Michael Wynn's Occult Reference Library
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ALEISTER CROWLEY LIBER 777

ns of the names printed in 777. fire: bishop: toum. queen: sati-ashtoreth. knight: ra. castle: anouke (possibly ankhet, a title of isis) king: kneph (khnemu. water: bishop: hapimon (the nile god) queen: thouerist (ta-urt the hippopotamus goddess) knight: sebek castle: shu king: osiris air: bishop: shu queen: knousou knight: seb castle: tharpesht (a g.d. amalgam of bast and sekhet) king: socharis (seker; an early god who became identified with ptah, and later with osiris) earth: bishop: aroueris queen: isis knight: hoori (horus) castle: nephthys king: aeshoori (i.e. osiris again) pawns knight s pawn: kabexnuv (qebhsennuf) queen s pawn: tmoumathph (sic (tuamutef) bishop s pawn: ahepi (hapi) rook s pawn: ameshet (mestha) 6 i cannot identify the first three of these names. i believe the remain

BLACK WITCHCRAFT

er of light and enlightenment 25. to invest with ministerial or priestly authority 26. she teaches all magick and sorcery. 27. mar de camp of hell 28. demon of domination according to dukante hierarchy 31 name that sigil no cheating! put your books away and see how many sigils you can identify! 32 answers to crosswode1 black witchcraft foundations of the luciferian path by michael w. ford, akhtya seker arimanius the nature of skir-hand witchcraft in the ancient and modern world is of anti-nature, or rather the word antinomian is a greek form meaning against the law. this word makes reference to rebellion from a structure or spiritual design of the masses, the majority and whatever the current ideological mainstream may be at that time. witchcraft, no matter for what intent or form, has alw

12 different grimoires including the left hand path tantric grimoire, adamu, a forbidden book of sexual magick, goetic sorcery, a luciferian approach to the 72 spirits of the shemhamforasche, yatuk dinoih and other works focused on the darksome rites of the path of shadow sorcery and so-called skir-hand witchcraft, introduced by nathaniel j. harris, a hereditary witch from the uk. known as akhtya seker arimanius, ford also is the author of liber hvhi, an explaination of the luciferian trinity and the rituals of the qlippoth, the book of the witch moon which features an introduction by chaos magician peter j. carroll and numerous articles and essays. michael w. ford s grimoires may be found here: http//algol.chaosmagic.im[[vol. 2, page xv[[eh eme didache ouk estin eme, alla tou pemphantos m

BUDGE E

eus, and the head of the fourth is without ornament; their names appear to be peba-f, click to view third hour. upper register. gods nos. 20-26 [paragraph continues]ka-aru, auai, and teba. 20-23. four goddesses, whose names are hait, akebtit, mathi, and remit, these, as their names testify, were professional mourners. 24. the god heru-kheti, followed by p. 54 the hennu, standard, i.e, the hawk of seker upon a standard. 25, 26. the gods meh-maat and neter-neferu. the text which refers to the above reads "those who are in this picture in the tuat have the flesh of their own bodies, and their souls speak p. 55 over them, and their shadows are united unto them, and after this great god hath addressed them, they speak to him, and they say words of praise to him, and they weep after he hath pass

god during the fourth hour of the night, a region which is entirely different from anything seen previously is entered. we see that the general arrangement which makes each division to contain three sections has been followed, but the actual path of the boat of the sun is different. instead of passing along the middle section as before, the god is obliged to pass over the region of the kingdom of seker. the course which was usually passed over by the dead runs from one side of the section to the other diagonally, and it may be thus described--starting from the upper side of the topmost division, the corridor, which is called re-stau, slants across to the lower side; at the point where it touches the line which divides the first and second section is a door, which is thrown open. the door i

de of the section to the other diagonally, and it may be thus described--starting from the upper side of the topmost division, the corridor, which is called re-stau, slants across to the lower side; at the point where it touches the line which divides the first and second section is a door, which is thrown open. the door is called mates-sma-ta. the corridor runs p. 63 click to view the kingdom of seker. p. 65 parallel with the line which divides the first and second section for some distance, and is described as the "road of the secret things of re-stau; the god doth not pass through the leaves of the door, but they hear his voice" a sharp bend takes re-stau in a slanting direction across the middle section of the scene, and at the bottom of it is another door, which is called metes-mau-at

f it is another door, which is called metes-mau-at, the corridor runs parallel with the line which divides the second and third section for some distance, when it crosses the section, again in a slanting direction, and at the end of it is a third door, which is called metes-en-neheh. in the second slant of the corridor is an inscription which describes it as the road by which entereth the body of seker, who is on his sand, the image which is hidden, and is neither seen nor perceived, p. 66 [paragraph continues] as the further course of the corridor will be described under the fifth hour we may pass on to consider the boat of the sun, and the means by which the god makes his way onward. ra and the gods who formed his crew have left the boat in which they travelled until now, and have betake

rpent-boat is drawn along by four gods, who are called tun-en-maa, her-uarfu, ar-nefertu, and shetai, above the boat is written"[whilst] this great god journeyeth over those who are in this scene the flames which the mouth of his boat emit guide him through these pools; he seeth not their forms, but he crieth to them and to their places, and they hear his voice, p. 67 click to view the kingdom of seker. p. 69 in front of those who tow the boat of ra are- 1. a form of osiris called em-ankhti (see p. 71. 2. the crook of osiris (see p. 75. 3, 4. thoth, ibis-headed, and horus, hawk-headed, standing facing each other, with the utchat, above their outstretched hands and arms; the title of thoth is uthesu, i.e "the raiser" and that of horus is au-au or "the wide of hands" the utchat is called sek

y whose secret things are hidden. they are the guardians of the way of the holy [land] for those who enter into the hidden place of the tuat, and they keep ward over anpu in his forms as he tows them along, when he entereth in by them in the holy land" in the upper register are- 1. a goddess, wearing the crown of the north, apparently a form of neith (see p. 63. p. 71 click to view the kingdom of seker. p. 73 2. a serpent, with a human head, and two pairs of human feet and legs (see p. 63. 3-5. three serpents, which move side by side along the ground "upon their bellies. of them it is said "those who are in this picture make their passage to every place each day (see p. 67. 6. the scorpion ankhet, and a large uraeus. of these it is said "those who are in this picture stand in re-stau at th

s place net-mu, by the holy way of passage of re-stau, and he journeyeth about to every place each day, and he liveth upon the abundance of that which issueth from his mouth (see pp. 75, 79. 9. a god, who grasps the third head of neheb-kau with his right hand, and a staff with a curled end in the left; facing him is a headless god called ab-tuat (see pp. 79, 83. p. 75 click to view the kingdom of seker. p. 77 10. a goddess of the south (nekhebet) and a goddess of the north. of the last group of figures it is said "those who are in this picture are in the form wherein horus hath made them; they are the warders of the serpent nehepu, who guide him to the hidden thing which is on this secret way (see p. 83. in the lower register are- 1. a large boat, each end of which terminates in the head o

who are in this picture are in the forms wherein horus made them, and they stand on the ground of re-stau in the hidden place" 7. the male serpent amen (see pp. 75, 77. 8. the female serpent hekent, which has a human head growing out of its body, a little distance from the tip of its tail; the human head faces the serpent amen. of the male serpent it is said "he p. 79 click to view the kingdom of seker. p. 80 p. 81 who is in this picture is the guardian of the secret passages which lead to the aheth chamber; he journeyeth round to every place each day, and he liveth on the words of the gods who guard this road" the meaning of the legend which refers to the female serpent hekent is not clear. 9. the three-headed serpent (see p. 79) menmenut, which is described as the "hidden image of the ah

81 who is in this picture is the guardian of the secret passages which lead to the aheth chamber; he journeyeth round to every place each day, and he liveth on the words of the gods who guard this road" the meaning of the legend which refers to the female serpent hekent is not clear. 9. the three-headed serpent (see p. 79) menmenut, which is described as the "hidden image of the aheth chamber [of seker, which is illumined daily at the birth of khepera by that which cometh forth from the faces of [the serpent] menment" over the back of this serpent are six stars and fourteen human heads, each of which is surmounted by a disk. these fourteen heads represent, as m. maspero has well shown, the gods of the first fourteen days of the month, who are being carried by the three-headed serpent to p

headed serpent to p. 82 the utchat, which thoth and horus are carrying to it; they appear again in the next division of the tuat, where they are seen drawing along the boat of the sun. 10. the winged disk of the god khepera, beneath stands the "envoy of heaven" with his right hand raised, and his left stretched out, and behind him is the goddess maat (see p. 83. p. 83 click to view the kingdom of seker. footnotes 77:1 the text is in the plural. next: chapter v: the fifth division of the tuat, which is called ament sacred texts egypt ehh index index previous next p. 85 chapter v. the fifth division of the tuat, which is called ament. in the scene that illustrates the fifth division of the tuat, which is passed through by the sun-god during the fifth hour of the night, we see the boat of the

reads "this great god maketh his journey by means of those who tow him over this circle in [his] boat" a portion of the answer of the seven gods to him is also broken away, but what remains of it reads "is opened to thee the earth to such an extent that thou hast passed over the beautiful land, and the roads concerning which ra hath spoken to thee, o osiris. thou criest out, o ra, to the land of seker, and horus hath life upon his sands. come to khepera, o ra! come to khepera! work ye with the cord, o ye who make khepera to advance, so that it may give the hand (i.e, help) to ra whilst he passeth over the hidden ways of ra, in the horizon [come] in peace, in peace, o ra of the beautiful p. 87 click to view the kingdom of seker. p. 88 p. 89 [paragraph continues] ament. in the middle of the

es in the head of a woman, which faces to the right; immediately above her head is a scarab which is in the act of descending, but only one half of its body is visible. concerning the beetle it is said "behold khepera who, immediately the [boat of ra] is towed to the top of this circle, unites himself to the roads of the tuat; when this god standeth on the head of the goddess he speaketh words to seker every day" the short lines of text just above the mound read "the majesty of this great god journeyeth on by being towed along, and these goddesses receive him, p. 90 words which are addressed to the god by the goddesses are "come, o ra, in the peace of the tuat! let ra advance on the road in the boat which is in the earth, in his own body, and let his enemies be destroyed [the goddess] amen

s address ra replies, saying "o ye who have received your weapons, o ye who have grasped your sceptres, o ye who shake your spears, o ye who stand by your tchefau food, who sit down to your offerings, who are the warders of food and bread and are the lords of the provisions in ament, isis giveth herself unto you, and ament joineth herself unto you, so that i may p. 91 click to view the kingdom of seker. p. 93 stand up by you for your protection when i pass by you in peace" the "land of sekri" which is mentioned by the seven gods who are towing the boat of ra, lies immediately below the mound of earth, and forms, as it were, an oval island in the river of the tuat; its shape is, as m. maspero has said, an elongated ellipse, and it is formed wholly of sand. the "land of sekri" is described i

of his body springs a pair of wings, and between them, immediately under the female head at the top of the mound, stands the god sekri, in the form of a hawk-headed man. of him it is said "his work is to protect his own form" and of the serpent "he liveth upon the magical protection which issueth from his mouth every day" the text which refers to the oval reads- p. 95 click to view the kingdom of seker. p. 97 "the image which is in this picture is in thick darkness. the dawn in the horizon which belongs to this god [cometh] from the eyes of the heads of the great god, whose flesh sendeth forth light, and whose legs are bent round, the great god who keepeth ward over the flesh of sekri, who is on his sand, his own image. the voice of this horizon is heard in this hour after this great god h

hird the head of the ram of heru-shefshefit, and the fourth the plumes of shu, or some other god of light and dryness. the legend above them reads "their forms are in the place among them in their own bodies. they follow after this great god unseeing and unseen" behind the serpent tepan (see pp. 87, 91) are four human bearded heads, each with a mass of fire upon p. 99 click to view the kingdom of seker. p. 101 the top of it, which project from the long, narrow lake called netu, these are called the "blazing heads" along the lake are written, in two methods of writing "the gods who are in the ammahet weep when the boat hath passed them by on its way to the. tuat. and the waters which are here are like unto fire to those who are in them" in the upper register are- 1. the goddess amentit, sta

iu (see p. 95. 5. the god ankh-ab hawk-headed (see p. 95. 6. the god bath-resth) crocodile-headed (see p. 95. 7. the god anp-heni, jackal-headed (see p. 99. of these five gods it is said "they act as guardians of tuat, and of those who are submerged in the tuat, and they [protect] and make to pass on the boat" to these the sun-god makes an address, which reads, p. 103 click to view the kingdom of seker. p. 105 [paragraph continues "this great god saith, o ye who stand by your waters, who keep ward over your lands, who go round about in the pool of those who are submerged in nu, pilot ye these to the lands of the sea of the tuat, unto your waters which never dry up, and rise ye up in your lands and let me travel over you in peace. this great god saith, o ye, lift ye up your weapons to your

f your maat, and perform ye your work, in order that i may be able to pass by you in peace" 8. immediately in front of the god anp-heni is an object which looks like a chamber with a rounded roof; but whatever it may be, it is filled with sand, and from the fact that the sign of "night" or "darkness" appears at the top, we may conclude that it represents p. 106 some form of the dark underworld of seker. to each side of it a hawk clings by his claws, and from the lower part of it emerges the scarab, which has already been mentioned (see p. 103. 9. a huge serpent, the two heads facing the object described under no. 8. of him it is said "he liveth by ra every day, he travelleth over every place of maat in the tuat, and it is he who setteth himself in opposition to the scarab" to this serpent

pent ter, whom i myself have fashioned, open thou to me thy folds, open thou thy folds wherewith thou hast doubly sealed the earth to protect me, and march thou against those who are in my following, in order that i may pass by thee in peace" 10. the god baferkheftiu, ram-headed (see p. 111. 11. the god iu-her-aptesu, who holds a lasso in each hand (see p. 111. p. 107 click to view the kingdom of seker. p. 109 12. the god an-at, wearing a feather of maat (see p. 111. 13. the god abui, with his head turned behind him; he is provided with a shade (see p. 111. 14. the god amu, bull-headed (see p. 107. 15. the god set, bull-headed (see p. 107. 16. the god sent-nef-amentiu (see p. 107. 17. the god hetep-neteru (see p. 107. of these eight gods it is said "they stand by at the annihilation of the

ure, and who keep ward at the destruction of the dead, ye whose voices have come into being for you, who have received your words of power, who are endowed with your souls, who sing hymns to the accompaniment of your sistra, who take vengeance on the enemies, who annihilate the dead, who hack in pieces shades [of men and women, who destroy and cut in pieces the p. 111 click to view the kingdom of seker. p. 113 click to view the kingdom of seker. p. 115 dead, who avenge osiris and hearken unto words near unnefer, provide ye yourselves with your slaughtering knives, fetter and bind with your hands [this] figure which is with you, so that i may journey past you in peace. whosoever knoweth this shall pass by the goddess in peace" the entrance into the sixth division of the tuat is made through

DIABOLUS

and demons. it is further connected that thoth was said to have gotten the knife to slay the bull from set, thus making parallel the name of smain with set, being violence. one specific dwelling place of set was called set amentet3 which is the mountain of the underworld, which is a cemetery in the desert on the west banks of the nile. set is also closely connected with a former death-god called seker, who was later merged with osiris and became something rather different in nature. in the tuat, seker resided within a kingdom called ra-stau, from which he sat upon a throne in majesty, having numerous legions of winged serpents, devils called seba and other monsters 2 budge, e.a. wallis, the gods of the egyptians volume 1 3 compare with the persian arezura, the mountain in the north from w

ra-stau, from which he sat upon a throne in majesty, having numerous legions of winged serpents, devils called seba and other monsters 2 budge, e.a. wallis, the gods of the egyptians volume 1 3 compare with the persian arezura, the mountain in the north from which hell is commonly located. 6 which devoured various shades of the dead who were sent there. it is written in the book of the dead that seker s throne is pyramidal in form, filled with darkness. he appears commonly in the tuat as a mummified man but has a hawk s head and a pair of wings, which come forth from the back of a two headed serpent. the symbolism of the hawk and the twin serpents are later presented in the persian descriptions of the adversary, firstly a symbol of ahriman was a hawk attacking a sparrow and the twin serpe

be directly related, they are by all instances interesting. the constellation of the bull or bull s thigh is related to set. often called bull of double brilliance, this is perhaps the brightest constellation around the north celestial pole otherwise known as the great bear or little dipper. the mummified hawk that is called the lord of the south is connected with set in this aspect. this is the seker god who early on was considered close to set before his transformation in accordance with osiris. the home of set is khepesh, the constellation. set was considered the eighth child of the gods of annu, and was of nuit. as the god of darkness and storms he was alone the one who could withstand the stare of the serpent apep, thus controlling the storm demon and later it becoming a part of seth

EGYPTIAN BOOK OF THE DEAD PAPYRUS OF ANI MALESTROM

lchral, which give details as to the egyptian sacerdotal system and the funeral ceremonies which the priests performed.[3] the inscriptions upon the earlier [1. teta, ii. 388, 389 (recueil, ed. maspero, t. v, p. 58) 2 the arguments brought forward here in proof of the great antiquity of a religious system in egypt are supplemented in a remarkable manner by the inscriptions found in the mastaba of seker-kha-baiu at sakkara. here we have a man who, like shera, was a "royal relative" and a priest, but who, unlike him, exercised some of the highest functions of the egyptian priesthood in virtue of his title xerp hem (on the] see max m ller, recueil de travaux, t. ix, p. 166; brugsch, aegyptologie, p. 218; and maspero, un manuel de hi rarchie gyptienne, p. 9) among the offerings named in the to

functions of the egyptian priesthood in virtue of his title xerp hem (on the] see max m ller, recueil de travaux, t. ix, p. 166; brugsch, aegyptologie, p. 218; and maspero, un manuel de hi rarchie gyptienne, p. 9) among the offerings named in the tomb are the substances# and# which are also mentioned on the stele of shera of the iind dynasty, and in the texts of the vith dynasty. but the tomb of seker-kha-baiu is different from any other known to us, both as regards the form and cutting of the hieroglyphics, which are in relief, and the way in which they are disposed and grouped. the style of the whole monument is rude and very primitive, and it cannot be attributed to any dynasty later than the second, or even to the second itself; it must, therefore, have been built during the first dyn

s, preserved in the british museum, had been declared by certain egyptologists to be a "restoration" of the xxvith dynasty, rather than the work of the ivth dynasty, in accordance with the inscription upon it; but like dr. birch he was of opinion that the coffin certainly belonged to the ivth dynasty, and adduced in support of his views the fact of the existence of portions of a similar coffin of seker-em-sa-f, a king of the vith dynasty. recently, however, an attempt has again been made (aeg. zeitschrift, bd. xxx, p. 94 ff) to prove by the agreement of the variants in the text on the coffin of mycerinus with those of texts of the xxvith dynasty, that the mycerinus text is of this late period, or at all events not earlier than the time of psammetichus. but it is admitted on all hands that

e xxvith dynasty and later there grew up a class of literature [1. for the text see the papyrus of ani, pl. ii, and pl. xxxvi, 1. 2. 2. i.e, the underworld. 3. neb atebui; see ani, pl. xix, 1. 9] p. liv osiris the god of the resurrection. represented by such works as "the book of respirations"[1 "the lamentations of isis and nephthys"[2 "the festival songs of isis and nephthys"[3 "the litanies of seker"[4] and the like, the hymns and prayers of which are addressed to osiris rather as the god of the dead and type of the resurrection[5] than as the successor of the great cosmic god tmu-ra. he is called "the soul that liveth again"[6 "the being who becometh a child again "the firstborn son of unformed matter, the lord of multitudes of aspects and forms, the lord of time and bestower of years

, with an english translation, was given in arch logia, vol. iii, london, 1891. 4. what dev ria says with reference to the book of respirations applies to the whole class "toutefois, on remarque dans cet crit une tendance la doctrine de la r surrection du corps plus marqu e que dans les compositions ant rieures (catalogue, p. 13. 5. festival songs, iv, 33. 6. ibid, viii, 21, ix, 8. 7. litanies of seker, col. xviii. 8. festival songs, vi, 1. 9. ibid, iii, 18. 10. ibid, ix, 26] p. lv next: the doctrine of eternal life. the legend of osiris. http//www.sacred-texts.com/egy/ebod/ebod04.htm (6 of 6 [8/10/2001 11:23:04 am] sacred texts egypt index previous next the doctrine of eternal life. egyptian belief in a future life. the doctrine of eternal life in the vith dynasty. the ideas and beliefs w

hich he opened the mouths of the gods.[1] he is depicted in the form of a mummy standing upon maat and in his hands he holds a sceptre on the top of which are the emblems of power, life, and stability; from the back of his neck hangs the menat (see p. 1, note 2.[2] ptah formed at memphis the chief member of the triad ptah-sekhet and nefer-tmu. in many texts the god ptah is often joined to the god seker whose individual attributes it is not easy to describe; seker is the egyptian name of the incarnation of the apis bull at memphis. that seker was a the gods of the book of the dead. http//www.sacred-texts.com/egy/ebod/ebod09.htm (1 of 19 [8/10/2001 11:23:58 am] solar god is quite clear, but whether he "closed" the day or the night is not certain. originally his festival was celebrated in the

eker was a the gods of the book of the dead. http//www.sacred-texts.com/egy/ebod/ebod09.htm (1 of 19 [8/10/2001 11:23:58 am] solar god is quite clear, but whether he "closed" the day or the night is not certain. originally his festival was celebrated in the evening, wherefrom it appears that he represented some form of the night sun; but in later times the ceremony of drawing the image of the god seker in the hennu boat round the sanctuary was performed in the morning at dawn, and thus, united with ptah, he became the closer of the night and the opener of the day. he is depicted as a mummied body with the head of a hawk, and he sometimes holds in his hands emblems of power, sovereignty, and rule.[3] another form of ptah was ptah-seker-ausar wherein the creator of the world, the sun, and os

in the tuat" several copies of which have come down to us inscribed upon tombs, coffins, and papyri of the xviiith and following dynasties. the tuat was divided into twelve parts, corresponding to the twelve hours of the night; and this book professed to afford to the deceased the means whereby he might pass through them successfully. in one of these divisions, which was under the rule of the god seker, the entrance was guarded by a serpent on four legs with a human head, and within were a serpent with three heads, scorpions,[5] vipers, and winged monsters of terrifying aspect; a vast desert place was their abode, and seemingly the darkness was so thick there that it might be felt. in other divisions we find serpents spitting fire, lions, crocodile-headed gods, a serpent that devours the d

611 ff] p. 254 in the mountain of amenta be content, for thy son horus is stablished upon thy throne (4) thou art crowned lord of tattu[1] and ruler in abtu.[2] through thee the world waxeth green (5) in triumph before the might of neb-er-tcher.[3] he leadeth in his train that which is and that which is not yet, in his name (6) ta-her-seta-nef;[4] he toweth along the earth in triumph in his name seker.[6] he is (7) exceeding mighty and most terrible in his name osiris. he endureth for ever and for ever in his name un-nefer.[6 (8) homage to thee, king of kings, lord of lords, prince of princes, who from the womb of nut hast possessed the world (9) and hast ruled all lands and akert.[7] thy body is of gold, thy head is of azure, and emerald light encircleth thee. o an[8] of millions of year

rugsch, dict. g og, p. 978, and de roug, g ographie ancienne de la basse gypte, p. 58. 2. both busiris and abydos claimed to be the resting place of the body of osiris. 3. a name of osiris when his scattered limbs had been brought together and built up again into a body by isis and nephthys: see lanzone, dizionario, p. 714. the name means "lord of entirety" 4. i.e, the one who draws the world. 5. seker is, like ptah, osiris, and tenen, a form of the night sun. at the festival of this god, the hennu boat, a symbol of the god seker of memphis, was drawn round the sanctuary at dawn at the moment when the sun casts its golden rays upon the earth. for a list of seker's shrines, see lanzone, dizionario, pp. 1117-1119. see also wiedemann, religion, p. 75; pierret, panth on, p. 66. 6. a name of os

ha, has the head of a man; the second, hapi, the head of an ape; the third, tuamautef, the head of a jackal; and the fourth, qebhsennuf, the head of a hawk. suspended near the lotus is an object which is usually called a panther's skin,[1] but is more probably a bullock's hide. the roof of the shrine is supported on pillars with lotus capitals, and is surmounted by a figure of horus-sept or horus-seker and rows of ur i. in the centre ani kneels before the god upon a reed mat, raising his right hand in adoration, and holding in his left hand the kherp sceptre. he wears a whitened wig surmounted by a "cone" the signification of which is unknown. round his neck is a deep collar of precious stones. near him stands a table of offerings of meat, fruit, flowers, etc, and in the compartments above

m a mountain and holding a disk between the hands. in the centre, between osiris and the deceased, is a pool of water with three sycamore) trees on each side, and at each corner a palm tree bearing clusters of dates; and from it there springs a vine laden with bunches of grapes. in british museum papyrus no. 10,472 the god seated in the shrine wears the crown of the god tanen, and is called "ptah-seker-ausar, within the hidden place, great god, lord of ta-sert, king of eternity, prince of the everlasting" text: saith horus, the son of isis "i have come unto thee, o unnefer, and i have brought the osiris ani unto thee. his heart is [found] righteous coming forth from the balance, and it hath not sinned against god or goddess. thoth hath weighed it according to the decree uttered unto him by

and the se-mer-f and the kher-heb stand in front; the kher-heb repeating four times "the se-mer-f openeth the mouth and the two eyes of the deceased, first with a needle of iron, then with a rod of smu metal; the am-as addressing the deceased "behold the se-mer-f; and the kher-heb saying, in the name of the se-mer-f "i have pressed for thee thy mouth, even as thy father pressed it in the name of seker. hail, horus hath pressed thy mouth for thee, he hath opened thine eyes for thee; horus hath opened thy mouth for thee, he hath opened for thee thine eyes; they are firmly stablished. thy mouth was closed; i have ordered thy mouth and thy teeth for thee in their true order. thou hast [again] opened thy mouth; horus hath opened thy mouth. i have stablished thy mouth firmly. horus hath opened

am] 9 or setem, a priest of ptah at memphis. 10# ur xerp ab (or hem, the name of the chief priest of ptah at memphis (see brugsch, w rterbuch, supp, p. 392; and brugsch, aegytologie, p. 218. the position of this official is described by maspero, un manuel de hi rarchie tgyptienne, p. 53. the title was in use in the earliest times (see de roug, six premi res dynasties, pp. 110, 111] p. 273 boat of seker (29) upon its sledge.[1] i have grasped the spade[2 (30) on the day of digging the ground in suten-henen.[3] o ye who make (31) perfected souls to enter into the hall of osiris, may ye cause the perfected soul of osiris, the scribe (32) ani, victorious [in the hall of double truth, to enter with you into the house of osiris. may he hear as ye hear; may he (33) see as ye see; may he stand as

e speak with you, and may he be a glorified soul along with you.[5] he hath not been found wanting (44) there,[6] and the balance is rid of [his] trial"[6] appendix: after the first chapter m. naville has printed in his todtenbuch the text of a composition which also refers to the funeral, and which he has designated chapter 1b. it is entitled "chapter of making the [1. the day of the festival of seker was celebrated in the various sanctuaries of egypt at dawn "at the moment when the sun casts its golden rays upon the earth" the hennu boat was drawn round the sanctuary (see lanzone, dizionario, pp. 1117-1119. the serapeum was called pa-hennu. 2. m. pierret renders "je re ois l'office de laboureur" but the variants given by m. naville show that some digging instrument is intended. 3 i.e, he

from the great god who carrieth away souls, and who devoureth filth and eateth dirt, the guardian of the darkness [who himself" liveth] in the light. they who are in misery fear him" as concerning the souls within the (113) tchafi [they are those which are] with the god who carrieth away the soul, who eateth hearts, and who feedeth (114) upon offal, the guardian of the darkness who is within the seker boat; they who live in (115) crime fear him. who then is this? it is suti, or (as others say, it is smam-ur,[3 (116) the soul of seb "hail, khepera in thy boat, the twofold company of the gods is thy body. deliver thou osiris (117) ani, plates vii.-x. http//www.sacred-texts.com/egy/ebod/ebod18.htm (12 of 14 [8/10/2001 11:27:39 am] triumphant, from the watchers who give judgment [1. reading s

ich thou possessest, is it not heaven" rubric: if this chapter be known, he shall come forth by day and his soul shall not be shut in. vignette: ani kneeling, with both hands raised in adoration, by the side of the seker[1] boat placed upon its sledge. text [chapter lxxiv (i) the chapter of walking with the two legs, and of coming forth upon earth. saith osiris ani "thou hast done all thy work, o seker, thou hast done all thy work, o seker, in thy dwelling place within my legs in the (2) underworld. i shine above the leg[2] of the sky, i come forth from heaven; i recline with the glorified (3) spirits. alas! i am weak and feeble; alas! i am weak and feeble. i walk. i am weak and feeble in the (4) presence of those who gnash with the teeth in the underworld, i osiris, the scribe ani, triump

e eye of horus. i have delivered the eye of horus which shineth with splendours on the forehead of ra (3) the father of the gods. i am the same osiris, dwelling in amenta. osiris knoweth his day and that he shall not live therein; nor shall i live therein (4) i am the moon among the gods; i shall not come to an end. stand up, therefore, o horus; osiris hath counted thee among the gods [1. the god seker was a form of the night sun, like ptah, osiris and tanen; see lanzone, dizionario, p. 1113. plate xviii. http//www.sacred-texts.com/egy/ebod/ebod25.htm (1 of 2 [8/10/2001 11:28:24 am] 2 the name of a constellation] p. 321 text [chapter ii (1) the chapter of coming forth by day, and of living after death. saith osiris ani "hail, only one, shining from the moon (2) hail, only one, shining from

eth him (i.e, ra; ani, triumphant in peace" vignette: ani, standing with both hands raised in adoration. behind him is his wife: ausar nebt per qematet en amen thuthu. osiris, the lady of the house, priestess of amen, thuthu. text [chapter xv (1) a hymn of praise "o osiris, lord of eternity, un-nefer, horus of the two horizons, whose forms are manifold, whose creations are without number (2) ptah-seker-tem in annu, the lord of the tomb, and the creator of memphis and of the gods, the guide of the underworld, whom [the gods (3) glorify when thou settest in nut. isis embraceth thee in peace, and she driveth away plate xix. http//www.sacred-texts.com/egy/ebod/ebod26.htm (1 of 2 [8/10/2001 11:28:27 am] the fiends from the mouth of (4) thy paths. thou turnest thy face upon amenta, thou makest t

r heaven, o thou who dwellest in both horizons"(3) homage to thee, o soul of everlastingness, thou soul who dwellest in tattu, un-nefer, son of nut; thou art lord of akert"(4) homage to thee in thy dominion over tattu; the urerit crown is established upon thy head; thou art the one whose strength is in himself, and thou dwellest in peace in tattu"(5) homage to thee, o lord of the acacia tree, the seker boat is set upon its sledge; thou turnest back the fiend, the worker of evil, and thou causest the utchat to rest upon its seat"(6) homage to thee, o thou who art mighty in thine hour, thou great and mighty god, dweller in an-rut-f, lord of eternity and creator of everlastingness; thou art the lord of suten-henen"(7) homage to thee, o thou who restest upon right and truth, thou art the lord

od anubis,[1 [1. in the nebseni papyrus the text referring to anubis reads "anubis, who dwelleth in the region of the embalmed, the chief of the holy house, layeth his hands upon the lord of life (i.e, the mummy, it and provideth him with all that belongeth unto him, and saith 'flail to thee, thou beautiful one, the lord! thou hast been gazed upon by the sun's eye, thou hast been bound up by ptah-seker, thou hast been made whole by anubis; breath hath been given unto thee by shu, and thou hast been raised up by the fair one, the prince of eternity. thou hast thine eyes. thy right eye is in the sektet boat, and thy left eye is in the sektet boat. thine eye-brows appear fair before the company of the gods. thy brow is in the charge of anubis. the back of thy head is in good case in tile pres

GOETIA LUCIFERIAN

s to see. he that hath ears to hear, let him hear matthew 11:1d,1 the goetia the lesser key of solomon the king l e m e g e t o n c l a v i c u l a s a l o m o n i s r e g i s reworked, written and inspired from the original manuscript by michael w. ford illustrated by elda isela ford the luciferian edition, houston, tx 2003 2 t h e g o e t i a written and presented anew by michael w. ford akhtya seker arimanius to restore the sorcerous path and the art of luciferian ascension illustrations also by original manuscript sigils, aleister crowley reworked sigils from the 1904-1976 equinox edition with new drawings. inspired from the original manuscript edition, also the irreplaceable goetia translated by samuel liddell macgragor mathers edited, annotated and introduced by aleister crowley re-p

HEAVEN HELL

was drawn up by the priests of the confraternity of amen-ra at thebes, with the express object of demonstrating that their god was the overlord of all the gods, and the supreme power in "pet ta tuat" or, as we should say "heaven, earth, and hell" the tuat, or other world, which they imagined included the tuat of every great district of egypt, viz, the tuat of khenti-amenti at abydos, the tuat of seker of memphis, the tuat of osiris of mendes, and the tuat of temu-kheper-ra of heliopolis. in the book am-tuat the god amen-ra was made to pass through all these tuats as their overlord and god, and his priests taught that all the gods of the dead, including osiris, lived through his words, and that such refreshing as the beings of the tuat enjoyed each day was due to his grace and light during

hatcha and the nebu-khert give themselves up to lamentation, and they return to the entrance, and wait for the re-appearance of his boat on the following night, when they will again attack seba, and af, and apep, and overcome them. the exact place which was set apart for the souls of human beings is nowhere described in the texts. next: chapter viii. fourth division of the tuat. i. the kingdom of seker according to the book am-tuat sacred texts egypt ehh index index previous next p. 131 chapter viii. fourth division of the tuat. i. the kingdom of seker according to the book am-tuat. the boat of afu-ra has now passed out of the dominions of khenti-amenti, the ancient god of the dead of the city of abydos, and has entered the kingdom of seker, who is probably the oldest of all the gods of th

t sacred texts egypt ehh index index previous next p. 131 chapter viii. fourth division of the tuat. i. the kingdom of seker according to the book am-tuat. the boat of afu-ra has now passed out of the dominions of khenti-amenti, the ancient god of the dead of the city of abydos, and has entered the kingdom of seker, who is probably the oldest of all the gods of the dead in egypt. the dominions of seker were situated in the deserts round about memphis, and were supposed to cover a large extent of territory, and their characteristics were entirely different from those of the regions ruled over by khenti-amenti near abydos, and from those of the kingdom of osiris, the lord of busiris and mendes, in the delta. the kingdom of seker was shrouded in thick darkness, and, instead of consisting of f

, sandy deserts, wherein lived monster serpents of terrifying aspect, some having two, and some three heads, and some having wings. this region offered so many difficulties to the passage of the boat of afu-ra, that special means had to be found for overcoming them, and p. 132 for enabling the god and his followers to proceed northwards to the house of osiris. as there was no river in the land of seker a boat was useless to afu-ra, and as the god was unable to travel through the fourth division boldly, and to allow himself to be seen by all the inhabitants thereof, it was arranged that he should pass through a series of narrow corridors, which were provided with doors. the pictures which illustrate the passage of the god through this division, or hour, are arranged in three registers, but

which he travelled are drawn across these obliquely. the main corridor is called re-stau. at the end of the first section of it is the door mates-sma-ta (vol. i, p. 63, at the end of the second section is the door mates-mau-at (vol. i, p. 71, and at the end of the third section is the door mates-en-neheh (vol. i, p. 75. an inscription in this last tells us that it is the road by which the body of seker enters and that his form is neither seen nor perceived; hence it is clear that the road by which afu-ra passed through this division was supposed to be high up above the dominions of seker, and that he never saw that god at all. the name given to this division, or "circle" as it is called in the summary, is ankhet-kheperu, and that of its gate is ament-sethau. the goddess of the hour is call

in which khepera is born daily (vol. i, p. 134 p. 79. over the back of the last-named serpent are fourteen heads, which, as m. maspero has well shown, re resent the gods of the first fourteen days of the month, and they are being carried by the serpent to fill the eye which thoth and horus are bringing through re-stau. the beings to the right and left of afu-ra are ancient gods of the kingdom of seker, and each guards some door or corridor in it which leads to the hidden chamber of seker himself. next: fifth division of the tuat. i. the kingdom of seker according to the book am-tuat sacred texts egypt ehh index index previous next fifth division of the tuat. i. the kingdom of seker according to the book am-tuat. this division, or hour, or circle, as it is described in the text, is called

fifth division of the tuat. i. the kingdom of seker according to the book am-tuat sacred texts egypt ehh index index previous next fifth division of the tuat. i. the kingdom of seker according to the book am-tuat. this division, or hour, or circle, as it is described in the text, is called ament, and it contains the secret ways, and the doors of the hidden chamber of the holy place of the land of seker, and his flesh, and his members, and his body, in the forms which they had in primeval times; the main gate is called aha-neteru, the gods are called baiu-ammiu-tuat, and the goddess of the hour is semit-her-abt-uaa-s. the boat of afu-ra is towed by seven gods and seven goddesses, and is preceded by a few gods who are led by isis (vol. i, pp. 87, 91, 95, 99, 100, 107, 111; the texts make it

nd the goddess of the hour is semit-her-abt-uaa-s. the boat of afu-ra is towed by seven gods and seven goddesses, and is preceded by a few gods who are led by isis (vol. i, pp. 87, 91, 95, 99, 100, 107, 111; the texts make it clear that afu-ra continues his journey by the help of khepera. the corridor of re-stau through which he travels now bends upwards, and passing by p. 135 the secret abode of seker, by which it is hidden, once more descends to its former level. the land of seker is in the form of an elongated ellipse, and is enclosed by a wall of sand; it rests upon the backs of two man-headed sphinxes, each of which is called af and lives upon the voice, or word, of the great god. the duty of these is to guard the image of seker. the form in which this god is depicted is that of a haw

acks of two man-headed sphinxes, each of which is called af and lives upon the voice, or word, of the great god. the duty of these is to guard the image of seker. the form in which this god is depicted is that of a hawk-headed man, who stands between a pair of wings that project from the back of a huge serpent having two heads and necks, and a tail terminating in a bearded human head. the land of seker is covered by a pyramid having its apex in the form of the head of a goddess, and above it is the vault of night, from which emerges the beetle of khepera when the boat of afu-ra comes to the pyramid, the beetle ceases to converse with the goddess of the apex, whose duty it is to pass on its words to seker, and betakes itself to the boat, and begins the revivification of afu-ra, who is led o

rom which emerges the beetle of khepera when the boat of afu-ra comes to the pyramid, the beetle ceases to converse with the goddess of the apex, whose duty it is to pass on its words to seker, and betakes itself to the boat, and begins the revivification of afu-ra, who is led on without delay to the end of re-stau, where he is received by the morning star and the light of a new day. the image of seker, which has been described above, lives in thick darkness, and any light which is seen there proceeds from the "eyes of the heads of the great god whose flesh sendeth forth light" and the god himself lives upon the offerings which are made to the god temu upon earth. when afu-ra has passed by in his boat there is heard in the land of p. 136 [paragraph continues] seker a mighty noise which is

om the "eyes of the heads of the great god whose flesh sendeth forth light" and the god himself lives upon the offerings which are made to the god temu upon earth. when afu-ra has passed by in his boat there is heard in the land of p. 136 [paragraph continues] seker a mighty noise which is like unto that heard in the heights of heaven when they are disturbed by a storm. on one side of the land of seker is the serpent tepan (vol. i, p. 95, which presents to the god the offerings made to him daily; on the other is the serpent ankhaapau, which lives upon its own fire, and remains always on guard. close by are the emblems of the various forms of seker. behind the serpent tepan is a lake of boiling water, from which project the heads of those who are being boiled therein. this lake or stream is

god the offerings made to him daily; on the other is the serpent ankhaapau, which lives upon its own fire, and remains always on guard. close by are the emblems of the various forms of seker. behind the serpent tepan is a lake of boiling water, from which project the heads of those who are being boiled therein. this lake or stream is called netu, and it is situated in the region of the kingdom of seker which is called ammahet, the unfortunate beings who are in the boiling water weep when the boat of afu-ra has passed them by. the gods who stand on the other side of the corridor through which afu-ra passes are all invoked by him, and they all are assumed to help him on his way, not because they are in duty bound to do so, but because he acknowledged their power by asking their help. some of

the boat of afu-ra has passed them by. the gods who stand on the other side of the corridor through which afu-ra passes are all invoked by him, and they all are assumed to help him on his way, not because they are in duty bound to do so, but because he acknowledged their power by asking their help. some of them he appealed to because he had created them, but others are manifestly the servants of seker, and their duty it was to guard his kingdom. a number of them are gods who were set over the waters which lay in the northern part of the division, and it was all important for afu-ra to have their friendly help when he left the back of the serpent and rejoined his own boat. in one portion of the region to the left of afu-ra p. 137 we see the hetep-neteru, i.e, a company of eight prods, and

gods are provided with blocks on which they cut in pieces the dead, and when they are not thus employed they sing hymns to their god, to the accompaniment of the shaking of sistra; they exist by virtue of the word of power which they have received, and their souls have been given to them (vol. i, p. 110. the dead who are here referred to are those who have succeeded in entering the dread realm of seker, but who, for want of the influence over the gods there, which could only be obtained by sacrifices and offerings made upon earth, and by the knowledge of mighty words of power, were unable to proceed to the abode of seker. when they arrived in the ammahet, some of them were cast into a lake of liquid fire, or of boiling water, and others were first cut in pieces, and then consumed by fire

uld only be obtained by sacrifices and offerings made upon earth, and by the knowledge of mighty words of power, were unable to proceed to the abode of seker. when they arrived in the ammahet, some of them were cast into a lake of liquid fire, or of boiling water, and others were first cut in pieces, and then consumed by fire. thus there is no doubt that there was a hell of fire in the kingdom of seker, and that the tortures of mutilation and destruction by fire were believed to be reserved for the wicked. of the rewards of the righteous in this kingdom we have no knowledge whatsoever, and it seems as if the scheme of the other world of seker made no provision for the beatified p. 138 dead; at all events, it provided for them no fertile fields like the sekhet-hetepet of osiris, and no boat

rds of the righteous in this kingdom we have no knowledge whatsoever, and it seems as if the scheme of the other world of seker made no provision for the beatified p. 138 dead; at all events, it provided for them no fertile fields like the sekhet-hetepet of osiris, and no boat of millions of years wherein as beings of light they could travel in the company of the sun-god for ever. the religion of seker proclaimed that the god lived in impenetrable darkness, in a region of sand, closely guarded by terrible monster serpents, and it had little in it to induce the worshippers of the god to wish to be with him after their departure from this world. the cult of seker is one of the oldest in egypt, and in its earliest form it, no doubt, represents the belief as to the future life of some of the m

no doubt, represents the belief as to the future life of some of the most primitive inhabitants of the country; in fact, it must have originated at a period when some influential body of priests taught that death was the end of all things, and when snakes and bulls were the commonest forms under which the gods of the neighbourhood of memphis were worshipped. the oldest presentment of the land of seker which we have is, of course, not older than the xviiith or xixth dynasty, and it must be remembered that it is the work of the priests of thebes, who would be certain to remove any texts, figures, or details which they found inconvenient for their views. it is tolerably certain that the form in which they depicted it is much shorter than that in which it existed originally, and that the attr

the attributes and duties of many of the gods have been changed to suit the necessities of the cults of osiris and amen-ra. such changes have resulted in great confusion, and at the present time it is impossible p. 139 to reduce these most interesting, but at the same time most difficult, scenes and texts to their original forms. the priests of amen-ra found it to be impossible to ignore entirely seker and his land, when they were depicting the various underworlds of egypt, but it is very suggestive that they make the path of afu-ra to be over and not through his kingdom, and that afu-ra had to go on his way without entering the pyramid beneath which reposed the image of seker in the deepest darkness of night, in fact without seeing seker at all. on the other hand, they attached the greate

in the deepest darkness of night, in fact without seeing seker at all. on the other hand, they attached the greatest importance to the knowledge of the pictures of the fourth and fifth divisions, and they believed that it would enable the body of a man to rejoin his soul, and prevent the goddess khemit, from hacking it in pieces, and would secure for the believer a share of the offerings made to seker. next: chapter ix. fourth division of the tuat. ii. the kingdom of khenti-amenti-osiris according to the book of gates sacred texts egypt ehh index index previous next p. 140 chapter ix. fourth division of the tuat. ii. the kingdom of khenti-amenti-osiris according to the book of gates. the pictures and texts of this division, or hour, in the book of gates vary considerably from those in the

exts of this division, or hour, in the book of gates vary considerably from those in the book-am-tuat. the god afu-ra. appears in his boat as before with sa and hekau, and four gods tow him on his way; he has passed through the gate which is called nebt-tchefau, and its guardian serpent tchetbi has in no way resisted his progress. the region now entered by afu-ra has no connexion with the land of seker, and it appears to be a continuation of the dominions of khenti-amenti. immediately in front of the boat are nine sepulchres, each containing a god in mummied form; these are the "gods who are in the following of osiris, who dwell in their caves (vol. ii, p. 123. next come the twelve hour-goddesses who stand in two groups; between the groups is the monster serpent hereret, which spawns twelv

vision of the tuat. ii. the kingdom of khenti-amenti-osiris according to the book of gates sacred texts egypt ehh index index previous next fifth division of the tuat. ii. the kingdom of khenti-amenti-osiris according to the book of gates. the fifth, like the fourth division of the book of gates, in no way resembles that in the book am-tuat, and it has nothing whatsoever to do with the kingdom of seker. the god afu-ra, having passed through the gate of the division or hour, which is called arit, and which has been opened by the monster serpent teka-hra that guarded it, is towed along by four of the gods of this section of the p. 144 [paragraph continues] tuat. the ministers of the god consist of nine gods whose hands and arms are covered, and twelve gods who are under the direction of heri

INFERNAL UNION

nnections to various other names (masks) by which she has been called throughout history may be traced by the owl representation of the nature of these goddesses. finally, she is the queen mother of vampires, which is entirely in keeping with all the above references to 3 her. she was in this aspect in the tale of the egyptian sekmet, the blood-drinking goddess of the south (and may be related to seker in this aspect. lilith is the female serpent who latched onto eves brain centre in her union with samael who possessed adam. their union produced the first born (or in some mythologies, the dark twin) male, cain who through adversity was taught knowledge and wisdom by his true spiritual parents who he came into communion with. he became the eternal father of and the first in the circle of wi

INVOCATION OF THE ADVERSARY

the bull, the harp of the minstrel, and the hammer-knell s hymn to fire. hail to the king held high on the elder tree, to the lords and ladies of the meadow, to the good folk of the blood-acre. hail to the thrice-great wanderer, whose faith doth lie beneath his heel. thrice blessed, thrice cursed, thrice cunning be! in the name of our lady. so mote it be! aotinvocation of the adversary by akhtya seker arimanius (michael ford) october 2002 the following is a ritual which may be conducted when the sun is at its full light, or when the moon is full or dark, as the essence of iblis be finally revealed. the purpose of the ritual is invoking the spirit of the adversary, known as shaitan/iblis, satan, lucifer, set, azazel. the sorcerer shall seek the fire-spirit of change, rebellion and progress

LIBER 777

ns of the names printed in 777. fire: bishop: toum. queen: sati-ashtoreth. knight: ra. castle: anouke (possibly ankhet, a title of isis) king: kneph (khnemu. water: bishop: hapimon (the nile god) queen: thouerist (ta-urt the hippopotamus goddess) knight: sebek castle: shu king: osiris air: bishop: shu queen: knousou knight: seb castle: tharpesht (a g.d. amalgam of bast and sekhet) king: socharis (seker; an early god who became identified with ptah, and later with osiris) earth: bishop: aroueris queen: isis knight: hoori (horus) castle: nephthys king: aeshoori (i.e. osiris again) pawns knight s pawn: kabexnuv (qebhsennuf) queen s pawn: tmoumathph (sic (tuamutef) bishop s pawn: ahepi (hapi) rook s pawn: ameshet (mestha) 6 i cannot identify the first three of these names. i believe the remain

LUCIFERIAN SORCERY

mother i emerge with the caul, the stain of witchblood. open your eyes stand and face the altar, staring intently into the mirror: by night, the sabbatic honor of being, the dreamer shall ride the back of the owl, this is the awakening of the dark flesh! eko, eko, asmodee! banish and close circle1 luciferian s o r c e r y luciferian& sethanic magick 2 luciferian sorcery by michael w. ford akhtya seker arimanius illustrated by elda isela ford published by succubus publishing p.o. box 926344 houston, tx 77292 usa e-mail: nachttoter@aol.com michael w. ford 2002-2003 all rights reserved. no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, without permission in writing from the publisher. reviewers may quote b

LUCIFERIAN SORCERY AND SET TYPHON

e developing luciferian gnosis as the adversary, an early form of the adversary. the crocodile god sebak in the egyptian book of the dead draws some aspects similar in nature to set, such as the forms he would take. seemingly, it is considered by the initiatory focus into the symbol and traits of set, verily the greatest of the gods embodied many different aspects and forms in egyptian mythology. seker seems to also be a god associated with the early manifestation of set, in the tuat, one of the tunnels which were under the control of seker were guarded by a serpent with four legs, scorpions, vipers and other winged demons. the arabic word tawfan according to e.a. wallis budge may hold a connection to the name typhon, considering the arabic means storm. apep was known universally as the se

MICHAEL FORD A RITE OF THE WEREWOLF

sure. it remains with the craft itself whether it shall enter upon its own heritage as a lineal successor of the ancient mysteries and wisdom-teaching, or whether, by failing so to do, it will undergo the inevitable fate of everything that is but a form from which its native spirit has departmsl i s h i n g 2 a rite of the werewolf the going forth to the infernal sabbat by michael w. ford, akhtya seker arimanius once the sorcerer has undertaken the self-initiation ritual entitled, a ritual of lycanthropy 1 in both parts, and he has visualized perfectly his werewolf shadow, or that similar beast of sorcerer, he has entered into the pact of the devil, the black man of the sabbat. it is the passing of that rite of initiation that will prepare the witch to travel forth to the infernal sabbat

e brightest star. in the jilwa, lucifer is presented as malak tauus existed before all other creatures and was then and now .there is no place devoid of me thus presenting the unnatural concept of self-illumination and intellect, lucifer is the adversary, who is full of life. as lucifer/shaitan is light, he does indeed hold a shadowside. this is present in the god forms or masks of shaitan, being seker, set and ahriman. the egyptian god set19 is a model and neter20 for self-deification, isolation and the adversary. the adversary or opposer is the shadow which reveals light, called the black light of iblis or shaitan. this light is inspired intellect and creative imagination. set represents self-imposed challenge and individual development, a tester of self. an adept uses this model for sel

called also seth or set-an. 20 force of nature or that of a god, indicating by definition a separate or antinomian force. 11 was traditionally the color of set, lucy lamie21 held the connection that set- typhon was a god form which burns and consumes, he is a lord of the desert. the fire concept would not be new to this deity, as set was essentially shaitan the opposer/adversary. the egyptian god seker is also a god form which the sorcerer may visualize and use as a mask of dreaming22. seker is an ancient death-god, who was considered older than osiris and who resided around the city of memphis. seker resided in the tomb and the complete darkness. around his lands were winged serpents, demonic spirits and dragon like beings with three heads. seker was often featured as a mummified man who

n ancient death-god, who was considered older than osiris and who resided around the city of memphis. seker resided in the tomb and the complete darkness. around his lands were winged serpents, demonic spirits and dragon like beings with three heads. seker was often featured as a mummified man who had a mask of a predatory hawk, who sat on a throne of abyssic shadow. in the story of af ra meeting seker23 in ra-stau where he sits in the kingdom of death, as death itself. it makes reference to seker sitting in majesty, with serpents and demonic spirits surround him. in the book of the dead seker is made reference to as being great god who carrieth away the soul, who eateth hearts, and who feedeth upon offal, the guardian of darkness, the god who is in the seker boat. this draws a comparison

hriman, who was also an opposing sorcerous daemon of darkness, who by averse practices, became stronger and immortal. set had legions of devils called seba who served the prince of darkness, and were known to hack and devour certain souls. in a modern initiatory context, the magician understands the these god forms represent isolate intellect, and self-deification through antinomian acts. set and seker have an interesting connection. in the xviith chapter of the book of the dead the spirit of the deceased prays that he is kept from the great god who devour the heart and soul, who is the guardian of darkness. this is revealed by e.a. wallis budge that this god is none other than suti (set. set was the tester of the dead in this capacity, and set tested the spirit by it s own admission of tr

hat he is kept from the great god who devour the heart and soul, who is the guardian of darkness. this is revealed by e.a. wallis budge that this god is none other than suti (set. set was the tester of the dead in this capacity, and set tested the spirit by it s own admission of transformation from life to death and finally, to the psyche becoming immortal. if this test failed, set in the form of seker, devoured the soul. later on seker was merged with ptah, a blacksmith god24 and took the form of a mummy with a visage of an old man. 21 egyptian mysteries, lucy lamie 22 a mask of dreaming is focusing and projecting the psyche or self into the mask of the god form in question, going forth to the sabbat masked in the cloak of the god form you are assuming. this is a development from older go

n practices and enables the mind to grow strong through understanding and experiencing on dreaming levels other significant god forms, demons and angelick spirits. 23 the egyptian book of the dead, the abode of the blessed, edited by e.a. wallis budge. 24 tubal-cain or cain, the son of samael and lilith, was the master of the forge i.e. initiation. 12 when one approaches the ancient masks of set, seker or the persian druj of the yatuk-dinoih understand that by diving in the black sun, becoming as a god in the darkness is but the first part of crossing the abyss. the rite of adversarial shadow -the ensorcelment of ahriman and the infernal sabbat- the focus and intent of this ritual is the application of an ancient form of sorcery known as yatuk dinoih25. the functional practice is defined a

MICHAEL FORD BOOK OF CAIN

beast. this night, as candle burns and my vessel of darkness is prepared, shall i go forth to the gathering of our spirits thou yatus and wondering demon kin of mine. druj, descend, i shall become as dragon of flesh and seed, fire, smoke and soul. come forth now! so it is done further reading- yatuk dinoih (second edition) the book of cain the toad rite nox umbra azot rthe book of cain by akhtya seker arimanius michael w. ford february-march 2003 succubus publishing phosphorus inner publishing this inspired text was created under meditative and inspired circumstances by its author, michael w. ford. the text is not in any way meant to lay claim to special communications or any other contacts but rather a focused ritual grimoire. the work is dedicated to the wanderer, cain who has passed fr

is work understand that it is a ritual in progress, that each sentence fans the flames of the dragon and his consort, lilith, the mother of the witch path. cain has presented me with different elements to think about and to further encourage others to develop what is the sabbatic and luciferian path. when staring into the mirror, cain appears his very mask of set-an is shown to me. become! akhtya seker arimanius veneficus, vox barathrum toph prepared march 22nd, known as the day of rebellion of set against osiris. succubus publishing phosphorus inner publications front cover- cain sigil by elda isela ford grand luciferian circle blood moon and further developed by michael w. ford back page sigil cain the blacksmith by elda isela ford that azazel fell from the heavens as a great star, enthr

MICHAEL FORD WITCHMOON

he higher famulus/angel/demon. seven: this is the path of over-stimulation and exhaustion, which ushers forth ones coming into being. this may be conducted for a period with devotion to the goddess babalon/lilith/az. that all sexual and physical acts are focused and dedication to ones becoming through her. your body shall be a temple in her name. 88 88 eight: the veil of anpu and the awakening of seker. the vampyric remanifestation. the dual ecstasies are intertwined and baphomet emerges as self. the death posture, focus of the vampyric mysteries of khem shall then the luciferian awakening come to pass. the 8-pointed path of luciferian and infernal becoming be undertaken through a period of 12 months. keep a journal of both dreams and workings to monitor your results. the infernal luciferi

give thee life, fleshing your wisdom and essence unto my presence. a dream of ice and blood a dream of ice and blood. it lingered and adapted towards my waking conscious. from black eagle, who has walked along the crimson and wave engulfed dreamscapes, we had 111 111 images which fleshed in the waking world as symbols and flourishing art. these were given life by soror davcina and word by akhtya seker arimanius, shadows that transcend personality as coven maleficia. all things to be regarded as beautiful and hideous. the gates we crashed open called not only black eagle but numerous other elementals, spirits and daemons of great inspiration and maliciousness. to protect, from the latter of which, we must build our astral walls. each night i had been visited, haunted and called to by a mys

ons. the result often being significant in the development of inner knowledge gained via dream and later reality through the flesh. i have found personally one must banish and exercise all means of absorbing such spirits, for one of a weaker will can fall prey to such psychic forces. a description of the rite is as follows from my personal magickal diary or 'book of shadows (unpublished "i, azyta seker arimanius and my partner, aswad najm al din constructed a 6 foot coffin which was painted black. upon the coffin was painted a silver image of the lord of the crossroads, being in voudoo tradition baron carrefour which is associated with choronzon in it's masculine aspect. such symbols as the eye and the hand representing the zos and kia were painted as well. the coffin was consecrated and u

MICHAEL WYNN THE SOUL TRAVELERS

has a name in every religion and mythology on the planet and, because of spiritual merging that i just spoke about, may be connected with multiple gods in the same tradition. satan is spoke of as he who was instrumental in the war against the titans, and once sat beside the throne of god, but desired it so much that he was cast out of heaven. satan is called shaitan and iblis by muslims, set and seker by the egyptians, samael by the hebrews, and ahriman by the persians. satan is the god who carries away the soul. a well-known symbol, that of the all-seeing eye, is related to satan and has been called the eye of set. satan is a god of the setting sun and is therefore often symbolized by a black sun, or a sun that is in total eclipse. perhaps it was a time before the merger of satan and had

MICHAEL W FORD NOX UMBRA

e city of shadow, i embrace the darkness within and beyond! zrazza, umpesha infernum! by the descending divinity: gather around, take forth this skull of man, the primal atavism brought dawn by the nephilimic tomb of sah, take now rest, refuge and a power source for your shadow. let this be your tomb of rest, gather strength here, nourish yourself from my flesh, as i am the master known as akhtya seker arimanius, draconian shadow, messenger of azrael, i form you djinn haunter of the desert and forest (visualize the shade of self, that your shadow form, so closely connected that you are but the same, grant this phantom form your deepest attributes of vampyric self, be it the grave haunter and spirit of folklore) skeletal form, whose flesh is gray and green from the blood of arimanius, talon

es of vampyric self, be it the grave haunter and spirit of folklore) skeletal form, whose flesh is gray and green from the blood of arimanius, talons of the best, whom shall tap the window of the sleeping, beckoning their desire death-guise, pale and ashen corpse corpse face, whom embraces the manes of the dead in lustrous copulations, wrapped in the shroud of the tomb, i name you as myself azyta seker arimanius, whom gathers the darkness and emerges in the noon-tide sun, the time sacred of shaitan the opposer, as well as the midnight sun, the time sacred of mather lilith! i give you the life that i am, come now into being, familiar of my flesh and spirit, immortal and isolate (drop a few drops of your blood into the grave soil) disrobe, shrouded and lie within your coffin or grave area cr

th ones own favored scent, being something so closely connected to you that a sense of crystallization may eventually occur. the fetish should then be painted in the sorcerer's own blood or a red color the sigils of transformation and vampyrie being, including the sigil of binding. the soil may be kept then in the bottom of the fetish, which upon a parchment ones shadow name (for instance, akhtya seker arimanius, the present author) in the blood of the sorcerer, along with the sigil of binding. consider the vampyric fetish to house the greater shadow familiar, which is essentially an exteriorization of your own being. one will use the magickal aspects of obsession and will- desire- belief to set in motion the essence of self-transformalion, the demon emerging in flesh. the chamber should b

f being! the gift of set itself! azothoz nox barathrum (lilith recites) taste the kiss of the dead and again in dreams shall my wisdom arise from the grave, cast your spirits to the grave and awaken again reborn (each individual kisses the skull, envisioning the necromantic embrace of the sabbat queen and azrael) banish by performing the calling of the four quarters of the triple hermetic circle. seker lord of the tomb (solitary self initiation) seker is a 'developed' and 'inspired' vampyre archetype of ancient egypt, whom resided as the lord of the tombs in memphis. seker is represented as a mummy- like corpse figure, wearing a shroud, ashen white and gray, black or crimson eyes and various wolf and jackal like hairs upon its palms and body. the face is that of a long dead corpse, streake

red' vampyre archetype of ancient egypt, whom resided as the lord of the tombs in memphis. seker is represented as a mummy- like corpse figure, wearing a shroud, ashen white and gray, black or crimson eyes and various wolf and jackal like hairs upon its palms and body. the face is that of a long dead corpse, streaked with blood red sigils of demonic awakening, saturnus and other relevant symbols. seker was known to often appear with the mask of a predatory hawk, thus his servitors wear this black and gold mask. seker is the lord of the grave, those who taste the ecstasy of azrael and lilith, and the ecstasies of the dead. anubis is the gateway to seker through azrael and lilith. the wisdom of seker is the vampyric solitude, the paths of isolation from which the sorcerer surrounds his or he

rave, those who taste the ecstasy of azrael and lilith, and the ecstasies of the dead. anubis is the gateway to seker through azrael and lilith. the wisdom of seker is the vampyric solitude, the paths of isolation from which the sorcerer surrounds his or herself with images of death, the shades of the dead itself. listen closely and hear the musick of the dead itself. upon the altar, the sigil of seker, being the illustration provided- the two hawk heads and the skull. the magician should fast the day of the ritual. the sorcerer should dress in a shroud of the grave, a coffin or casket like box from which the individual shall lie within. soil from a graveyard of which you have rested in should be surrounding you. the calling of the four quarters of the triple hermetic circle should be form

current body he exists in. he should then think of his deep desires, fears, strengths and core essence of self. he then envisions a sudden death, everything his is or was flashing before his eyes. replaying now, as he is beyond the grave, isolate and alone, he envisions his very blackened flame, the essential self. the darkness of the tomb and the conscious mind which grows and creates within it. seker, emerges illuminated with the black flame and then rises from the tomb "from the darkness of the tomb i awaken, i still live beyond the shadow! as i have dwelt in the necromantic twilight i become master of the shades of sah, do attend me greater and lesser familiar of the quarters, embrace my essence- zothoza unpu set heh! i am enthroned in the depths, of utter blackness and night i am deat

ritual. a ritual of necromancy purpose- to align oneself with the death energy or "emerald flame" of azrail/azrael, the angel of death and hecate- the witch queen of the underworld/dead/crossroads. this ritual was designed as a means of silent communication with the ancestral dead and the shades of the fields of necromance. undertaken- october 28th, 2002 12pm& noon. coven members involved -akhtya seker arimanius, davcina and adrian dagon. weather- cloudy, stormy, very damp and gray. algol temple or chamber is decorated in the necromantic and vampyric elements attributed to the shadow aspects of sah, the tomb of the hunter (nephilim. instruments- human skull, rib bones (baciph ashara, human bone necklace in ashes, evocation dagger, thigh bone trumpet (kangling. circle placed in middle of ro

m their gray tombs and shadows, hekas, hekas, hekas hecate "encircle me in your shadows ashen, and those within this circle blessed under the cloak of azrael "i ensorcell the spirits of the ancestral dead, those who hasten to the circle chant of the sabbat, come forth, mighty dead arise. we of vampyric birth do acknowledge thee! the veil is thin, enter this plane of waking and dreaming "i, akhtya seker arimanius- call forth from the grave that which walks the dream lands haunting and draining those sleeping and unawake. by my oath, signed in blood from which the sorcerous art is pledged, i do call the attendant of this mask andmy own famulus which shall reside within this very object of arte. by the sign of x do i mark thee- eyes which see beyond the veil, mouth of crystals and essence sto

om the four quarters and the god forms summoned. the triple hermetic circle of hamara't is created as a focus of setian awakening and renewa l,a luciferian core that is called inward and focused outward. the triple hermetic circle is b design not yheld to keep forces out, rather a power circulation of the arcana of energy within. nox umbra was written by michael w. ford. cover image- the sigil of seker elda isela ford 2003 back cover- the greater necrotic servitor, the shades which walks the ghostroads unto the chamber of the necroerotic nathan harris illustrations in the order of their appearance by elda isela ford -the dragon and the sigillic formula ofsah -vampyric binding sigil -lilith- sexual servitor creation by the sun and the moon -sigil of seker -necrotic servitor i by nathan harr

MIDNIGHTS CIRCLE A COMMENTARY OF AZOTHOZ

shaitan of midnight, unto which the grave thy spirit shall rise all who read this book, and envision the tracing of this sigil of entry, shall then all open the gates to the dreaming place by the adversary of noon and midnight, who drinks of the golden chalice and blood filled skull, so it isspmidnight s circle a commentary of azothoz a book of the adversary presented by the night ravener (akhtya seker arimanius michael w. ford- a brother in the pact of witchblood azothoz presents in poetic form the antinomian concept of separation from the natural order. this is clear throughout the various grimoires such as nox umbra, book of cain, yatuk dinoih, goetia (luciferian edition, and the toad rite. azothoz is actually a strong foundation from which these works arose. as written as lyric and poe

PHOSPHORUS

ral order. the luciferian drinks of both ecstasies as above, so below. toph is organized in a refined and focused point of sorcerous art. the overseeing guardians of phosphorus are three in unison with hecate and the triple moon principle. two supporting magistra s and the current magister. titles of three coven guardians- coven maleficia vox barathrum the magister of coven/director- yatus akhtya seker arimanius -the utterance/voice of the abyss. a student, emerging as an independent voice or gate of hell, from the angelo-saxon word helan, meaning secret or hidden place. pairikas soror azhdeha iii director and overseer -the fiery dragon, an office of scarlet women. pairikas soror teth ii- director and overseer praecantrix dana dark -the ghost serpent, a witch of solitary and dreaming sorce

SIR WALLIS BUDGE EGYPTIAN MAGIC

e cat, and with a knife stuck in his back, and tie it up and bind it tightly, and call it 'apep the enemy" such are the means which the egyptians adopted when they wanted to keep away rain and storm, thunder and lightning, and mist and cloud, and to ensure a bright clear sky wherein the sun might run his course. under the heading of "magical figures" must certainly be included the so-called ptah- seker-ausar figure which is usually made of wood; it is often solid, but is sometimes made hollow, and is usually let into a rectangular wooden stand which may be either solid or hollow. the three gods or trinity of ptah, seker (socharis, and ausar (osiris, are intended to represent the god of the sunrise (ptah, the god of the night sun (seker, and the god of the resurrection (osiris. the name pta

ollow, and is usually let into a rectangular wooden stand which may be either solid or hollow. the three gods or trinity of ptah, seker (socharis, and ausar (osiris, are intended to represent the god of the sunrise (ptah, the god of the night sun (seker, and the god of the resurrection (osiris. the name ptah means "opener" and is usually applied to the sun as the "opener" of the day; and the name seker means "he who is shut in" that is to say, the night sun, who was regarded as the sun buried temporarily. now the life of a man upon earth was identified with that of the sun; he "opened" or began his life as ptah, and after death he was "shut in" or "coffined" like it also. but the sun rises again when the night is past, and, as it begins a new life with renewed strength and vigour, it becam

with that of the sun; he "opened" or began his life as ptah, and after death he was "shut in" or "coffined" like it also. but the sun rises again when the night is past, and, as it begins a new life with renewed strength and vigour, it became the type p. 85 of the new life which the egyptian hoped to live in the world beyond the grave. but the difficulty was how to obtain the protection of ptah, seker, and osiris, and how to make them do for the man that which they did for themselves, and so secure their attributes. to attain this end a figure was fashioned in such a way as to include the chief characteristics of the forms of these gods, and was inserted in a rectangular wooden stand which was intended to represent the coffin or chest out of which the trinity ptah-seker-ausar came forth

on of his spiritual body in the world to come. the little rolls of papyrus p. 86 are often inscribed with but short and fragmentary texts, but occasionally, as in the case of the priestess anhai, a fine large papyrus, 1 inscribed with numerous texts and illustrated with vignettes, was placed inside the figure of the god, who in this instance is in the form of osiris only. 2 it seems that the ptah-seker-ausar figure was much used in the late period in egypt, for many inscribed examples have been found which are not only illegible, but which prove that the artist had not the remotest idea of the meaning of the things which he was writing. it is possible that they were employed largely by the poor, among whom they seem to have served the purpose of the costly tomb. returning once more to the

far to seek: wax is a substance which readily changes its form under heat and pressure, and it is also possible that the fact of its having been employed from time immemorial for making figures which were intended to work harm and not good to man, induced those who made amulets in the forms of the gods to select some other material. as a matter of fact, however, several figures of gods p. 87 ptah-seker-ausar figure with cavity containing a portion of a human body mummified (british museum, no. 9736. p. 89 made of wax to serve as protective amulets are known, and a set of four, representing the four children of horus, now preserved in the british museum, are worthy of notice. the four children of horus, or the gods of the four cardinal points, were called mestha, hapi, tuamutef, and qebhsen

THE BOOK OF PLEASURE

93 publishing edition of the book of pleasure. this grimoire is a powerful tool to illuminate the torch of the witches sabbat. for many years have i entered the gates of the opposer to drink from the graal of the devil, the very cup of ensorcelled venom few may taste. spare s art holds a gateway into this primal gnosis, seek to drink from this cup as well. become through self-love! frater akhtya seker arimanius magister, the order of phosphorus/black order of the dragon 2 3 introduction to the book of pleasure by kenneth grant first published in the book of pleasure, 1975 austin osman spare was born at snowhill, london, in 1886. apart from william blake, john martin, aubrey beardsley, sidney sime, and a mere handful of others, england has produced no artist to equal spare for sheer abilit

THE LUCIFERIAN PATH THE WITCHES SABBAT MICHAEL W FORD

mpyric initiation, that is, ensorcelling the nightside or sethian current around the self, the assumption of vampyric godforms within the luciferian gnosis. the process of working with necromantic shadow energies is indeed a powerful tool aimed at those working in the initiatory aspect of self-deification, yet it is as equally as dangerous. this grimoire is a personal record of its author, akhyta seker arimanius, and a manual of how one may in a balanced manner, work with the shades of the dead. featured in nox umbra is the cultus of akhtya, the persian path of sorcery in relation to ahriman, the beast dragon of darkness. this entails vampyric dream shape-shifting, vampyric self-transformation (without the use of blood or predatory workings, servitor creation and egyptian god forms. explor

e brightest star. in the jilwa, lucifer is presented as malak tauus existed before all other creatures and was then and now .there is no place devoid of me thus presenting the unnatural concept of self-illumination and intellect, lucifer is the adversary, who is full of life. as lucifer/shaitan is light, he does indeed hold a shadowside. this is present in the god forms or masks of shaitan, being seker, set and ahriman. the egyptian god set11 is a model and neter12 for self-deification, isolation and the adversary. the adversary or opposer is the shadow which reveals light, called the black light of iblis or shaitan. this light is inspired intellect and creative imagination. set represents self-imposed challenge and individual development, a tester of self. an adept uses this model for sel

f the 9 in widdershins, counter-clockwise movement 10 the black book, the mes haf, a holy book of the yezidi. 11 called also seth or set-an. 12 force of nature or that of a god, indicating by definition a separate or antinomian force. 13 egyptian mysteries, lucy lamie 18 desert. the fire concept would not be new to this deity, as set was essentially shaitan the opposer/adversary. the egyptian god seker is also a god form which the sorcerer may visualize and use as a mask of dreaming14. seker is an ancient death-god, who was considered older than osiris and who resided around the city of memphis. seker resided in the tomb and the complete darkness. around his lands were winged serpents, demonic spirits and dragon like beings with three heads. seker was often featured as a mummified man who

n ancient death-god, who was considered older than osiris and who resided around the city of memphis. seker resided in the tomb and the complete darkness. around his lands were winged serpents, demonic spirits and dragon like beings with three heads. seker was often featured as a mummified man who had a mask of a predatory hawk, who sat on a throne of abyssic shadow. in the story of af ra meeting seker15 in ra-stau where he sits in the kingdom of death, as death itself. it makes reference to seker sitting in majesty, with serpents and demonic spirits surround him. in the book of the dead seker is made reference to as being great god who carrieth away the soul, who eateth hearts, and who feedeth upon offal, the guardian of darkness, the god who is in the seker boat. this draws a comparison

hriman, who was also an opposing sorcerous daemon of darkness, who by averse practices, became stronger and immortal. set had legions of devils called seba who served the prince of darkness, and were known to hack and devour certain souls. in a modern initiatory context, the magician understands the these god forms represent isolate intellect, and self-deification through antinomian acts. set and seker have an interesting connection. in the xviith chapter of the book of the dead the spirit of the deceased prays that he is kept from the great god who devour the heart and soul, who is the guardian of darkness. this is revealed by e.a. wallis budge that this god is none other than suti (set. set was the tester of the dead in this capacity, and set tested the spirit by it s own admission of tr

hat he is kept from the great god who devour the heart and soul, who is the guardian of darkness. this is revealed by e.a. wallis budge that this god is none other than suti (set. set was the tester of the dead in this capacity, and set tested the spirit by it s own admission of transformation from life to death and finally, to the psyche becoming immortal. if this test failed, set in the form of seker, devoured the soul. later on seker was merged with ptah, a blacksmith god16 and took the form of a mummy with a visage of an old man. 14 a mask of dreaming is focusing and projecting the psyche or self into the mask of the god form in question, going forth to the sabbat masked in the cloak of the god form you are assuming. this is a development from older golden dawn practices and enables th

n practices and enables the mind to grow strong through understanding and experiencing on dreaming levels other significant god forms, demons and angelick spirits. 15 the egyptian book of the dead, the abode of the blessed, edited by e.a. wallis budge. 16 tubal-cain or cain, the son of samael and lilith, was the master of the forge i.e. initiation. 19 when one approaches the ancient masks of set, seker or the persian druj of the yatuk-dinoih understand that by diving in the black sun, becoming as a god in the darkness is but the first part of crossing the abyss. the rite of adversarial shadow -the ensorcelment of ahriman and the infernal sabbat- the focus and intent of this ritual is the application of an ancient form of sorcery known as yatuk dinoih17. the functional practice is defined a

THE SHADOWED ONES

od; yea, it shall be so far from him whosoever thinks to get the benefit and be partaker of our riches and knowledge, without and against the will of god, that he shall sooner lose his life in seeking and searching for us, than to find us, and attain to come to the wished happiness of the fraternity of the rosy crorn1 the shadowed ones -a grimoire of the angelick watchers- by michael ford, akhtya seker arimanius i the beginnings as by vision by a path unseen yet known instinctively within by some, the shadowed ones gave ever silently through the dreams of others. it is the way they communicate their lost dreams, visitations and journeys through the world from the times of mans groveling to primitive statues to the age of machines. it was the fires which fell as lightening to heaven that th

i seek thy council as i seek the daevas who walk the shadows! the black light is illuminating my spirit and i am both midnight and noontide in essence! o watchers who i seek do come forth to my circle and offer thy wisdom for i am willing to walk thy path against all others. be the lightening bolt of the fallen into my skull temple! with these words i speak, so it is done* michael w. ford (akhtya seker arimanius or keteb 75) is a practitioner of the left hand path, specifically through the initiatory guild of the order of phosphorus and the luciferian path. mr. ford is the author of numerous grimoires and works on the draconian shadow path such as yatuk dinoih, azothoz, nox umbra, book of cain and many others. michael ford is also the founding musician of psychonaut 75. www.psychonaut75.co

THE SIGIL OF ADVERSARY

er of phosphorus and the luciferian path. mr. ford is the author of numerous grimoires and works on the draconian shadow path such as yatuk dinoih, azothoz, nox umbra, book of cain and many others. michael ford is also the founding musician of psychonaut 75. www.psychonaut75.com succubus publishing http//algol.chaosmagic.uta description and purpose of the sigil of the adversary, set-heh by akhtya seker arimanius iv, botd/toph sigil illustrated by soror azhdeha iii, botd/toph the twelfth is when the demon of the noon tide sun comes forth from the desert, shaitan. this sigil is the empowerment of the fiery will and that of the other demon of the noon hour, keteb. used in daylight initiation rites focusing towards the eye of set-heh, the fire of iblis, shaitan. the sigil may be scribed alone

. this sigil may be inscribed on a parchment or the handle of a weapon, use as a ritual instrument to begin a process of developing from a weakness of character. the seventh is erbeth, a name which can procure love love of another or self love. use while envisioning the object of your desire chant a mantra form of erbeth while doing so while facing a mirror. the sixth is the god of the night sun, seker (he who is shut in, a god of darkness who has a close connection to set in his beginning. use this sigil to invoke the power of death and to isolate the psyche, emerge and begin transforming in the midnight sun of the adversary. the fifth is lerthex, a name of typhon the serpent. this is the body and mind of the magician as he spirals his or her spells as a dragon. use lerthex to visualize a

THE BOOK OF GATES

ion in the secret circle of amentet, and he performeth the affairs of the gods of the tuat who are therein by means of his voice, but he seeth them not. ankh-kheperu is the name of the gate of this circle. ament-sethau is the name of this circle. whosoever knoweth this representation of the hidden roads of re-statet, and the holy paths of the ammehet, and the secret doors which are in the land of seker, the god who is upon his sand, shall be in the condition of him that eateth the bread-cakes which are [made] for the mouth of the living gods in the temple of tem. whosoever knoweth this shall be in the condition of him that is maat on the ways, and he shall journey p. 14 over the roads of re-sethau, and he shall see the representations of the ammehet. urt-em-sekhemu-set is the name of the h

shall journey p. 14 over the roads of re-sethau, and he shall see the representations of the ammehet. urt-em-sekhemu-set is the name of the hour of the night which guideth this great god. next: the fifth hour sacred texts egypt ehh index index previous next p. 16 the fifth hour. this great god is towed along over the ways of maat of the tuat through the upper half of this secret circle of the god seker, who is upon his sand, and he neither looketh upon nor gazeth at the secret figure of the earth which containeth the flesh of this god. the gods who are in [the train of] this god hear the words of ra, who crieth unto them from where this god is. aha-neteru is the name of the door [of this city. ament is the name of the circle of this god [and in it are] the secret path of amentet, and the d

gazeth at the secret figure of the earth which containeth the flesh of this god. the gods who are in [the train of] this god hear the words of ra, who crieth unto them from where this god is. aha-neteru is the name of the door [of this city. ament is the name of the circle of this god [and in it are] the secret path of amentet, and the doors of the hidden palace, and the holy place of the land of seker [with his] flesh, and [his] members [and his] body, in the divine form which they had at first. baiu-amu-tuat is the name of the gods who are in [this] circle. their forms (aru) who are in their hour, p. 17 and their secret shapes (kheperu) neither know, nor look upon, nor see this image (or, similitude) of seker (or, the hawk) himself. whosoever shall make these representations according to

hour, p. 17 and their secret shapes (kheperu) neither know, nor look upon, nor see this image (or, similitude) of seker (or, the hawk) himself. whosoever shall make these representations according to the image which is in writing in the hidden places of the tuat, at the south of the hidden palace, and whosoever shall know them shall be at peace, and his soul shall unite itself to the offerings of seker, and the goddess khemit shall not hack his body in pieces, and he shall go on his way towards her in peace. whosoever shall make offerings to these gods upon earth-[these offerings, i say, shall act as magical protectors to that man upon earth, and in neter-khert, regularly and unfailingly. sem-her-ab-uaa-s is the name of the hour of the night which guideth this great god through this field

tefnut in my name of nut; over my mother none hath p. 59 gained the mastery. i have filled every place with my beneficence, and i have led captive the whole earth; i have led captive the south and the north, and i have gathered together the things which are into my arms to vivify osiris, the king, the lord of the two lands, men-maat-ra, the son of the sun [proceeding] from his body, the lover of seker, the lord of diadems, the governor whose heart is glad, seti mer-en-ptah, whose word is maat. his soul shall live for ever" vi["nut] saith osiris, the king men-maat-ra, whose word is maat "raise thou me up! i am [thy] son, set thou free him whose heart is at rest from that which maketh [it to be still" vii. osiris, the king, the lord of the two lands, men-maat-ra, whose word is maat, the son

VOX SABBATUM

ual magick and procreation by az lilith, who resided near the red sea in caves. az resided also in the blackest depths of hell; she instructed demons, monsters, and other druj the art of sexual copulation and how to spawn daemons. az lilith was the mother of succubi and incubi, daemons who held sexual congress with humans and with their emissions spawned other shadow forms. shaitan then became as seker, the lord of death in ancient memphis, which later became set the prince of darkness. set or shaitan had impacted the earth in its wave of creation, of knowledge and prowess did humanity excel. shaitan then moved its consciousness both of darkness and light into the empyrean and infernal (chthonic) realms of above and below. on the earth lucifer or azal ucel has manifested as a symbolic init

WALLIS BUDGE E A LEGENDS OF THE EGYPTIAN GODS

stands thoth. below this are five rows of small figures of gods. below these is harpokrates in relief, in the attitude already described. he stands on two crocodiles under a kind of canopy, the sides of which are supported by thoth and isis, and holds typhonic animals and reptiles. above the canopy are the two eyes of ra, each having a pair of human arms and hands. on the right of harpokrates are seker and horus, and on his left the symbol of nefer-temu. on the left and right are the goddesses nekhebet and uatchet, who guard the south of egypt and the north respectively. on the reverse and sides are numerous small figures of gods. this stele represented the power to protect man possessed by all the divine beings in the universe, and, however it was placed, it formed an impassable barrier t

WORKBOOK FOR GRADE 0 VOID AND THE ABYSS

garay s ethics. diacritics 28 (1998: 60 75. zukerkandl, victor. sound and symbol: music and the external world. translated by willard r. trask. princeton: princeton university press, 1969. bibliography 307 index 309 aaron, sons of, 98 102, 104 5 abgrund, 33, 34, 43, 49, 195n237, 200n299, 234n12, 238n55 abraham, nicolas, 54 abraham (patriarch59 k grade 0) void and the abyss edited by frater akhtya seker arimanius vox barathrum cover image by fidus, luzifer morgenstern introduction by scorpius nokmet 2 this workbook is meant not to replace any of the fine works of frater akhtya seker arimanius (michael ford, but hopefully enhance those writings, and hopefully make the grade workings a little easier to follow, some will find all the material overwhelming, so this work is meant to be a guide l

the short version first then within a few days add the other lines of the longer version, this method helps to learn it a little faster. also try not to learn both at the same time this could lead to frustration unless you have a photographic memory. the following two rituals should be worked continually. casting the shadow of cain phosphorus solitary circle casting by michael ford (frater akhtya seker arimanius) this is a small ritual designed to imbibe the sorcerer with a focused current of being, the dedication of the path of cainnite antinomianism. one may use the grand luciferian circle (page 6 of shades of algol) as a means of antinomianian self-deification, immolation of the spirit by the assumption of the mask of the witch-begetter, cain the blacksmith "i call forth the infernal sh

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