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SEKHMET

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A PRACTICAL GUIDE TO WITCHCRAFT AND MAGICK SPELLS

has brought me closer to the goddess in a way that i don't think could have happened if i hadn't chosen to become a parent. it has allowed me to experience the mother aspect first-hand; it gave new meaning to the moon cycles of a woman, it allowed me to become the microcosm of the great earth mother as i watched my own body grow and give birth to a new life. it gave me the protective instinct of sekhmet [the lion-headed egyptian goddess of fertility, when i realised that i would fight to the death to protect my child. it showed me the true and profound power of the female body; to create and sustain life within the body, to bring forth that life and nurture it with a perfect food made by the body. all of these are precious gifts to me as they are all a reflection of my deepest spiritual b

rld for the winter months, returning to the earth as the light-bringer in spring and so representing the cycle of death and rebirth. she is especially powerful in rituals by or for young women, especially those who have suffered loss or abuse, and also for mother-daughter relationships. she is sometimes regarded as a symbol of grain. proserpina, daughter of ceres, is the roman form of persephone. sekhmet sekhmet is the ancient egyptian solar and lion goddess created from the eye of ra. she is sometimes pictured as a woman with a lion's head and so is a good to evoke for courage, righteous anger, protection of the vulnerable, psychic protection and the correction of injustice. as an avenging goddess, she should be used only as a focus for positive rituals, for, like fire, her innate power c

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

sis and nephthys :11 :nu :the maruts (vayu: 12 :thoth and cynocephalus :hanuman, vishnu (as parasa: rama: 13 :chomse :chandra (as moon: 14 :hathoor :lalita(sexual aspect of sakti: 15 :men thu :shiva: 16 :asar ameshet apis :shiva (sacred bull: 17 :various twin dieties, rehkt :various twin and hybrid: merti, etc: deities: 18 :kephra: 19 :ra-hoor-khuit, pasht, sekhet,:vishnu (nara-singh avatar: mau, sekhmet: 20 :isis (as virgin :the gopi girls, the lord of: yoga: 21 :amoun-ra :brahma, indra: 22 :ma :yama :23 :tum athph auramoth (as water):soma (apas: asar (as hanged man: hekar, isis: 24 :merti goddesses, typhon :kundalini: apep, khephra: 25.:vishnu (horse-avatar: 26 :khem (set :lingam, yoni: 27 :horus: 28 :ahephi, aroueris: 29 :khephra (as scarab in tarot :vishnu (matsya avatar: trump: 30 :ra

BUDGE E

y others, and on the side, near the curve of the prow, is an utchat. in front of the boat march- 1. the two goddesses maat, the one representing the south of egypt, and the other the north. 2. the god nekent-f, who holds a spear, or knife, in his left hand. 3. the god khenti amentet, bearded, and in mummy form, and wearing the white crown and the menat. 4. the god sekhet, or as it is written here sekhmet, lioness-headed. 5. the god sehetch-ur, ram-headed. 6. four terms, the first of which is called ut-metu-ra, p. 5 the second ut-metu-tem, the third ut-metu-khepera, and the fourth ut-metu-asar. 7. the leader of the company, who is called tcha-unnut; by his side is a serpent, called sa, that stands on his tail. click to view the gods khenti-amentet, sekhet, sebeteh-ur, the four-terms, and te

CASSANDRA EASON A PRACTICAL GUIDE TO WITCHCRAFT AND MAGIC

DIABOLUS

both the celestial and infernal realms and like dogs, were able to see in the night. as alexander sanders wrote, the inverted triangle was the symbol of the left hand path- after the great flood, the ancient egyptians used these triangles to represent a triad of deities. the people of neph-kam, the black lands of lower egypt used the triangle of darkness, led by sethan and supported by anubis and sekhmet. alex sanders lectures magick and sorcery within egyptian cults survived long beyond the death of that culture. consider the graeco-roman period, when wax figures were implemented as focus points for various magical ceremonies. many used wax figures as performing love spells, but were also used in cursing as well. as set was the most powerful of the gods and equally a god of magick and inf

GOLDEN DAWN RITUALS VENUSZAM16

. khabs am pekht, konx om pax, light in extension. as the light hidden in darkness can manifest therefrom, so shalt thou become irresistible" step 26 pause, and using the hathor, invoke hathor as follows "o thou,who art goddess of passionate beauty and desire,i invoke thee. exalt my soul to the feet of thy glory. hear me, and manifest in splendor to him who worships at thy throne. when ra created sekhmet, her power became perfected in you, hathor. oh hathor, thou who art like the eye of ra, do i call upon thee. thou art attraction. thou art desire. thou art passion. thou art queen of the stars, and thy very name covers all the skies. most holy mother, mediatrix unto 9 the light divine, source of love, passion, desire, ferver, attraction and hunger for spiritual perfection, thee do i invoke

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

and his hair [as] lapis lazuli.23 when he realized what was happening, the ageing sun god (so reminiscent of tonatiuh, the bloodthirsty fifth sun of the aztecs) determined that he would punish this insurrection by killing off most of the human race. the instrument of the havoc he unleashed was symbolized at times as a raging lioness wading in blood and at times as the fearsome lion-headed goddess sekhmet who poured fire out of herself and savaged mankind in an ecstasy of slaughter.24 the terrible destruction continued unabated for a long period. then at last ra intervened to save the lives of a remnant, the ancestors of present humanity. this intervention took the form of a flood which the 288-9, utt. 675) here, as in other contexts, the function of the canine figure seems to be to serve a

e ii, p. 94. 29 ibid, p. 92-4. 30 ibid, p. 93. graham hancock fingerprints of the gods 359 signalled here. with a cow involved it could have been the age of taurus, although the egyptians knew the difference between bulls and cows as well as anyone. but a much more likely contender at any rate on purely symbolic grounds is the age of leo, from approximately 10,970 to 8810 bc.31 the reason is that sekhmet, the agent of the destruction of mankind referred to in the myth, was leonine in form. what better way to symbolize the troubled birth of the new world age of leo than to depict its harbinger as a rampaging lion, particularly since the age of leo coincided with the final ferocious meltdown of the last ice age, during which huge numbers of animal species all over the earth were suddenly and

HANDBOOK OF EGYPTIAN MYTHOLOGY

ometimes known as the myth of the distant goddess. the distant goddess. as described earlier, the sole eye was a separable active force even when the creator was still inert in the primeval waters. the eye was sometimes treated as a female form of the sun god, but she was also called the daughter of ra. various important goddesses were associated with this role, most commonly bastet, hathor, mut, sekhmet, tefnut, and wadjyt. for reasons that are rarely stated, the eye goddess becomes angry and uncontrollable and refuses to stay with her father, ra. originally, this may only have been thought to happen when the eye returned with shu and tefnut. later versions of the myth seem to relate to the period when the world and humanity were well established. in these versions, the eye goes to a dist

n the creator and the hand goddess.49 after thirty years, the length of a generation, the king had to undergo a much more elaborate renewal process to identify himself once again with the life-giving youthful forms of the creator and the sun god.50 the last month of the year was feared as a time when the gods seemed to be punishing humanity as they had after the rebellion against the sun god (see sekhmet in deities, themes, and concepts. the new year began with the coming of the inundation. by the ptolemaic period, the first nile flood was said to have been caused by the return of the distant goddess from nubia. every year, the fearsome goddess had to be persuaded to return home and take on a benevolent form as she reached the southern border of egypt. kiosk-shrines built on the water s ed

truction of mankind: a transitional literary text, studien zur alt gyptischen kultur 28 (2000: 257 282. 26. these cosmic beings are treated here as courtiers attending the king of the gods. it is a characteristic of egyptian deities that they can manifest themselves in different forms and different locations at the same time. 27 (female) powerful one is the meaning of the name of the lion goddess sekhmet. egyptian myths are full of wordplay of this kind. 28. this would be a depth of about 9 inches/ 22.5 centimeters. the mineral used to dye the beer was probably either ocher or hematite. 29. one of hathor s epithets was lady of drunkenness. a calendar for the temple of mut at karnak records the serving of special red beer at a festival celebrating the pacification of the solar eye. see a. s

k of the dead and in medical spells. the slaughterers of bastet were said to inflict plague and other disasters on humanity. one spell advises pretending to be the son of bastet in order to avoid catching the plague. bastet may be the poisoned cat who is cured by ra in a myth alluded to in another healing spell. deities, themes, and concepts 115 a twelfth dynasty text compares an egyptian king to sekhmet when he smites wrongdoers and to bastet when he protects his loyal subjects. the contrast between these two goddesses came to be expressed visually by their lioness and cat forms. bastet was one of the goddesses associated with the story of the distant goddess, the daughter of ra who quarrels with her father and retreats into the desert. she was particularly identified with the form of thi

setna is about to embrace taboubu when he finds himself alone and naked on the public highway. it has all been an illusion to punish setna for stealing a magical book from a tomb. in this story, the irresistible taboubu may be a manifestation of bastet herself, playing her traditional role of punisher of humans who have offended the gods. see also eye of ra; feline deities; magicians; moon; mut; sekhmet references and further reading: j. malek. the cat in ancient egypt. london: 1993, 94 111, 126 127. g. pinch. the nicholson museum hathor capital. in egyptian art in the nicholson museum, edited by b. ockingo and k. sowado. sidney: in press. primary sources: pt 508; loyalist instruction; sekhmet litany; brp; setna cycle bat bat was a primeval cow goddess worshipped in the mansion of the sis

ate entities. this may be to distinguish between the creative and destructive aspect of the eye goddess. the pupil of the eye could be thought of as a womb in which gods and other beings were formed. a child or a dwarf can be shown inside the eye, representing the sun that will be born in the red sky of dawn. deities, themes, and concepts 129 figure 28. a king is given power over foreign lands by sekhmet, one of the goddesses who could be known as the eye of ra. relief in the temple of seti i at abydos (courtesy of richard pinch) the unblinking gaze of the eye of ra could embody the dangerous aspects of the sun s heat. the rays of the sun were compared with arrows shot by a divine archer to destroy the wicked. they could dry up the water of life and turn fertile land into desert. a myth wi

mother of a divine child who will be the new form of the sun god. in some places a pair of goddesses was worshipped as the aggressive and pacified forms of the eye of ra, such as satet and anuket at aswan and ayet and nehemetawy at herakleopolis. on many occasions the eye goddess fought on behalf of her father, ra. when part of humanity rebelled against the aging sun god, the eye was sent down as sekhmet, the raging lioness, to destroy the rebels (see the destruction of humanity under linear time in mythical time lines. such was her ferocity that she had to be tricked into returning to her father to prevent her from devouring all of humanity. in the fight against the apophis monster, the eye of ra fought him under many names such as bastet, lady of terror; wadjyt, the devouring flame; sekh

to returning to her father to prevent her from devouring all of humanity. in the fight against the apophis monster, the eye of ra fought him under many names such as bastet, lady of terror; wadjyt, the devouring flame; sekhmet, the glorious eye; and wosret, the great one. the feline eye goddess also represented royal power at its most brutal. kings were described as striking down their enemies as sekhmet had destroyed the enemies of ra. satirical cartoons that showed valiant mice winning a war against cats may have been a coded way of expressing the hope that ordinary egyptians could overcome royal tyranny. see also apophis; atum; bastet; hathor; mut; onuris; ra; satet and anuket; sekhmet; snakes; stars and planets; thoth references and further reading: j. c. darnell. the apotropaic goddes

satet and anuket; sekhmet; snakes; stars and planets; thoth references and further reading: j. c. darnell. the apotropaic goddess in the eye. studien zur alt gyptischen kultur 24 (1997: 35 48. 130 handbook of egyptian mythology h. te velde. mut, the eye of re. studien zur alt gyptischen kultur beiheft 3 (1988: 395 403. primary sources: ct 76, 80, 1000; bd 17; crossword hymn; bhc; mut ritual; brp; sekhmet litany; kom ombo texts; eofs eyes of horus the horus eye combines a human eye and eyebrow with some of the facial markings of a falcon (see figure 12. such eyes are used for the animal forms of various deities associated with the sky. when horus was imagined as a celestial falcon, his right eye was the sun and his left eye was the moon. in ancient egyptian, the word for eye is a feminine n

pair of striped cats flanking a lotus flower. deities, themes, and concepts 133 figure 29. a king appeasing a lion-goddess who is too dangerous to be looked at directly. a ptolemaic relief in the temple of horus at edfu (courtesy of geraldine pinch) many other feline deities acted as ferocious guardians. according to a temple ritual, the body of osiris was guarded by four lion goddesses: wadjyt, sekhmet, bastet, and shesmetet (smithis. in the pyramid texts the goddess mafdet helps the dead king by clawing out the eyes of evil snakes. her sacred animal may originally have been some kind of mongoose, but she was later depicted as a cheetah or a lynx. as the divine executioner, mafdet served justice by running down and slaughtering the enemies of ra. her symbol was a harpoon fixed to a block

ies, she could also take the form of the fire-spitting cobra who protected the sun god s heirs. unnamed lions, lionesses, panthers, and cats are shown on magical objects fighting the traditional enemies of the divine order (see, for example, figure 30. the images of lions and cats tearing out the throats of foreign captives may allude to the myth of the eye of ra being sent down in her lion form (sekhmet) to destroy the humans who had rebelled against the sun god. other goddesses who could be identified with the lion form of the creator s eye included bastet, hathor, mehit, mut, tefnut, and wadjyt. when the eye who was the first-born daughter of ra became alienated from her father, she wandered the deserts in the form of a lion or a cat (see the distant goddess under linear time in mythica

ented as a fertile mother, suckling or surrounded by many kit- 134 handbook of egyptian mythology tens. her dangerous leonine form was played down but not forgotten. an instruction text of the greco-roman period warns egyptian men that women are like a friendly cat when you can give them what they want and like a raging lioness when you cannot. see also bastet; eye of ra; hathor; mut; onuris; ra; sekhmet; shu and tefnut; sphinx references and further reading: l. delvaux and e. warmenbol (eds. les divins chats d gypte. leuven, belgium: 1991. j. malek. the cat in ancient egypt. london: 1993. primary sources: pt 295, 297 8, 519; ct 335, 470; bd 17, 125; lofr; mut ritual; eofs; ankhsheshonq. geb geb was the chief earth god and the mate of the sky goddess nut. they were the children of shu and

those who behave unjustly on earth. by the greco-roman period, dead women in the afterlife identified themselves with hathor instead of osiris. it was only after isis took over many of her attributes that hathor lost her place as the most important of egyptian goddesses. see also cattle; eye of ra; eyes of horus; feline deities; hippopotamus goddesses; horus; horus the child; lotus; mehet-weret; sekhmet; shu and tefnut; snakes references and further reading: p. derchain. hathor quadrifons. istanbul: 1972. b. lesko. hathor, goddess of love. in the great goddesses of egypt. norman, ok: 1999, 81 129. g. pinch. votive offerings to hathor. oxford: 1994. primary sources: pt 303, 534, 705; ct 334, 482 484, 497 500, 588; bd 39, 103, 170; ad; bhc; h&s; pv; edfu calendar; dendara calendar; p. carls

hotep s birth that is now lost. an inscription from 148 handbook of egyptian mythology figure 32. the ritual of cutting up the hippopotamus at edfu. the figure holding a book scroll may represent a priest playing the role of imhotep (courtesy of richard pinch) saqqara gives the main events of imhotep s story as: his birth; being presented as a child to his father, ptah, and his divine stepmother, sekhmet; defeating the asiatics with the help of sekhmet; his death and mummification; and his appearance as a god. the greeks identified imhotep with their god of medicine, asclepius. the supposed tomb of imhotep in the desert near memphis and a nearby temple, the asklepion, became places of pilgrimage for sick people and childless couples. hippocrates, the founder of greek medicine, is said to h

zon of heaven. in gold of praise: studies on ancient egypt in honor of edward f. wente, edited by e. teeter and j. a. larson. chicago: 1999, 83 100. primary sources: pt 522; ct 214; famine stela; p. westcar; esna hymns khonsu (khons, chons) khonsu was a moon god whose name means the traveler. in the south of egypt he was said to be the son of amun and mut. in the north, he was the son of ptah and sekhmet. he could be shown as a falcon-headed man or as child wearing the sidelock of youth. his usual headdress represented a full moon above a crescent moon. the earliest references to khonsu make him a terrifying figure. he was the angry one of the gods who strangled lesser deities and ate the hearts of the dead. later he was associated with fate, judgment, and punishment. a baboon form of khon

e gods and consort of amun, found in the temple of luxor (courtesy of geraldine pinch) the myth of the return of the far-wandering goddess was reenacted in temples of mut. the important ritual of the pacification of the angry goddess took place on a crescent-shaped lake representing the mythical place, isheru. the purpose of the ritual was to transform the destructive aspect of the solar goddess (sekhmet) into one of her more benevolent aspects (mut, lady of isheru, hathor, or bastet. the pacified goddess would then consent to take a husband and give birth to the divine child. mut-sekhmet was credited with the power to prevent or inflict plague and other infectious diseases. the hundreds of lion-headed statues of the goddess from the temple of mut at karnak may have been set up to protect

mut at karnak may have been set up to protect egypt from the epidemics that periodically devastated the ancient near east. the flame of mut was one of the most feared of divine weapons, and her role as a punisher was not restricted to the mythical realm. traitors and criminals who were considered enemies of ra might be burned alive on braziers in her temples. a particularly terrifying form of mut-sekhmet-bastet had wings, a penis, and three heads: human, lion. and vulture. when the souls of the dead faced judgment in the afterlife, they could invoke this deity to save them from a horrible death in the place of execution. see also amun; bastet; eye of ra; feline deities; khonsu; sekhmet references and further reading: b. s. lesko. mut and the sacred cats. in the great goddesses of egypt. no

wn as a bearded man wearing an artisan s skullcap and an enveloping cloak or shroud. as he who is beautiful of face, ptah had skin of celestial blue. his scepter combined the djed symbol of stability with the was symbol of dominion and the ankh symbol of life. he bestowed these three qualities on egyptian kings, who were often crowned in his temple at memphis. ptah s consort was the solar lioness sekhmet. their son was nefertem, the god of the primeval lotus. ptah was also credited with siring imhotep, a historical figure who was deified as god of medicine and learning. the apis bull, the most important sacred animal in egypt, was the earthly messenger and visible ba (soul or manifestation) of ptah. a mansion of ptah is mentioned twice in the pyramid texts. this may be the same mansion of

. her breast milk nourished and healed, and she was one of the divine foster mothers of every egyptian king. see also eye of ra; khnum; stars and planets references and further reading: h. te velde. some remarks on the structure of egyptian divine triads. journal of egyptian archaeology 57 (1971: 80 86. d. valbelle. satis et anoukis. mainz: 1981. primary sources: pt 439, 508; ct 313; famine stela sekhmet (sakhmet) sekhmet was an aggressive solar goddess who was the instrument of divine retribution. she was shown with the body of a woman and a leonine head, often surmounted by a sun disk. death first came into the world when the eye of ra was sent down as sekhmet to punish rebellious humanity. she who dances on blood nearly destroyed the whole human race before she was tricked into stopping

instrument of divine retribution. she was shown with the body of a woman and a leonine head, often surmounted by a sun disk. death first came into the world when the eye of ra was sent down as sekhmet to punish rebellious humanity. she who dances on blood nearly destroyed the whole human race before she was tricked into stopping. as humans were said to have sprung from the tears of the eye of ra, sekhmet was slaughtering her own children. she was a more protective mother to the kings of deities, themes, and concepts 187 egypt, and in memphis she was worshipped as the consort of ptah and the mother of nefertem. in the pyramid texts, sekhmet was named as a parent of the king when he was reborn into the celestial afterlife. in the coffin texts, she was identified with the red crown of lower e

texts, sekhmet was named as a parent of the king when he was reborn into the celestial afterlife. in the coffin texts, she was identified with the red crown of lower egypt and with the fire-spitting uraeus: the serpent who is upon her father. she was said to be the one who wields the knife on the night of the great battle between the forces of order and chaos. in new kingdom funerary literature, sekhmet often stands in the solar barque to defend ra from the apophis serpent. users of the book of the dead hoped to destroy their supernatural enemies as sekhmet the great would. king rameses ii claimed that sekhmet the great rode with him in his chariot, ready to destroy the enemy with her fiery breath. she seems to have embodied the negative qualities of the heat of the sun that could lead to

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

f the night, thou who makest my place of comfort, who rideth out upon the hot winds of hell, who dwelleth in the devil s fane; move and appear! present yourselves to him (her) who sustaineth the rottenness of the mind that moves the gibbering mouth that mocks the just and strong; rend that gaggling tongue and close his (her) throat, oh kali! pierce his (her) lungs with the stings of scorpions, oh sekhmet! plunge his (her) substance into the dismal void, oh mighty dagon! i thrust aloft the bifid barb of hell and on its tines resplendently impaled my sacrifice through vengeance rests! shemhamforash! hail satan (149 150) lavey claimed that jane mansfield died as the result of a curse he placed on her boyfriend (mansfield and her boyfriend died together in an automobile accident, although lave

MICHAEL WYNN THE SOUL TRAVELERS

hought it was more of their hero/villain swapping that they re so good at; everyone knows jesus went up, not down. but then i was directed to this bible verse, which shook my view regarding the nature of his sacrifice. i can t believe it s not fiction: osiris& horus, vader& luke starwars lilith [5.4] the goddess lilith is associated with a host of other goddesses, including hecate, astarte, isis, sekhmet, virgo, venus, ishtar, inanna, aradia, davcina, selene, diana, az, babylon, kali, tiamat, al-uzza, and gaia. although this goddess is mostly associated with the moon, she is said to have both good and bad aspects, and true to that logic she if often spoke of as lilith who was consumed or possessed by a much more ancient goddess named tiamat. as if lilith is now the body that tiamat walks i

ghosts and lives in the underworld with hades, lord of the underworld. another goddess related to lilith is the egyptian goddess isis. isis was the wife of osiris, and was responsible for osiris first resurrection. isis is skilled at magic, and especially intelligent. isis, like hecate, is a goddess of childbirth. it appears isis, the widow of noble osiris, is now the harlot, bride of set (satan. sekhmet, an egyptian goddess who was among the most ancient of the gods, is also associated with both lilith and isis. sekhmet, is spoke of as just as much a weapon as a goddess. at the behest of the god ra, sekhmet almost destroyed all of humanity; she was unable to halt her bloodlust, and had to be tricked into desisting. she is symbolized by a lion headed woman, wearing red; she even has titles

PHILIP NEIL MYTHS LEGENDS EXPLAINED

and hike (magic) as well as such important gods as shu, geb, osiris, horus, and thoth. sometimes there are also goddesses in the barque, especially hathor. barque of the sun re is shown in his solar barque, in which he travels through the sky. horus bastet w hen human beings began to plot against the ageing re, he transformed the goddess hathor (the sacred cow of fertility) into a raging lioness, sekhmet. her bloodlust brought plague and death into existence. this goddess, who could only be appeased by being made drunk, gradually became revered under a more gentle guise as the cat goddess bastet. the domestic cat was regarded as sacred to her, and many cats were mummified in religious rituals. young girls were often nicknamed kitten. but cats were also trained for the hunt, and are depicte

RUBY TABLET OF SET

can be visual (examples are the pentagram of set, pictures of the egyptian neters, etc, and verbal (the closing we use on our letters "xeper and remanifest, is a statement and reminder of our dedication to this formula, a way of developing and keeping the habit of xeper and remanifestation going strong. each word itself is a symbol (xeper, indulgence, thelema, etc, as is each neter (shu, tefnut, sekhmet, bast. a lot of principles can be used as symbols which have more meaning to the initiated than they do to those who just read about them in a dictionary. visual and verbal/written symbols involve just one of our senses (sight. if you include verbal/spoken symbols, we then involve a second sense (hearing. we then asked the question "are there symbols which are perceived and communicated th

the neters. when all are lit they speak in turn. gi am selket, and my flame honors you who have eaten the eye of horus. immortality is yours as you will. you are a living being like unto no other. h gi am sothis, and my flame honors you who have destroyed in your own life the lie that is osiris and the aberrations that followed him. you have left footprints in stone upon the face of gebb. h gi am sekhmet, and my flame honors you whose courage did not falter. you raised the black flame in your life, and it ignites you still. your brilliance is as a thousand stars. h gi am nepthys, and my flame honors you, master of the night. you sit in conference with ptah, the builder of your worlds. you toast the aeon with set, and embrace him as friend. timeless are the words you hear, and the glories s

is not your tarot. magus barrett's quest for xem is not your quest; nor is mine. many initiates have wondered when they should select and start their quests. priest wade discovered one criteria above: wait until xem is meaningful enough to work with. he also stated: concerning the view that khem is principally the province and prerogative of iii+ initiates, it may be worth noting that statues of sekhmet were traditionally carved from black onyx. this does not mean that only priests can work towards xem, but only those that work in the black realm of set can progress towards xem. priests have begun to work regularly in this realm, and many adepts are able to reach into this realm on occasion. those who have not yet developed this ability should work on their xeper, perhaps with xem in mind

was made well after the utterance of xem. 6. many of dr. aquino's writings discuss xem as a subject of study for setians, but i have no record of a written study of xem by dr. aquino, nor any statement indicating that xem has personal importance or value for dr. aquino. 7. this article was written well before ipsissimus lewis was recognized to that grade. 8. priest mitchel wade, khem, sekhem, and sekhmet 9. the book of coming forth by night, page 1. 10. key #2, page 1 11. ipsissimus michael a. aquino, black magick in theory and practice (the crystal tablet of set, chapter 44. ed. note: this essay has since been retitled simply black magic. 12. priest roger whitaker, commentary on key# 1 13. citizens of other nations and cultures may substitute their own platitudes here. 14. one excellent e

agistra thomas, not magus barrett. priest robertt w. neilly, commentary on key# 5 (ruby tablet. priest (or magister(63) lynn norton, atu xvii- a working record of the pentagram of set (ruby tablet. magister lynn norton, keynotes, kwestions and komments* a commentary on key# 1. priestess alexandra sarris "xem comments (with cover letter dated august 22, xxi. priest mitchell wade, khem, sekhem, and sekhmet (the scroll of set xii.5, october xxi. magistra margaret wendall, the book of knowing the way (ruby tablet, april 12, xiv. priest roger whitaker, commentary on key# 1. priest roger whitaker, unmentionable (the scroll of set xi.6, december xx. priest roger whitaker, why is xem necessary (the scroll of set xii.4, august xxi, and also the trail of the serpent iii.7, july xxi. analysis and com

unction in the diabolicon is interesting in this connection. gbut this tale is the book of another. g it would appear that the book of coming forth by night is meant here. gand those two are nameless ones still, dwelling in two shrines built by their own hands but sealed by me with the words of my own wisdom and guarded by the mighty goddess of the red desert. h the "goddess of the red desert" is sekhmet. like astaroth, sekhmet is a neter of war, and like the early set is a neter both of the desert and of war. the phrase "our forms were often confused" seems applicable here, although it clearly has a deeper meaning "the words of my own wisdom" would seem to point to the fact that it is not the stele (the word of set) that is now being referred to, but rather astaroth's own words. gbut even

ng. this theory of harwer appealed to me and rang true. it explained why set would create such a strange and fitful being. i then proceeded to investigate the characteristics of this being. i asked several questions: set created harwer, but only set has a semblance not of this earth. why does harwer not? why is harwer's semblance of earth? all gods but set and harwer were created by men. the gods sekhmet, anubis, ptah, shu, and all others, were created by men, in recognition of neter. set created harwer as an opposite self, capable of creating gods "all other gods. have been created by men" why has harwer not created any gods? harwer brought into being the aeon of horus, the era of purification. it was a necessary age, condoned by set, but looked back upon as a curiosity, not important to

e nine sorcerors were written or modified by the participants who were scheduled to speak them. 2. priestess linda j. reynolds and priest ronald l. barrett, jr, respectively ritual of the passage through the tuat classification: v2- b2r.1- 2 author: janice harris ii date: ca. xi-xii [lighting of candles and brazier [ringing of the bell [censing of the chamber [conjuration of the elemental forces] sekhmet! i summon you, goddess of fire. come forth from the barren wastes and burning heat of the desert. be with me this night. thoth! lord of mystery and magic, wrapped in starlight. come, bearer of wisdom, for i summon you this night. seb! lord of the earth, rise up from flaming lava spewn from the earth's core. come forth and join me this night. nu! awaken from thy slumber amidst seaweed-drape

e of familiar(s, from this chamber and announce to the world that the will of set is accomplished this nicht! a new [setian/ adept/ priest(ess] is walking among men. the ceremony is closed by the pronounciation by all of the word "xeper, and the light is extinguished. musical accompainment decompression: voluntary in c major- h. purcell (the baroque trumpet, nonesuch #h- 71002) homage to bast and sekhmet: chiodri no kyoku (18th century traditional music of japan- everest #3306) the elements: sonata for trumpet and strings (henry purcell- nonesuch# h-71027) the elevation: pieces for harpsichord (henry purcell- nonesuch# h-71027) closing: sonata for two trumpets- g. fantini; concerto grosso- g. h. stolzel (the baroque trumpet- nonesuch# h-71002) setian initiation and recognition- part ii: th

i call upon the universe to bear witness to these changes i now evoke by the might of this doom i pronounce. classification: v2- b55.ri- 2 author: william d. pridgen ii- the order of the scarab date: october, xxvii publication: mendes cronicles (ba-neb-tett pylon, south solstice, xxvii html revision: dec 17, 1998 ce subject: xeper reading list [drink from the grail] call to the elements o mighty sekhmet, goddess of vengeance, fire of life, come forth from the watchtower of fire, in the southern quadrant of the universe, guide and protect this sacred order. o mighty shu, god of the air, breath of life, come forth from the watchtower of air, in the eastern quadrant of the universe, guide and protect this sacred order. o mighty geb, god of the earth, foundation of life, come forth from the w

es. and so it was that the lord of darkness left his temple in uab as the time of the purification commenced. this era of purification is now past, and set once more seeks those who in turn seek him [drink from the graal. the graal of babalon is said to be filled with the blood of the saints. the celebrant will partake of the wine of her fornication [summoning of the elements. celebrant] 0 mighty sekhmet, goddess of vengeance, fire of life, come forth from the watchtower of fire, in the southern quadrant of the universe, guide and protect this sacred pylon. o mighty shu, god of the air, breath of life, come forth from the watchtower of air, in the eastern quadrant of the universe, guide and protect this sacred pylon. o mighty geb, god of the earth, foundation of life, come forth from the w

de of darkness. with us we have the shades of the past, present, and future. we will travel through time and hint at our journey into setamorphosis. hear now the thoughts that we have captured out of the void. 12. shades [the celebrant will ring the bell once before each shade recites] shade# 1- imhotep i am the shade of imhotep, son of ptah and nut. my realm was memphis, where the triad of ptah, sekhmet, and nefertum-imhotep dwelled. i later became the greek aesculapius. i am seed of the giants of old who dwelled in greater kingdoms than yours. i brought with my heredity knowledge and crafts of all the sciences. i gave to khem my stepped pyramid for which zozier's peace was never realized. i gave to the ancients medicine and my calendar. my architecture was later taught to the greeks and

red; the center of being. we are the gods of time, for we have created it. search for that which cannot be forgotten. in memory exists the mirror, in which we may find our ancestor. remembering us. classification: v4- a47.m- 3 author: ronald k. barrett iv date: october 31, xii reading list: the lion rite the lion was used through a series of visualisations in a ritual to enhance the five senses. sekhmet was the deity for this rite, and the bridge to primal currents. preparation i used various exercises to improve breathing, relaxing, and visualisation. i thought about the format that the ritual would take, and how to apply it to the five senses of the body. i created a sigil for each sense, using the zos method designed by ostin osman spare- forming a sentence of your desire, cross off al

os method designed by ostin osman spare- forming a sentence of your desire, cross off all duplicated letters, with those remaining form a design, and then destroy the sigil, letting the subconscious work on it. i decided on some music to be used, and the way in which i would set up the temple. i used a six-rayed star on the floor, and i placed a small altar at each point. being a goddess of fire, sekhmet's altar was placed in the north rather than the south, due to the fact that in australia the hottest part of the day is when the sun is in the north. at her altar was a red candle and a statue of a cat. on each of the other altars were placed a candle, a mirror or bowl of water for sight, a drum for sound, incense for smell, oil or something of fur for touch, wine and grail or red meat for

t. on each of the other altars were placed a candle, a mirror or bowl of water for sight, a drum for sound, incense for smell, oil or something of fur for touch, wine and grail or red meat for taste. in the centre of the temple was a cauldron in which to burn the sigils. i put on leopard skin tights, painted my eyes so that they were cat-like, and threw on a bone necklace of sculls. invocation of sekhmet [invoke sekhmet and light the cauldron] come mighty one, sekhmet, maned and glorious mistress of set. i love you; i adore you, huntress of the plains. i follow you into the desolate lands. prowler of humanity, i seek to gaze into your eyes; reflected in them are the flames of desire that burn within you- they burn within me. i will to become as you are, lioness of the desert. i will to bec

reflected in them are the flames of desire that burn within you- they burn within me. i will to become as you are, lioness of the desert. i will to become strong, classification: v2- bn0.r1- 1 author: carmel hind ii date: february, xxvii html revision: dec 19, 1998 ce subject: lion reading list: proud, and powerful. you give life and love to your own kin, and to the enemy reveal the beast within. sekhmet, come tonight; fill this temple with fire. the rite [prowl the temple, and crouch in front of the altar dedicated to sight. light the candle on the altar, look at your reflection in the water, acknowledge your desire, and burn the sigil. as the sigil burns, visualise a lion staring into the distance] may my eyes see as yours across the land, slowly, silently, deliberately; i evoke the powe

nally written for the protection and safe return of the pylon's sentinel, clayton bozeman, from the conflict in the middle east (operation desert storm. this rite was composed by magister robert menschel, whose name is shuti. he is grand master of the order of shuti, named after the twin lion gods of ancient egypt, shu and tefnut. he is a founding member of both the order of bast and the order of sekhmet. since the current war is being fought in the middle east, near egypt, and involves egyptian forces, it classification: v2- c31.p- 3 author: robert menschel iv date: february 24, xxvi html revision: dec. 18, 1998 ce subject: protection reading list: is fitting to use egyptian mythology and symbolism, namely the three great feline goddesses, for this rite. this rite of protection was writte

part of a larger working, and the participants therefore took advantage of that larger working, and its concomitant energy and power. they were instructed(1) to not invoke these three forces named below earlier in the working, but instead when it was time for this rite, to invoke these forces with all the power they had accumulated during the process of the working. the major force called upon is sekhmet, the feline goddess of war, and also of protection against violence. budge begins to discuss sekhmet (under the name sekhet) in his gods of the egyptians, and that is a good enough introduction for those who are not familiar with this neter. there is no adequate introduction to tefnut; she is the most occult/ hidden of all major egyptian gods. she is fog and darkness and blur compared to s

nst violence. budge begins to discuss sekhmet (under the name sekhet) in his gods of the egyptians, and that is a good enough introduction for those who are not familiar with this neter. there is no adequate introduction to tefnut; she is the most occult/ hidden of all major egyptian gods. she is fog and darkness and blur compared to shu's clarity, light, and preciseness. suffice it to say she is sekhmet's cousin, also a lioness, and the two were often considered one, or were even merged into one in later egyptian times. she is also a goddess of force, of destruction, and of love. finally, bast is cat rather than lioness, more peaceful, friendlier, softer. a clawed huntress, she relishes life and comfort also. the three goddesses are called upon to protect adept bozeman (and other setians

e times. this rite therefore invokes three thrice. there are three portions of incense burned (or three candles lit, as discussed below, three claps of sound (bell or palms, and three directions or neters. while the words and visualizations can be modified as needed to increase the meaning and impact of the rite, this basic structure should be maintained. preparation: to increase our rapport with sekhmet, we involve dry heat. everyone should have at least one charcoal lit. assuming you light one piece of charcoal well before starting your main working, you may wish to light a second just before starting that working, so that this second coal will have plenty of heat left for this portion, even if the first has burned through. if you have powdered incense, place a few grains of your driest

en it is time for this rite of protection, pause and let the preceding ritual activity end completely. center yourself; balance yourself (physically as well as mentally. reflect upon your relationships with other setians, and the family that is the temple of set] place one incense package on the charcoal (or light one candle, face south, and ring your bell (or clap your hands) once, and say] hail sekhmet, lady of the desert, goddess of fire, of destruction, and of fiercely protective love. i add my voice, my power, and my will to that of shuti, once an apprentice to your meren-sekhmet, and an initiate of your order. we call upon you sekhmet, we call you forth, and direct your manifestation, your participation in the war with iraq. as you join in glorious battle, fighting alongside the cour

SATANIC BIBLE

r satan pan- greek god of lust, later relegated to devildom pluto- greek god of the underworld proserpine- greek queen of the underworld pwcca- welsh name for satan rimmon- syrian devil worshipped at damascus sabazios- phrygian origin, identified with dionysos, snake worship saitan- enochian equivalent of satan sammael (hebrew "venom of god" samnu- central asian devil sedit- american indian devil sekhmet- egyptian goddess of vengeance set- egyptian devil shaitan- arabic name for satan shiva (hindu) the destroyer supay- inca god of the underworld t'an-mo- chinese counterpart to the devil, covetousness, desire tchort- russian name for satan "black god" tezcatlipoca- aztec god of hell thamuz- sumerian god who later was relegated to devildom thoth- egyptian god of magic tunrida- scandanavian f

y some of the names are called, they must be taken out of the rigidly organized form in which they are listed here and arranged in a phonetically effective roster. abaddon euronymous o-yama adramelech fenriz pan ahpuch gorgo pluto ahriman haborym proserpine amon hecate pwcca apollyn ishtar rimmon asmodeus kali sabazios astaroth lilith sammael azazel loki samnu baalberith mammon sedit balaam mania sekhmet baphomet mantus set bast marduk shaitan beelzebub mastema shamad behemoth melek taus shiva beherit mephistopheles supay bil metztli t'an-mo chemosh mictian tchort cimeries midgard tezcatlipoca coyote milcom thamuz dagon moloch thoth damballa mormo tunrida demogorgon naamah typhon diabolus nergal yaotzin dracula nihasa yen-lo-wang emma-o nija invocation employed towards the conjuration of l

f the night, thou who makest my place of comfort, who rideth out upon the hot winds of hell, who dwelleth in the devil's fane; move and appear! present yourselves to him (her) who sustaineth the rottenness of the mind that moves the gibbering mouth that mocks the just and strong; rend that gaggling tongue and close his (her) throat, oh kali! pierce his (her) lungs with the stings of scorpions, oh sekhmet! plunge his (her) substance into the dismal void, oh mighty dagon! i thrust aloft the bifid barb of hell and on its tines resplendently impaled my sacrifice through vengeance rests! shemhamforash! hail satan! invocation employed towards the conjuration of compassion with the anger of anguish and the wrath of the stifled, i pour forth my voices, wrapped in rolling thunder, that you may hear

SYMBOLISM

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