Michael Wynn's Occult Reference Library
SATYR,SATYRS

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ABRAMELIN3

a a l a t i m r o t a r a a p i r a c h a m a c s (3) k e h a h e k e h a h e k the sacred magick 153 (e) no. b is a square of b g squares. coli, probably from hebrew kli, meaning the whole, in the sense of the whole universe. no. c is a square of d g squares. searah, perhaps from hebrew sorh, a whirlwind; or perhaps from shorh= terrible, and is also used to express a kid, or a species of shaggy satyr-like demon, from the word being used to signify hair. no. d is a gnomon of b d squares taken from a square of e j squares. kehahek is probably from hebrew khch, meaning to conceal, obscure, or shut up. of abramelin the mage 154 the twelfth chapter. o know the secrets of any person (i) to know the secret of letters( c) to know the secret of words( d) to know secret operations( e) for the mili

ALEISTER CROWLEY BOOK OF LIES

seven eunuchs guard her with drawn swords; no man may come nigh unto her. in her wine-cup are seven streams of the blood of the seven spirits of god. seven are the heads of the beast whereon she rideth. the head of an angel: the head of a saint: the head of a poet: the head of an adulterous woman: the book of lies get any book for free on: www.abika.com 104 head of a man of valour: the head of a satyr: and the head of a lion-serpent. seven letters hath her holiest name; and it is a b 77 b a (drawn upon this page is the 77 77 sigil of babalon) n l 7 o this is the seal upon the ring that is on the forefinger of it: and it is the seal upon the tombs of them whom she hath slain. here is wisdom. let him that hath understanding count the number of our lady; for it is the number of a woman; and

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

think of the beauty of a rose without a rose before them. for such, is this method of most use; yet let them know that there is this danger therein, that they may mistake the gross body of the symbol for the idea made concrete thereby. 32 "considerations of further danger to those not purged of material thought- let it be remembered that in the nature of the love itself is danger. the lust of the satyr for the nymph is indeed of the same nature as the affinity of quicklime for water on the one hand, and of love of ab for ama on the other; so also is the triad osiris, isis, horus like that of a horse, mare, foal, and of red, blue, purple. and this is the foundation of correspondences. but it were false to say "horus is a foal" or "horus is purple. one may say "horus resembles a foal in this

ke a hound in the leash. 11. it hath pride and great subtlety. yea, and glee also! 12. let the magus act thus in his conjuration. 13. let him sit and conjure; let him draw himself together in that forcefulness; let him rise next swollen and straining; let him dash back the hood from his head and fix his basilisk eye upon the sigil of the demon. then let him sway the force of him to and fro like a satyr in silence, until the word burst from his throat. 14. then let him not fall exhausted, although he<equinox i, 6 has..the might> might have been ten thousandfold the human; but that which floodeth him is 432 the infinite mercy of the genitor-genitrix of the universe, whereof he is the vessel. 15. nor do thou deceive thyself. it is easy to tell the live force from the dead matter. i

ALEISTER CROWLEY EQ I 1

ps of foul hot death, across the seas, through the fires, past the palace of desires; where he will, whether he will or no, if i go, i care not whither i go. for in me is the taint of the faery blood. fast, fast, its emerald flood leaps within me, violent rude like a bestial faun's beatitude. in me the faery blood runs hard: my sires were a druid, a devil, a bard, a beast, a wizard, a snake and a satyr; for- as my mother said- what does it matter? 44 she was a fay, pure of the faery; queen morgan's daughter by an aery demon that came to orkney once to pay the beetle his orisons. so, it is i that writhe with the twitch of the faery blood, and the wizard itch to attain a matter one may not utter rather than sink in the greasy splutter of britons munching their bread and butter; ailing boys a

ALEISTER CROWLEY EQUINOX EQ I 2 2

evil, and the eagle is the higher and divine nature yet to be found herein, the alchemical eagle of distillation, the renewer of life. as it is said "thy youth shall be renewed like the eagle's" great indeed and many are the mysteries of this terrible key! after explaining a symbol of typhon the associate adept turns to the 15th key of the tarot. the 15th key of the tarot represents a goat-headed satyr-like demon standing upon 286 a cubical altar. in his left hand, which points downwards, he holds a lighted torch, and in his right hand, which is elevated, a horn of water. the cubical altar represents the universe. the whole figure shows the gross generating powers of nature on the material plane, and is analogous to the pan of the greeks and the egyptian goat of mendes. as his hands bear t

ALEISTER CROWLEY EQUINOX EQ I 2

our minds. iv all day my lover deigned to murder me, linking his kisses in a chain about my neck; demon-embroidery! bruises like far-ff mountains stain the valley of my body of ivory! then last came sleep. i wake, and he is gone; what should i do but weep? v nay, for i wept enough- more sacred tears- when first he pinned me, gripped my flesh, and as a stallion that rears, sprang, hero-thewed and satyr-lipped; crushed, as a grape between his teeth, my fears; sucked out my life and stamped me with the shame, the monstrous word of wife. vi i will not weep; nay, i will follow him perchance he is not far, 94 bathing his limbs in some delicious dim depth, where the evening star may kiss his mouth, or by the black sky's rim he makes his prayer to the great serpent that is coiled in rapture there

e 97 blended, in one annihilation blind were rent into a myriad of suns. yea! all the mighty fabric of a mind stood in the abyss, belching a law for "that" more awful than for "this" xvi vain was the toil. so then i left the wood and came unto the still black sea, that oily monster of beatitude('hath "thee" for "me" and "me" for "thee) there as i stood, a mask of solitude hiding a face wried as a satyr's, rolled that ocean into space. xvii then did i build an altar on the shore of oyster-shells, and ringed it round with star-fish. thither a green flame i bore of phosphor foam, and strewed the ground with dew-drops, children of my wand, whose core was trembling steel electric that made spin the universal wheel. xviii with that a goat came running from the cave that lurked below the tall whi

hath one minute point of jet; silence, the lightning path! xxvi also his nostrils are shut up; for he hath not the need of any breath; nor can the curtain of eternity cover that head with life or death. so all his body, a slim almond-tree, knoweth no bough nor branch nor twig nor bud, from never until now. xxvii this thought i bred within my bowels, i am. i am in him, as he in me; 101 and like a satyr ravishing a lamb so either seems, or as the sea swallows the whale that swallows it, the ram beats its own head upon the city walls, that fall as it falls dead. xxviii come, let me back unto the lilied lawn! pile me the roses and the thorns, upon this bed from which he hath withdrawn! he may return. a million morns may follow that first dire daemonic dawn when he did split my spirit with his

ALEISTER CROWLEY EQUINOX EQ I 3 3

u mighty one, thou creator of all things, i renounce unto thee the whispers of the desert, and the moan of the simoom, and all the silence of the sea of 13 dust; so that i may be lost in the atoms of thy glory, and be consumed in the unutterable joy of thine everlasting rapture. 5. o my god, thou mighty one, thou creator of all things, i renounce unto thee the green fields of the valleys, and the satyr roses of the hills, and the nymph lilies of the meer; so that i may wander through the gardens of thy splendour, and be consumed in the unutterable joy of thine everlasting rapture. 6. o my god, thou mighty one, thou creator of all things, i renounce unto thee the sorrow of my mother, and the threshold of my home, and all the labour of my father's hands; so that i may be led unto the mansion

comets, at the glory and splendour of thy name. 9. ah! but i rejoice in thee, o thou my god; thou jewel-work of snow on the limbs of night; thou elaboration of oneness; thou shower of universal suns: yea, i rejoice in thee, thou gorgeous, thou wildering one; o thou great lion roaring over a sea of blood! i rejoice, yea, i shout with gladness! till the wild thunder of my praise breaketh down, as a satyr doth a babe, the nine and ninety gates of thy power, in the glory and splendour of thy name. 10. ah! but i rejoice in thee, o thou my god; thou ambrosia-yielding rose of the world; thou vaulted dome of effulgent light; thou valley of venomous vipers: yea, i rejoice in thee, thou dazzling robe of the soft rain-clouds; o thou lion-voiced up-rearing of the goaded storm! i rejoice, yea, i shout

narch of the hills, pale glooming above the mists of the earth! i adore thee, evoe! i adore thee, iao! o thou moonlit peak of pleasure, that art crowned by viper tongues of forked flame! i adore thee, evoe! i adore thee, iao! o thou wolfish head of the winds, that frighteth the snow-white lamb of winter! i adore thee, evoe! i adore thee, iao! o thou dew-lit nymph of the dawn, that swoonest in the satyr arms of the sun! i adore thee, evoe! i adore thee, iao! o thou mad abode of kisses, that art lit by the fat of murdered fiends! i adore thee, evoe! i adore thee, iao! 65 o thou sleeping lust of the storm, that art flame-gorg'd as a flint full of fire! i adore thee, evoe! i adore thee, iao! o thou soft dew of the evening, that art drunk up by the mist of the night! i adore thee, evoe! i adore

ALEISTER CROWLEY EQUINOX EQ I 3

ruin in the rain. the hours flew by all swift and red; they gorged, they slept within the shade: they yelled in fear with muffled head when thunder made them sore afraid. loud laughed the gods to see the wild mad glory of their weanling child. a flash of long-forgotten light_ i found again the men of old, the wondering children of the night, the ravagers of hill and wold_ our sane, strong, savage satyr-sires. in whom were born the artist-fires. the scorching sun, the sleeping moon, the yelling wind that clave the trees, the monsters that they fled, the croon of squaws with babes upon their knees, the wet woods' call, the insistent sea, the blood-stained birth of mystery. 116 the scream of passion, and the foam upon the willing women's lips; green, dripping forests, love's dark home_ these

ALEISTER CROWLEY EQUINOX EQ I 4 2

lasphemy, the final sneer; as a degenerate might insult a raphael by putting it in a room devoted to debauchery. the girl was tall and finely built, huntress-lithe. her dress, close- fitted, was of a gold-brown silk that matched, but could not rival, the coils that bound her brow- glittering and hissing like snakes. her face was greek in delicacy; but what meant such a mouth in it? the mouth of a satyr or a devil. it was full and strong, curved twice, the edges upwards, an angry purple, the lips flat. her smile was like the snarl of a wild beast. she stood, violin in hand, before the wall. against it was a large tablet of mosaic; many squares and many colours. on the squares were letters in an unknown tongue. she began to play, her gray eyes fixed upon one square on whose centre stood this

ALEISTER CROWLEY EQUINOX EQ I 4 3

th of the beast as author of evil, because free of will. the beast, starting up, is slain by him with a poisoned arrow; but at the moment of its death it is reborn from the knight's own belly. xiv. at rome he meeteth a red robber in a hat, who speaketh nobly of it as of a king-dove-lamb. he chaseth and slayeth it; it proves but a child's toy. xv. in a tuscan grove he findeth, from the antics of a satyr, that the gods sill dwell with men. mistaking orgasm for ecstasty, he is found ridiculous. xvi. baiting for it with gilded corn in a moonlit vale of spain, he findeth the bait stolen by bermin. xvii. in crete a metaphysician weaveth a labyrinth. sir palamede compelleth him to pursue the quarry in this same fashion. running like hippogriffs, they plunge over the precipice; and the hermit, dea

enus stirs the pulses of her worshippers! nor shall the tuscan god be found reluctant from the altar-stone: his perfume shall delight the ground, his presence to his hold be known in darkling grove and glimmering shrine- o ply the kiss and pour the wine! sir palamede is fairly come into a place of glowing bowers, where all the voice of time is dumb: before an altar crowned with flowers he seeth a satyr fondly dote and languish on a swan-soft goat. then he in mid-caress desires the ear of strong sir palamede. 40 "we burn" qouth he "no futile fires, nor play upon an idle reed, nor penance vain, nor fatuous prayers- the gods are ours, and we are theirs" sir palamedes plucks the pipe the satyr tends, and blows a trill so soft and warm, so red and ripe, that echo answers from the hill in eager

ALEISTER CROWLEY EQUINOX EQ I 6 2

ws tenser throb through the vital scroll, man's soul. lift, shake the subtle censer that hides the cruel coal! still sweeter when the bowman his silky shaft of frost lets loose on earth, that no man may linger nor be lost. the barren woods, deserted. lose echo of our sighs- love- dies- love lives- in granite skirted, and under oaken skies. but best is grim december, the goatish god his power; the satyr blows the ember, and pain is passion's flower; when blood drips over kisses, and madness sobs through wine- ah, mine- the snake starts up and hisses and strikes and- i am thine["he crouches at the feet of" sphinx "toward" c.i.c.t [hermanubis "recites" hermanubis. 1. o coiled and constricted and chosen! o tortured and twisted and twined! deep spring of my soul deep frozen, the sleep of the tr

seats" sor. gemini "upon his throne. she plays her babe- music<gemini. the will of the gods be accomplished["all depart" 108 the rite of luna officers luna "silver robe and veil. violin. artemis. the lady of the moon" cancer "amber robe. cup. warden of the holy graal" taurus "orange robe. bow and quiver. the lord of the bow" a nymph "white robe. the head of the dragon" a satyr "black robe. the tail of the dragon" pan "black robe, tom-tom "in the east luna is throned, cancer on her right, taurus on her left. beyond these the satyr and the nymph. at the apex of a descending triangle, upon the earth, pan" 111 the rite of luna "one reciteth "the twelvefold certitude of god" from" 963 "the veil is withdrawn" cancer. 333-333-333. taurus. 333-333-333. cancer. 1. brother

taurus. chastity. cancer. 1. what is my weapon? taurus. vigilance. cancer. 1. whom do we serve? taurus. the lady artemis. cancer. 1. how many are her servants? taurus. nine. cancer. 1. who are they? taurus. three for the dew; three for the rain; and three for the snow. cancer. 1. who are the great officers? 113 taurus. thyself, the warden of the holy graal. myself, the lord of the bow. a nymph, a satyr- pan. 1. and pan! cancer. brother pan, i command thee to honour our lady artemis. taurus. bear the cup of libation! cancer. 333-333-333 [pan" recites chorus from swinburne's "atalanta" when the hounds of spring are on winter's traces. the wolf that follows, the fawn that flies. taurus. the goddess stirs not. cancer. silence is the secret of our lady artemis. pan. hath no man lifted her veil?

the planets["performs the lesser banishing ritual of the hexagram and returns] cancer. bear the cup of libation! pan. 333-333-333. let us banish the holy emanations from the one, lest our lady's sleep be stirred["he banishes the sephiroth by the appointed ritual" 114 bear the cup of libation! cancer. 333-333-333. brother taurus, the shrine is well guarded. taurus. the shrine is perfectly guarded. satyr. bear the cup of libation! cancer. 333-333-333. pan. hear me, lord of the stars! for thee i have worshipped ever with stains and sorrows and scars, with joyful, joyful endeavour. hear me, o lily-white goat! o crisp as a thicket of thorns, with a collar of gold for thy throat, a scarlet bow for thy horns! here, in the dusty air, i build thee a shrine of yew. all green is the garland i wear, b

. 333-333-333. pan. must every star that saves the night gleam fearfully afar, give no man love, but only light, or cease to be a star? nay, there's no man since time began through the ages until now, but won the goal of his set soul, a star upon his brow! oh! though no star serene as thou shine in my night forlorn, come, let me set thee on my brow, and make its darkness morn! pan["rises] brother satyr, scourge forth these that profane the sanctuary of our lady: for they know not the secret of the shrine [satyr "dances the dance of the scourge, driving the officers down the stage, where they crouch] pan["goes to altar] brother satyr, i command you to perform the dance of syrinx and pan, in honour of our lady artemis. 122 satyr. and in thine honour["he dances the dance and falls prostrate i

ALEISTER CROWLEY EQUINOX EQ I 6

ke a hound in the leash. 11. it hath pride and great subtlety. yea, and glee also! 12. let the magus act thus in his conjuration. 13. let him sit and conjure; let him draw himself together in that forcefulness; let him rise next swollen and straining; let him dash back the hood from his head and fix his basilisk eye upon the sigil of the demon. then let him sway the force of him to and fro like a satyr in silence, until the word burst from his throat. 14. then let him not fall exhausted, although the might have been ten thousandfold the human; but that which floodeth him is the infinite mercy of the genitor-genetrix of the universe, whereof he is the vessel. 15. nor do thou deceive thyself. it is easy to tell the live force from the dead matter. it is no easier to tell the live snake from

ist rule earth's alembic with the sun? is not the mind a foolish mist, and is not water one? the slim white body that you gave, wild jaja, with exotic nautches wanton and wonderful, a wave of debonair debauches, is worth the virgin limbs and lips of her the virtuous, the viceless, with life who never came to grips, who gave me nothing priceless. give me the purity distilled from dervish sweat and satyr bruises. the holy graal with wine is filled from no unbroken cruses. doth not the world's great alchemist corrupt his oysters to make pearls? shall not these lips praise him? they kissed no cold reluctant girl's. jaja' hath woven the web of god from threads of lust and laughter spun. in heaven the rose is worth the rod; and love as water, one. 47 iii jeanne a pastoral "to raymond radclyffe "

false fire of its pompous sentimentality. perhaps he was the first to see the joke! he rocked and reeled with laughter- to find himself caught, as he stumbled against a table, in the sturdy arms of a solidly built young woman, who- he had in her a glance- joined in celtic harmony the robust brutality of the peasant to the decadent refinement of the latter greek. the face of a bacchanal, even of a satyr, perhaps; but a satyr of raphael; the face of a madonna, perhaps; but a madonna of rodin. besides this, 115 she was seductive, alluring, a messalina rather than an aspasia. chienne de race! she was young, and her lips rather sheered than smiled, rather gloated than sneered. one instinctively muttered the word "cannibal" she had a perfect and perverse enjoyment of life, a perfect and perverse

ARADIA GOSPEL OF THE WITCHES

rs, who wereworshipped for beauty, as there were even among the christians who were thrown to the lions. forthe heathen lovedtheir gods with a human personal sympathy, without mysticism or fear, as if theyhad been blood-relations; and there were many among them who really believed that such was thecase when some damsel who had made afaux pasgot out of it by attributing it all to some god,faun, or satyr; which is very touching. there is a great deal to be said for as well as against the idol-aters or worshippers of dolls, as i heard a small girl define them. page 45 n r r r r r it came to pass that the young lady, who was in the habit of lying awake on moonlight nights to hearthe nightingales sing, thought she heard her governess in the next room, of which the door wasopen, rise and go fort

BALANCE J

y mouth went dry, my head reeled and i was shocked into a state of genuine awe. these were the real thing. i remember a dual self-portrait in which the two facing heads of spare seemed to be locked into some perpetual argument. there was an eerie study of a transported medium, her eyes neither open nor closed, and then there was a martian coloured astral landscape with a single figure of a seated satyr looking into the orange-red void. i liked this one the most. unfortunately i couldn t afford to buy any of the pictures and very soon they went to various acquaintances who could afford them. i was desolated and vowed then to one day own one of my own. the painting with the solitary satyr, soon vanished into its own hinterland after being left on a tube train by the person charged to deliver

BLUE EQUINOX

uoting from montesquieu's "lettres persanes "by opening so freely their lunatic asylums to their supposed madmen, men only seek to assure each other that they are not themselves mad[[footnote(s* revue des deux mondes, 1865, pp. 157 and 158. end of vol. it 197 special supplement the way. 3 may morn the artist represents the dawn of the day following the witches. rout. the witch is hanged, and the satyr joyfully looks out from behind the tree; in the background all is spring, and the nymph dances joyfully to the piping of the shepherd. the picture is symbolical of the new aeon. from the blasted stump of dogma, the poison oak of .original sin. is hanged the hag with dyed and bloody hair, christianity, the glyph thus commemorating .sa vie horizontale et sa mort verticale. the satyr, a portrai

the picture is symbolical of the new aeon. from the blasted stump of dogma, the poison oak of .original sin. is hanged the hag with dyed and bloody hair, christianity, the glyph thus commemorating .sa vie horizontale et sa mort verticale. the satyr, a portrait of frater d.d.s, one of the teachers of the master therion, represents the soul of the new aeon, whose word is do what thou wilt; for the satyr is the true nature of every man and every woman; and every man and every woman is a star. the shepherd and the nymph in the background represents the spontaneous outburst of the music of sound and motion caused by the release of the children of the new aeon from the curse of the dogma of original sin, and other priestly bogies. love is the law, love under will. 5 hymn to pan .frix .rwti peri

DONALDTYSON DEMON

necking in the back seat of cars, can save themselves from the talons of the demons if they burn the board and give themselves in the service of christ through fervent prayers. in christian writings demons in the strictest sense- those fallen angels who remained loyal to lucifer in hell- were continually being confused with pagan deities and with nature spirits. thus we find mention of the demon satyr who incites men and women to lust, and the demon theutus, who induces the urge to gamble for money with cards or dice. the satyr is a nature spirit of greek mythology, and theutus is a degenerate variation on the name of the egyptian god thoth, who was associated by the greeks with numbers, and by extension with money. in the dark ages and middle ages, demons were thought able to travel on t

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

ish almanacs 1500.1800. london: faber& faber, 1979. howe, ellic. urania s children; the strange world of the astrologers. london: william kimber, 1967. the old religion folklore term popularized in the 1960s for witchcraft as an older paganism displaced by christianity. old scratch one of the appellations given to the devil. it is supposed to have been derived from skrati, an old teutonic faun or satyr, a horned half-man and half-goat (see also nick; splitfoot) oliveto citra oliveto citra, a town in italy south of naples, was the site in the 1980s of a series of apparitions of the virgin mary, unusual for the number of people who reported sightings. they began on may 24, 1985, the feast day of saint macarius, the patron saint of oliveto citra. in the evening, as the townspeople gathered fo

FAUST

ey re coming rude, they re coming rough; in lofty leap, in speedy chase, they come, a stout and sturdy race. fauns the faun-host flocks in merry round, the oak-wreath bound on curly locks; a pair of finely pointed ears out from the curly head appears, a stubby nose, face broad and flat. with women no one s harmed by that; and if the faun his paw advance, the fairest will hardly refuse to dance. a satyr the satyr now comes hopping in with foot of goat and withered shin; he needs to have them wiry-thin, for chamois-like on mountain heights to look around him he delights. braced by the air of freedom then, he jeers at children, women, and men, who deep in the valley s smoke and stew fondly imagine they re living too, while pure and undisturbed and lone the world up there is all his own. gnome

FOCUS OF LIFE

e? study your dreams in this life, it may help you in the death posture. the heaven of aaos "all things are subject to resurrection" thus spake smiling aaos, on rising from the dead. then turning towards his shadow "i come! the changing word that destroys religion, a vortex wind that shall jest in temples! again! a reveller in the marshalled order of the sexes, the mad anarch of desires, the wild satyr of wolfish kisses! once again to earth, o thou whirlwind of desire, thou drunken breath of ribald lightning! my vampire chalice of ecstasy! yea, as my rapacious flame reareth before thee, thou escapeth from me with the laughing whisper of thy wonderful pleasure! o, l.c.o' cs! thou insatiable thirst of my self-love, with none but thee will i procreate "what now am i after resurrection? the si

d of desire, thou drunken breath of ribald lightning! my vampire chalice of ecstasy! yea, as my rapacious flame reareth before thee, thou escapeth from me with the laughing whisper of thy wonderful pleasure! o, l.c.o' cs! thou insatiable thirst of my self-love, with none but thee will i procreate "what now am i after resurrection? the sinful despair of magic? i am the iconoclast of logos: the sun-satyr of chaos! thunder and lightnings? yea, a vital gaiety to drowsy dust, to blase souls. ecstatic laughter that reverberates and awakens. i am the shuddering heights and suffocating depths of ego, slipping and becoming. inconceivable women am i. a clouded vista of abyss, wherein to visit naked, my vampire self. wherein to write a cryptic language of my sexes, that i am the key. wherein to belch

GILBERT THE SORCERER AND HIS APPRENTICE

igure ascending on one side (anubis, the egyptian mercury; and a demon descending on the other (the egyptian evil deity, typhon; the former of these bears a caduceus, the latter a trident; both figures are bound to the wheel. above them is a sphinx at the balance-point of the wheel, holding a drawn sword between its lion's claws.12. the devil.throned on a cube above the universe is a goat-headed, satyr-like figure, bearing on its brow the pentagram, apex upward, so as to make it a symbol of light. with one hand it points upwards to the symbol of the moon in increase, with the other downwards to that of the moon in decrease, thus symbolising the eternal equilibrium of mercy and justice; the first two fingers and thumb of each hand are extended as in giving the sign of benediction. one arm i

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

03, some few of them equally savouring of the heathenish and the devilish; perlebitz (in some hessian trials berlewitzchen -witchen, probably the same as pilwitz (p. 472^ the following begin to look suspicious: leidenoth, machleid, jjngliick, beicheher, hintenhervor, allerlei-wollust (perh. a flower^s name, scliwarzhurg, breifuss, kuhfuss, kuhohrnchen, bicjihaucli; yet they may also turn upon the satyr-like shape of the schrats, or upon the weird and worrying nature of any intercourse with the demonic world. the old easter-play supplies the following names, belonging at latest to the beginning of the 15th century: kottelrey, rosenkranz, krezlin, federivisch, baffenzan, binkebanh, spiegelglanz, schorhrant, 8chop>penstak, hellekrug^ schorzemage; they are easy to explain from what has gone be

GRIMM TEUTONIC MYTHOLOGY VOL 2 1883 COMPLETE

hymes kiirsen, and even turste, gen. tiirsten (ms. 2, 205a; on the other hand, albr. tit. 24, 47 has spil von eineoi diirsen (hahn 3254 tursen =play of a d, from which passage we gather that tiirse-shows as well as wihtel-shows (p. 441n) were exhibited for pastime: ls. 3, 564 says, alluding to a well-known fable, des kunt der dursch, und sprichet schuo! the d. knows that, etc, where the notion of satyr and wild man (p. 482) predominates. the latin poem of wilten monastery in tyrol, which relates the story of the giant haimo, names another giant thyrsis, making a proper name of the word: forte habitabat in his alius truculentior oris cyclops, qui dictus nomine thyrsis erat, thyrsis erat dictus, seveldia rura colebat.1 the name of a place tursinriut, tursenriut (doc. of 1218-9 in lang s reg

HELENA BLAVATSKY NIGHTMARE TALES

that i ever beheld. its sexwas female, but whether she was a woman or child it was impossible to decide. she was a hideous-lookingdwarf, with an enormous head, the shoulders of a grenadier, with a waist in proportion; the whole supportedby two short, lean, spider-like legs that seemed unequal to the task of bearing the weight of the monstrousbody. she had a grinning countenance like the face of a satyr, and it was ornamented with letters and signsfrom the koran painted in bright yellow. on her forehead was a blood-red crescent; her head was crownedwith a dusty tarbouche, or fez; her legs were arrayed in large turkish trousers, and some dirty white muslinwrapped round her body barely sufficed to conceal its hideous deformities. this creature rather let herself nightmare talesthe luminous sh

had hardly heard of paganini; and when he did, he swore he would rival, if not eclipse, the geonesemagician. yes, he would either become the most famous of all living violinists, or he would break hisinstrument and put an end to his life at the same time. nightmare talesiii66 old klaus rejoiced at such a determination. he rubbed his hands in glee, and jumping about on his lame leglike a crippled satyr, he flattered and incensed his pupil, believing himself all the while to be performing asacred duty to the holy and majestic cause of art. upon first setting foot in paris, three years before, franz had all but failed. musical critics pronounced him arising star, but had all agreed that he required a few more, years' practice, before he could hope to carry hisaudiences by storm. therefore, a

HP LOVECRAFT THE NAMELESS CITY

the palaeontologist ever heard. in size they approximated a small man, and their fore-legs bore delicate and evident feet curiously like human hands and fingers. but strangest of all were their heads, which presented a contour violating all know biological principles. to nothing can such things be well compared- in one flash i thought of comparisons as varied as the cat, the bullfrog, the mythic satyr, and the human being. not jove himself had had so colossal and protuberant a forehead, yet the horns and the noselessness and the alligator-like jaw placed things outside all established categories. i debated for a time on the reality of the mummies, half suspecting they were artificial idols; but soon decided they were indeed some palaeogean species which had lived when the nameless city wa

LIBER AASH

and great subtlety. yea, and glee also! 12. let the magus act thus in his conjuration. 2 liber a fash vel capricorni pnevmatici 13. let him sit and conjure; let him draw himself together in that forcefulness; let him rise next swollen and straining; let him dash back the hood from his head and fix his basilisk eye upon the sigil of the demon. then let him sway the force of him to and from like a satyr in silence, until the word burst from his throat. 14. then let him not fall exhausted, although the might have been ten thousandfold the human; but that which floodeth him is the infinite mercy of the genitor-genetrix of the universe, whereof he is the vessel. 15. nor do thou deceive thyself. it is easy to tell the live force from the dead matter. it is no easier to tell the live snake from

LIBER ASTARTE

think of the beauty of a rose without a rose before them. for such is this method of most use; yet let them know that there is this danger therein, that they may mistake the gross body of the symbol for the idea made concrete thereby. 32. considerations of further danger to those not purged of material thought. let it be remembered that in the nature of the love itself is danger. the lust of the satyr for the nymph is indeed of the same nature as the affinity of quicklime for water on the one hand, and of the love of ab for ama on the other; so also is the triad osiris, isis, horus like that of a horse, mare, foal, and of red, blue, purple. and this is the foundation of correspondences. but it were false to say .horus is a foal. or .horus is purple. one may say .horus resembles a foal in

LIBER CXCVII STORY OF SIR PALAMEDES

h of the beast as author of evil, because free of will. the beast, starting up, is slain by him with a poisoned arrow; but at the moment of its death it is reborn from the knight.s own belly. xiv. at rome he meeteth a red robber in a hat, who speaketh nobly of it as of a king-dove-lamb. he chaseth and slayeth it; it proves but a child fs toy. xv. in a tuscan grove he findeth, from the antics of a satyr, that the gods sill dwell with men. mistaking orgasm for ecstasty, he is found ridiculous. xvi. baiting for it with gilded corn in a moonlit vale of spain, he findeth the bait stolen by vermin. xvii. in crete a metaphysician weaveth a labyrinth. sir palamede compelleth him to pursue the quarry in this same fashion. running like hippogriffs, they plunge over the precipice; and the hermit, dea

enus stirs the pulses of her worshippers! nor shall the tuscan god be found reluctant from the altar-stone: his perfume shall delight the ground, his presence to his hold be known in darkling grove and glimmering shrine. o ply the kiss and pour the wine! sir palamede is fairly come into a place of glowing bowers, where all the voice of time is dumb: before an altar crowned with flowers he seeth a satyr fondly dote and languish on a swan-soft goat. then he in mid-caress desires the ear of strong sir palamede .we burn. quoth he .no futile fires, nor play upon an idle reed, nor penance vain, nor fatuous prayers. the gods are ours, and we are theirs. liber cxcvii 34 sir palamedes plucks the pipe the satyr tends, and blows a trill so soft and warm, so red and ripe, that echo answers from the hi

LIBER DCLXXI VEL PYRAMIDOS

shadow of the wings! i am untrusty, cruel and insane, i am under the shadow of the wings! i am a fool and frivolous and vain. i am under the shadow of the wings! i am a weakling and a coward; i cringe, vel pyramidos 7 i am under the shadow of the wings! i am a catamite and cunnilinge. i am under the shadow of the wings! i am a glutton, a besotted wight; i am under the shadow of the wings! i am a satyr and a sodomite. i am under the shadow of the wings! i am as changeful and selfish as the sea. i am under the shadow of the wings! i am a thing of vice and vanity. i am under the shadow of the wings! i am most violent and i vacillate, i am under the shadow of the wings! i am a blind man and emasculate. i am under the shadow of the wings! i am a raging fire of wrath. no wiser! i am under the s

LIBER LIBERI VEL LAPIDIS LAZULI

f with oil and blood and kisses. 45. i have kindled thy marble into life.ay! into death. 46. i have been smitten with the reek of thy mouth, that drinketh never wine but life. 47. how the dew of the universe whitens the lips! svb figvra vii 5 48. ah! trickling flow of the stars of the mother supernal, begone! 49. i am she that should come, the virgin of all men. 50. i am a boy before thee, o thou satyr god. 51. thou wilt inflict the punishment of pleasure.now! now! now! 52. io pan! io pan! i love thee. i love thee. 53. o my god, spare me! 54. now! it is done! death. 55. i cried aloud the word.and it was a mighty spell to bind the invisible, an enchantment to unbind; yea, to unbind the bound. 6 ii 1. o my god! use thou me again, alway. for ever! for ever! 2. that which came fire from thee c

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

tioning in the physical world. often the recollection of a dream is so vivid that, upon awakening, a person actually believes that he has passed through a physical experience. the difficulty of accurately judging as to the end of physical sight and the beginning of ethereal vision may account for these differences of opinion. even this explanation, however, does not satisfactorily account for the satyr which, according to st. jerome, was captured alive during the reign of constantine and exhibited to the people. it was of human form with the horns and feet of a goat. after its death it was preserved in salt and taken to the emperor that he might testify to its reality (it is within the bounds of probability that this curiosity was what modern science knows as a monstrosity) the undines as

s is written (left "minor time of the stone (right "the selected red" between the arms of the central figure appears "let one pound of mercury be placed" to the left is written "if you who read shall have known this figure, you will possess the whole science of the stone; to the right "and if you do not acknowledge it, you will be stiff-necked and dull" above the sun is the word father; above the satyr "ferment of the work" beside the child is the sentence "the son of the moon would threw the stone into the fire--his mother" above the flaming basket is written "i am the true stone" under the central figure are the words "a moderate fire is the master of the work" click to enlarge leaf 9. in the upper left it is written that without the light of the moon the sun does not heat the earth and

MASTERING WITCHCRAFT

ir, a god and goddess. the coven leaders are seen as direct representatives of these witch spirits during the sabbat. the magister's titles are, among others: cernunnos. the title is derived from the ancient european celtic horned deity of the same name. dumus. derived from "dumuzi" or "tammuz" the young consort of the mesopotamian mother goddess. puck. also known as "pookah" or "bok" the horned, satyr-like mischievous spirit said to be a reformation folklore version of the horned god. he was also known as robin artisson and robin goodfellow. hu. channel island version of the horned one, possibly derived from the welsh-celtic deity, hu gadarn. barabbas. hebrew bar abba meaning son of the father or divine son- reference to the incarnate god. mamilion. derivation unknown. dianus or janus. a

MYTHS AND LEGENDS OF ANCIENT CIVILIZATIONS E

form as king of heaven the splendour of his glory would cause instant destruction to mortals. the mortal consorts of zeus have been such a favourite theme with poets, painters, and sculptors, that it is necessary to give some account of their individual history. those best known are antiope, leda, europa, callisto, alcmene, semele, io, and danae. antiope, to whom zeus appeared under the form of a satyr, was the daughter of nicteus, king of thebes. to escape the anger of her father she fled to sicyon, where king epopeus, enraptured with her wonderful beauty, made her his wife without asking her father's consent. this so enraged nicteus that he declared war against epopeus, in order to compel him to restore antiope. at his death, which took place before he could succeed in his purpose, nicte

tone moved of their own accord, page 84 adjusting themselves with the utmost nicety into the places designed for them. but though apollo was so renowned in the art of music, there were two individuals who had the effrontery to consider themselves equal to him in this respect, and, accordingly, each challenged him to compete with them in a musical contest. these were marsyas and pan. marsyas was a satyr, who, having picked up the flute which athene had thrown away in disgust, discovered, to his great delight and astonishment, that, in consequence of its having touched the lips of a goddess, it played of itself in the most charming manner. marsyas, who was a great lover of music, and much beloved on this account by all the elf-like denizens of the woods and glens, was so intoxicated with joy

perished, when he appeared to her in all the splendour of his divine glory. the motherless child was intrusted to the charge of hermes, who conveyed him to semele's sister, ino. but hera, still implacable in her vengeance, visited athamas, the husband of ino, with madness [125]and the child's life being no longer safe, he was transferred to the fostering care of the nymphs of mount nysa. an aged satyr named silenus, the son of pan, took upon himself the office of guardian and preceptor to the young god, who, in his turn, became much attached to his kind tutor; hence we see silenus always figuring as one of the chief personages in the various expeditions of the wine-god. dionysus passed an innocent and uneventful childhood, roaming through the woods and forests, surrounded by nymphs, satyr

] the wealthy king of phrygia, the same who, as already related, gave judgment against apollo. upon one occasion silenus, the preceptor and friend of dionysus, being in an intoxicated condition, strayed into the rose-gardens of this monarch, where he was found by some of the king's attendants, who bound him with roses and conducted him to the presence of their royal master. midas treated the aged satyr with the greatest consideration, and, after entertaining him hospitably for ten days, led him back to dionysus, who was so grateful for the kind attention shown to his old friend, that he offered to grant midas any favour he chose to demand; whereupon the avaricious monarch, not content with his boundless wealth, and still thirsting for more, desired that everything he touched might turn to

PHILIP NEIL MYTHS LEGENDS EXPLAINED

as with ass s ears. there are also references to other stories, including pan s invention of the pan pipes, and the secret of midas ears becoming widespread. king midas, the son of gordius, a peasant who had been made king of phrygia by the will of the gods, grew up convinced of the importance of money. as a result, when dionysus (bacchus) offered to grant him a wish for having helped his drunken satyr companion, silenus, midas asked that everything he touched should turn to gold. all went well, until he felt hungry bring me food! he cried. alas, it turned to gold! bring me wine! the same thing happened. horrified, midas begged dionysus to help him. the god told him to wash himself in the river pactolus which explains why the river and its banks are still flecked with gold dust. the muses

sh himself in the river pactolus which explains why the river and its banks are still flecked with gold dust. the muses the women watching and listening to the competition are the muses, deities of poetic inspiration who often accompany apollo. the flaying of marsyas athena made herself a double flute but, because playing it distorted her beauty, she cursed it and threw it away. it was found by a satyr named marsyas who taught himself to play the discarded instrument and, unwittingly, took on athena s curse. he became such a fine player that he challenged apollo to a musical contest, with the muses as judges. the loser was to submit to any punishment the victor decided. both musicians played so beautifully that the judges could not decide between them until apollo challenged marsyas to pla

test, with the muses as judges. the loser was to submit to any punishment the victor decided. both musicians played so beautifully that the judges could not decide between them until apollo challenged marsyas to play upside down, which was possible on apollo s lyre but not on the flute. apollo hung the impudent challenger on a pine tree and flayed him alive; so much blood flowed from the tortured satyr that it created the river marsyas. some say the river was formed from the tears of his fellow satyrs and nymphs, in grief at his torment. this greek ivory statue, c. 200 bce, shows the satyr marsyas tied to a tree before apollo exacts his vicious revenge. pan and syrinx 42 pan and syrinx pan (roman faunus) lived on earth in arcadia, rather than on mount olympus with other gods (see pp. 22 23

, and devoured their raw flesh. silenus silenus, dionysus drunken old tutor, is his constant companion, and the leader of his revelers, made up of sileni, satyrs, maenads, and bassarids. the god pan the god pan (see pp. 42 43, seen here playing the pan pipes, is often in dionysus company. some sources even suggest that dionysus was his father. although he has goatlike characteristics, he is not a satyr. trees the yew, fir, fig, ivy, and vine were all sacred to dionysus. revelers the orgiastic worship of dionysus lasted until 186 bce when the bacchanalia rites were suppressed by decree of the roman senate. dionysus and ariadne by johann georg olatzer (1704 61) dionysus and ariadne celebrate their marriage with their friends. the painting contains plenty of references to dionysus role as god

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

to you to the limit of your strength. heg. returns to altar. 3rd ad. descends and leads phil, with sol to w. hiereus going to n. bars their way. heireus (knocks) by the power of pan and the goat of mendes, stand. 3rd ad. thus far and no farther are you permitted to penetrate the path of ayin, whose mysteries may now be partially revealed to you. the 15th key of the tarot represents a goat-headed, satyr-like demon whose legs are hairy-his feet and claws, standing upon a cubical altar. he has heavy bat-like wings. in his left hand, which points downwards, he holds a lighted torch, and in his right, which is elevated, a horn of water. the left hand points downwards to show that it is the infernal and burning, not the celestial and life-giving flame which is kindled in his torch-just as when t

RUBY TABLET OF SET

with having a scarlet woman available for magic(k. without the presence of the reins there was a risk of the loss of balance and sights set on the path of the aeon, hence the tie. the beast's seven heads are a composite of ipsissimus aleister crowley himself "the head of an angel: the head of a saint: the head of a poet: the head of an adulterous woman: the head of a man of valour: the head of a satyr: the head of a lion-serpent" the divine drunkenness described in the book of thoth also says a great deal about atu xi. it is once again described as an indication of the power available for tapping as desired and when you think about it, which of us has at one time or another not experienced an intoxication when partaking of the magic of our aeon? like dr. faustus, ipsissimus crowley urged

nce away from the altar is a lit candle (preferably in some ritual-enhancing shape or container, already lit to provide light as the participants enter. decompression: to any suitable music opening [shuti walks to the center of the working area, where he remains with his staff [a chosen initiate now silently censes the chambre. any suitable incense may be used. the incense used on 11/23/xxiv was "satyr, purchased from denver's castle rising, in the year xiii (ingredients unknown. after censing the chambre, this initiate lights the green candle from the previously lit candle near the altar. once sure that the green candle is lit, this initiate extinguishes that previously lit candle [a second initiate now lights the red candle from the flame of the green candle. he then rings the bell nine

SATANIC BIBLE

originally an angel whose duty was to report human delinquencies to god. it was not until the fourteenth century that he began to be depicted as an evil deity who was part man and part animal, with goat-like horns and hooves. before christianity gave him the names of satan, lucifer, etc, the carnal side of man's nature was governed by the god which was then called dionysus, or pan, depicted as a satyr or faun, by the greeks. pan was originally the "good guy, and symbolized fertility and fecundity. whenever a nation comes under a new form of government, the heroes of the past become villains of the present. so it is with religion. the earliest christians believed that the pagan deities were devils, and to employ them was to use "black magic. miraculous heavenly events they termed "white ma

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 1

oh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks fashioned the minotaur (half-human, halfbull, the satyr (half-human, half-goat, the harpy (half-woman, half-bird) and a host of other hybrid entities the vast majority unfavorably disposed toward humankind. examples could be found in other cultures as well. customs and taboos in 2001, scientists were surprised when bits of stone etched with intricate patterns found in the blombos cave, east of cape town on the southern african shores of the india

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 3

oh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks fashioned the minotaur (half-human, halfbull, the satyr (half-human, half-goat, the harpy (half-woman, half-bird) and a host of other hybrid entities the vast majority unfavorably disposed toward humankind. examples could be found in other cultures as well. customs and taboos in 2001, scientists were surprised when bits of stone etched with intricate patterns found in the blombos cave, east of cape town on the southern african shores of the india

umankind s psyche had absorbed such hybrid monsters from the stone age, it continued to fashion human-animal deities of great power, such as the gods of ancient egypt, which included the cat goddess bast, the canine-headed anubis, the hawkman horus, and so on. from such were-beings, it was a natural progression to fashion other mystical creatures, such as the minotaur (half-human, half-horse, the satyr (half-human, half-goat, the harpy (half-woman, half-bird, and a host of other hybrid entities the vast majority unfavorably disposed toward humankind. and somewhere along the way, certain people developed a genetic disorder known as porphyria, which often brought about psychosis and an extreme hypersensitivity to sunlight, thereby suggesting that they were truly vampires. others succumbed to

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

oh identified himself with the god horus, who could be represented as a falcon or a falcon- headed human. anubis, the god of the necropolis, can be shown as a jackal-headed man, probably because such carrion-eating jackals prowled egyptian cemeteries. many other civilizations felt the power of these kinds of images. for example, the ancient greeks fashioned the minotaur (half-human, halfbull, the satyr (half-human, half-goat, the harpy (half-woman, half-bird) and a host of other hybrid entities.the vast majority unfavorably disposed toward humankind. examples could be found in other cultures as well. customs and taboos in 2001, scientists were surprised when bits of stone etched with intricate patterns found in the blombos cave, east of cape town on the southern african shores of the india

THE MAGICIAN S KABBALAH

hich might have bearing on the grade of this sephirah, as it is where the adeptus major attains a complete mastery of practical magic, which is evidence and proof of the initiatory system. there is a final note of interest in that 216= 6*6*6, the number of man found in the biblical revelations. the god-name of the sephiroth is alhim gbvr, the "god of judgement, which equates to 857, as does nvap (satyr. the god pan, lord of satyrs, could well be associated with geburah in his aspect of panic and awe, as geburah is sometimes called "pachad, meaning "fear. the archangel kamiel, equating as kmal to 91, is the same value as amn (amen, lbnh (moon, mlakh (messenger, phod (robe, man (to refuse, and ehlon (tree. crowley, in "the daughter of the horseleech, writing of elohim gibor and kamael points

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

sterile, and that the only possible system to follow will as usual lie directly between these extremes, and in this case, in the region of use. if now, supposing at one end of our pole we find lust seated crimson as a rose, then at the other we shall find chastity white as a lily. this system of extremes has during the world fs history exerted an overwhelming force on the will of man. beholding a satyr he worshipped a virgin; feeling the ills of the flesh, he conceived the bliss of the soul. this diametric opposition, verging ever towards the extreme circumference of utility, has given and is giving birth to numerous world-wide systems and philosophies. the taboos of the south seas, the restrictions laid on widow-remarriage in india, the purdah of the mussulman, the veil of the vestal, the

tannhauser now enters the palace of the great queen venus, the false isis, life! life! this kiss! draw in thy breath! to me! to me *tannhauser, vol. i, p. 229. he is lost! act ii opens with two beautiful songs. venus sings the praise of spring and summer, and tannhauser that of autumn and winter. he finds the latter chill season the best: but best is grim december, the goatish god his power; the satyr blows the ember, and pain is passion fs flower; when blood drips over kisses, and madness sobs through wine. ah mine. the snake starts up and hisses and strikes and. i am thine *tannhauser, vol. i, p. 230. in the above we still find the now almost dead echo of his higher self, yet venus entices him on, comparing their fierce lust to the lukewarm affection of those little lovers who strip the

led with fire and shapen as kisses. and those arms and kisses and mad movements of quick love burnt up his being, and his life was lost in woman fs love at last *the argonauts, vol. ii, p. 100. this was the love, or rather lust, of gthat filthy sorceress. h we are now rapidly approaching the realms of the abnormal; for good and evil are the toys of love as well as those of fate. the nymph and the satyr, the fair and the faulty alike are the guests of these amorous shades *mysteries: lyrical and dramatic, vol. i, p. 90. the virility of lust is vividly illustrated in gthe blood-lotus h: foam whips their reeking lips, and still the flower-witch nestles to my lips, twines her swart lissome legs and hips, half serpent and half devil, till my whole self seems to lie in her; her kisses draw my br

n reading further that it is not in mere abstraction of the real, but rather in the total absorption of the real, that the nirvana of bliss is to be arrived at. it is terrible sailing this, scylla lies to our left, charybdis to our right, the blood-flecked foam of life is dashed on our lips, it is acrid and intoxicating. xii. no prostitution may be shunned by him who would achieve this heaven. no satyr-song, no maniac dance shall ply so fast a thong of lust fs imagining perversely dim that no man fs spirit may keep pace, so strong its pang must pierce; nor all the pains of hell may be one tithe as fierce. xiii. all degradation, all sheer infamy, thou shalt endure. thy head beneath the mire and dung of worthless women shall desire as in some hateful dream, at last to lie; women must trample

nt through various stages of illuminism, till he stands out from the illusions of his birth, and becomes one with that higher glow of glory in exalted states of ecstasy or samadhi *pentecost, vol. ii, p. 173. crowleyanity has now led us through the realms of sceptical idealism, in which rationalism has been found completely wanting as a constructive force, and through which we have travelled with satyr and nymph and many other profaners of the sanctuary. and, as of old, the scented courtezans revelled in the mysteries of eleusis, and the vine of iacchus was trampled by bacchic feet, so to-day we find once again the farces of aristophanes redacted on the grand stage of the world on which the great actors have played their part, and have retired behind the scenes. so once more, much to the j

THE HOLY BIBLE KING JAMES VERSION

stones of emptiness. 34:12 they shall call the nobles thereof to the kingdom, but none [shall be] there, and all her princes shall be nothing. 34:13 and thorns shall come up in her palaces, nettles and brambles in the fortresses thereof: and it shall be an habitation of dragons [and] a court for owls. 34:14 the wild beasts of the desert shall also meet with the wild beasts of the island, and the satyr shall cry to his fellow; the screech owl also shall rest there, and find for herself a place of rest. 34:15 there shall the great owl make her nest, and lay, and hatch, and gather under her shadow: there shall the vultures also be gathered, every one with her mate. 34:16 seek ye out of the book of the lord, and read: no one of these shall fail, none shall want her mate: for my mouth it hath

TWO ESSAYS ON THE WORSHIP OF PRIAPUS

TYSON DONALD SOUL FLIGHT

e rise of modern spiritualism, it was common for astral travelers to interact with all manner of strange and exotic spiritual beings. one of the most common types was the fairies. interactions with angels were also frequent. ritual magicians and witches sometimes projected into infernal realms and held commerce with spirits they believed to be demonic. mythic creatures such as the sphinx, harpie, satyr, centaur, and water nymph were also encountered on a regular basis, since greek mythology was a part of any classical education. expectation allowed astral travelers to reach the realms in which these creatures dwell and to interact with them. the general belief in the nineteenth century that these esoteric creatures do not exist was in large measure responsible for inhibiting spiritualists

WICCA EIGHT SABBATS OF WITCHCRAFT

oice cried out) was often emphasized by the rustic nature of his shrines. many statues show him as a horned figure (as is also the case with moses. christian iconographers mumble embarrassed explanations about 'horns of light, while modern pagans giggle and happily refer to such statues as 'pan the baptist. and to clench matters, many depictions of john actually show him with the lower torso of a satyr, cloven hooves and all! obviously, this kind of john the baptist is more properly a jack in the green! also obvious is that behind the medieval conception of st. john lies a distant, shadowy pagan deity, perhaps the archetypal wild man of the wood, whose face stares down at us through the foliate masks that adorn so much church architecture. thus medieval pagans may have had fewer problems a

WICCA WITCHCRAFT TODAY

t and in her right hand she holds a branch of myrtle on which the other attendant, who has thrust into her girdle a ritual roll, is pouring a libation by means of an oenochoe. this is the lustral agape which must be celebrated before the communion, as was the custom in primitive christianity '4. after the celebration of the agape the neophyte is worthy of a new birth, represented allegorically. a satyr and satyra are seated; a fawn is stretching out its muzzle towards the satyra who is offering it her breast; on the left old silenus gazes on the scene playing ecstatically on a lyre. in the myth the child dionysus was transformed into a kid to hide him from the wrath of hera. this kid which is being suckled symbolises the infancy of dionysus, and silenus is present because he is to be the p

ABRAMELIN1

in their power in a particular current of an element; inferior to him in only partaking of the nature of that one element; are of necessity to be found constantly recurring in all the mythologies of antiquity. the dwarfs and elves of the scandinavians; the nymphs, hamadryads, and nature spirits of the greeks; the fairies good and bad of the legends dear to our childish days the host of mermaids, satyrs, fauns, sylphs, and fays; the forces intended to be attracted and propitiated by the fetishes of the negro-race; are for the most part no other thing than the ill-understood manifestations of this great class, the elementals. among these, some, as i have before observed, are good; such are the salamanders, undines, sylphs, and gnomes, of the rosicrucian philosophy; many are frightfully mali

ALEISTER CROWLEY LIBER 777

euminides] 16 shoulders and arms gorgons, minotaurs 17 lungs ominous appearances, banshees 18 stomach vampires 19 heart horror, dragons 20 the back mermaids (and l, its zodiacal opposite, banshees 21 digestive system incubi, nightmares 22 liver fairies, harpies 23 organs of nutrition nymphs and undines, nereids &c. 24 intestines lami, stryges, witches 25 hips and thighs centaurs 26 genital system satyrs and fauns, panic-demons 27 muscular system furies, chim ras, boars (as in calydon &c. 28 kidneys, bladder &c. water nymphs, sirens, lorelei, mermaids (cf. f) 29 legs and feet phantoms, were-wolves 30 circulatory system will o the wisp 31 organs of circulation salamanders 32 excretory system ghuls, larv, corpse candles 32 bis excretory organs, skeleton the dweller of the threshold, gnomes 31

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

-omicron delta-epsilon-iotarho- alpha-delta-omicron-sigma phi-alpha-nu-eta-theta, omega theta-epsilon-omega-nu chi-omicron-rho-omicron-pi-omicron-iota alpha-nualpha- xi soph. aj. thrill with lissome lust of the light, o man! my man! come careering out of the night of pan! io pan! io pan! io pan! come over the sea from sicily and from arcady! roaming as bacchus, with fauns and pards and nymphs and satyrs for thy guards, on a milk-white ass, come over the sea to me, to me, come with apollo in bridal dress (shepherdess and pythoness) come with artemis, silken shod, and wash thy white thigh, beautiful god, in the moon of the woods, on the marble mount, the dimpled dawn of the amber fount! dip the purple of passionate prayer in the crimson shrine, the scarlet snare, the soul that startles in ey

ALEISTER CROWLEY THE LOST CONTINENT

connected intimately; the theory was that if atlantean brains could exist in bodies sufficiently subtle to traverse aether, the task was done. some of the experiments were crude enough, and, to our minds, horrible. they attempted to breed a new race by crossing with snakes, swans, horses and other animals* the greek legends of such monsters as chimaera, medusa, lamia, minotaur, the centaurs, the satyrs and the like are mere filtrations of the atlantean tradition. the only theory behind such experiments was that they were contrary to the natural order, and so worth trying. men of more scientific mind more plausibly passed zro vapour through sea-water; but they only created serpents of vast size, which they cast into the sea about the high house as guardians. the sea-serpent, whether legend

ALEISTER CROWLEY THE OLD AND NEW COMMENTARIES TO LIBER AL

house as to rule men's bodies for a generation like alexander, or their minds for an epoch like plato, cannot be destroyed or diminished by any conceivable force. when this talisman comes forth from its fortress, its action begins. the ancient jewish rabbins knew this, and taught that before eve was given to adam, the demon lilith conceived by the spilth of his dreams, so that the hybrid races of satyrs, elves and the like began to populate those secret places of the earth which are not sensible by the organs of the normal man. i take it as certain that every offering of this talisman infallibly begets children on one plane or another of this our cosmos, whose matter is so varied in kind. such a child must partake of its father's nature; and its character will be determined, partly by the

ALEISTER CROWLEY EQ I 1

y of purest lapis-lazuli more blue than the blind sky that aches (wreathed with the stars, her torturing snakes, for the dead god's kiss that never wakes; shot with golden specks of fire like a virgin with desire. look, the levers! fern-frail fronds of fantastic diamonds, glimmering with ethereal azure in each exquisite embrasure. on the shaft the letters laced, as if dryads lunar-chaste with the satyrs were embraced, spelled the secret of the key "sic pervenias" and he went his wizard way, inweaving dreams of things beyond believing. when he will, the weary world of the senses closely curled like a serpent round his heart shakes herself and stands apart. so the heart's blood flames, expanding, strenuous, urgent, and commanding; and the key unlocks the door where his love lives evermore. s

, to the moonlit festivals of love: back where the werewolf lurks, and the moonrakes prowl. back, o back to the song of life, back to the great god pan! and there, wrapped in your goat-skins, drink with the shepherds of tammuz out of the skin of a suckling yet unborn, and ye shall become as the silver-gleaming waters of istar- pure and bright! speed, for he is the divine king of the fauns and the satyrs, the dryads and the oreads; the lord of the crowns; the decider of destiny; the god who prospers all above and beneath! and tarry not, lest as ye wander along the shore of the ionian sea ye hear a voice of lamentation crying "great pan is dead" 177 the bankrupt o where are the terraced gardens of babylon, with their mighty groves towering up amongst the clouds? o where is the sun-god of rho

as roses in june; and thine eyes as amethysts set in the vault of heaven. o! come kiss me, for i tremble for thee; fill me with love, 193 for i am consumed by the heat of my passion; say me, o slay me with kisses, burn me in the fire of thy kingdom, o slay me with the sword of thy rapture" then i cried unto her in a loud voice saying "o queen of the lusts of flesh! o queen of the lands haunted by satyrs! o mistress of night! o mother of the mysteries of birth and death! who art girt in the flames of passion, and jewelled with emerald, and moonstone, and chrysoleth. lo! on thy brow burns the star-sapphire of heaven, thy girdle is as the serpent of eden, and round thine ankles chatter the rubies and garnets of hell. hearken, o lilith! o sorceress of the blood of life! my lips are for those w

ALEISTER CROWLEY EQUINOX EQ I 2 2

fire flowing over. from the lamb and his prison fare and the owl's blind stupor, arise! be ye wise, and strong, and fair, and the nectar afloat in your eyes! arise, o ambrosial moon by the strong immemorial spell, by the subtle veridical rune that is mighty in heaven and hell! 213 drip thy mystical dews on the tongues of the tender fauns in the shade of initiate yews remote from the desert dawns! satyrs and fauns, i call. bring your beauty to man! i am the mate for ye all' i am the passionate pan. come, o come to the dance leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden beyond, shed in a secret sinew smitten through by the fond folly of wisdom in you! come, while the moon (the moon) sheds her ambrosial splendour, reels in the redel

ALEISTER CROWLEY EQUINOX EQ I 3

ds, and as my ear caught the sound of the little bells on the necks of the horses which were travelling far away on the main road, the two senses pooling their impressions in a single idea, i attributed to the birds this mysterious brazen chant; i imagined that they sang with a metallic throat. evidently they were talking to me, and chanting hymns to my captivity. gambolling monkeys, buffoon-like satyrs, seemed to amuse themselves at this supine prisoner, doomed to immobility; yet all the gods of mythology looked upon me with an enchanting smile, as if to encourage me to bear the sorcery with patience, and all their eyes slid to the corner of their eyelids as if to fix themselves on me. i came to the conclusion that if some faults of the olden time, some sins unknown to myself, had made ne

ALEISTER CROWLEY EQUINOX EQ I 6 2

e flowing over. from the lamb and his prison fare and the owl's blind stupor, arise! be ye wise, and strong, and fair, and the nectar afloat in your eyes! arise, o ambrosial moon, by the strong immemorial spell, by the subtle veridical rune that is mighty in heaven and hell! drip thy mystical dews on the tongues of the tender fauns, in the shade of initiate yews, remote from the desert dawns! 118 satyrs and fauns, i call. bring your beauty to man! i am the mate for ye all; i am the passionate pan. come, o come to the dance, leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden beyond, shed in a secret sinew, smitten through by the fond folly of wisdom in you! come, while the moon (the moon) sheds her ambrosial splendour, reels in the red

ALEISTER CROWLEY EQUINOX EQ I 6

re is no moon, nor any sun; the world's gray noon only is for thee and me; there is no sound in the nerveless silences of the fading world; there is a quiver of light on the river of life; we are unwed, my rose, nor knoweth each the other; we are undone, my rose, my secret rose, my unknown rose! and still the autumn woods are rustling dumbly with sodden leaves made brown by wind and rain; and the satyrs are fled under the earth to hide from the sunless world, and the nymphs are faded to air, to be reborn in the sun-light: there is no more joy, for mournfulness is fallen on the world, and decadence and decay and the odour of eld. 151 the spirit sleeps; the rose of the world is buried under the soil of every star that glows, a hanging lamp, under the firmament. there shall be no more roses

BALANCE J

s and posters. so we see both fabulous hollywood portraits of stars like clark gable and delores del rio and the wonderfully titled constance bennett and her conic sections and stunning portraits of doctors, grifters and street characters which have a much darker, earthly appeal. he is capable too of imaginary portraits of more unearthly denizens. there exist near photographic quality pictures of satyrs and half-human creatures rendered in crisp, lifelike clarity, as if they had just walked in off the walworth road and into his studio for a sitting. all of his portraits of actors and tramps and faerie folk resonate with a strong sense of his london roots. his use of coloured auras, halos, symbols and sigils add up to create an enhanced style of portraiture that he called glyphographs. spar

BLAVATSKY H P ANTHROPOGENESIS

ace. thus, it is most important to remember that the egos of the apes are entities compelled by their karma to incarnate in the animal forms, which resulted from the bestiality of the latest third and the earliest fourth race men. they are entities who had already reached the "human stage" before this round. consequently, they form an exception to the general rule. the numberless traditions about satyrs are no fables, but represent an extinct race of animal men. the animal "eves" were their foremothers, and the human "adams" their forefathers; hence the kabalistic allegory of lilith or lilatu, adam's first wife, whom the talmud describes as a charming woman, with long wavy hair, i.e- a female hairy animal of a character now unknown, still a female animal, who in the kabalistic and talmudic

is an inferior race. moreover there are naturalists who have sincerely considered the problem whether some savage tribes- like the bushmen for instance- can be regarded as men at all. the commentary says, in describing that species (or race) of animals "fair to look at" as a biped "having human shape, but having the lower extremities, from the waist down, covered with hair" hence the race of the satyrs, perhaps. if men existed two million years ago, they must have been- just as the animals were- quite different physically and anatomically from what they have become; and they were nearer then to the type of pure mammalian animal than they are now. anyhow, we learn that the animal world breeds strictly inter se, i.e, in accordance with genus and species- only since the appearance on this ea

jordan valley and preserved an ancient semitic language quite distinct from the square hebrew character- was of a very large stature. the english translations of the bible can never be relied upon, even in their modern revised forms. they tell us of the nephilim translating the word by "giants" and further adding that they were "hairy" men, probably the large and powerful prototypes of the later satyrs so eloquently described by the patristic fancy; some of the church fathers assuring their admirers and followers that they had themselves seen these "satyrs- some alive, others pickled and preserved. the word "giants" being once adopted as a synonym of nephilim, the commentators have since identified them with the sons of anak. the filibusters who seized on the promised land, found a pre-ex

region was the far north, the polar lands now, the pre-lemurian earliest continent, embracing once upon a time the present greenland, spitzbergen, sweden, norway, etc. but who were the nephilim of genesis vi. 4? there were palaeolithic and neolithic men in palestine ages before the events recorded in the book of the beginnings. the theological tradition identifies these nephilim with hairy men or satyrs, the latter being mythical in the fifth race and the former historical in both the fourth and fifth races. we have stated elsewhere what the prototypes of these satyrs were, and have spoken of the bestiality of the early and later atlantean race. what is the meaning of poseidon's amours under such a variety of animal forms? he became a dolphin to win amphitrite; a horse, to seduce ceres; a

BLUE EQUINOX

the law, love under will. 5 hymn to pan .frix .rwti periarc j d nepi man. p n p n p n p n liplagkte, kullan.aj cionokt poi petra.aj p deir doj f nhq, qe n corop i nax .soph. aj. thrill with lissome lust of the light, o man! my man! come careering out of the night of pan! io pan! io pan! io pan! come over the sea from sicily and from arcady! roaming as bacchus, with fauns and pards and nymphs and satyrs for thy guards, on a milk-white ass, come over the sea to me, to me, come with apollo in bridal dress (shepherdess and pythoness) come with artemis, silken shod, and wash thy white thigh, beautiful god, in the moon of the woods, on the marble mount, the dimpled dawn of the amber fount! dip the purple of passionate prayer in the crimson shrine, the scarlet snare, the soul that startles in ey

fore thee, and the fervour of the orisons shall intoxicate thy nostrils. 46. o thou who camest from the land of the elephant, girt about with the tiger.s pell, and garlanded with the lotus of the spirit, do thou inebriate my life with thy madness, that she leap at my passing. 47. bid thy maidens who follow thee bestrew us a bed of flowers immortal, that we may take our pleasure thereupon. bid thy satyrs heap thorns among the flowers, that we may take our pain thereon. let the pleasure and pain be mingled in one supreme offering unto the lord adonai! 48. also i heard the voice of adonai the lord the desirable one concerning that which is beyond. 49. let not the dwellers in thebai and the temples thereof prate ever of the pillars of hercules and the ocean of the west. is not the nile a beaut

BOOK OF SATYRS

extraordinary pessimism: it is an unwholesome flattery of the environment and circumstance from out whose grip the man at length emerges equipped for faith by knowledge. and spare, with the unflinching assurance of the optimist as to the ultimate, treads with reforming energy where the effeminate and parsonic would whimper or weep helplessly. his is no gently-advancing theory, but his satires (or satyrs, as he loves to call them) arrive as full-fledged and assertive dogma. the designs have their claim upon the imagination also, not from a visionary cast given by obscure shapes or heavy mystification, but by reason of clearly incisive and circumstantial detail, informed nevertheless, with so psychic an intention that the familiar is made to be the haunt of what is startling and indeterminab

DONALDTYSON VAMPIRES

vampires are known by various names. often they adopt the opposite sex to their victim, since sexual energy is a highly concentrated food source, equivalent to sugar for the spiritual vampire. when these spirits do not assume human form they are called larvae. when they take on the form of a woman they are known as lamia or succubi. male vampires of the spirit kind were sometimes called incubi or satyrs. they have many names in many cultures. these spirit vampires visit their victims in their beds during sleep, and enter their dreams, where they adopt pleasing forms. after their hold upon their unwitting hosts is certain, they drop the pretense of lovers and allow their natural forms to be perceived. their natural features are distorted and grotesque, continually contorted with passions. o

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

books of the egyptians.[7] as thoth, whom the greeks called hermes, is in egyptian texts styled "lord of divine books"[8 "scribe of the company of the gods"[9] and "lord of divine speech"[10] this ascription is well founded. the [1. for the hieroglyphic text see maspero, recueil de travaux, t. vii, pp. 162, 163; and t. xi, p. ii. 2 pietschmann thinks (aeg. zeitschrift, bd. xxxi, p. 73 f) that the satyrs, who are referred to by diodorus (i, xviii) as the companions and associates of osiris in ethiopia, have their origin in the pigmies. 3. the whole question of the pigmy in the text of pepi i. has been discussed by maspero in recueil de travaux, t. xiv, p. 186 ff. 4. chapp. 30b, 164, 37b and 148. although these chapters were found at hermopolis, the city of thoth, it does not follow that the

rst, third, and fifth of these days were considered unlucky by the egyptians. 4. the mouths of the nile are discussed and described by strabo, xvii, i, 18 (ed. didot, p. 681) and by diodorus, i, 33, 7 (ed. didot, p. 26] p. l plutarch's version. the month hathor,[1] when osiris was in the twenty-eighth year either of his reign or of his age. the first to know of what had happened were the pans and satyrs, who dwelt hard by panopolis; and finally the news was brought to isis at coptos, whereupon she cut off a lock of hair[2] and put on mourning apparel. she then set out in deep grief to find her husband's body, and in the course of her wanderings she discovered that osiris had been united with her sister nephthys, and that anubis, the offspring of the union, had been exposed by his mother as

FAUST

ake; cut from the trunk, they think they re something still. but say, what s wrong? why so distressful? why this behaviour so unrestful? where would you go? be off, good-by!i see, that chorus twists your neck awry. don t force yourself to stay! go, leave this place, greet yonder many a charming face. the lamiae, wanton wenches, you ll find there, their foreheads brazen, faces smiling, as when the satyrs they re beguiling. there all things may a goat s-foot dare. mephistopheles you ll stay here and i ll find you here again? sphinxes yes! go and mingle with the airy train. we long ago are wont, from egypt coming here, to sit enthroned to the thousandth year. respect to our position you must pay. thus rule we lunar, rule we solar day. at the pyramids our station, we look on the doom of races

s creak and buckets clatter, tubs groan on the bearer s back; to the great vat all are going, to the treaders vigorous dance; and thus is the sacred plenty of the pure-born, juicy berries rudely trodden, foaming, spurting, crushed to an unsightly mass. now the ear is pierced by brazen clash of cymbals and of timbrels, for the veil of mystery hath dionysus cast aside; he comes forth with goat-foot satyrs, whirling goat-foot satyresses; and amid them brays, untamed and shrill, silenus long-eared beast. naught is spared! for cloven hoofs are trampling down all decent custom; for the senses whirling stagger, horribly the ear is stunned. for the cup the drunken fumble, over-full are heads and bellies. careful still is this and that-one, but he heightens thus the tumult, for to garner this year

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

on the ground of their black colour (see suppl. 1 ii. 1, 592. thor threatens to lameloki, su. 130, and the liglitning-fiash has a maiming power^ the romans called pluto jupiter niyer, the black god. silius ital. 8, 116. 994 devil. sucli animal sliape was often not made complete^ but merely indicated by some addition to a configuration mainly human, much as the greeks and romans represented their satyrs, fauns or pan, and to dionysus, acteeon or lo simply added horns. the devil then approximates to those wood-sprites, skrats and pilosi treated of in p. 478 seq; shaped like a man in the rest of his limbs, he is betrayed by his goat's ear, his horn, tail or horse's foot. a vdlant is thus described in tund. 51, 33'^er het vil der heyide^ an des libes ende einea vreislichen zagel (tail, der he

HELENA BLAVATSKY THE KEY TO THEOSOPHY

er the forces of nature than ethereal men and women. these forces, as the servile agents of the occultist, may produce various effects; but if employed by elementaries (kamarupas)-in which case they enslave the mediums-they will deceive. all the lower invisible beings generated on the fifth, sixth, and seventh planes of our terrestrial atmosphere are called elementals-peris, devs, djins, sylvans, satyrs, fauns, elves, dwarfs, trolls, norns, kobolds, brownies, nixies, goblins, pinkies, banshees, moss people, white ladies, spooks, fairies, etc, etc. eleusinia (gr) the eleusinian mysteries were the most famous and the most ancient of all the greek mysteries (save the samothracian, and were performed near the hamlet of eleusis, not far from athens. epiphanius traces them to the days of iacchos

HP LOVECRAFT A DARK LORE

ce that all the myths were of a well-known pattern common to most of mankind and determined by early phases of imaginative experience which always produced the same type of delusion. it was of no use to demonstrate to such opponents that the vermont myths differed but little in essence from those universal legends of natural personification which filled the ancient world with fauns and dryads and satyrs, suggested the kallikanzarai of modern greece, and gave to wild wales and ireland their dark hints of strange, small, and terrible hidden races of troglodytes and burrowers. no use, either, to point out the even more startlingly similar belief of the nepalese hill tribes in the dreaded mi-go or "abominable snow-men" who lurk hideously amidst the ice and rock pinnacles of the himalayan summi

HP LOVECRAFT POETRY AND THE GODS

lantides, beloved of aphrodite and blessed of pallas, thou hast indeed discovered the secret of the gods, which lieth in beauty and song. 0 prophetess more lovely than the sybil of cumae when apollo first knew her, thou has truly spoken of the new age, for even now on maenalus, pan sighs and stretches in his sleep, wishful to wake and behold about him the little rose-crowned fauns and the antique satyrs. in thy yearning hast thou divined what no mortal, saving only a few whom the world rejects, remembereth: that the gods were never dead, but only sleeping the sleep and dreaming the dreams of gods in lotos-filled hesperian gardens beyond the golden sunset. and now draweth nigh the time of their awakening, when coldness and ugliness shall perish, and zeus sit once more on olympus. already th

HP LOVECRAFT THE MUSIC OF ERICH ZANN

ters, and i reflected for a moment that this was the first time i had ever heard zann play the work of another composer. louder and louder, wilder and wilder, mounted the shrieking and whining of that desperate viol. the player was dripping with an uncanny perspiration and twisted like a monkey, always looking frantically at the curtained window. in his frenzied strains i could almost see shadowy satyrs and bacchanals dancing and whirling insanely through seething abysses of clouds and smoke and lightning. and then i thought i heard a shriller, steadier note that was not from the viol; a calm, deliberate, purposeful, mocking note from far away in the west. at this juncture the shutter began to rattle in a howling night wind which had sprung up outside as if in answer to the mad playing wit

INITIATION INTO HERMETICS

. these beings represent, as it were, the connection between the astral plane and the earthly elements. how to establish the connection with these beings, how to control them, what can be achieved with their help, all will be reserved to the practical part of the present book to which i shall dedicate the special chapter, magic of the elements. furthermore, there is a host of other beings such as satyrs, woodmaidens, watergoblins, etc, who could be specified. even if all this sounds like a fairy tale, on the astral plane the previously described beings are the very same realities as all the other earthly beings. the adept s clairvoyant eyes can see all of them, if he desires so, and is able to establish the connection with them, so excluding any doubt of the existence of these beings right

LIBER 777

euminides] 16 shoulders and arms gorgons, minotaurs 17 lungs ominous appearances, banshees 18 stomach vampires 19 heart horror, dragons 20 the back mermaids (and l, its zodiacal opposite, banshees 21 digestive system incubi, nightmares 22 liver fairies, harpies 23 organs of nutrition nymphs and undines, nereids &c. 24 intestines lami, stryges, witches 25 hips and thighs centaurs 26 genital system satyrs and fauns, panic-demons 27 muscular system furies, chim ras, boars (as in calydon &c. 28 kidneys, bladder &c. water nymphs, sirens, lorelei, mermaids (cf. f) 29 legs and feet phantoms, were-wolves 30 circulatory system will o the wisp 31 organs of circulation salamanders 32 excretory system ghuls, larv, corpse candles 32 bis excretory organs, skeleton the dweller of the threshold, gnomes 31

LIBER CORDIS CINCTI SERPENTE

ore thee, and the fervour of the orisons shall intoxicate thy nostrils. 46. o thou who camest from the land of the elephant, girt about with the tiger fs pell, and garlanded with the lotus of the spirit, do thou inebriate my life with thy madness, that she leap at my passing. 47. bid thy maidens who follow thee bestrew us a bed of flowers immortal, that we may take our pleasure thereupon. bid thy satyrs heap thorns among the flowers, that we may take our pain thereon. let the pleasure and pain be mingled in one supreme offering unto the lord adonai! 48. also i heard the voice of adonai the lord the desirable one concerning that which is beyond. 49. let not the dwellers in thebai and the temples thereof prate ever of the pillars of hercules and the ocean of the west. is not the nile a beaut

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

d with priapus. the pipes of pan signify the natural harmony of the spheres, and the god himself is a symbol of saturn because this planet is enthroned in capricorn, whose emblem is a goat. the egyptians were initiated into the mysteries of pan, who was regarded as a phase of jupiter, the demiurgus. pan represented the impregnating power of the sun and was the chief of a horde rustic deities, and satyrs. he also signified the controlling spirit of the lower worlds. the fabricated a story to the effect that at the time of the birth of christ the oracles were silenced after giving utterance to one last cry "great pan is dead" p. 36 and fruits. in support of this viewpoint they describe the "gardens of adonis" which were small baskets of earth in which seeds were planted and nurtured for a pe

loated to the sea. plutarch states that the date upon which this occurred was the seventeenth day of the month athyr, when the sun was in the constellation of scorpio. this is most significant, for the scorpion is the symbol of treachery. the time when osiris entered the chest was also the same season that noah entered the ark to escape from the deluge. plutarch further declares that the pans and satyrs (the nature spirits and elementals) first discovered that osiris had been murdered. these immediately raised an alarm, and from this incident the word panic, meaning fright or amazement of the multitudes, originated. isis, upon receiving the news of her husband's murder, which she learned from some children who had seen the murderers making off with the box, at once robed herself in mournin

pening, he lowered his feet into the cavern. thereupon his entire body was precipitately click to enlarge the dodonean jupiter. from historia deorum fatidicorum. jupiter was called dodonean after the city of dodona in epirus. near this city was a hill thickly covered with oak trees which from the most ancient times had been sacred to jupiter. the grove was further venerated because dryads, fauns, satyrs, and nymphs were believed to dwell in its depths. from the ancient oaks and beeches were hung many chains of tiny bronze bells which tinkled day and night as the wind swayed the branches. some assert that the celebrated talking dove of dodona was in reality a woman, because in thessaly both prophetesses and doves were called peleiadas. it is supposed that the first temple of dodona was erec

nct groups, which he called gnomes, undines, sylphs, and salamanders. he taught that they were really living entities, many resembling human beings in shape, and inhabiting worlds of their own, unknown to man because his undeveloped senses were incapable of functioning beyond the limitations of the grosser elements. the civilizations of greece, rome, egypt, china, and india believed implicitly in satyrs, sprites, and goblins. they peopled the sea with mermaids, the rivers and fountains with nymphs, the air with fairies, the fire with lares and penates, and the earth with fauns, dryads, and hamadryads. these nature spirits were held in the highest esteem, and propitiatory offerings were made to them. occasionally, as the result of atmospheric conditions or the peculiar sensitiveness of the

n in what the scandinavians called the land of the nibelungen. in wagner's wonderful opera cycle, the ring of the nibelungen, alberich makes himself king of the pygmies and forces these little creatures to gather for him the treasures concealed beneath the surface of the earth. besides the pygmies there are other gnomes, who are called tree and forest sprites. to this group belong the sylvestres, satyrs, pans, dryads, hamadryads, durdalis, elves, brownies, and little old men of the woods. paracelsus states that the gnomes build houses of substances resembling in their constituencies alabaster, marble, and cement, but the true nature of these materials is unknown, having no counterpart in physical nature. some families of gnomes gather in communities, while others are indigenous to the subs

m a golden urn into a silver one, typifying the descent of celestial forces into the sublunary spheres. the fifteenth numbered major trump is called le diable, the devil, and portrays a creature resembling pan with the horns of a ram or deer, the arms and body of a man, and the legs and feet of a goat or dragon. the figure stands upon a cubic stone, to a ring in the front of which are chained two satyrs. for a scepter this so-called demon carries a lighted torch or candle. the entire figure is symbolic of the magic powers of the astral light, or universal mirror, in which the divine forces are reflected in an inverted, or infernal, state. the demon is winged like a bar, showing that it pertains to the nocturnal, or shadow inferior sphere. the animal natures of man, in the form of a male an

MASTERING WITCHCRAFT

the dove, old horny's is the goat. to students of symbolism, this attribute should speak for itself. the goat is the age-old representative of lust and debauchery, and cernunnos himself, for such is his witch name, is frequently represented as possessing the cloven hooves, horns, and erect phallus of his attribute. his symbolism has much in common with that of the greek god pan with his attendant satyrs and silenoi and the prehistoric phallic giants carved into the turf in various places around england such as the cerne giant and the long man of wilmington. he is the god of the dead, winter, and chaos, and it is from this aspect that he derives his title, the lord of misrule. herein he is characterized as the king of debauchery and licentious frolic. the mid-winter festival of saturnalia i

MICHAEL FORD WITCHMOON

p to heights seldom reached. ecstasy is belief. midsummer june 22nd this is a calling and celebration of the warmth of the sun, an invocation of passion and life giving pleasure. lugh, the celtic light bringer is of radiant color, his image is 81 81 painted in the mind during this period. the magickal weapon of this particular sabbat is the lamp. 26 is the number of the witches' sabbat as well as satyrs and fauns, panic demons (11) the children of pan. it is said that pan is present at each sabbat, just as the sigil of desire which is the goat headed figure or black one is. a circle should be drawn by the members of the temple of group, who frequently take a collective name significant in relation to these gods and other entities. the ritual of dawn is suggested, however the actual sabbat

MORALS AND DOGMA

ortening of the days, and the despoiling of the earth. then taurus, directly opposite the sun, entered into the cone of shadow which the earth projects, by which the moon is eclipsed at full, and with which, making night, the bull rises and descends as if covered with a veil, while he remains above our horizon. the body of osiris, enclosed in a chest or coffin, was cast into the nile. pan and the satyrs, near chemmis, first discovered his death, announced it by their cries, and everywhere created sorrow and alarm. taurus, with the full moon, then entered into the cone of shadow, and under him was the celestial river, most properly called the nile, and below, perseus, the god of chemmis, and auriga, leading a she-goat, himself identical with pan, whose wife aiga the she-goat was styled. the

MOTTA MARCELO THE COMMENTARIES OF AL

a house as to rule men's bodies for a generation like alexander, or their minds for an epoch like plato, cannot be destroyed or diminished by any conceivable force. when this talisman comes forth from its fortress, its action begins. the ancient jewish rabbins knew this, and taught that before eve was given to adam the demon lilith conceived by the spilth of his dreams, so that the hybrid race of satyrs, elves and the like began to populate the secret places of the earth which are not sensible by the organs of the normal man. i take it as certain that every offering of this talisman infallibly begets children on one plane or another of this our cosmos, whose matter is so varied in kind. such a child must partake of its father's nature; and its character will be determined, partly by the en

MYTHS AND LEGENDS OF ANCIENT CIVILIZATIONS E

imants remained so equally balanced, that it was impossible to award the palm of victory to either, seeing which, apollo, resolved to conquer, added the sweet tones of his melodious voice to the strains of his lyre [79]and this at once turned the scale in his favour. the unhappy marsyas being defeated, had to undergo the terrible penalty, and his untimely fate was universally lamented; indeed the satyrs and dryads, his companions, wept so incessantly at his fate, that their tears, uniting together, formed a river in phrygia which is still known by the name of marsyas. the result of the contest with pan was by no means of so serious a character. the god of shepherds having affirmed that he could play more skilfully on his flute of seven reeds (the syrinx or pan's pipe, than apollo on his wo

e sociable existence, and that, under its invigorating influence, the sorrowful might, for a while, forget their grief and the sick their pain. he accordingly gathered round him his zealous followers, page 141 and they set forth on their travels, planting the vine and teaching its cultivation wherever they went. we now behold dionysus at the head of a large army composed of men, women, fauns, and satyrs, all bearing in their hands the thyrsus (a staff entwined with vine-branches surmounted by a fir-cone, and clashing together cymbals and other musical instruments. seated in a chariot drawn by panthers, and accompanied by thousands of enthusiastic followers, dionysus made a triumphal [126]progress through syria, egypt, arabia, india &c, conquering all before him, founding cities, and establ

shoulders in long curls. in one hand he bears the thyrsus, and in the other a drinking-cup with two handles, these being his distinguishing attributes. he is often represented riding on a panther, or seated in a chariot drawn by lions, tigers, panthers, or lynxes. being the god of wine, which is calculated to promote sociability, he rarely appears alone, but is usually accompanied by bacchantes, satyrs, and mountain-nymphs. the finest modern representation of ariadne is that by danneker, at frankfort-on-the-maine. in this statue she [130]appears riding on a panther; the beautiful upturned face inclines slightly over the left shoulder; the features are regular and finely cut, and a wreath of ivy-leaves encircles the well-shaped head. with her right hand she gracefully clasps the folds of d

esses. they are ardent followers of the chase, and spare neither the gentle deer nor the timid hare, nor indeed any animal they meet with in their rapid course. wherever their wild hunt goes the shy napaa are represented as hiding behind the leaves, whilst their favourites, the fawns, kneel tremblingly beside them, looking up beseechingly for protection from the wild huntresses; and even the bold satyrs dart away at their approach, and seek safety in flight. there is a myth connected with one of these mountain nymphs, the unfortunate echo. she became enamoured of a beautiful youth named narcissus, son of the river-god cephissus, who, however, failed to return her love, which so grieved her that she gradually pined away, becoming a mere shadow of her former self, till, at length, nothing re

attack the greeks. on the acropolis at athens there was a celebrated octagonal temple, built by pericles, which was dedicated to the winds, and on its sides were their various representations. the ruins of this temple are still to be seen. pan (faunus. page 199 pan was the god of fertility, and the special patron of shepherds and huntsmen; he presided over all rural occupations, was chief of the satyrs, and head of all rural divinities. according to the common belief, he was the son of hermes and a wood nymph, and came into the world with horns sprouting from his forehead, a goat's beard and a crooked nose, pointed ears, and page 200 the tail and feet of a goat, and presented altogether so repulsive [172]an appearance that, at the sight of him, his mother fled in dismay. hermes, however

es.whilst small horns project from his forehead. he is either undraped, or wears merely the light cloak called the chlamys. the usual offerings to pan were milk and honey in [174]shepherds' bowls. cows, lambs, and rams were also sacrificed to him. page 202 after the introduction of pan into the worship of dionysus, we hear of a number of little pans (panisci, who are sometimes confounded with the satyrs. faunus. the romans had an old italian divinity called faunus, who, as the god of shepherds, was identified with the greek pan, and represented in a similar manner. faunus is frequently called inuus or the fertilizer, and lupercus or the one who wards off wolves. like pan, he possessed the gift of prophecy, and was the presiding spirit of the woods and fields; he also shared with his greek

es. like pan, he possessed the gift of prophecy, and was the presiding spirit of the woods and fields; he also shared with his greek prototype the faculty of alarming travellers in solitary places. bad dreams and evil apparitions were attributed to faunus, and he was believed to enter houses stealthily at night for this purpose. fauna was the wife of faunus, and participated in his functions. the satyrs. page 203 the satyrs were a race of woodland spirits, who evidently personified the free, wild, and untrammelled life of the forest. their appearance was both grotesque and repulsive; they had flat broad noses, pointed ears, and little horns sprouting from their foreheads, a rough shaggy skin, and small goat's tails. they led a life of pleasure and self-indulgence, followed the chase, revel

ads, a rough shaggy skin, and small goat's tails. they led a life of pleasure and self-indulgence, followed the chase, revelled in page 204 every description of wild music and dancing, were terrible wine-bibbers, and addicted to the deep slumbers which follow heavy potations. they were no less dreaded by mortals than by the gentle woodland nymphs, who always avoided their coarse rough sports. the satyrs were conspicuous figures in the train of dionysus, and, as we have seen, silenus their chief was tutor to the wine god. the older satyrs were called silens, and are represented in antique sculpture, as more nearly approaching the human form [175] in addition to the ordinary satyrs, artists delighted in depicting little satyrs, young imps, frolicking about the woods in a marvellous variety o

l attitudes. these little fellows greatly resemble their friends and companions, the panisci. in rural districts it was customary for the shepherds and peasants who attended the festivals of dionysus, to dress themselves in the skins of goats and other animals, and, under this disguise, they permitted themselves all kinds of playful tricks and excesses, to which circumstance the conception of the satyrs is by some authorities attributed. in rome the old italian wood-divinities, the fauns, who had goats' feet and all other characteristics of the satyrs greatly exaggerated, were identified with them. priapus. priapus, the son of dionysus and aphrodite, was regarded as the god of fruitfulness, the protector of flocks, sheep, goats, bees, the fruit of the vine, and all garden produce. his stat

ine was freely indulged in. page 229 in the processions which took place during these festivities, the statue of dionysus was carried, and men and women, crowned with ivy and bearing the thyrsus, were dressed in every description of grotesque costume, and played on drums, pipes, flutes, cymbals, page 230 &c. some representing silenus rode on asses, others wearing fawn-skins appeared as pan or the satyrs, and the whole multitude sang paans in honour of the wine-god. public shows, games, and sports took place, and the entire city was full of revelry. what lent additional interest to these festivals was the custom of introducing new comedies and tragedies to the public, representations of which were given, and prizes awarded to those which elicited the greatest admiration. page 231 the lesser

PHILIP NEIL MYTHS LEGENDS EXPLAINED

midas was the only one to disagree with tmolus judgment; he preferred pan s simple flutings. apollo, enraged that anyone so stupid should be allowed to have human ears, transformed midas ears into those of an ass long, gray, and hairy. the creation of pan s pipes the story of pan s invention of the pan pipes from river reeds following his pursuit of the nymph syrinx is alluded to here. these two satyrs, also half-man, half-goat, sit by a clump of reeds on the banks of a river. the judgment of midas by gillis van coninxloo (1544 1607) this painting shows the end of apollo and pan s musical competition when apollo has already cursed midas with ass s ears. there are also references to other stories, including pan s invention of the pan pipes, and the secret of midas ears becoming widespread

he yew, fir, fig, ivy, and vine were all sacred to dionysus. revelers the orgiastic worship of dionysus lasted until 186 bce when the bacchanalia rites were suppressed by decree of the roman senate. dionysus and ariadne by johann georg olatzer (1704 61) dionysus and ariadne celebrate their marriage with their friends. the painting contains plenty of references to dionysus role as god of the vine. satyrs the satyrs were spirits with some goatlike characteristics, not least their uninhibited lust. dionysus himself was the father of the phallic god priapus, by the goddess aphrodite (venus. ariadne the daughter of minos and pasipha, ariadne is wearing a bridal wreath, given to her by dionysus. it had belonged to his stepmother, the sea nymph thetis (see p. 25. when ariadne died, the chaplet, a

ROBERT KIRK WALKER BETWEEN WORLDS

whether to guard him from the secret assaults of some of its own folk or only as a sportful ape to counterfeit all his actions. however, the stories of old witches prove beyond contradiction that all sorts of spirits which assume light airy bodies, or crazed bodies coacted by foreign spirits seem to have some pleasure [or] at least to assuage some pain of melancholy, by frisking and capering like satyrs or whistling and shrieking, like unlucky birds in their unhallowed synagogues and sabbaths. if invited and earnestly required, these companions make themselves known and familiar to men, otherwise, being in a different state and element, they neither can nor will easily converse with them. they [the seers] avouch that a heluo or great-eater has a voracious elve to be his attender, called [a

owers and unable to command it. for we have seen poor beggars of them [that is, highlanders] chattering their teeth for [that is, with] cold, that how [that is as] soon as they saw the the secret commonwealth 53 http//www.dreampower.com/kirk_wbw/pg_50.htm (3 of 10 [10/9/2001 12:35:05 am] robert kirk- walker between worlds(pages 50-59) fire and heard the harp, leapt through the house like goats or satyrs [just] as there are parallel stories in an countries and ages, reported of these obscure people, which [tales] are no dotages [that is, not weak-minded, so it is no more of necessity to us to know their beings and manner of life than [it is] to understand distinctly the polity [that is, political organization or statehood] of the nine orders of angels, or with what oil the lamp of the sun i

a visible shape seen by adam in the cool of the day, speaking to him with an audible voice, and [that] jesus, probably by the ministry of invisible attendants, conveyed more meat [that is, substance] of the same kind to the five thousand that were fed by him with a very few leaves and fishes, for a new creation it was not. the zijim-jiim and ochim in isaiah 15:21-2 [are another example for] those satyrs and doleful unknown creatures of islands and deserts seem to have a plain prospect that way. finally, the eternal happiness enjoyed in the third heavens being more mysterious than most men take it to be, it is not a sense wholly adduced to scripture to say that this second sight and the due objects of it, has the secret commonwealth 56 some vestige [of evidence] in holy writ; but rather [th

SALMANRUSHDIE THESATANICVERSES

ould be seen the sad comedy of a sheepskin jacket borrowed from jumpy, its collar turned up, so that sheepish curls nestled only inches from pointy billy-goat horns. he seemed incapable of speech, sluggish of body, dull of eye; even though jumpy attempted to encourage him "there, you see, we'll have this well sorted in a flash- he, saladin, remained the most limp and passive of- what- let us say: satyrs. sufyan, meanwhile, offered further apuleian sympathy "in the case of the ass, reverse metamorphosis required personal intervention of goddess isis" he beamed "but old times are for old fogies. in your instance, young mister, first step would possibly be a bowl of good hot soup" at this point his kindly tones were quite drowned by the intervention of a second voice, raised high in operatic

THE BOOK OF PLEASURE

nly a graphic artist; he wrote four books on what he described as symbolic sorcery- the book of pleasure (1909-1913, the focus of life (1918-1921, anathema of zos (1924) and the book of the living word of zos (1951-1956, a collection of aphorisms and magical formulae which remains unpublished to this day.(note 1) spare published some of his drawings in books such as earth inferno (1905, a book of satyrs (1907, and in periodicals; he also illustrated a few books by other writers, but the four works mentioned above are all that survives of his extensive occult researches. they trace the evolution and development of the curious system of sorcery with which he was preoccupied until his death in 1956. they were, however, mere punctuation marks, pauses, between the steady outflow of graphic work

THE GOD OF THE WITCHES

points to a time when he was the only deity in his own locality. all representations of him arenecessarily late, after the fifth century b.c; but even in the earliest forms his characteristics are the same, the the god of the witcheschapter i. the horned god8long narrow face, the pointed beard, the small horns, and the goat's legs. scenes of his worship show himfollowed by a dancing procession of satyrs and nymphs, while he plays on the pipes which bear his name. hisappearance should be compared with the little dancing god of the palaeolithic people (plate ii, and also withthe figure of robin goodfellow (plate x. as a godling beloved of the people he is like enkidu, whom healso resembles in having hoofs. though our knowledge of him dates only to the late iron-age, his worship isobviously o

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

bby prostitutes of the street. the facetiae of the fifteenth century, gles cent nouvelles nouvelles, h gthe decameron, h gthe heptameron, h gthe nights of straparola, h gbrantome, h etc, etc, are not only masterpieces for all time, but are pure, even chaste, compared with the virginal lusts that are becoming so fashionable in our modern literature, whose maidens are lesbians, and whose heroes are satyrs. europa is no longer satisfied with her bull, but seeks an ichor-maddened elephant; leda disdains her swan, and burns for a straddling ostrich; the goat of lechery sits enthroned o fer us, and is fast coupling with the mind of the nation, and spawning offspring effeminate, lustful, and degenerate. tribades with their evil-smelling kisses swarm over our pages, heroines are no longer satisfie

THE WITCH CULT OF ZOS VEL THANATOS

sigil, which is described as a "representation of will, delimiting belief and rendering it transvaluative through desire (zos kia an introductory essay on the art and sorcery of austin osman spare, by gavin semple, flugur limited, oct. 31, 1995) for which much of the latent experience of belief can be absorbed into an eros-thanatos combination of life making elementals. the publication "a book of satyrs" was published and further demonstrated austin's talent for the hidden and truth- devoured reality beyond the watchful and often passed eye. austin osman spare signed the oath of a probationer in the presence of aleister crowley in 1909, assuming the magickial name of yihoveaum, which spare would later have a slight falling out with crowley, thus never reaching beyond the probationer initia

THE SECRET RITUALS OF THE OTO

, and many another. even true gods were born of mortal mothers, as dionysius of semele. also they recount many loves of heaven for earth, diana for endymion, zeus for leda, danae, europa, and the rest; even hades issued from his gloomy kingdom to ravish the maid persephone. there are also loves of gods for nymphs, bacchus for the ariadne, zeus for io, pan for syrinx; there is no end of these. and satyrs, fawns, centaurs, dryads, a thousand gracious tribes, leap lightly and lustfully through their legends. again we have the loves of fairies for mankind, and the commerce of the beni elohim with the daughters of men; and yet again the marriage of orpheus with eurydice a nymph, and the fatal nets that laura, melusina, the sirens, lilith and many another cast for men. it is even said that to ev

THE HOLY BIBLE KING JAMES VERSION

chaldees excellency, shall be as when god overthrew sodom and gomorrah. 13:20 it shall never be inhabited, neither shall it be dwelt in from generation to generation: neither shall the arabian pitch tent there; neither shall the shepherds make their fold there. 13:21 but wild beasts of the desert shall lie there; and their houses shall be full of doleful creatures; and owls shall dwell there, and satyrs shall dance there. 13:22 and the wild beasts of the islands shall cry in their desolate houses, and dragons in [their] pleasant palaces: and her time [is] near to come, and her days shall not be prolonged. 14:1 for the lord will have mercy on jacob, and will yet choose israel, and set them in their own land: and the strangers shall be joined with them, and they shall cleave to the house of

TURNER ROBERT ARBETEL OF MAGICK

th the chief of the evil spirits; such were they who wrought by the minor gods of the heathens. the fifth division is, that some do act with spirits openly, and face to face; which is given to few: others do work by dreams and other signs; which the ancients took from their auguries and sacrifices. the sixth division is, that some work by immortal creatures, others by mortal creatures, as nymphs, satyrs, and such-like inhabitants of other elements, pigmies &c. the seventh division is, that the spirits do serve some of their own accord, without art; others they will scarce attend, being called by art. among these species of magick, that is the most excellent of all, which dependeth upon god alone. the second, them whom the spirits do serve faithfully of their own accord. the third is, that

TWO ESSAYS ON THE WORSHIP OF PRIAPUS

ill the original character. the human head was at first added to the body of the bull;1 but afterwards the whole figure was made human, with some of the features, and general character of the animal, blended with it.2 oftentimes, however, these mixed figures had a peculiar and proper meaning, like that of the vatican bronze; and were not intended as mere refinements of art. such are the fawns and satyrs, who represent the emanations of the creator, incarnate with man, acting as his angels and ministers in the work of universal generation. in copulation with the goat, they represent the reciprocal incarnation of man with the deity, when incorporated with universal matter: for deity, being both male and female, was both act and passive in procreation; first animat-ing man by an emanation fro

emblem of water; so that this composition, apparently so whimsical, represents the universe between the two great prolific elements, the one the active, and the other the passive cause of all things. the creator being both male and female, the emanations of his creative spirit, operating upon universal matter, produced subordinate ministers of both sexes, and gave, as companions to the fauns and satyrs, the nymphs of the waters, the mountains and the woods, signifying the passive productive powers of each, subdivided and diffused. of the same class are the genetullidej, mentioned by pausanias as companions to venus,3 who, as well as ceres, juno, diana, isis &c, was only a personification of nature, or the passive principle of generation, operating in various modes. apuleius invokes isis b

suspends all things;1 though there is every reason to believe that the poet himself was ignorant of its meaning, and only related it as he had heard it. the ammonian platonics adopted the same system of attraction, but changed its centre from the sun to their metaphysical abstraction or incomprehensible unity, whose emanations pervaded all things, and held all things together.2 besides the fauns, satyrs, and nymphs, the incarnate emanations of the active and passive powers of the creator, we often find in the ancient sculptures certain androgynous beings possessed of the characteristic organs of both sexes, which i take to represent organized matter in its first stage; that is, immediately after it was released from chaos, and before it was animated by a participation of the ethereal essen

pus 43 be observed, that in the former the muscles of the face are all strained and contracted, so that every nerve seems to be in a state of tension; whereas in the latter the features are all dilated and fallen, the chin reposed on the breast, and the whole figure expressive of languor and fatigue. if the explanation which i have given of these androgynous figures be the true one, the fauns and satyrs, which usually accompany them, must represent abstract emanations, and not incarnations of the creative spirit, as when in copulation with the goat. the creator himself is frequently represented in a human form; and it is natural that his emanations should partake of the same, though without having any thing really human in their composition. it seems, however, to have been the opinion in s

n all probability the true one; for it is not only consistent in all its parts, but contains a physical truth, which the greatest of the modern discoveries has only con-firmed and explained. the others seem to have been only poetical corruptions of it, which, extending by degrees, produced that un-wieldly system of poetical mythology, which constituted the vulgar religion of greece. the fauns and satyrs, which accompany the androgynous figures on the ancient sculptures, are usually represented as ministering to the creator by exerting their characteristic attributes upon them, as well as upon the nymphs, the passive agents of procreation: but what has puzzled the learned in these monuments, and seems a contradiction to the general system of ancient religion, is that many of these groups ar

to represent brahma, to whom the hindoos attribute four mouths, and say that with them he dictated the four beads, or veads, the mystic volumes of their religion.2 the four heads are turned different ways, but exactly resemble each other. the beards have been painted black, and are sharp and pointed, like those of goats, which the greeks gave to pan, and his subordinate emanations, the fauns and satyrs. hence i am inclined to believe, that the brahma of the indians is the same as the pan of the greeks; that is, the creative spirit of the deity transfused through matter, and acting in the four elements represented by the four heads. the indians indeed admit of a fifth element, as the greeks did likewise; but this is never classed with the rest, being of an therial and more exalted nature

nts, which all indicate companions or emanations of priapus, and in fact, priapus himself. isidore gives the name of pilosi, or hairy men, and tells us that they were called in greek, panit (apparently an error for ephialt, and in latin, incubi and inibi, the latter word derived from the verb inire, and applied to them on account of their intercourse with animals.1 they were in fact the fauns and satyrs of antiquity, haunted like them the wild woods, and were characterized by the same petulance towards the other sex.2 woe to the modesty of maiden or woman who ventured incautiously into their haunts. as incubi, they visited the house by night, and violated the persons of the females, and some of the most celebrated heroes of early medi val romances, such as merlin, were thus the children of

TYSON DONALD SOUL FLIGHT

air and fire (or ether)-definite intelligent astral entities residing and functioning in each of those media. in mediaeval literature, these earth-spirits are often called gnomes, while the waterspirits are spoken of as undines, the air-spirits as sylphs, and the ether-spirits as salamanders. in popular language they are known by many names-fairies, pixies, elves, brownies, peris, djinns, trolls, satyrs, fawns, kobolds, imps, goblins, good people-some of these titles being applied only to one variety, and others indiscriminately to all.lo2 according to theosophy, they are completely inhuman and have no connection with our line of spiritual evolution. leadbeater described them as "frequently human in shape and somewhat diminutive in size" they can take on any forms they like, being able to

four elements. the zone between yesod and malkuth is given over to these spirits, and they are under the governance of the moon. when we see strange faces and shapes on the borders of sleep, or even while wide awake, we are usually seeing these lunar spirits that throng in countless numbers all around us. fairies dwell just beneath the surface of the earth. other nature spirits such as nymphs and satyrs dwell on an astral plane that is just slightly higher in its vibration or energy level than the base level of the astral that corresponds with the everyday world. both fairies and nature spirits can enter the base plane of the astral world with ease. conversely, it is a very easy matter for astral travelers to cross from the surface plane of the four elements to the lower level of the fairi

WALLIS BUDGE E A LEGENDS OF THE EGYPTIAN GODS

d is never mentioned by them except with marks of detestation. these things, some say, took place on the seventeenth day of the month of hathor, when the sun was in scorpio, in the twenty-eighth year of the reign of osiris, though others tell us that this was the year of his life and not of his reign. xiv. the first who had knowledge of the accident which had befallen their king were the pans and satyrs, who inhabited the country round about chemmis,[fn#304] and they having informed the people about it, gave the first occasion to the name of panic terrors, which has ever since been made use of to signify any sudden fright or amazement of a multitude. as soon as the report reached isis, she immediately cut off one of the locks of her hair, and put on mourning apparel in that very place wher

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