so clear to me: i behold in these simple lines the revelation of active n

s of nature around me? am i myself a god? all is so clear to me: i behold in these simple lines the revelation of active nature to my soul. i realise for the first time the truth of the wise man's words: the world of spirits is not closed! thy sense is obtuse, thy heart is dead! arise! bathe, o adept of science, thy breast, still enveloped by an earthly veil, in the splendours of the dawning day (faust, part i. sc. i) on 24 july in the year 1854, the author of this book, eliphas levi, made an 28 the doctrine of transcendental magic experiment of evocation with the pentagram, after due preparation according to all the ceremonies indicated in the thirteenth chapter of the ritual. the success of this experiment, details of which, as regards its principles, will be found in the corresponding c

RUBY TABLET OF SET

mmoning of the elements (priest kristian knowles] we summon forth the forces of the ancient elements to polarize and empower this place with their dynamic balance. we call them forth in the images of the great magi of europe. from the south we call the magus of force and fire, aleister crowley. from the east we call dr. john dee, the greatest of scholars and mathematicians. from the north we call faust, the self-created man on the eternal quest. from the west we call merlin, the ancient one who rides the dragon's breath [declaration (read by priest walter gallo in english; then by priest petri laakso and adepts nino waechter and vesa litti in finnish; then by setians sotiris vandis& eleni tzanou in greek; and then by adept tina ostertag in german] the temple of set is a diamond, composed o

onsequences that extend far beyond your own earthly lifetimes. behold, setians, you are shaping the future with your current workings! after centuries of waiting, the word of set is now spoken clearly; so my work has borne its fruit. bear that ever in your minds, and re-create the universe in the image of the setian will! our eyes may see far, far down the road [dee places a stone upon the altar] faust [priestess rosemary webb] i am faust, he who paved the way for modern man, laying the foundations of the black magical quest as perceived by you in this aeon of set. i am he who made my pact with the powers of darkness, a pact that defined the eternal quest, that i might live and prosper, seeking after the mysteries, until such time as satisfaction took me. learn from faust, o setian, that t

SATANGEL

ote of previously. grand grimoire french, dated perhaps from around the 17th century, with many spurious forgeries bearing the same name. it is in two parts, the first dealing with the evocation of lucifuge rofocale by means of the blasting rod (wand, the second dealing exclusively in the making of pacts. it is the most classical of all grimoire, and that most likely to have inspired the story of faust. the black pullet rome, probably late 18th century. also called the screech owl, or treasure of the old man of the pyramids. places particular emphasis on talismanic magick, and includes some great designs for occult jewellery. the heptemeron known otherwise as magical elements, attributed to peter de abano, dates probably from around the fifteenth century. it is thus not the work of the aut

m on command. he is a strong fighter. told solomon he hopes to return to the seventh throne. mastema (hebrew, accusing angel. rebel angel who slaughtered the firstborn of egypt and attempted to murder moses. this is the accusing angel, tempter and executioner. the first named separation of the mal ak, or shadow of god. mephistopheles, mephisto (hebrew mephir, destroyer, tophel, liar. the devil of faust, destroyer and prince of deceit. a dashing and charismatic character of polished manners and engaging wit. sent by lucifer to tempt and persuade men to sell their souls, occasionally allowed an audience with god. said to have urbane and impeccable manners, a silver tongue, and a philosophic view of life tinged with regret. mersilde (grimorium verum. a subordinate spirit of lucifer. can trans

of such ritual will be discussed in further detail later in this book. for now, i give a simple form of such ritual. the arrangement and correspondence of the archangels may be recognised as that employed by the golden dawn in the lesser and greater rituals of the pentagram, upon which this is loosely based. it is also reflected as that given within many of the traditional grimoire, most notably faust s magia naturalis et innaturalis, as follows; 1) stand facing towards the east. make the sign of the cross, visualising it as formed from golden sunlight, saying; in thy hands is the kingdom, the power and the glory( the kingdom will come at the bottom of the vertical, the power on the right, the glory on the left) 2) clasping your hands together as in prayer; for ever and ever, amen. 3) wit

SATANIC BIBLE

(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 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 pa

SATANIC RITUALS

drama better than any other character derived from the bible. dramas in which the devil appeared in short scenes allowed him increasingly lengthy roles, until in many cases he had taken possession of almost the whole play! he was, to be sure, almost always defeated and driven back to hell with great tumult and uproar, probably to satisfy the sense of righteousness of the public. especially since faust, satan is no longer considered as the personification of unmitigated evil in faust, though be still quests for human souls, he pities man-as does nietzsche's zarathustra-and is depressed that those poor earthborn creatures are so narrow-minded and derive so little pleasure from life. shaw was to echo these sentiments in man and superman, in which a very obliging devil does all he can to see

earthborn creatures are so narrow-minded and derive so little pleasure from life. shaw was to echo these sentiments in man and superman, in which a very obliging devil does all he can to see to the comforts of his guests in hell. like shaw's satan, the german devil is often seen as the catalyst of enlightened and polite behavior, optimistically deserting the misanthropic role of mephistopheles in faust. the image that eventually was to serve as the basis of contemporary german satanic ritual can be seen in carducci's hymn to satan, in which satan is lauded as the spirit of progress, the inspirer of all great movements that contribute to the development of civilization and the advancement of mankind. he is the spirit of revolt that leads to freedom, the embodiment of all heresies that liber

SIR EDWARD BULWER LYTTON ZANONI A ROSICRUCIAN TALE

ve for them is impossible. but mejnour, who is the impersonation of thought, pure intellect without affection, lives on. bulwer has himself justly characterised this work, in the introduction, as a romance and not a romance, as a truth for those who can comprehend it, and an extravagance for those who cannot. the most careless or matterof- fact reader must see that the work, like the enigmatical "faust" deals in types and symbols; that the writer intends to suggest to the mind something more subtle and impalpable than that which is embodied to the senses. what that something is, hardly two persons will agree. the most obvious interpretation of the types is, that in zanoni the author depicts to us humanity, perfected, sublimed, which lives not for self, but for others; in mejnour, as we hav

ss droht? nur das irrthum ist das leben und das wissen ist der tod, schiller, kassandro. delusion is the life we live and knowledge death; oh wherefore, then, to sight the coming evils give and lift the veil of fate to man? zwei seelen wohnen, ach! in meiner brust (two souls dwell, alas! in my breast. was stehst du so, und blickst erstaunt hinaus (why standest thou so, and lookest out astonished "faust" it will be remembered that we left master paolo by the bedside of glyndon; and as, waking from that profound slumber, the recollections of the past night came horribly back to his mind, the englishman uttered a cry, and covered his face with his hands "good morrow, excellency" said paolo, gayly "corpo di bacco, you have slept soundly" the sound of this man's voice, so lusty, ringing, and he

rry; and merry as nature herself grew maestro paolo. he talked of adventures, of travel, of women, with a hearty gusto that had its infection. but glyndon listened yet more complacently when paolo turned with an arch smile to praises of the eye, the teeth, the ankles, and the shape of the handsome fillide. this man, indeed, seemed the very personation of animal sensual life. he would have been to faust a more dangerous tempter than mephistopheles. there was no sneer on his lip at the pleasures which animated his voice. to one awaking to a sense of the vanities in knowledge, this reckless ignorant joyousness of temper was a worse corrupter than all the icy mockeries of a learned fiend. but when paolo took his leave, with a promise to return the next day, the mind of the englishman again set

in their horrid orgies, amongst the festering ghastliness of corruption, than to front those features when the veil was lifted, and listen to that whispered voice. the next day glyndon fled from the ruined castle. with what hopes of starry light had he crossed the threshold; with what memories to shudder evermore at the darkness did he look back at the frown of its time-worn towers! chapter 5.ii. faust: wohin soll es nun gehm? mephist: wohin es dir gefallt. wir sehn die kleine, dann die grosse welt "faust (faust: whither go now! mephist: whither it pleases thee. we see the small world, then the great) draw your chair to the fireside, brush clean the hearth, and trim the lights. oh, home of sleekness, order, substance, comfort! oh, excellent thing art thou, matter of fact! it is some time a

le positively sang "mr. mervale! is it possible, sir"'old king cole was a merry old soul "mr. mervale! sir! leave me alone, sir"'and a merry old soul was he "what an example to the servants"'and he called for his pipe, and he called for his bowl "if you don't behave yourself, sir, i shall call"'call for his fiddlers three" chapter 5.iii. in der welt weit aus der einsamkeit wollen sie dich locken "faust (in the wide world, out of the solitude, will these allure thee) the next morning, at breakfast, mrs. mervale looked as if all the wrongs of injured woman sat upon her brow. mr. mervale seemed the picture of remorseful guilt and avenging bile. he said little, except to complain of headache, and to request the eggs to be removed from the table. clarence glyndon impervious, unconscious, unaili

novel. we have no right to expect the most ingenious reader to search for the inner meaning, if the obvious course of the narrative be tedious and displeasing. it is, on the contrary, in proportion as we are satisfied with the objective sense of a work of imagination, that we are inclined to search into its depths for the more secret intentions of the author. were we not so divinely charmed with "faust" and "hamlet" and "prometheus" so ardently carried on by the interest of the story told to the common understanding, we should trouble ourselves little with the types in each which all of us can detect, none of us can elucidate; none elucidate, for the essence of type is mystery. we behold the figure, we cannot lift the veil. the author himself is not called upon to explain what he designed

y; but a writer who conveys typical meanings, may express them in myriads. he cannot disentangle all the hues which commingle into the light he seeks to cast upon truth; and therefore the great masters of this enchanted soil, fairyland of fairyland, poetry imbedded beneath poetry, wisely leave to each mind to guess at such truths as best please or instruct it. to have asked goethe to explain the "faust" would have entailed as complex and puzzling an answer as to have asked mephistopheles to explain what is beneath the earth we tread on. the stores beneath may differ for every passenger; each step may require a new description; and what is treasure to the geologist may be rubbish to the miner. six worlds may lie under a sod, but to the common eye they are but six layers of stone. art in its

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

red red stars, clenched fists, hammers and sickles, 563 and other signs and symbols of communist intrigue footnotes and references 589 index 599 more resources for you 621 about the author, texe marrs 623 introduction the occult script a colossal and monstrous conspiracy but let the spirit of all lies with works of dazzling magic blind you. then absolutely mine, i'll have and bind you. the devil, faust play by goethe (1749-1832) they're everywhere. cleverly disguised. on tv, imbedded in magazines, and lurking in powerful advertising. sometimes they're subtle or subliminal, other times direct, provocative, and mind-bending in effect. strange symbols, signs, charms, talismans, and handshakes that program and control our minds. henry makow, astute inventor and essayist, says that they are key

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

n life, providing order to the chaos of the physical world, and winning the favor of the inhabitants of the unseen world. 39 chapter exploration alchemy valentine andreae roger bacon. helvetius hermes trismegistus albertus magnus. paracelsus magick abremelin magick black magick enochian magick vodun/vodoun/voodoo white magick magi agrippa count allesandro cagliostro aleister crowley. john dee dr. faust. marie laveau eliphas levi. simon magus pico della mirandola. pythagoras count saint-germain wicca people of wicca margot adler philip emmons (isaac) bonewits raymond buckland gavin frost and yvonne frost gerald brosseau gardner sybil leek margaret alice murray m. macha nightmare starhawk doreen valiente witchcraft familiars the inquisition.the time of the burning sabbats witchcraft trials e

m, and s. hutin. the alchemists. translated by helen r. lane. new york: grove press, 1961. de givry, emile grillot. illustrated anthology of sorcery, magic and alchemy. translated by j. courtenay locke. new york: causeway books, 1973. seligmann, kurt. the history of magic. new york: meridian books, 1960. spence, lewis. an encyclopedia of occultism. new hyde park, n.y: university books, 1960. dr. faust (c. 1480.1540) although many assume that dr. faust was a fictional character created by christopher marlowe (1564.1593) for his famous play, the tragedy of dr. faustus (1589, and utilized again later by johnann wolfgang von goethe (1749.1832) for his masterwork faust (1808, there actually was a magician named georg faust, who was born in knittlingen, wurttenburg, germany, around 1480. faust

named georg faust, who was born in knittlingen, wurttenburg, germany, around 1480. faust was a traveling magician, visiting town after town, performing feats of legerdemain, telling fortunes, and professing to have supernatural powers. while some contemporary scholars were impressed with his alleged abilities, others branded him as nothing more than an unscrupulous charlatan. at some point, georg faust became confused with an academic named johann faust, and he was mistakenly credited with many of the learned professor fs scholastic achievements. when georg faust died around 1540, he had become such a legendary magician in germany that in 1558 johann speiss published a book entitled the history of dr. johann faust, which listed his many feats and adventures. speiss included his interpretat

e confused with an academic named johann faust, and he was mistakenly credited with many of the learned professor fs scholastic achievements. when georg faust died around 1540, he had become such a legendary magician in germany that in 1558 johann speiss published a book entitled the history of dr. johann faust, which listed his many feats and adventures. speiss included his interpretation of how faust had become a master magician by selling his soul to the devil in exchange for 24 years of limitless knowledge and power. over the course of time, the faust story has been the subject of numerous plays, operas, and films. the first cinematic production of the ageless tale of dr. faust selling his soul to the devil for unlimited knowledge was a french film in 1905. the noted german actor emil

irst cinematic production of the ageless tale of dr. faust selling his soul to the devil for unlimited knowledge was a french film in 1905. the noted german actor emil jannings played the role in a classic 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 magic and sorcery 65 john dee (1572.1608 (fortean picture library) thefirst cinematic production of dr. faust was a french film in 1905. 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 66 magic and sorcery mephistopheles appearing before faust in the 1865 edition of faust by johann wolfgang goethe (fortean picture library) version of the story in 1926, and british actor richard burton enacted dr. faustus in 1968. m delving deeper de givry, emile grillot. ill

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

of churches 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 vici

TYSON DONALD NEW MILLENNIUM MAGIC

sonal fortune beyond what was set down at conception, the magus will be rudely disillusioned. no mortal can cheat destiny. the magus may use his or her powers to aid in the fulfillment of personal des- tiny-a great achievement for any human being, and a rare event in human histo- ry-but can never gain, through art or guile, a higher destiny than was decreed at his or her conception. this is what faust desired and what mephistopheles promised, although he knew full well when he made the promise that he lacked the power to fulfill his word. in the final analysis, the only worthwhile use of magical attainment is in ser- vice to the light-not because self-sacrifice is somehow noble, and not because the purposes of the light are more worthy than those of darkness, although both these premises

to the guiding, benevolent influence of the light. they become themselves liv- ing qlippoth, empty soulless husks lacking all traces of those higher impulses that distinguish a human being. once the demons of darkness are sure of their human prizes, they desert them and leave them to die in madness or squalor, usually from drugs, violent attack, or more directly by their own hands. the legend of faust has much to say on this matter. as faust discovered, in the early stages the demons in the dark depths of the subconscious wear the masks of beguiling angels. they reveal, or promise to reveal, knowledge of real value, and set the magician of black magic lusting for more. as he or she progresses in a spiral descent from the light, these demons become more gross in their presentations. althou

VOX SABBATUM

ian so desires. the model of the witches sabbat in a dreaming sense should start with a visualization of the crossroads. the crossroads have for long been considered a place of great magickal power. it is the place of hecate, the triple vox sabbatum the witches sabbat 9 goddess which is the gathering of shades and ghosts; many have evoked her there in the crossroads. it is also the place of where faust summoned mephistopheles, who came forth from the forest before him. the crossroads is the place where you visualize and focus your mind towards before sleep you may also visualize and x or a+ as the meeting place of the dreaming sabbat. the imagination is the ultimate key of the black magician or sorcerer who seeks to go forth to the sabbat it is the vehicle of self-assumption of deific form

WICCA WITCHCRAFT TODAY

the church had never taken much notice of sorcery as it was not a rival in the way that witchcraft was, and many popes and prominent churchmen were said to practise it. with the renaissance the spirit of enquiry led to free-thinking, and this in turn led to a revival of mathematical magic, astrology, and the kabbala, to classical studies and thence to knowledge of the classic gods. the legend of faust was seized upon and the story circulated that to practise magic one had to sell one's soul to the devil. the best-known treatment of the theme in english literature is, of course, the 'atheist' marlowe's doctor faustus, whilst a long series of histories and plays on the theme in europe culminated in goethe's magnificent faust. it was a credulous age and the story was readily believed: no one

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