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3 8 INITIATION CEREMONY

k robe, red shoes, sash. required materials for the altar: 2 blue tapers greek cross of 13 cubes 19th key of the tarot (sun) required materials for the temple: banners of the east and west temple pillars hebrew letters: resh astrological symbols of planets diagram of tarot cards to hebrew letters enochian water tablet 3 red lamps censer 4 chairs table of geomantic figures and ruling intelligences telesmatic symbols to each geomantic figure kamea of saturn, jupiter, mars, sun, venus, mercury and moon part ii path 30 advancement hiero: honoured hegemon, you have my command to present the theoricus with the necessary admission badge and to admit him (her. heg: rises, goes to door, opens it, presents theoricus with the greek cross of the 13 squares and admits him. heg: behold he hath placed hi

ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

ls in progress. that would be criminal, and perhaps in suicidal. one of our colleagues was fearfully attacked by his dog directly following a fairly simple and uncomplicated formula from this book. this is definitely not a gilbert chemistry set. the method of the necronomicon concerns deep, primeval forces that seem to pre-exist the normal archetypal images of the tarot trumps and the golden dawn telesmatic figures. these are forces that developed outside the judeo-christian mainstream, and were worshipped and summoned long before the creation of the qabala as we know it today. hence, the ineffectiveness of the golden dawn banishing procedures against them. they are not necessarily demonic or qliphotic in the sense that these terms are commonly understood in the west, they just simply repr

ALEISTER CROWLEY EQUINOX EQ I 4

out the bowl. the corn is british corn or wheat "from her shoulders dark spreading wings- as described, feathers depicted with primaries and secondaries. hb:aleph white light there. hb:dalet (6) having thus formulated the letters, take a deep breath hb:tzaddi hb:resh hb:aleph hb:heh hb:nun hb:yod hb:nun hb:dalet hb:aleph and pronounce the name slowly making the letters flash hb:yod (7) invoke the telesmatic image. let it fill the universe. hb:heh (8) then whilst once again vibrating the name absorb it hb:aleph into yourself; and then will your aura radiate with hb:resh whiteness. hb:tzaddi you should obtain your divine white brilliance before formulating the image. there are two methods, the involving and the expanding whorls respectively. 171 similar to the d. a. mediation practices. 172

DICTIONARY GLOSSARY OF OCCULT TERMINOLOGY

e result of a sudden shock or rhythmic sound or gesture. more properly, the techniques for inducing various states of trance in oneself or in other persons during which time the conscious mind is temporarily and partially placed in abeyance and become subordinate to the subconscious mind of the one hypnotized- i- iao: pronounced "eee-ahh-ohh" the name of the supreme godhead in gnosticism. images, telesmatic: a system used by the hermetic order of the golden dawn [g.d (q.v) to develop images for visualization based on the letters of the name of the entity to be given an image. incubus: a spiritual entity classified as a minor demon (q.v) that comes in masculine shape/form to have sexual union with a mortal woman, often against her will and usually while she is asleep. the plural is incubi

t altered or changed in any way. 3) movements of an object caused by psychic or astral (q.v) means. telematic: in golden dawn [g.d] style magick and it's derivatives, the composite image of a spirit constructed in the astral world by the imagination through the use of visualization. each hebrew letter in the name of the spirit contributes part of the image through occult associations. see images, telesmatic. telepathy: 1) from the greek "tele" meaning "far off or at a distance" and "pathy" meaning "feeling. thus to abjure literally means "to feel at a distance" and implies an ability to perceive via some other means what another person is feeling, thinking, or doing from a distance. 2) a term invented by noted parapsychologist f.h.w. myers to mean the communication of impressions of any ki

GOLDEN DAWN RITUALS A

unclean spirits- by g.h. frater d.d.c.f. 18. full moon healing vigil (to be performed monthly on the full moon) 19. ritual of spiritual alchemy (astral projection, ritual magick and alchemy by francis king) the adept must now pass an examination on the above. 20. z.a.m. second stage lectures 1. rosary of the r.r.et.a.c. 2. archangels on the paths 3. practical workings with the schemhamphoresch 4. telesmatic figures 5. 6. 7. 8. 21. the advanced meditation of rah ynda end of second stage. the adept must now pass examination on [c] and [e. tarot [n [n1 [p [o [q [r [f] 21. tarot description of 78 cards (symbology and meaning [n] 22. major arcana series [n1] 23. tarot: tabular view of dominion of symbols of book t in the celestial heavens, and operation and rules of the tree of life as projecte

GOLDEN DAWN RITUALS ZAM4

colors. this will require much more work, but will give you more elemental control, whereas the white letters on black will elevate you spiritually and be of great service to the zelator adeptus minor in the overall achievement of the great work. step 4 pronounce the name slowly, vibrating it a minimum of seven times, though more would be better. make the letters flash and glow. step 5 invoke the telesmatic image of rah ynda in your sphere of sensation. make certain the image fills your entire universe (see lesson on telesmatic images) step 6 continue by the formula of the middle pillar vibration method, then absorb the image into yourself, seeing only the flashing letters. step 7 now breath deep, and absorb the name as well. open yourself up to images, thoughts and feelings. allow the ene

smatic images) step 6 continue by the formula of the middle pillar vibration method, then absorb the image into yourself, seeing only the flashing letters. step 7 now breath deep, and absorb the name as well. open yourself up to images, thoughts and feelings. allow the energy to be totally infused in your body. also, make certain you are glowing with divine white brilliance when you formulate the telesmatic image, for to not do so could invoke an adverse energy. step 8 banish by the way of the l.b.r.p. and b.r.anthe bornless middle pillar r. r. e t a. c. z e l a t o r a d e p t u s m i n o r 2 notes on the bornless middle pillar exercise by g. h. frater p. c. a. the bornless middle pillar is designed to equilibrate the elements within the sphere of sensation under the divine rulership of s

GRERALD SCHUELER AN ADVANCED GUIDE TO ENOCHIAN MAGICK

263 figure 9.layout for enochian tarot 291 list of tables: table 1. symbols of the cosmic elements 20 table ii. alphabet correspondences 25 table iii. four systems of enochian gematria 26 table w. the thirty aethyrs 139 table v.aiq bkr and the aethyrs 143 table vl aethyrs and magical grades 149 table vii. the sexual currents of the aethyrs 156 table viii.formulas of enochian magick 174 table ix. telesmatic attributions of the letters 293 appendices: appendix a. the watchtowers. 367 appendix b. watchtower deities. 393 appendix c. watchtower signposts. 409 appendix d. the great crosses of the watchtowers. 425 appendix e. the thirty aethyrs. 429 1 p r e f a c e; an introduction to this manual this manual is meant to provide a convenient and reasonably complete source of all information requi

ncies. 12. general present influences and tendencies. 13. general future influences and tendencies. note. as with any form of divination, the magician's psychic ability to "see" the applicable meanings of the cards in context with the overall layout is the key to a reliable reading. for further information on enochian tarot see the forthcoming enochian tarot from llewellyn. 291 292 t a b l e i x. telesmatic attributions of the letters l e t t e r_ at t r ibut ions a male, spiritual, wings. b male, active. c,k male, big, strong. d female, beautiful, attractive. e female, fierce, fiery. f male, heavy, clumsy. g female, beautiful, changing. h female, undefined. i,j,y female, delicate. l female, graceful. m female, reflective,dreamlike. n male, dark, determined. o male, mechanical. p female, f

avy, clumsy. g female, beautiful, changing. h female, undefined. i,j,y female, delicate. l female, graceful. m female, reflective,dreamlike. n male, dark, determined. o male, mechanical. p female, fierce, resolute, strong. q female, thoughtful, intellectual. r male, heavy. s male, proud, dominant. t male, fierce, active. u, v, w male, dark. x male, expressive, thin. z male, thin, intelligent. 293 telesmatic figures know, then, that if thou essay in the imagination to form an astral image from the names, the first letter shall be the head of the figure or form, and the final letters shall be its feet. the other letters shall be, and represent in their order, its body and members. the golden dawn's telesmatic figures the golden dawn method of creating telesmatic figures of deities can also b

n dawn method of creating telesmatic figures of deities can also be used in enochian magick. each letter of the deity's name corresponds to a part of that deity's form. the first letter corresponds to the head. the last to the feet. the letters in between correspond to the body in order from the head to the feet. the exact correspondence depends on the number of letters in the name. to build up a telesmatic image, you can either use your magical imagination to construct it in the etheric or astral planes, or you can draw it on paper first, one part at a time. the golden dawn divided these images into four types, depending on the world (i.e, atziluth, briah, yetzirah, or assiah. in general, kings, seniors, and governors should be considered archetypal and therefore, telesmatic figures canno

onstruct it in the etheric or astral planes, or you can draw it on paper first, one part at a time. the golden dawn divided these images into four types, depending on the world (i.e, atziluth, briah, yetzirah, or assiah. in general, kings, seniors, and governors should be considered archetypal and therefore, telesmatic figures cannot apply. archangels and kerubic angels are creative and original. telesmatic figures only apply to these in a restricted sense. for example, they should be shadowy and barely discernible. the greater and lesser angels of the watchtowers, however, are formative. telesmatic figures apply quite well to these deities (as well as demons. to build an image, use the information contained in table ix. the sex of the figure depends on the predominance of the mascul ine o

LIBER NU

aspirant prepare a pantacle, as follows. inscribe a circle within a pentagram, upon a ground square or of such other convenient shape as he may choose. let the circle be scarlet, the pentagram black, the ground royal blue studded with golden stars. within the circle, at its centre, shall be painted a sigil that shall be revealed to the aspirant by nuit herself. and this pantacle shall serve for a telesmatic image, or as an eidolon, or as a focus for the mind. this is the third practice of magick art (ccxx. i. 60. 17. let the aspirant find a lonely place, if possible a place in the desert of sand, or if not, a place unfrequented, and without objects to disturb the view. such are moorlands, fens, the open 4 liber n v sea, broad rivers, and open fields. also, and especially, the summits of mo

LIBER O

english translation edited by donald tyson (st. paul, minnesota: llewellyn, 1993) has an appendix explaining how these characters are derived. 6 the reason for using the egyptian forms is simply that they have the bestdefined magical images. there are also techniques for deriving magical images from names in hebrew or greek, which can be applied to this practice as well as in the construction of telesmatic images. you should also find out about forms from any other pantheons which particularly appeal to you. 7 see for example budge.s gods of the egyptians. 8 this represents the g.d. practice, derived from levi; there are variations around this point. 9 some practitioners prefer to vibrate ihvh .spelt out. i.e. as yod heh vau heh. similarly, since agla is a notariqon (acronym) of a hebrew

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

it were, for all subsequent order teaching. in effect it reveals the essential fact involved in all practical magical work. most of the later instructions merely elaborate the necessity for the correct vibration of the highest divine names, and the building up in the imagination of pictures of one kind or another. in all of the major rituals, and in all such instructions as those on talismans and telesmatic images, the basic factors are those mentioned in the very simple phrase given above. never let it be forgotten, when apparently submerged in a mass of complicated attributions and technical details, that the essence of magic is simple. so simple in fact, that a vast'amount of self-discipline and training is required to make it effective. the counsel given in the portal document (p. 175

lated into english the sacred magic of abramelin the mage, where this phrase was first used. as the tiphareth clause of the obligation, it is the most important one of all the ten clauses. and in one way or another, its fulfillment is pointed to in nearly every important phase of the order work. regardless of which phase you may think ofskrying in the spirit-vision, ceremonial magic, formation of telesmatic images, etc- this one goal is in the background, giving meaning and substance to all else. no matter, then, what aspect of the work the student devotes himself to, he should never lose sight of this one clause, and the goal to which it refers. one particular passage in 2-2 found immediately after its opening confirms this notion in a specially powerful way. describing the temple in refe

d to omit both "m" has two sections, the hermes vision which i do propose to give, and the lineal fimres of the sevhiroth. because of the extreme comvlexitv of the latter, and because ;will be imposiible to reproduce the several geome&cal drawings in coldur which accomvanv that manuscrivt. the writer has deemed it sufficient to restate it in a i j i, general manner as a note to the instruction on telesmatic images <86> the whole of the above decribed material i have arranged and classified in an entirely different way. the contents of these volumes will be found divided up into so many chapters or separate books, each complete by itself. and the material in each book will be seen to be consistent and appertain to parts of the magical technique which are placed with it. the table of cdn'ent

ey are very important names, and their arrangement should be carefully studied. the documents on tarot attribute two of these angels to each of the 36 small cards, and the anglicised transliteration of their names will there be found. but i have thought it advisable here to give the hebrew letters and spelling so that the student may have them at his hand when dealing with the matters of sigh and telesmatic images, which are, as elsewhere explained, formed from the hebrew spellings. i. r) 86 the golden dawn: volume i book one divine and angelic names name angel ruling angel angel in divine arch- the house ruling ruling sign hebrew name angel angel corresponding decan decan quinance <171 'inlnl 8 1 3n'>1 'niln3 l l j 3' l d l l 3 'mnm )tf.ld- m d '212w llri'3 mmnn y l i l l lam irndl3 'yr!

lts are salutary- and quite apart from the spiritual and psychic effect, which is that to be aimed at, its reaction incidentally on the physical health and vitality is so marked as almost to be miraculous. the two important adjuncts to success in ceremonial magic <156> are briefly the god-form and the vibration of the divine name. the assumption of the appropriate form of the egyptian god- or the telesmatic image especially built up by the imagination based upon the signification of the letters of the name- and the powerful vibration of the name itself by the vibratory formula of the middle pillar are bound, if all other conditions are complied with, to yield salutary results. the symbolic god-form held firmly in the imagination, the name vibrated with great force- then the subsequent invo

yet these latter (the sigils of the intelligence and spirit) are more usually taken from the magical kamea or square of the planets according to a slightly different system as will be shown hereafter. 1. sephirah binah 3. brmh tzaphquiel 2.atziluth yhvh elohih4 4. yetzirah aralim shabbathai 5. assiah v agiel(45) i 4 6. other sigils vs i yod he vau he (45) the golden dawn: volume n book seven <61> telesmatic figures now there is also a mode whereby, combining the letters, the colours, the attributions and their synthesis, thou mayest build up a telesmatic image of a force. the sigil shall then serve thee for the tracing of a current which shall call into action a certain elemental force. and know thou that this is not to be done lightly for thine amusement or experiment, seeing that the for

tant, you must be in perfect magnetic and nervous condition, or else you will do evil instead of good. when you are using a name and drawing a sigil from the rose, you must remember that the sephirah to which the rose and cross are referred, is tiphareth, whose position answers to the position of the heart, as if the rose were therein. it is not always necessary to formulate before youinspace the telesmatic angelic figure of the name. as a general rule, pronounce the name as many times as there are letters in it <64> further on telesmatic figures as before taught the names of all angels and angelic forces terminate, with few exceptions, in either al or yah. the divine name al belongs to chesed and it represents a good, powerful, and mighty force, but of somewhat milder operation than the n

of the divine energies, therefore frequently to the names of evil spirits, is al added. the name yah is added to the name of an angel or spirit who exercises only a good and somewhat beneficent office. this being understood, these two terminations being rather in the nature of incidental attributions than of essential distinction, they need not be taken too much notice of in the construction of a telesmatic image. in building up such an image, you can either imagine it astrally before you, or paint the actual resemblance. care should however be taken to pro488 the golden dawn: volume n book seven nounce the divine names belonging to the world under which the telesmatic image under course of construction would fall. thus to atziluth are allotted deific names. to briah, archangelic and so on

the actual resemblance. care should however be taken to pro488 the golden dawn: volume n book seven nounce the divine names belonging to the world under which the telesmatic image under course of construction would fall. thus to atziluth are allotted deific names. to briah, archangelic and so on. it is also useful to employ the sephirotic nameswhich are comprised in the special world to which the telesmatic image is allotted. it is well to note that the four worlds themselves formulate the law involved in the building up or expression of any material thing. the world of atziluth is purely archetypal and primordial, and to it, as before said, deific names are applied. briah is creative and originative, and to it certain great gods called archangels are allotted. yetzirah is formative and an

riah is creative and originative, and to it certain great gods called archangels are allotted. yetzirah is formative and angelic orders are allotted thereunto. assiah which is the material world consists of the great kingdoms of the elementals, human beings, and <65> in some cases of the qlippoth- though these latter really occupy the planes below assiah. from these remarks it will be seen that a telesmatic image can hardly apply to atziluth; that to briah it can only do so in a restricted sense. thus a telesmatic image belonging to that world would have to be represented with a kind of concealed head, possessing a form shadowy and barely indicated. telesmatic images, then, really belong to yetzirah. therefore it would be impossible to employ the telesmatic image of a divine name in atzilu

you would get elemental forms. the sex of the figure depends upon the predominance of the masculine or the feminine in the whole of the letters together, but a jumble of the sexes should be avoided in the same form. the image built up should be divided into as many parts as there are letters, commencing at the upper part and so on in order. in addition to this method of determining the sex of the telesmatic image of a name, certain names are inherently masculine, others feminine, and some epicene, irrespective of the mere testimony of the letters. sandalphon, for instance is thus analysed: samekh male peh female nun male vau male daleth female nun male lamed female therefore masculine predominates, and if it were an ordinary name you would make a masculine form out of it. but as this name

pecially applied to the feminine kerub, it is an exception to the rule; it is an archangelic name, belonging to the briatic world and not merely an angelic name relating to yetzirah. sandalphon is also called yeher, meaning "left" and its letters are: female, female and male, so that, in this case, it may be any of these <66> the seven letters composing the name sandalphon are thus adapted to the telesmatic image. samekh head. would represent a beautiful and active face rather thin than fat. nun neck, would be admirably full. talismans and sigils daleth shoulders of a beautiful woman. lamed heart and chest, the latter perfectly proportioned. peh hips strong and full. vau legs massive. nun feet sinewy and perhaps winged. if it be desired to build up an elemental form out of this name a very

o symbols on a <67> tattwic plane, we get the following: samekh comes under fire nun comes under water daleth comes under water of earth lamed comes under air peh comes under fire nun comes under water. these would be synthesized thus: a silver crescent on a red tiangle placed over a yellow square. all three would be charged and enclosed within a large silver crescent. now, taking an example, the telesmatic image appertaining to the letter aleph. this on the briatic plane, would be rather masculine than feminine and would be resumed by a spiritual figure hardly visible at all, the head-dress winged, the body cloud-veiled and wrapped in mist, as if clouds were rolling over and obscuring the outline, and scarcely permitting the legs and feet to be seen. it represents the spirit of ether. in

tlessness and movement, that of the masculine. therefore, let this be clearly understood in ascribing gender to angelic forms and images. our tradition classes all forces under the heads of vehement and rushing force, and firm and steady force. therefore a figure representing the former would be a masculine and that representing the latter, a feminine form. but for convenience in the formation of telesmatic images of ordinary occult names and words, the letters are arranged in masculine and feminine classification. this classification is not intended to affirm that the let <69> ters have not in themselves both natures (seeing that in each letter as in each sephirah is hidden the dual nature of masculine and feminine) but shows more their tendency as regards the distinction of force beforem

d. those, then, are rather masculine than feminine to which are allotted forces more rapid in action. and those, again, are rather feminine than masculine which represent a force more firm and steady whence all letters whose sound is prolonged as if moving forward are rather masculine than feminine. certain others are epicene, yet incline rather to one nature than to another. talismans and sigils telesmatic attributions of the letters of the hebrew alphabet aleph. spiritual. wings generally, epicene, rather male than female, rather thin type. beth. active and slight. male. gimel grey, beautiful yet changeful. feminine, rather full face and body. daleth. very beautiful and attractive. feminine. rather full face and body. heh. fierce, strong. rather fiery; feminine. vau. steady and strong. r

orizontally as a picture before you extrinsically: n -i y l n. i l' f f n 9 il n 1 y formulate the perception of kether above you, and draw down the white light about this cross. then, taking a deep inspiration, pronounce and vibrate the letters of the name. flashing brilliant white light should hover round them. this is the expanding whirl in the aura. having gained the whiteness, then. form the telesmatic image, not in your heart but before you, extending it and encouraging the ideal figure to expand and fill the universe. then immerse yourself in its rays- and absorbing, also be absorbed by, the brightness of that light, until your aura radiates with its brightness. these, then, are two processes: the invoking whirl related to the heart. the expanding whirl related to the aura. adni mak

on which adonai ha aretz is written in theban or hebrew characters. the feet are shown in flesh colou* with golden sandals. long yellow green drapery rayed with olive reaches to the feet. beneath are black lurid clouds with patches of colour. around the figure are lightning flashes, red. the crown radiates white light. a sword is girt at the side of the figure. further concerning the formation of telesmatic images (note: this is a precis of the document numbered "m- lecture on the lineal forms of the names of the sephiroth.-1.r) talismans and sigils 493 translate the letters of the name of each sephirah into the numerical equivalents whichwill be yielded by reference to the qabalah of nine chambers. if these letters and numbers are again translated into their yetziratic attributions and co

rmulae of practical magic derived from the z documents, dealing with the symbolism of the candidate, the temple, and the ceremony of the neophyte grade, will require to be not only memorised and known, but understood. the student will need to be perfectly acquainted with the pentagram and hexagram rituals, the formulae of the consecration ceremonies, the general art of invocation, and formulating telesmatic images, and drawing sigils. the tablets are excellent instances of talismans and flashing tablets. d. d. c. f. says in his notanda to the book of the concourse of the forces, that "the tablets of enoch require in truth many years of study, and will repay such an expenditure of time and energy. the knowledge embodied in this manuscript is very superficial and elementary, and entirely fai

letter from the tablet of union.-i.r. this god shall be the symbol of the power of the light acting therein, as the angel shall be the descent of that light itself. the angelic name may be typified by the correspondences of the four letters of the angel's name, adding alto the name -the letters of the name standing for head, bust, arms, body, and lower limbs, etc, as taught in the instruction on telesmatic images. place the name in theban or enochian letters on the girdle. the four forms of the sphynx are: the bull..w ingless the eagle or hawk. winged angel or man. winged lion..w ingless this variation as to wings is another reason why, in grouping the tablets and the lesser angles of the same, the two forms of air and water are placed above the two tablets of earth and fire. from the pyr

st before him the sphynx of its power. this shall also appear in a colossal figure and shape, and should be tested by the proper formula. he shall continue his invocations until he can behold it clearly, even invoking the angel of the plane by the superior names, and by the god of egypt. also let him vibrate the name of the angel, invoking it by its own name, and by the knowledge of its symbolic (telesmatic) image, the sphynx and by the name of the god of egypt, and by his own particular symbolic form, according to the formula of the square. thus therefore in this manner only- if thou wishest to escape from delusion- shalt thou be able to discern truly, by skrying, the nature of the plane and of its operation. standing before the sphynx, and saluting it with the proper signs, and invoking

RUBY TABLET OF SET

cious intelligence that recognizes its own ma'at and freedom. the aspirant should also have a glimpse into the source of the magical current which is passing through mankind, as well as the self ahead of itself- the path of xeper extending toward what can be. an important part of initiation is the call to the neter with which the successful initiate will work (this may or may not be the result of telesmatic construction. the importance is in the function of the neter and not in the name. the neter will be recognized by its nature. if the aspirant has already established or recognized a strong affinity toward a particular neter, the reason or working relationship could quite possibly unfold. more on this shall be discussed in a key concerning the neters and their significance to the initiat

TELESMATA AND FLASHING TABLETS

orce in the atmosphere into the vortex you have formed. step 11 read the elemental prayer as utilized in the grade rituals. 6 step 12 close with the rose cross and perform the necessary banishing ritual. do not banish over the newly wrapped telesmata. wrap the telesmata carefully up in white silk or white linen. geomantic figure by drawing various lines from point to point, the adept may create a telesmatic figure. these figures then attract to the ruling planet and idea. example. the following is a complete table of all telesmata figures classed under planet and sign. 7 8 9 10 11 12 the mode of using a telesmata character or symbol is that it is extracted from a telesmatic figure in the development and construction of a talisman or pantacle as to use those formed by the figure of the plan

TELESMATIC FIGURES

has reached the plane, the adept should then invoke the power and ask for the strength to accomplish the matter desired. additional information and methods for a full ceremonial talisman consecration can be found in the z-documents. the above method is appropriate, especially for flashing tablets where a certain force is required. in elemental workings, the grade opening is extremely effectite2-4 telesmatic figures by g.h. frater d.d.c.f. r. r. e t a. c. z e l a t o r a d e p t u s m i n o r this material is private and has been lent to me on trust, to return on demand. it contains nothing of pecuniary value and nothing personal to myself. i hereby direct my legal representatives whomsoever, in case of my death or incapacity, to return the same at once, unread and unopened, to g.h. frater

d e p t u s m i n o r this material is private and has been lent to me on trust, to return on demand. it contains nothing of pecuniary value and nothing personal to myself. i hereby direct my legal representatives whomsoever, in case of my death or incapacity, to return the same at once, unread and unopened, to g.h. frater p.c.a, at 14050 cherry avenue, suite r-159, fontana, california, 92337. 2 telesmatic figures thou mayest build up a telesmatic image of force. the sigil shall then be of potent service to thee for the tracing of a current. this current will then call into action a specific elemental force. know that this is not to be done lightly nor for thy amusement. the forces of the universe were not created for thy plaything. thou must perform thy practical magical works with great

demons may have their name ending in la these beings also draw their power from the divine energies, therefore, the la is frequently added to the names of evil spirits. thou mayest build up an image astrally before thee or thou mayest construct a painting of the actual resemblance. let the adept be cautious to vibrate the hierarchy pertaining to thy force. always and especially when working with telesmatic figures, invoke the highest divine names. telesmatic images cannot apply to the world of tylzta (in only a limited sense into ayrb, a telesmatic image in ayrb would be thou conceded) telesmatic forms are thusly attributed unto aryzty. let the adept be warned not to apply a telesmatic image 3 to a divine name in tylzta. the image would be of aryzty, and in aysa, it would be an elemental

ound of the hebrew letter is arrested or prolonged. if the former it is masculine, if the latter it is feminine as follows: sound prolonged (masculine) aleph-broad a beth-b-bh vau-u,v, oo zayin-z caph-k, kh nun-n samekh-s ayin-o, ngh, au qoph-q, qh resh-r shin-sh, s sound arrested (feminine) gimel-g, gh daleth-d, dh heh-h cheth-ch (gutteral) teth-t yod-i, j, y. lamed-l mem-m peh-p, ph tzaddi-tz 5 telesmatic attributions of the letters of the hebrew alphabet a spiritual. wings generally, epicene, rather male than female, rather thin type. b active and slight. male. g grey, beautiful yet changeful. feminine, rather full face and body. d very beautiful and attractive. feminine. rather full face and body. h fierce, strong, rather fiery; feminine. w steady and strong. rather heavy and clumsy, m

THE MIDDLE PILLAR

stretched, to the east where he started from.27 with h s arms extended to form a cross, and being aware about him of the four pentagrams vitalized by the vibration, he now commences a further phase of the ritual. here is demanded of him the visualization of the vast archangelic figures standing behind each pentagram, as though the latter were a sort of flaming shield supported by those magical or telesmatic images.28 some word or two needs to be expressed about archangels and angels. most readers, unfamiliar with the nomenclature and general tenets of the magical phlosophy, may feel inclined to baulk at ths juncture. the postulate, however, is quite a logical one. for the philosophy of magic conceives of one root source from whch all life sprang, one fundamental life current, infinite and

vivid flashes of emerald green. in the hand of the figure will be seen an uplifted sword of steel, while little tongues of fire will lick the browned earth about the bare feet. an intense radiation of heat should be sensed from michael. watery characteristics will mark the nature of gabriel in the west, and blue offset by orange will be its color. a blue chalice of water will be held aloft by the telesmatic figure, which will sometimes seem as though it were standing in a r u s h g stream of clearest water. sometimes, it may seem as though there were a small waterfall behind the figure, pouring cascades of water into the temple or room. in the north, the angel auriel29 will appear to be standing on very fertile ground, grasses and wheat being about the feet. sheaves of corn will be held in

ind the figure, pouring cascades of water into the temple or room. in the north, the angel auriel29 will appear to be standing on very fertile ground, grasses and wheat being about the feet. sheaves of corn will be held in both the outstretched hands, and on the whole, the prevailing colors will be a mixture of citrine, olive, russet, and some little black.30 the techruque of here employing these telesmatic or magical figures of the archangels, once the appropriate names have been vibrated and some realization obtained of the presence of the correct type of spiritual power flowing through the figure, is to imagine that the emanation from the archangel penetrates and cleanses the personality. that is to say in the east from behind the archangel raphael should be felt a gentle wind or breeze

alistic cross and the pentagram ritual 67 25. the element of fire corresponds to our will and feeling faculty, water to our creativity and intuitive faculty, air to ow intellect and thinking faculty, and earth to our faculty of sensation. 26. see part two, chapter nine for an explanation of why these names are used in the pentagram ritual. 27. or the center of the room. refer to endnote 22. 28. a telesmatic image is an image constructed according to a predetermined set of correspondences. this image is then consecrated and charged to achieve a specific purpose. and the charged image becomes a sacred icona living symbol of the force it represents. 29. the archangel of earth. also called uriel (raphael, michael, and gabriel are the archangels of air, fire, and water, respectively) 30. these

d to draw something to the magician. tao: chinese for the "way" the absolute or noumenal reality. tattva (or tattwa: sanskrit word meaning "quality" the five main tattvas, tejas, apas, vayu, prithivi, and akasha, correspond to the five elements of fire, water, air, earth, and spirit. tejas: sanskrit word meaning "sharp" the tattva associated with the element of fire. its symbol is a red triangle. telesmatic: from the greek word telesrnata meaning "talismans" usually refers to a created or visualized image of a deity or angel, particularly images that have been built using hebrew letter correspondences. tetragrammaton: a greek word meaning "four-lettered name" refers to the highest divine hebrew name of god, yhvh (717. glossary 263 thaumaturgy: greek word meaning "miracle-working" magic use

THE NECRONOMICON SIMON VERSION

als in progress. that would be criminal, and perhaps in suicidal. one of our colleagues was fearfully attacked by his dog directly following a fairly simple and uncomplicated formula from this book. this is definitely not a gilbert chemistry set. the method of the necronomicon concerns deep, primeval forces that seem to preexist the normal archetypal images of the tarot trumps and the golden dawn telesmatic figures. these are forces that developed outside the judeo-christian mainstream, and were worshipped and summoned long before the creation of the qabala as we know it today. hence, the ineffectiveness of the golden dawn banishing procedures against them. they are not necessarily demonic or qliphotic in the sense that these terms are commonly understood in the west, they just simply repr

TYSON DONALD NEW MILLENNIUM MAGIC

e part, gather meaning from them. since the light cannot exist unconfined in the manifest universe without destroying all creation, it needs many servants (at least, they are perceived as many by the analytical, categorizing human mind. the role of the guardian angel is that of protector, teacher and guide on the level of the individual human being. in the same way that the magus molds his or her telesmatic images from the natural forces outside the perceived self, he or she shapes the guardian from the directing power of the light within. by personalizing the energy that is the guardian, the magus gains some measure of control over it: can speak to it and expect an answer; can call it forth and hope to see it. usually the guardian is visualized in a human form of the opposite sex that has

d audible, some- times tactile, but they seldom leave material evidence of their presence. an homunculus, on the other hand, usually has a physical body of human shape, although not necessarily of human size. the formation of a spirit may be completely unconscious as in the case of lar- vae, or deliberate in various degrees. the most highly conscious method is the golden dawn technique of forming telesmatic images, where spirits are built up from simples into complexes through a rational process of correspondence. the creation of a telesmatic image can be compared to the process of life. it begins with an initial impulse, goes on to the gathering of useful raw materials, and then an involved pattern is constructed from these basic building blocks. telesmatic images are alloys of forces, de

ntity from the magus who shaped them. they are not creatures of the ego of the magus alone, however; they take some of their nature from his or her godhead or higher self, and are thus independent beings. these spirits may become so concrete over time that they are clearly perceived by other people who know nothing of their existence. in tibet, before the coming of the communists, the creation of telesmatic images was a part of the training of magicians. it was said to be not uncommon to encounter these manufactured spir- its while walking along the empty mountain trails at t ilight' indeed, the yeti is very likely a telesmatic spirit that has been unconsciously created by the tibetan people over many generations. the traditional method of forming a telesmatic image used by the hermetic or

must try to fit his or her ritual needs into the existing catalog of psychic beings. this is like buying a suit off the rack-usually it fits well enough to serve, but it is never ideal. but the greatest fault with this method is that it starts with the name and goes on to work backwards to extract the qualities of the spirit. here is a more rational system that will serve for the creation of all telesmatic images. begin with the purpose you wish the spirit to serve. using its eventual function as a guide, list all those qualities you will require in your creation. these should include the physical, emotional, and mental features of the spirit. narrow these down to the most essential. for example, suppose you wanted to create a protective spirit to watch over a friend. some of the features

it into being. by destroying the name-by reading it backwards for instance, or by ritually burning it-the magus can destroy the manifest form of the spirit. the name can be used as a focus for physically containing the spirit when it is not being employed; when the name is written on a pentacle or figurine, the spirit can be made to reside within the object until called upon. from the name of the telesmatic spirit is derived, by various means, its sigil. also called the character or seal, the sigil is a geometric design that represents the spirit and acts as a visual avenue of communication and command. because it is visual, the sigil can be more easily held in the mind than the letters of the name during the exaltation of ritual. the sigil is another form of the name, or identity, of the

. the sigil is another form of the name, or identity, of the spirit. its making is described in the next chapter (chapter 32. there is no essential difference between summoning a spirit and creating a teles- matic image. in the first case, the magus uses elements derived from tradition, and in the second case, he or she chooses all the elements, guided by the ritual purpose. the method of forming telesmatic images can easily be applied to existing spirits, who are usually so poorly described in the literature that calling them forth necessitates creating their images in the mind. starting with what is known about the nature of a given spirit, a shape can be built up and a magical esoteric name extracted from that form. then a sigil can be constructed that is based on the esoteric name. aft

en a sigil can be constructed that is based on the esoteric name. after the form of a spirit has been conceived, it must still be brought to life. until its birth it is like the conception of a work of art: it has no tangible reality. spirits are made real through the rituals of invocation and evocation, already given. as a separate act, the magus may wish to symbolically infuse vitality into the telesmatic image, but this is not required. the vitality of a spirit comes from the same place as the vitality of the magus-the light. by simply drawing the spirit forth until it can be experienced, the magus has caused its birth. a telesmatic spirit can be prevented from running amuck if it is given a finite life span that ends with its usefulness. its death can be automatically preset or con- sc

of the magus-the light. by simply drawing the spirit forth until it can be experienced, the magus has caused its birth. a telesmatic spirit can be prevented from running amuck if it is given a finite life span that ends with its usefulness. its death can be automatically preset or con- sciously brought about by the magus when it is deemed prudent. often both lim- iting factors are built into the telesmatic image as a fail-safe, the automatic self-destruct set to operate after a given length of time should the magus be inca- pacitated or otherwise occupied. keeping to the example already used, the magus might give the fearsome guardian graflaw the life span of a single cycle of the moon, causing its power to increase as the moon waxed and decrease with the moon's waning. in addition, the h

t be symbolically imprisoned in a small ball of wax to ensure its instant obedience. the magus would take care to guard this ball with signs and words of power to keep it safe from the spirit. the moment the spirit outlived its usefulness, the magus would cast the wax ball into a fire, speaking an incantation for the complete destruction of the spirit. a competent magus will suffer no threat from telesmatic images. the danger lies in becoming fond of such beings, or even growing to love them. if this happens the magus may lack the will to kill them, and then his or her danger becomes great. at first subservient and fawning, the spirits will draw on the hidden powers of the higher self of the magus and grow stronger day by day, until at last they are too powerful to command; for spirits gro

and grow stronger day by day, until at last they are too powerful to command; for spirits grow stronger at the expense of the magus, who correspondingly weakens. the liberated spirits will work all manner of mischief, from malice or exuberance, and will torment the magus unmercifully unto death. the jewish folk tale of the golem should be taken as a warning. the golem was a type of homunculus, a telesmatic image that had been infused into a life-sized figure of clay to give it power over the material world" in one version of the story, its cre- ator, rabbi loew of prague, allowed it to keep its form longer than necessary because it was obedient and subservient to him. but all the while, the golem grew in power, until at last it was destroyed only with the greatest risk and difficulty. a s

1. these new letters will yield a dif- ferent sigil shape on the sigil wheel. the emerging sigil can also be stylized to disguise its origin and to lend it a character of its own that agrees with the nature of the spirit. straight lines can be curved. ornamentation can be added where appropriate, and lines textured. dif- ferent colors that relate to the spirit can be used. to use the hypothetical telesmatic guardian spirit named graflaw as an exam- ple, a strict application of the sigil wheel would produce the sigil below on the left, which could then be stylized and altered by aiq beker into the sigil on the right: the magus should favor the use of his or her own language in magic, even though it is traditional to use latin, hebrew, greek, and even arabic. a native lan- guage is learned b

oot similar phenomena, but far from being frivolous they rep- resent the middle temple of the magus and form a vital connecting link between the mundane world and the light. they are invaluable tools in magical working. one of the most important techniques of magic is creative visualization. it is used to give form to the middle temple where ritual magic is actually worked. through visualization, telesmatic images may be constructed and the sigils and symbols of the art conceptualized. visualization is also necessary during ritual in order to dramatically enact in the mind the fulfillment of the ritual purpose. visualization requires considerable practice before the technique is learned, but once learned it can be used effortlessly to lend form and animation to the raw potencies of the unc

ols of the art conceptualized. visualization is also necessary during ritual in order to dramatically enact in the mind the fulfillment of the ritual purpose. visualization requires considerable practice before the technique is learned, but once learned it can be used effortlessly to lend form and animation to the raw potencies of the unconscious mind. at first attempts to visualize a symbol or a telesmatic figure are no more than exercises in ordinary imagination. true visual- ization is characterized by the ability of the magus to actually see the astral image with all the lucidity of a dream image. once this level of reality is achieved in visu- alization, the mental image becomes a solid object or setting to the spirits who interact with it. this should be clearly understood by the mag

WESTERN MANDALAS OF TRANSFORMATION SR AL

havior and see if they listen. is he or she able to listen attentively to what other people have to say? does the information he or she claims to receive from the inner teacher agree with ethics and good sense? does the person show self-discipline or does he or she pester everybody with accounts of his or her incredible visions? these are some good criteria to test yourself and others. building a telesmatic figure and sigil when you are building this beautiful relationship with your closest and most trust-worthy friend, begin to discover clues about its nature. does your angel seem male or female? does he or she glow with certain colors? you can determine what colors are actually associated with the letters of the hebrew name (which, ideally, should be 5-7 letters. begin with the first let

explains, from a hermetic point of view, the functions of the h. g. a: to guard, cherish, protect, visit and defend. there are many other excellent books on angels available today that can deepen the aspirant's relationship with his or her h. g. a. this is an age in which humankind is being visited by angelic beings in a way perhaps never known in recorded history. these techniques for forming a telesmatic image of an angelic figure can be successfully used with any angel or archangel. although there are other color scales. in the golden dawn tradition there are four, which correspond to the four worlds.we are using what is known as the king scale, which case advises for the tarot keys, zodiacal signs and corresponding hebrew letters (i. e, the tree paths. the sephiroth or planetary color

er beautiful optical illusions (what you are actually seeing are the true astral colors, which are much more brilliant) figure 2-g when you shut your eyes, try to hold the image as long as you can and, if possible, bring it close enough so that it actually appears to encompass you, or you seem to pass through it. then you will be in the magical or imaginative landscape of the energy evoked by the telesmatic figure. you may then choose to just observe (but try not to become too passive) or you may want to dialogue with whatever kind of figure emerges. any talismanic design could be used for this purpose (for example, our lodge came up with the idea of using the planetary seals, although the flashing tablet effect works best if used with one or two pairs of complementary colors. you could st

or her guardian angel spirit and use this consistently on every talisman. i cannot stress the importance of this enough. remember that the word kamea means bond. the rose can be considered a type of kamea. you should have a very good bond with your guardian angel or higher self, before attempting to bond with these other entities, because they do have their trickster elements. using the sigil and telesmatic images of your angel in your magical workings ensures that you will have guidance and protection. one can also cut a sigil (or geometric figure, such as a pentagram, etc) in the air or ether. when doing so, one always uses the right hand with directed force. make sure there is a definite beginning and ending of the sigil as you are drawing it. any seal or design sympathetic to the magic

to trace them onto a kamea. one of the most frequent mistakes in many sigils is that the a gets dropped in the angelic name. it may be arbitrary to leave out an a, since it is often taken as a vowel e. g, bartzabel, but it is an important part of the name at the end because the al (or el) is that part of the angelic name which relates it to one of the sacred hebrew names of god. if, in forming a telesmatic image of an entity (for example, one's guardian angel, or one of the archangels, one leaves out the a of the al ending, it would be the same as leaving off the wings (aleph).an essential part of its angelic nature. it would also change the numerical spelling of the name. the student should keep this principle in mind. sigils change if the pronunciation changes; if even one letter is omi

1=9=10=the one chapter 13 personal talismans of the name there is an alternate method of talisman-making utilizing the tattwa elements and some symbolism from the tarot that we have touched upon.here i would like to explain it in more detail. it is a very simple but powerful technique that can lend itself to an almost infinite variety of creative designs. it is done in a way similar to creating a telesmatic image; it is created entirely from a name. this can be one of the angelic or archangelic names, such as those found in chapter three (figure 3-a on page 25. you can use any name that is important in your life, such as one of the saints, or even one of the sacred names of the sephiroth. figure 13-a lists the hebrew spelling of the divine names and the planetary chakras. this method can b

ZALEWSKI SECRET INNER ORDER RITUALS OF THE GOLDEN DAWN OCR

ritten and vocal) 5. describe results of impressions of supplied symbols of tattwas. d. divination (written) 6. a divination question (to be supplied by chief) divined through astrology, geomancy and tarot. note: on each occasion the same question will be asked but will be worded differently. e. magic 7. talismans and flashing tablets: their formation and consecration. 8. formation of angelic and telesmatic figures from letters of name supplied. use of figures when ascending to the planes. mode of vibrating divine names using adonai ha aretz until radiance of aura is established. 9. perform ceremony of invocation or banishing of the forces of any given sign, planet or element. 10. make and consecrate a talisman for a given purpose. make and charge three flashing tablets, viz: for an elemen

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