Michael Wynn's Occult Reference Library
THE CREATIVE

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18276066 GRIMM JACOB TEUTONIC MYTHOLOGY VOL 1

ilte, der si beide schuof nach lobe troj. 19922. got selb i^i richen freudcn was, do er ir lip als ebene maz; misc. 2, 186. ich weiz daz got in froiden was, do er niht, frouwe, an dir vergaz waz man ze lobe sol schouweu. ls. 1, 35. so a troubadour sings: belha domna, de cor y entendia dieus, quau formet vostre cors amoros; liayn. 1, 117^ it is an equally heathen 1 the gotliic gavairthi= peace- to the creative god rejoicing in his -work, the m.h.g. poets especially attribute dilujence and zeal: an den henden lac der gotes iliz; parz. 88, 15. jach, er triiege den gotes fliz; parz. 140, 5. got het sinen iliz gar ze wnnsche wol an si geleit; wigal. 4130. ich woen got selbe worhte dich niit siner gotlicher hant; wigal. 9723. zware got der hat geleit sine kunst und sine kraft, sinen tliz und sin

of a high antiquity (see suppl. now at the very outset of that poem, all created beings great and small are called mcgir heim&allar, sons or children of the god; he appears therefore to have had a hand in the creation of the world, and of men, and to have played a more exalted part than is assigned to him afterwards. as, in addition to wuotan, zio presided over war, and fro over fruitfulness, so the creative faculty seems to have been divided between osinn and heimsallr. a song of suggestive design in the edda makes the first arrangement of mankind in classes proceed from the same heimffallr, who traverses the world under the name of mgr (see suppl. there is a much later german tradition, very prevalent in the last few centuries, which i have ventured to trace to this heathen one, its ori

A PRACTICAL GUIDE TO WITCHCRAFT AND MAGICK SPELLS

ides of the same coin, a principle that finds expression in eastern taoism and underpins the ancient chinese/ ching (the book of changes, often used for divination. negativity can be transformed into healing energies through positive ritual. the goddess is the source of all creation, from whom, in the original virgin birth, her son-consort, the horned god, came. the horned god and the goddess are the creative male and female principles that act and react, not in opposition to each other, but as complementary and necessary parts of a whole. there are variations on this idea within the teachings of wicca. some traditions consider the goddess to be of greater significance than her male counterpart. others regard them as equal, assuming different aspects according to the season and ritual: she

ing back threefold. the goddess and the horned god in wicca neither evocation nor invocation is part of modern witchcraft, however, and white witches do not recognise any demonic figures in their religion. when we refer to the goddess and her son-consort, the horned god of wicca, we are referring to the archetype or source energies of the feminine and masculine aspects of ultimate power. they are the creative female and male principles, acting not in opposition to each other but as complementary and necessary parts of a whole. all the named goddesses and gods in witchcraft represent the different qualities of these supreme forms, for example the goddesses of the hunt, or specific forms in different cultures. there are, of course, variations within wicca; some traditions emphasise the impor

cally to the people. as the sky gods gained supremacy, they married the earth goddesses who slowly evolved into patronesses of women, marriage and childbirth. so, for example, odin the norse all-father married frigg, goddess of women, marriage and motherhood. but in witchcraft, though the sky fathers and their wives are used for the focus of specific rites, the goddess retains the earlier form as the creative principle. as the triple goddess- maiden, mother and wise woman or crone- she is frequently central to coven work. generally in magick the goddess is recognised as the prime mover of existence, bringing forth from herself in the first virgin birth the animus, or male, principle. for this reason, it is often the high priestess who casts the circle, though in some covens the goddess rul

ALEISTER CROWLEY ABSINTHE THE GREEN GODDESS

enunciation. it is the problem of the dreadful bridge of islam, al sirak--the razor-edge will cut the unwary foot, yet it must be trodden firmly, or the traveler will fall to the abyss. i dare not sit in the old absinthe house forever, wrapped in the ineffable delight of the beatific vision. i must write this essay, that men may thereby come at last to understand true things. but the operation of the creative godhead is not enough. art is itself too near the reality which must be renounced for a season. therefore his work is also part of his temptation; the genius feels himself slipping constantly heavenward. the gravitation of eternity draws him. he is like a ship torn by the tempest from the harbor where the master must needs take on new passengers to the happy isles. so he must throw ou

ALEISTER CROWLEY MAGICK IN THEORY AND PRACTICE

ol" or innocent babe who is also the wandering singer who impregnates the king's daughter with himself as her child; lamed is the king's daughter, satisfied by him, holding his "sword and balances" in her lap. these weapons are the judge, armed with power to execute his will, and two witnesses "in whom shall every truth be established" in accordance with whose testimony he gives judgment "yod" is the creative energy- the procreative power: and yet "yod" is the solitude and silence of the hermitage into which the magician has shut himself "mem" is the letter of water, and it is the mem final, whose long flat lines suggest the sea at peace hb:mem-final; not the ordinary (initial and medial) mem whose hieroglyph is a wave hb:mem<symbolism above outlined, yod is the mercurial "virgin w

exoteric attributions, which are sufficiently informative for the beginner> after the magician has created his instrument, and balanced it truly, and filled it with the lightnings of his will, then is the weapon laid away to rest; and in this silence, a true consecration comes. the formula of alim it is extremely interesting to contrast with the above the formula of the elemental gods deprived of the creative spirit. one 25 might suppose that as alim, is the masculine plural of the masculine noun al, its formula would be more virile than that of alhim, which is the masculine plural of the feminine noun alh. a moment's investigation is sufficient to dissipate the illusion. the word masculine has no meaning except in relation to some feminine correlative. the word alim may in fact be conside

us a tetragrammaton which contains no feminine component. the initial force is here the holy spirit and its vehicle or weapon the "sword and balances. justice is then done upon the mercurial "virgin, with the result that the man is "hanged" or extended, and is slain in this manner. such an operation makes creation impossible- as in the former case; but here there is no question of re-arrangement; the creative force is employed deliberately for destruction, and is entirely absorbed in its own sphere (or cylinder, on einstein's equations) of action. this work is to be regarded as "holiness to the lord. the hebrews, in fact, conferred the title of qadosh (holy) upon its adepts. its effect is to consecrate the magicians who perform it in a very special way. we may take note also of the corresp

phers. we have therefore no scruple in restoring the "devil-worship" of such ideas as those which the laws of sound, and the phenomena of speech and hearing, compel us to connect with the group of "gods" whose names are based upon sht, or d, vocalized by the free breath a. for these names imply the qualities of courage, frankness, energy, pride, power and triumph; they are the words which express the creative and paternal will. thus "the devil" is capricornus, the goat who leaps upon the loftiest mountains, the godhead which, if it become manifest in man, makes him aegipan, the all. the sun enters this sign when he turns to renew the year in the north. he is also the vowel o, proper to roar, to boom, and 36 to command, being a forcible breath controlled by the firm circle of the mouth. he

e sexually, whereas isis knew only one sex, and osiris thought the two sexes opposed. also the formula is now love in all cases; and the end is the beginning, on a higher plane. the i is formed from the v by removing its tail, the a by balancing 4 yods, the o by making an inverted triangle of yods, which suggests the formula of nuit- hadit- ra-hoor-khuit. a is the elements whirling as a svastika- the creative energy in equilibrated action<yod aleph yod yod. yod yod- ayin yod yod yod- 38 chapter vi the formula of the neophyte<neophyte ceremony, equinox i,ii. this formula has for its "first matter" the ordinary man entirely ignorant of everything and incapable of anything. he is therefore represented as blindfolded and bound. his only aid is his

sly indicates the magical formula of the universe as a reverberatory engine for the extension of nothingness through the device of equilibrated opposites<chi= kappa-tau-epsilon-iota-sigma: hb:pehfinal= phi= phi-alpha-lambda-lambdaomicron- sigma (by notariqon> it is moreover the value of the letter qoph, which means "the back of the head, the cerebellum, where the creative or reproductive force is primarily situated. qoph in the tarot is "the moon, a card suggesting illusion, yet shewing counterpartal forces operating in darkness, and the winged beetle or midnight sun in his bark travelling through the nadir. its yetziratic attribution is pisces, symbolic of the positive and negative currents of fluidic energy, the male ichthus or "pesce" and the female

in normal affairs mind and body respond with free unconscious rightness to the will> in order to aid concentration, and to increase the supply of energy, it has been customary for the magician to employ assistants or colleagues. it is doubtful whether the obvious advantages of this plan compensate the difficulty of procuring suitable persons<magick in the world due to the creative will of the master therion makes it with every year that passes easier to find scientifically trained co-workers, and the chance of a conflict of will or a misunderstanding in the circle itself. on one occasion frater perdurabo was disobeyed by an assistant, and had it not been for his promptitude in using the physical compulsion of the sword, it is probable that the circle would have

individual case that may come in question. as above said, the object struck is the object impressed. thus, a blow upon the altar affirms that he has complied with the laws of his operation. to strike the lamp is to summon the light divine. thus for the rest. it must also be observed that many combinations of ideas are made possible by this convention. to strike the wand within the cup is to apply the creative will to its proper complement, and so 83 perform the great work by the formula of regeneration. to strike with the hand on the dagger declares that one demands the use of the dagger as a tool to extend one's executive power. the reader will recall how siegfried smote nothung, the sword of need, upon the lance of wotan. by the action wagner, who was instructed how to apply magical form

ALEISTER CROWLEY MAGICK WITHOUT TEARS

y absence. love is the law, love under will. fraternally, 666 letter no. e aug. 18, 1943 cara soror, do what thou wilt shall be the whole of the law. much thought has gone into the construction of your motto "i will become" can be turned neatly enough as "let there be" by avoiding the first pronoun one gets the idea of "the absorption of the self in the beloved" 12 which is exactly what you want "the creative force of the universe" is quite ready-made. pyramis1, a pyramid, is that force in its geometrical form; in its biological form it is phallus2, the yang or lingam. both words have the same numerical value, 831. these two words can therefore serve you as the secret object of your work. how than can you construct the number 831? the letter kaph3, jupiter (jehovah, the wheel of fortune in

ative energy, but as "the secret source of the energy of jehovah" the two words together, having the value 1* in the original in greek 2* in the original in greek. 3* in the original in hebrew. 4* in the original in hebrew. 5* in the original in greek. 13 of 831, they contain the secret meanings pyramis and phallos, which is the same idea in different forms; thus you have three ways of expressing the creative form, in its geometrical aspect, its human aspect, and its divine aspect. i am making a point of this, because the working out of this motto should give you a very clear idea of the sort of way in which qabalah should be used. i think it is rather useful to remember what the essence of the qabalah is in principle; thus, in your correspondence for malkuth, yesod, and hod you are simply

ow you are armed! ask yourself: why is the influence of tiphareth transmitted to yesod by the path of samekh, a fence, 60, sagittarius, the archer, art, blue- and so on; but to hod by the path of ayin, an eye, 70, capricornus, the goat, the devil, indigo, k.t. 36 thirteen is the number of achad hebrew option, unity, and ahebah hebrew option, love; then what word should arise when you expand it by the creative dyad, and get 26; what when you multiply it by 4, and get 52? then, suppose the pentagram gets busy, 13 x 5= 65, what then? now don't you dare to come round crawling to me for the answers; work it out yourself what sort of words they ought to be, and then check your result by looking up those numbers in the sepher sephiroth: equinox vol. i, no. 8, supplement. when you are a real adept

twisted stems, each with its peculiar species of poisonous flowers, sometimes superficially so attractive that their nastiness passes for beauty. i shall leave it to the psychoanalysts to demonstrate the reduction to sex, merely remarking that though i agree with their analysis as far as it goes, i do not allow it to stop where they do. for us, sex is the first unconscious manifestation of chiah, the creative magic without tears get any book for free on: www.abika.com 297 energy; and although (like everything else) it is shown both on the spiritual and the physical planes, its most important forthshowing is on the "magical" plane, because it actually produces phenomena which partake of all these. it is the true will on the creative plane "by wisdom formed he the worlds" so soon as its thau

ALEISTER CROWLEY MEDITATION

note: see equinox vii> a ka dua tuf ur biu bi aa chefu ix. dudu ner af an nuteru. illustration: two lines of music with: a ka du- a tuf ur bi- u bi a'a che- fu du- du ner af an nu- te -ru :under them such are enough for selection<mantras: 1 aum is the sound produced by breathing forcibly from the back of the throat and gradually closing the mouth. the three sounds represent the creative, preservative, and destructive principles. there are many more points about this, enough to fill a volume. 2. o that existent! o- an aspiration after realty, truth. 3. o the jewel in the lotus! amen- refers to buddha and harpocrates; but also the symbolism of the rosy cross. 4. gives the cycle of creation. peace manifesting as power, power dissolving in peace. 5. god. it adds to 66, t

ions, the material and the spiritual alike, are but dust. love, sorrow, and compassion are three sisters who, if they seem freed from this curse, are only so because of their relation to the unsatisfied. beauty is itself so unattainable that it escapes altogether; and the true artist, like the true mystic, can never rest. to him the magician is but a servant. his wand is of infinite length; it is the creative mahalingam. the difficulty with such an one is naturally that his wand being very thin in proportion to its length is liable to wobble. very few artists are conscious of their real purpose, and in very many cases we have this infinite yearning supported by so frail a constitution that nothing is achieved. the magician must build all that he has into his pyramid; and if that pyramid is

ALEISTER CROWLEY SEPHER SEPHIROTH

gate)(ycm )bb oracle (not from rbd, 206 q.v; sanctuary rybd taro (cf. 224, 280& 671) wr+ blood of grapes mybn( md dread, fear h)ry profound (ps. 92:5) qmw( anger, wrath zgwr latitude bxwr 217 the air ryw) temple, palace, castle, fortress, citadel hryb food hyrb a bee hrwbd the navel rwb+ strife, controversy [of the lord] hbyr bright, shining ryhb leanness; secret yzr 218 ayre, aethyr )ryw) briah: the creative world h)yrb the benignity of time mlw( dsx the moon (cf. 276; a month (cf. 312) xry multitude ywbr arcana )yzr odour, a smell xyr 219 cleansing; cleansings hrh+ 220 the number of verses in the book of the law. the sephiroth the paths the elect ryxb mistress; queen; demi-goddess hrybg ye shall cleave unto hwhy( gnot h read; cf. 192) hwhyl myqbdx clean; elegant rwh+ a giant qn( giants (

the tree c( yrp transgression(#p goodwill (grace, acceptance, favour, will) without end lwbg ny)b nwcr dwelling in eternity d( nkw# craftiness, cunning myl# the dragon; jackal nt witchcrafts, sorceries myp#k 451 the essence of man md)h t) death )tym the deep, the abyss (gn. 49:25) mwht 452 ardent desire, longing, wish tdmx the crop; the maw nbqrq 453 the animal soul in its fulness (i.e. including the creative entity or ego, chiah; living creature hyx #pn behemoth; beasts twmhb 454 a seal mtwx the gholy ones h (consecrated catamites kept by the priesthood) my#dq continually dymt zaharariel: a title of tiphareth l)yr)rhz 456 the greatest fear (cf. hmy, 56) htmy) the mountain of myrrh (ct. 4:6; see 573) rwmh rh a wall ltwk legs, shanks myqw# the fig-tree and fruit hn)t you (fem. pl) hnt) face

ALEISTER CROWLEY THE QABALAH

ether (620? why, lbb is confusion, the very opposite of kether. why athbash? why not abshath? or agrath? or any other of the possible combinations? about the only useful temurah is aiq bkr, given above. in this do we find a suggestive reasoning. for example, we find it in the attribution of \yhla to the pentagram which gives p [see a note on genesis, equinox, no. ii. p. 184] here we write elohim, the creative deities, round a pentagram, and read it reverse beginning with l, g, the letter of equilibrium, and obtain an approximation to p 3.1415 (good enough for the benighted hebrew, as if thereby the finite square of creation was assimilated to the infinite circle of the creator. 34 concealed yods on the other hand are another matter entirely t.s. 35 [lat, a coward created the soul of the ea

te 38 11= 418 q.v. in part ii. 39. dja hwhy, jehovah is one. 39= 13 3. this is then the affirmation of the aspiring soul. 40. a dead number of fixed law, 4 10, tetragrammaton, the lesser countenance immutable in the heaviness of malkuth. 41 \a, the mother, unfertilised as unenlightened. 42. ama, the mother, still dark. here are the 42 judges of the dead in amennti, and here is the 42-fold name of the creative god. see liber 418. 44 \d, blood. see part ii. here 4 11= the corruption of the created world. 45. hm, a secret title of yetzirah, the formative world \da, adam, man, the species (not the first man. a is air, the divine breath which stirs \d, blood, into being. 49. a number useful in the calculations of dr dee, and a mystic number of venus. 50. the number of the gates of binah, whose

ALEISTER CROWLEY THE SWORD OF SONG

ice if i say that the buddha in spite of the ridiculous membrane legend* one of those foul follies which idiot devotees invent only too freely was a confirmed and habitual adulterer. it* membrum virile illius in membrana inclusum esse aiunt, ne copulare posset. would be easy to argue with hegel-huxley that he who thinks of an act commits it (cf. jesus also in this connection, though he only knows the creative value of desire, and that since a and not-a are mutually limiting, therefore interdependent, therefore identical, he who forbids an act commits it; but i feel that this is no place for metaphysical hairsplitting; let us prove what we have to prove in the plainest way. i would premise in the first place that to commit adultery in the divorce court sense is not here in question. it assu

ALEISTER CROWLEY EQ I 1

the outward expression of thy thought, and therefore hath it been said that "the thought of foolishness is sin" thought is the commencement of action, and if a chance thought can produce much effect, what cannot fixed thought do? 18. therefore, as hath already been said, establish thyself firmly in the equilibrium of forces, in the centre of the cross of the elements, that cross from whose centre the creative word issued in the birth of the dawning universe. 19. be thou therefore prompt and active as the sylphs, but avoid frivolity and caprice; be energetic and strong like the salamanders, but avoid irritability and ferocity; be flexible and attentive to images like the undines, but avoid idleness and changeability; be laborious and patient like the gnomes, but avoid grossness and avarice

ALEISTER CROWLEY EQ I 5

e bbl symbolises kether (620? why, bbl is confusion, the very opposite of kether. why athbash? why not abshath? or agrath? or any other of the possible combinations? about the only useful temurah is aiq bkr, given above. in this we do find a suggestive reasoning. for example, we find it in the attribution of alhim to the pentagram which gives pi [see equinox, no. ii. p. 184] here we write elohim, the creative deities, round a pentagram, and read it reverse beginning with hb:lamed, libra, the letter of equilibrium, and obtain an approximation to pi 3.1415 (good enough for the benighted hebrews, as if thereby the finite square of creation was assimilated to the infinite circle of he creator. yes: but why should not berashith 2, 2, 1, 3, 1, 4, give, say "e? the only answer is, that if you scr

418 q.v. in part ii. 39. ihvh achd, jehovah is one. 39= 13 x 3. this is then the affirmation of the aspiring soul. 40. a "dead" number of fixed law, 4 x 10, tetragrammaton, the lesser countenance immutable in the heaviness of malkuth. 41. am, the mother, unfertilised and unenlightened. 42. ama, the mother, still dark. here are the 42 judges of the dead in amennti, and here is the 42-fold name of the creative god. see liber 418. 44. dm, blood. see part ii. here 4 x 11= the corruption of the created world. 45. mh, a secret title of yetzirah, the formative world. adm, adam, man, the species (not "the first man. a is air, the divine breath which stirs dm, blood, into being. 49. a number useful in the calculations of dr. dee, and a mystic number of venus. 50. the number of the gates of binah

ALEISTER CROWLEY EQ I 5

the concealed one, for adam is temurah of mad, the enochian word for god, and eve, whom he created 20 the fourth of the mystic numbers of jupiter is 136. for love, is tempted by the snake, nechesh, who is messiah her child. and the snake is the magical power, which hath destroyed the primordial equilibrium. and the garden is the supernal eden, where is ayin, 70, the eye of the concealed one, and the creative lingam; and daleth, love; and nun the serpent. and therefore this constitution was implicitly in the nature of eden("cf" liber l, i, 29, 30, so that the call of the aethyrs could not have been any other call than that which it is. but they that are without understanding have interpreted all this askew, because of the mystery of the abyss, for there is no path from binah unto chesed; a

ALEISTER CROWLEY EQUINOX EQ I 2

. this perception (san n a) is the world of the surgeon or the man of science. next, the perception itself is seen to be dependent on the 58 nature of the observer, and his tendency (sankhara) to perceive. the oyster gets no fun out of the rose. this state establishes a dualistic conception, such as mansel was unable to transcend, and at the same time places the original rose in its cosmic place. the creative forces that have made the rose and the observer what they are, and established their relation to one another, are now the sole consciousness. here lives the philosopher. easily enough, this state passes into one of pure consciousness (vin n anam. the rose and the observer and their tendencies and relations have somehow vanished. the phenomenon (not the original phenomenon "a rose" but

hat 'all things should be cut into three' whose will<magus of power in taro= will> assenting all things were so divided. for the mind of the father said "into three" governing all things by mind. and there appeared in it the triad, virtue and wisdom and multiscient truth" thus floweth forth the form of the triad<<ritual of the path of the daughter of the firmament> thus is formulated the creative trinity which is, as it were, the essential preliminary to manifestation. this mystic son of the eternal parents, having for his number 3, is typified in all the sacred scripts by that number. thus it is written of the manifestation of the son of god upon the earth "shiloh shall come (the initial of which mystery-name is hb:shin= 300. and in the grecian tongue it is written "in the be

ALEISTER CROWLEY EQUINOX EQ I 3 3

find a fulcrum therein for their favourite game of slander. let it suffice if i say that the buddha_ in spite of the ridiculous membrane legend,6 one of those foul follies which idiot devotees invent only too freely_ was a confirmed and habitual adulterer. it would be easy to argue with hegel- huxley that he who thinks of an act commits it("cf" jesus also in this connection, thought he only knows the creative value of desire, and that since a and not-a are mutually limiting, therefore interdependent, therefore identical, therefore identical, he who forbids an act commits it; but i feel that this is no place for metaphysical hair-splitting; let us prove what we have to prove in the plainest way. i would premise in the first place that to commit adultery in the divorce court sense is not her

ALICE A BAILEY02 INITIATION HUMAN AND SOLAR

ealt with the significance of the words of power in a brief manner. we might- 91- initiation, human and solar copyright 1998 lucis trust now sum up certain of the inferred postulates, and then touch somewhat upon the initiation ceremony, and the words as committed to the initiate. the postulates here made are nine in number, and if duly pondered upon by the aspirant, will reveal to him much anent the creative process and the power of speech. 1. all the words of power are rooted in the great word committed to the solar logos at the dawn of manifestation. 2. all the words of power are permutations or expansions of the three basic sounds, and increase in length as the planes are involved, until the sentences and speech of the finite unit, man, in their myriad differentiations are arrived at

words, and is but one word of the sevenfold word, known to that great existence who stands in the same relation to the solar logos as the latter does to the planetary logos. the sacred words of seven solar systems (of which ours is but one) make up this septenary sound, which vibrates at this time in the cosmic spheres. in these nine statements are very cursorily summed up the major truths anent the creative- 94- initiation, human and solar copyright 1998 lucis trust processes in the solar system. in them lies hidden the secret of the true magic, and in their comprehension will come to the man who has spiritual intuition, purity of life and motive, altruistic intention, and a stern self-control and courage, the power to further the purposes of the ego, who is a conscious collaborator in t

ystery of the threefold body of the triple logos is his, and the why of the phenomena of the dense liquid and gaseous bodies of the supreme being is enfolded before his amazed vision. the two secrets previously imparted, and the knowledge which they gave having been utilised, the initiate is now in a position to profit by this greater revelation, and to understand somewhat the following facts: 1. the creative process of thought form building. 2. the transmission of energy from the ego to the physical body via the force centres on the various planes. 3. the uprising of kundalini, its geometrical progression, and its vivification of all the centres. by the knowledge thus imparted, and the progress which the initiate has made in the study of the law of analogy, he can comprehend the manipulat

initiation, human and solar copyright 1998 lucis trust 3. the throat, 4. the solar plexus, 5. the base of the spine, 6. the spleen, 7. the organs of generation, are also affected, but affected along the line of purification and control. this will produce results in the definitely physical organs through which man functions on the physical plane. in illustration: man can then transfer consciously the creative fire and energy from the organs of generation to the throat, or, through the conscious control of the heart, produce suspended animation of the physical body. this is not achieved through what is called hatha yoga practices, or concentrating the attention upon the physical organs, but through the development of the control by the inner god, who works through the head centre and thus d

ALICE A BAILEY04 A TREATISE ON COSMIC FIRE

sional. it is not yet permissible to point out others of the great triangles, but as regards the centres, we may here give two hints: first. venus corresponds to the heart centre in the body logoic, and has an inter-relationship therefore with all the other centres in the solar system wherein the heart aspect is the one of greater prominence. second. saturn corresponds to the throat centre, or to the creative activity of the third aspect. as evolution proceeds, the other centres attain a more pronounced vibration and the fire (circulating triangularly) will bring them into greater prominence; the two above mentioned, however, are of prime importance at this time. these two, with the lesser triangle of our chain, constitute the focal point of energy viewed from our planetary standpoint. in

, to understand the method of creation and to comprehend somewhat the lesser lives and the paralleling deva evolution with which he may be concerned. i. thought forms 1. their function. it will be noted that in studying this matter we have not started with that which is most apparent, the exoteric form in mental matter, but with the inner life or idea within the form and with the laws that govern the creative aspect. this function of every thought form is threefold: to respond to vibration to provide a body for an idea to carry out specific purpose. let us first study the logoic thought form and then turn our attention to the thought forms fabricated by the thinker from the systemic mental planes and in mental matter. we have to note that, in the case of the logos, all upon which we have t

l, or dynamic vitality, continues to hold it together. this brings us to our next point: b. to provide a body for an idea. in this statement we have latent the basic principle of incarnation, and of activity, even of existence itself. it involves the expansion of our idea to- 330- a treatise on cosmic fire copyright 1998 lucis trust include the cosmic mental plane as we consider the logos, and as the creative faculty of man is studied we are taken to the mental plane of the solar system. one fundamental thought must here be given and. pondered upon: this creative impulse, this tendency towards the concretion of the abstract, this inherent ability to "take form" has its fullest expression as yet in physical matter. the "raison d' tre" is that for man all substances with which he creates, al

hat plane (which will not be till the close of the mahamanvantara) shall we be able to formulate any ideas anent the cosmic astral plane. second. that the entire sex aspect of manifestation, as we understand it in the different kingdoms of nature, is an expression of the energy of the logos, as it flows through and stimulates that centre in his body which corresponds to the generative organs. all the creative functions of the vegetable, animal, and human family, viewing them as a whole, are as yet purely physical, and based on lower desire. the desire of the logos for physical incarnation is as yet the dominant note. later his desire for that will be less and will become transmuted into desire for creation on mental levels only. this is what brings the destroyer aspect into activity, leadi

seven the heart of the the seven rays love-wisdom consciousness. heavenly men. sun manifesting egoism. the seven rays. through the seven vitality. the seven types of planetary schemes magnetism. mind. third, fire by friction activity in the seven fires. the physical sun t he seven planes activity matter. t he akasha. atomic vitality. energy. each of these three aspects of the one fire, showing as the creative fire, preserving fire, and destroying fire, must be studied as electrical phenomena, and this under the aspects of light, flame, and heat, of electricity, radiance and motion, of will, desire and action. only thus will the true nature of agni be apprehended. as the logoic personality he is demonstrating through a triplicity of sheaths forming a unity, and only thus will it become appa

f in theosophical and occult literature as the elemental essences. we are discussing those who are on the evolutionary arc, and who are the agents of cosmic force, whilst the lesser builders are the agents specifically of solar and of lunar force. solar force implies the various differentiations of the threefold cosmic force as it manifests within the solar system. solar force can also (as far as the creative or building faculty of man is concerned) be termed planetary force, for every human being (be he adept or ordinary man) builds and creates his thought forms consciously or unconsciously within the planetary- 372- a treatise on cosmic fire copyright 1998 lucis trust spheres in the three worlds. we shall now come to a considerable amount of tabulation, for all that it is wise and possib

n be made which brings them into line with the order of manifestation as laid down in the ancient cosmogony, and this we followed when we enumerated the groups of agnichaitans. group a corresponds to the manifestations of existence as seen on the highest plane, or that aspect which is understood by the term agni. group b corresponds to the vishnu-surya aspect. group c corresponds to the brahma or the creative logos aspect. we have recapitulated thus, as it is desirable to have the thought clearly defined. we have touched upon the two lower groups of devas. now, we might take up the consideration of group a, the most important group on the physical plane from the standpoint of creation, and of objectivity, for they are the life of matter itself and the intelligence animating the forms of al

, and are essentially the cosmic physical plane as the term is occultly understood. the subplanes of which they are the originating source bear the same relationship to them as the six principles do to the seventh. therefore, the devas of group a are the concentrated creative force of the subplanes, the origin of the objective side of physical manifestation, and the source of the seven breaths of the creative logos on the physical plane. but it must be remembered that in each scheme the creative impulse or will is the planetary logos of the scheme, who as truly creates his body of manifestation under the law (his dense physical planet) as man under the same law creates his physical body, or as the solar logos (at the other end of the scale) creates his body, a solar system. this has a defi

ALICE A BAILEY05 THE LIGHT OF THE SOUL

h his "fancy" or his reaction to delusion, is dissipated by a supreme exertion. it has no real existence once there is nothing in the aspirant to feed it, and the realization of this enables him to free himself from its thraldom. this is one of the sutras which, though apparently short and simple, is of the most profound significance; it is studied by high initiates who are learning the nature of the creative process of the planet, and who are concerned with the dissipation of planetary maya. 10. passivity (sleep) is based upon the quiescent state of the vrittis (or upon the non-perception of the senses. some explanation as to the nature of the vrittis is perhaps necessary here. the vrittis are those activities of the mind which eventuate in the conscious relation between the sense employe

lates the results of his soul's activity. later when the aspirant has passed on into the mysteries and has learnt how to unify the soul and the lower man so that they function as a coordinated unit on earth, the man learns to sound the word on the physical plane with the object of awakening the forces which are latent within him and thereby arouse the centres. thus he participates increasingly in the creative, magical and psychical work of manifestation, with the object ever in view of benefiting his fellow men and thus furthering the plans of the planetary hierarchy. 29. from this comes the realization of the self (the soul) and the removal of all obstacles. when the master within is known, the assertion of his power becomes increasingly felt, and the aspirant submits his entire lower nat

ing .s ounds. 3. concentration upon the tip of the tongue .t aste .f lames. 4. concentration upon the middle of the tongue. touch. vibration. 5. concentration upon the palate. sight .p ictures, visions. the aspirant must not literalise these things nor seek blindly to meditate, for instance, upon the tip of the tongue. the lesson to be learnt, under the law of analogy, is that the tongue typifies the creative faculty, the third aspect in its five fold nature. the relation of the five senses (as synthesised here in the region of the mouth) to the five rays forming the synthesis governed by the mahachohan (director of the third ray aspect upon our planet, will be found illuminating. students would find it valuable to work out the analogy between these five rays and the five senses and the mo

. the throat. the holy ghost or creative aspect. through the first, spiritual life will pour in from the monad; through the second, the christ- 169- the light of the soul copyright 1998 lucis trust principle, the light of the world, the soul will work, pouring light and life on all things, and using it as the great organ of awareness. through the last, the work of creation will be carried on, and the creative word sent forth. this general view is given so as to present to the student the vision of what lies ahead. it is, however, of no present value; most aspirants are concerned with the solar plexus and hence the necessity of our present consideration. 2. it is the organ of the astral nature, of the emotions, moods, desires and feelings and hence is most active in all. it is through it th

to the physical organism when their lower or physical aspect is emphasized. the true significance of the above sutras which are here bracketed together, grows out of an understanding of the transmutative process and the transference which is effected in the solar plexus. the energy of the sacral centre which feeds the generative organs is in due course of time transferred into the throat centre. the creative process is then carried on by thought, sound and the spoken word. hunger and thirst are the two aspects of desire, the one, hunger, being positive, masculine and grasping; the other, thirst, being negative, feminine and receptive. those two words are but symbols of the two great impulses underlying the sex impulse. when these impulses are dominated and controlled, then the energy of t

on upon the relationship between the akasha and sound, an organ for spiritual hearing will be developed. to understand this sutra, it is essential that certain relationships are comprehended relationships between matter, the senses and the one who experiences. the christian believes that "all things were made by the word of god" the oriental believer holds that sound was the originating factor in the creative process and both teach that this word or sound is descriptive of the second person of the divine trinity- 184- the light of the soul copyright 1998 lucis trust this sound or word threw into peculiar activity the matter of the solar system, and was preceded by the breath of the father which started the original motion or vibration. first, therefore, the breath (pneuma or spirit) imping

flection of the second aspect. there are many sounds to be heard on all the planes but on the physical is the greatest diversity. the aspirant has to develop the power to distinguish between: 1. the voices of earth..physical, 2. the voices of desire..astral, 3. the speech or formulated thoughts of the mind..mental, 4. the still small voice of the christ within..buddhic, 5. the sounds of the gods..the creative words..atmic, 6. the word or sound..the aum..monadic, 7. the breath..logoic, and in these distinctions are symbolically conveyed the problem of correct hearing on the various planes and in the various states of consciousness. only the true mystic and aspirant will comprehend the nature of these distinctions. just as all the substances of our manifested solar system are differentiation

of will as used by the yogin. 7. creative power. isatva. this concerns the power of the adept to deal with the elements in their five forms and produce with them objective realities, and thus to create on the physical plane. 8. the power to command. vasitva. the magician as he controls the elemental forces of nature, utilizes this power and it is the basis of mantra yoga, the yoga of sound or of the creative word. creative power, the seventh siddhi, concerns the elements and their vitalizing, so that they become "effective causes" this siddhi, the eighth, concerns the power of the word to drive the building forces of nature into coherent activity so that forms are produced. when these eight powers are functioning, then the ninth, bodily perfection, results, for the adept can construct a v

ALICE A BAILEY07 FROM INTELLECT TO INTUITION

luence out of the realm of the purely analytical critical mind into that of pure reason and intuitive perception. bertrand russell points out that "education should not aim at a passive awareness of dead facts but at an activity directed towards the world that our efforts are to create" but we must remember that creation posits an alive and functioning creator, acting with intention and utilizing the creative imagination. could it be said that this is the effect of our modern educational systems? is not the mind standardized and held down by our mass system and by the method of cramming the memory with ill digested facts? if herbart is right when he says that the "chief business of education is the ethical revelation of the universe" then perhaps dr. moran is also right when he points out

ritual intelligence..reflects itself in the mind-stuff then comes awareness of the self."8(43) at one point in the history of every human being there comes a momentous crisis when the light must be sensed, through a rightly used intelligence, and the divine inevitably contacted. this patanjali emphasizes when he says "the transfer of the consciousness from a lower vehicle into a higher is part of the creative and evolutionary process."9(44) slowly and gradually the work of direct knowledge becomes possible, and the glory which is hidden behind every form can stand revealed. the secret is to know when that time has come and to seize the moment of opportunity. meister eckhart says "if the soul were stripped of all her sheaths, god would be discovered all naked to her view and would give hims

we have the seat of the lower faculties, when co-ordinated in the higher type of human being. here they are co ordinated and synthesized, and as we have been told by certain reputable schools of psychologists and endocrinologists here are to be found the emotions and the more concrete aspects of the mind (growing out of racial habits and inherited instincts, and, hence, calling for no exercise of the creative or higher mind. this was the theme of my earlier book, the soul and its mechanism, and cannot be enlarged upon here. three: when the personality the sum-total of physical, emotional and mental states is of a high order, then the pituitary body functions with increased efficiency, and the vibration of the centre of energy in its neighborhood becomes very powerful. it should be noted th

a mental picture, the mental substance of our mind sets up a certain rate of vibration, which attracts to itself a corresponding grade of mental substance, in which the mind is immersed. it is the will which holds this image steady and which gives it life. this process goes on, whether we are, as yet, able to see it with the mental eye or not. it does not matter that we are not able to see it, as the creative work is going on just the same. perhaps at some time we shall be able to follow and consciously perform that whole process. in connection with this work, at the stage of the beginner, some people picture the three bodies (the three aspects of the form nature) as being linked with a radiant body of light, or they- 99- from intellect to intuition copyright 1998 lucis trust visualize thr

a most momentous happening in their lives. it may be, if they handle it right, and learn its lesson. what has really happened? has the student really seen the christ? here we remember the truism that "thoughts are things" and that all thoughts take form. two things have produced the occurrence, if it has really happened and is not the result of a vivid and overstimulated imagination. the power of the creative imagination is only just beginning to be sensed, and it is quite possible to see just what we desire to see, even if it is not there at all. the desire of the aspirant to make progress, and his strenuous effort, has forced him to become awake or aware upon the psychic plane, the plane of vain imaginings, of desire and its illusory fulfillments. in that realm, he contacts a thought-for

ALICE A BAILEY08 A TREATISE ON WHITE MAGIC

responding to the third creative aspect or the body nature, the active intelligence of the soul. b. the heart, the love wisdom of the soul, the buddhi or christ principle. c. the lungs, the analogy for the breath of life, is the correspondence of spirit. 15. in the lower torso again we have this triple system carried out- 28- a treatise on white magic copyright 1998 lucis trust a. the sex organs, the creative aspect, the fashioner of the body. b. the stomach, as the physical manifestation of the solar plexus is the analogy to the soul nature. c. the spleen, the receiver of energy and therefore the physical plane expression of the centre which receives this energy is the analogy to the energising spirit. the vital body is the expression of the soul energy and has the following function: 1

s trust the solar orb shines forth in radiant splendor. the illuminated mind reflects the solar glory. the lunar orb rises from the centre to the summit, and is transformed into a radiant sun of light. when these three suns are one, brahma breaks forth. a lighted world is born. this literally means that when the soul (symbolized as the solar orb) the mind, and the light in the head form one unit, the creative power of the solar angel can express itself in the three worlds, and can construct a form through which its energy can actively express itself. the lunar orb is a symbolic way of expressing the solar plexus which eventually must do two things: 1. blend and fuse the energies of the lower two centres of force, and 2. raise these fused energies and so, blending with the energies of the o

ife. an evening review should be carried forward entirely along this line; divide the review work in three parts and consider: 1. harmlessness in thought. this will primarily result in the control of speech. 2. harmlessness in emotional reaction. this will result in being a channel for the love aspect of the soul. 3. harmlessness in act. this will produce poise, skill in action and the release of the creative will. these three approaches to the subject should be studied from their effects upon one's own self and development, and from their effect upon those whom one contacts and upon one's environing associates. may i interpolate here the remark that i make suggestions, based on experience in occult work. there is no obligation to obey. we seek to train intelligent servers of the race, and

laze of glory, and the wanderer through the night becometh the child of the sun, and entereth within the portals of that radiant orb" rule four sound, light, vibration, and the form blend and merge, and thus the work is one. it proceedeth under the law, and naught can hinder now the work from going forward. the man breathes deeply. he concentrates his forces, and drives the thought-form from him. the creative work of sound. the science of the breath- 73- a treatise on white magic copyright 1998 lucis trust the creative work of sound before centering our attention upon this rule, it would be well to recollect certain things, so that our reflection on the rule may proceed with profit. first, the rule we are at present considering concerns work on the mental plane, and before such work is pos

rect instruction to be given of the use of mental matter, and the building of that matter into thought forms. these rules concern themselves with this information. the second necessary recollection is that the worker in magic and the potent entity wielding these forces must be the soul, the spiritual man, and this for the following reasons: 1. only the soul has a direct and clear understanding of the creative purpose and of the plan. 2. only the soul, whose nature is intelligent love can be trusted with the knowledge, the symbols and the formulas which are necessary to the correct conditioning of the magical work. 3. only the soul has power to work in all three worlds at once, and yet remain detached, and therefore karmically free from the results of such work. 4. only the soul is truly gr

re potent temporarily and more rapid in accomplishment than the worker in the white brotherhood, but the results are ephemeral; they carry destruction and disaster in their wake, and the black magician is eventually submerged in the resulting cataclysm. let us therefore remember the necessity of a correct use of the mind, and (at the same time) let us ever hold a position beyond and detached from the creative work of our minds, desires and physical accomplishment. four words stand forth as one considers rule iv. first, sound, the formula, or word of power which the soul communicates and so starts the work. this word is dual. it is sounded forth on the note to which the soul responds, his own peculiar note, blended with that of his personality. this chord of two notes is the producer of the

illness" make its presence felt. only when the sound of many waters dies away in the adjustment of the emotions will the clear note of the god of the waters be heard. people seldom realize the potency of a word, yet it is stated "in the beginning was the word, and the word was god. without him was not anything made that was made" when therefore we read those words our minds go back to the dawn of the creative process when, through the medium of sound, god spoke and the worlds were made. it has been said that "the chief agency by which nature's wheel is moved in a phenomenal direction is sound" for the original sound or word sets in vibration the matter of which all forms are made and initiates that activity which characterizes even the atom of substance. the literature and the scriptures o

l forms of life, which are but the embodied ideas of a cosmic or a human creator. students would find it of value to take these three vital words and trace their relation to all embodied thought forms a cosmos, a plane, a kingdom in nature, a race, a nation, a human being. consider the diverse groups of creating agencies solar logoi, solar angels, human beings, and others. consider the spheres of the creative process and see how true the old commentary is when it says "the sound reverberated amidst varying wheels of uncreated matter; and lo, the sun and all the lesser wheels appeared. the light shone forth amidst the many wheels, and thus the many forms of god, the diverse aspects of his radiant robe blazed forth "the vibrant palpitating wheels turned over. life, in its many stages and in

ALICE A BAILEY09 A TREATISE ON THE SEVEN RAYS VOLUME I ESOTERIC PSYCHOLOGY I

f the universe was dealt with; emerging out of the mass of imparted facts, and underlying all the teaching, was the idea of a great life with its own psychology and ideas. it was an attempt to give a synthetic picture of the unfolding mind of god as it works out its plans through the lesser sons of mind. in symbolism and archaic phrases it veiled the truths and principles which lie at the root of the creative process, and in its entirety is beyond the grasp of the advanced student. at the same time, it is a most valuable compendium of information, and will serve to convey truth and to develop the intuition. the last book, a treatise on white magic, is a parallel volume to a treatise on cosmic fire. just as the first dealt with the psychology of deity, the work of the macrocosm, and the law

lding panorama of history. in the last analysis, history is an account of the growth and development of man from the stage of the cave man, with his consciousness centred in his animal life, up to the present time wherein the human consciousness is steadily becoming more inclusive and mental, and so on and up to the stage of a perfected son of god. it is an account of the apprehension, by man, of the creative ideas which have moulded the race and are establishing its destiny. it gives us a dramatic picture of the progress of those souls who are carried in or out of manifestation by the appearance or- 9- a treatise on the seven rays- volume i: esoteric psychology i copyright 1998 lucis trust disappearance of a ray. we shall find, as we study, that words will greatly handicap our expression

embered, however, that it is in this region of thought that the cleavage comes between black and white magic. it is in the use of thought power that the two aspects of magic can be seen functioning, and therefore it is true that there is no black magic, per se, until one reaches the realm of mind. no one can be a black magician until the will and the thought work in unison, until mind control and the creative work of the focussed mind can be seen. it has oft been said the black magician is rare, indeed, and that is verily true, because the creative thinker, with power to use the sustained will, is also rare. let me illustrate. there is need for clear thinking on these matters, for as we study the psychology of the microcosm and arrive at an understanding of his ray impulses and energies we

deal that which is the originating idea. this fourth lord of creative expression will resume activity upon the earth about six hundred years hence, though already the first faint impress of his influence is being felt and the next century will see a re-awakening of creative art in all its branches. 5. the lord of concrete knowledge and science. this is a great life in close touch with the mind of the creative deity, just as the lord of the second ray is in close touch with the heart of that same deity. his influence is great at this time, though not as potent as it will be later. science is a psychological unfoldment in man due to this ray influence, and is only entering into its real work. his influence is waxing in power, just as the influence of the sixth lord is waning. 6. the lord of

s the all-pervading energy of god which informs with a fraction of itself the solar system, and yet remains outside. plan and purpose concern the emanating energies of that central life and involve duality, will or the life urge plus attractive magnetic love which, in its turn, is the response of the vibrating universal substance to the impact of the energy of will. this initial activity precedes the creative process of form building; and the play of the divine will on the ocean of space, matter, or etheric substance produced the first differentiation into the major rays, and their mutual interplay produced the minor four rays. thus the seven emanations, the seven potencies and the seven rays came into manifestation. they are the seven breaths of the one life, the seven basic energies; the

ing phrases. this second ray is the ray of deity itself, and is coloured by distinctive aspects of desire or love. they produce the totality of the manifested appearances, animated by the life which determines the quality. the father, spirit or life, wills to seek the satisfaction of desire. the mother or matter meets the desire and is attracted also by the father. their mutual response initiates the creative work, and the son is born, inheriting from the father the urge to desire or love, and from the mother the tendency actively to create forms. thus, in the language of symbolism, have the form worlds come into being, and through the evolutionary work the process is going forward of satisfying the desire of spirit. thus in the two major rays of will and love we have the two main- 33- a t

at the dynamic persistent will of the logos expresses itself through the lords of ceaseless devotion. here devotion is not the quality to which i referred earlier in this treatise, but is the persistent directed one-pointed will of god, embodied in a life which is that of the lord of the first ray. the lords of love and of knowledge are the two great lives who embody or ensoul the love-wisdom and the creative intelligence aspects of the two major rays. these three are the sum total of all forms or appearances, the givers of all qualities, and the- 34- a treatise on the seven rays- volume i: esoteric psychology i copyright 1998 lucis trust emerging life aspect behind the tangible manifestations. they correspond, in the human family, to the three aspects of personality, soul and monad. the m

ht the corrector of the form the one who marks the parting of the way the master the dweller in the holy place the lower than the three, the highest of the four the trumpet of the lord. the aphorisms connected with this fourth ray are not easy of comprehension. they require an exercise of the intuition and are conveyed by six short and excessively brief commands uttered, curiously enough, late in the creative period and at the time when the fourth creative hierarchy came into incarnation: 1. speak low the word. speak low. quality..power to penetrate the depths of matter- 51- a treatise on the seven rays- volume i: esoteric psychology i copyright 1998 lucis trust 2. champion desire. give what is needed to the seeker. quality..the dual aspects of desire. 3. lower the thread. unfold the way

ALICE A BAILEY10 FROM BETHLEHEM TO CALVARY

knew they were men remade, and they knew that the mode of their remaking was love. this was a providence, a deliverance, greater and more significant than anything that the jew had ever claimed for the creator-god. yet they could not think of it as other than his work, since god, as all their national tradition taught, is one. it interpreted for them, as we might put it in our more cautious way, the creative reality to which they, with all men, had looked with uncertainty and even with fear. henceforth the central hypothesis which men call god was known as love, and everywhere he was made manifest just in so far as love had passed out from christ to the fellowship of the christian community."2 christ had risen, and by his resurrection proved that humanity had in it the seed of life, and t

s of his own responsibility and his own identity; to live for ever because one is religious, or has accepted certain forms of belief, is a reason repudiated by the man who is aware of his own inner power and nature; to base one's faith in survival upon tradition or even upon an innate sense of persistence does not seem sufficient. we know much about the power and tenacity of self-preservation and the creative urge to self-perpetuation. perhaps these two are simply carried forward in an idealistic sense as man faces finality. yet there is innate in humanity the sense of belonging elsewhere; there is a divine discontent which must surely have a basis in some natural inheritance which is the guarantee of our origin. this reaching out towards a larger and fuller life is just as much a human ch

ALICE A BAILEY11 A TREATISE ON THE SEVEN RAYS VOLUME II ESOTERIC PSYCHOLOGY II

nd will of god as it expresses itself in seven aspects. the monad expresses the same purpose as it exists, unified in the mind of god himself. this is a form of words conveying practically nothing to the average thinker. as these three expressions of the one great life are realised by man on the physical plane, he begins to tune in consciously on the emerging plan of deity, and the whole story of the creative process becomes the story of god's realised purpose. in the first place, as the third aspect is consciously developed, man arrives at a knowledge of matter, of substance and of outer creative activity. then he passes on to a realisation of the underlying qualities which the form is intended to reveal, and identifies himself with the ego, the soul or solar angel. this he comes to know

earlier said, but it is necessary that there should be real clarity of thought on these matters. it is apparent as we study, how this entire sequential process of realisation pivots around form manifestation, and has relation to the quality and purpose of the divine mind. this will inevitably be clear to the man who has studied the theme of a treatise on cosmic fire, which deals specifically with the creative process and with manifestation. it deals therefore with the outer personality expression of that great all-encompassing life, which we call god, for lack of a better term. we need to bear in mind that our universe (as far as the highest human consciousness can as yet conceive of it) is to be found on the seven subplanes of the cosmic physical plane, and that our highest type of energy

l for the disciple. the initiate has the objective of expressing the will of god through developed love and a wise use of the intelligence. the above preamble lays the ground for the definition of the three stages of egoic growth. what, therefore, is individualisation from the standpoint of the psychological unfoldment of man? it is the focussing of the lowest aspect of the soul, which is that of the creative intelligence, so that it can express itself through the form nature. it will eventually be the first aspect of divinity thus to express itself. it is the emergence into manifestation of the specific quality of the solar angel through the appropriation, by that angel, of a sheath or sheaths, which thus constitute its appearance. it is the initial imposition of an applied directed energ

s produced by speech. abnormal sensitivity to that which is the not self. constant points of crisis, leading to unity and harmony. the evocation of the intuition. right judgment and pure reason. the wisdom which works through the angel of the presence. i could here point out a constant misconception on the part of esotericists. this fourth ray of harmony, beauty and art is not the ray, per se, of the creative artist. the creative artist is found equally on all rays, without exception. this ray is the ray of the intuition and of the harmonising of all that has been achieved through the activity of form life, as later synthesised and absorbed by the solar angel; it manifests eventually as all that can be evoked and evolved through the power of the one life (the monad) working through form ex

plan and we are not aware of the true significance of those great identifications which enabled the carpenter of nazareth to say "i and my father are one" but it must also be remembered (and herein lies the clue to world unfoldment and to the mystery of past, present and future) that we are dealing with matter-substance and with forms which are already conditioned, and which were conditioned when the creative process began. the material- 36- a treatise on the seven rays- volume ii: esoteric psychology ii copyright 1998 lucis trust to be found in the quarries of manifested purpose is, symbolically speaking, marble, and is thus conditioned. it is not clay or slate. it is from this marble, with all the inherent attributes of marble, that the temple of the lord must be built, in conformity to

the divinity of christ, for instance, is frequently illustrated by reference to his miracles, and to those supernormal powers which he so often evidenced. supernormal powers are, of themselves, no evidence of divinity at all. great exponents of evil can perform the same miracles and demonstrate the same capacity to create and to transcend the normal faculties of man. these powers are inherent in the creative aspect of divinity, the third or matter aspect, and are linked to an intelligent understanding of matter and to the power of the mind to dominate substance. this power is, therefore, neither divine nor non-divine. it is a demonstration of the capacity of the mind, and can be used with equal facility by an incarnated son of god, functioning as a world saviour or christ, and by those be

nctioning. he must begin at this stage to have some more exact idea than has hitherto been the case as to the distinctions existing between the thinker, the apparatus of thought, and thought- 44- a treatise on the seven rays- volume ii: esoteric psychology ii copyright 1998 lucis trust itself, beginning with its dual esoteric function which is: 1. the recognition of, and receptivity to, ideas. 2. the creative faculty of conscious thought-form building. this necessarily involves a strong mental attitude and a reorientation of the mind to reality. as the disciple begins to focus himself on the mental plane (and this is the prime intent of the meditation work) he starts working in mental matter and trains himself in the powers and uses of thought. he achieves a measure of mind control; he can

arch is over. let the soul realise that it has reached the goal, and from that gateway to eternal life and cosmic peace, let the word sound 'i am the seeker and the sought. i rest" ray seven "let the builders cease their work. the temple is completed. let the soul enter into its heritage and from the holy place command all work to end. then in the silence subsequent, let him chant forth the word .the creative work is over. l, the creator, am. naught else remains but me" ii. the seven laws of soul or group life we come now to a section of our study of the soul and its life which is of real moment to all who live (or begin to live) and function as conscious souls, through definite alignment and at-one-ment. this section will, however, be relatively abstruse to all those whose lives are centr

ALICE A BAILEY12 DISCIPLESHIP IN THE NEW AGE VOLUME I

ould now, as a whole, do three things and anything which militates against this is evil. 1. manifest the nature of the soul, through the integrated personality. the nature of the soul is love and the will-to-good- 18- discipleship in the new age- volume i copyright 1998 lucis trust 2. transfer the energy, now turned to the vitalising of the physical body and physical creation, to the nurturing of the creative faculty upon the mental plane; thus the entire human family will be transmuted into a dynamic, self-conscious, creative agency. 3. usher in a period of spiritual unfoldment in every kingdom in nature. at the close of this period, the door into the animal kingdom will again be opened and opportunity offered to waiting embryonic souls. many also, at this time, can take initiation and he

again what needs to be done. i would have you realise that there is no haste in the work which a master carries on in connection with his disciples. there is no hurry in the work which i am proposing that we do together, but neither should there be any waste time or lost motion. it will become apparent to you that much that i seek to accomplish is related to thought control and to the activity of the creative imagination. the hierarchy produces its effects upon the plane of appearances through the potency of its unified, conscious thinking. the establishing of such a condition of unified thinking within the new group of world servers is part of my major effort at this time; we can achieve little until that has been brought about. so i summon you to a new phase of intense, inner living and

of a closer contact with me, your tibetan teacher. this you must attempt with no formulated ideas as to what the results will be if any are to be objectively realised. the results may be sensed by me alone on my side, or they may work out in certain specific realisations and even phenomena on your side. i indicate not the results of such an activity for the power of suggestion and the response of the creative imagination is a fruitful source of glamour. i would, therefore, ask all of you who are my disciples to endeavour to make a contact with me at the time of the full moon each month. make sacrifice in order to establish this monthly relation as i will make my adjustments to contact you. may i emphasise the necessity for holding the thought of that contact for three whole days prior to t

and in all forms of life. the principle of sharing which must govern economic relations in the future is a soul quality or energy and hence their work of relating soul with soul. they also evoke the soul of the past, linking it with the present and finding it likewise indicative of the future. 10. this is the group of creative workers. they are communicators between the third aspect of divinity, the creative aspect as it expresses itself through the creative work and in response to the thought world and the first aspect, life. they link and blend life and form creatively. they are closely related to the ninth group because today, unknowingly and without any true understanding, they are bringing about a concretisation of the energy of desire; this in its turn brings about the creation of t

i would also assure you that the protective love of your master is around you and that i shall not fail you at any time. but, in the last analysis, the battle is yours. part ix the secret of all true meditation work in its earlier stages is the power to visualise. this is the first stage to be mastered. disciples should lay the emphasis upon this process; in it lies eventually the ability to use the creative powers of the imagination, plus mental energy, as a measure to further the ends of the hierarchy and to carry out the divine plan. all the new processes in meditation techniques (for which the new age may be responsible) must and will embody visualisation as a primary step for the following reasons: 1. visualisation is the initial step in the demonstration of the occult law that "ener

er and in the area directly around the pineal gland. the pineal gland then becomes the centre of a magnetic field which is set in motion in the first place by the power of visualisation. at that point, energy is gathered by the disciple and then directed with intention to one or other of the centres. this focussed thought produces inevitable effects within the etheric body and thus two aspects of the creative imagination are- 69- discipleship in the new age- volume i copyright 1998 lucis trust brought into play. 2. the power to visualise is the form-building aspect of the creative imagination. this process falls into three parts, corresponding somewhat to the creative process followed by deity itself: a. the gathering of qualified energy within a ring-pass-not. b. the focussing of this ene

r falsity. this is a statement difficult for you to comprehend. visualisation is literally the building of a bridge between the emotional or astral plane and the mental level and is, therefore, a personality correspondence to the building of the antahkarana. the astral plane, the second aspect of the personality, is the correspondence to the form-building aspect of the trinity, the second aspect. the creative imagination "pictures a form" through the ability to visualise and the thought energy of the mind gives life and direction to this form. it embodies purpose. thereby a rapport or line of energy is constructed between the mind and the astral vehicle and it becomes a triple line of energy when the soul of the disciple is utilising this creative process in some planned and definitely con

if you have read and studied the ancient writings of india (and who today has not read at least some of them) you will have noted that these hints fall into two categories: 1. hints anent personal character in relation to reality and preparation for initiation. 2. hints anent the oneness of deity and man's relation to an ascertained and gained unity. to these were later added teachings concerning the creative process when god made the worlds, and much concerning energy and the development of the centres (laya-yoga, as it is technically called. these four lines of teaching are practically all that is given and all the training offered was of an exoteric nature. you can see for yourselves that it was preparatory in nature and that the training for initiation was so deeply hidden in the empha

ALICE A BAILEY13 PROBLEMS OF HUMANITY

ly tolerant and yet most intolerant of other nations; they are ready to tell other nations how to handle their problems but as yet evidence no ability to handle their own, as witness the treatment of the american negroes and the withholding of equal freedom and opportunity from them. they are restlessly experimenting with all phases of life, with every kind of idea and all kinds of relationships. the creative power of the race shows itself as yet in a wonderful control of nature and in great construction projects which bring water under control, or which relate all parts of this vast country through roads and waterways. america is a great battleground for experiment along creative lines; it is profoundly interested in trying out every kind of ideology. the fight between capital and labour

ly realized and of man's determination to live by them; with this power goes the capacity to sense the unknown, to believe in the unprovable, to seek, search and demand the revelation of that which is hidden and undiscovered and which century after century owing to this demanding spirit of investigation is revealed. it is the power to recognize the beautiful, the true and the good and by means of the creative arts to prove their existence. it is this inherent, spiritual faculty which has produced all the great sons of god, all truly spiritual people, all artists, scientists, humanitarians and philosophers and all who, with sacrifice, love their fellowmen. here lie the grounds for optimism and courage on the part of all true educators and here is the true incentive to all their efforts. the

to this; none has clean hands and hence war. humanity has the habit of selfishness and an inherent love of material possessions. this has produced our modern civilization and, for this reason, it is being changed. the cultural factor in any civilization is its preservation and consideration of all the best the past has given, and its evaluation and study of the arts, the literature, the music and the creative life of all nations past and present. it concerns the refining influence of these factors upon a nation and upon those individuals in a nation who are so situated (usually financially) that they can profit from them and appreciate them. the knowledge and understanding thus gained enable the man of culture to relate the world of meaning (as inherited from the past) to the world of appe

ound foundation is laid for the coming civilization; they should undertake that it is general and universal in its scope, truthful in its presentation and constructive in its approach. what initial steps the educators of the different countries take will inevitably determine the nature of the coming civilization. they should prepare for a renaissance of all the arts and for a new and free flow of the creative spirit in man. they should lay an emphatic importance upon those great moments in human history wherein man's divinity flamed forth and indicated new ways of thinking, new modes of human planning and thus changed for all time the trend of human affairs. these moments produced the magna charta; they gave emphasis, through the french revolution, to the concepts of liberty, equality and

so pointed out certain basic ideas which should be immediately inculcated: the unique value of the individual, the beauty of humanity, the relation of the individual to the whole and his responsibility to fit into the general picture in a constructive manner and voluntarily; we have sought to have the futility of war, of greed and aggression emphasized and that we prepare for a great awakening of the creative faculty in man once security is restored; we have noted the imminence of the coming spiritual renaissance. one of our immediate educational objectives must he the elimination of the competitive spirit and the substitution of the cooperative consciousness. here the question at once arises: how can one achieve this and at the same time bring about a high level of individual attainment?

uld, in this way, come alive and reach a new level of constructive usefulness. there is already a definite tendency in this direction and it is good and sound. the past of humanity as the foundation for present happenings, and the present as the determining factor for the future will increasingly be recognized and thus great and needed changes will be brought about in human psychology as a whole. the creative aptitude of the human being should also, under the new era, receive fuller attention; the child will be spurred on to individual effort suited to his temperament and capacity. thus he will be induced to contribute what he can of beauty to the world and of right thought to the sum total of human thinking; he will be encouraged to investigate and the world of science will open up before

this energy is released into constructive channels and if it remains safely guarded by the right men, the capitalistic system is doomed. the problem of labour will then be the major problem of unemployment a dreaded word which will be meaningless in the golden age which lies ahead. the masses will then be faced by the problem of leisure. this is a problem which when faced and solved will release the creative energy of man into channels undreamed of today- 48- problems of humanity copyright 1998 lucis trust the release of atomic energy is the first of many great releases in all the kingdoms of nature; the great release still ahead of humanity will bring into expression mass creative powers, spiritual potencies and psychic unfoldments which will prove and demonstrate the divinity and the im

ALICE A BAILEY14 THE REAPPEARANCE OF THE CHRIST

it all, and the comprehensive divine idea (as it existed in the mind of the father) dawned upon his soul not on his mind, for the revelation was far greater than that. he saw still further into the meaning of divinity than had ever before seemed possible; the world of meaning and the world of phenomena faded out and esoterically speaking he lost his all. for the time being, neither the energy of the creative mind nor the energy of love were left to him. he was bereft of all that had made life bearable and full of meaning. a new type of energy became available the energy of life itself, imbued with purpose and actuated by intention. but it was new and unknown and- 12- the reappearance of the christ copyright 1998 lucis trust hitherto unrealised. for the first time, the relation of the will

bereft of all that had made life bearable and full of meaning. a new type of energy became available the energy of life itself, imbued with purpose and actuated by intention. but it was new and unknown and- 12- the reappearance of the christ copyright 1998 lucis trust hitherto unrealised. for the first time, the relation of the will which had hitherto expressed itself in his life through love and the creative work of inaugurating the new dispensation became clear to him. at this point, he passed through the gethsemane of renunciation. the greater, the larger and the more inclusive was revealed to him and all that hitherto seemed so vital and important was lost to sight in the greater vision. it is this living realisation of being and of identification with the divine intention of god himse

organising effect of expressed and voiced invocation has been also attempted since 1935, and the energy of the invocative cry of humanity has been directed into those channels which reach from earth to that high place where dwells the christ. from there, it has been transmitted to those still higher spheres where the attention of the lord of the world, the ancient of days, the father of all, plus the creative energies and living beings who dwell there with him, can be focussed on humanity and those steps can be taken which will embody more rapidly the purposes of god. for the first time in human history, the demand of the people of the earth is so potent and so in line with divine direction, in time and space, that the end is inevitably sure; the looked-for spiritual representative must co

lations) of one of the initiations. history will some day be based and written upon the record of the initiatory growth of humanity; prior to that, we must have a history which is constructed around the development of humanity under the influences of great and fundamental ideas. that is the next historical presentation. the production of the culture of any given period is simply the reflection of the creative ability and the precise consciousness of the initiates of the time those who knew they were initiate and were also conscious of admittance into direct relation with the hierarchy. at present, we use neither of these two words, civilisation and culture, in their rightful sense or with their true meaning. civilisation is the reflection in the mass of men of some particular cyclic influe

, in their rightful sense or with their true meaning. civilisation is the reflection in the mass of men of some particular cyclic influence, leading to an initiation. culture is esoterically related to those within any era of civilisation who specifically, precisely and in full waking consciousness, through self-initiated effort, penetrate into those inner realms of thought activity which we call the creative world. these are the realms which are responsible for the outer civilisation. the reappearance of the christ is indicative of a closer relation between the outer and the inner worlds of thought. the world of meaning and the world of experience will be obviously blended through the stimulation of the advent of the hierarchy and of its head, the christ. a tremendous growth of understand

ALICE A BAILEY15 THE DESTINY OF THE NATIONS

n our solar system, that of love-wisdom, to which many of the egos now in incarnation belong and will increasingly belong. the next one hundred and fifty years will see them coming into incarnation. the reason is that it is to this type of human being that the work of reconstruction, and of re-building is naturally committed. 4. the energy of intelligence, actively displayed in creative activity. the creative ability of the future will emerge on a relatively large scale in the realm of creative living and not so much in the realm of creative art. this creative living will express itself through a new world of beauty and of recognised divine expression; through the outer form, the "light of livingness (as it is esoterically called) will show. the symbol and that for which it stands will be

ALICE A BAILEY16 GLAMOUR A WORLD PROBLEM

and then when you have arrived at stage iii in the group meditation you will work together as follows: 1. having linked up with all your group brothers, then consciously carry out the hints given symbolically in the ancient writing which i paraphrased for you above. a. link up consciously with your soul and realise this linking as a fact. b. then carry the light of the soul, through the power of the creative imagination, direct to your astral body and from thence to the solar plexus centre which is the line of least resistance. c. then transfer the light of the soul and the innate light of the astral body from the solar plexus centre to the heart centre, by a definite act of the will. 2. then, imaginatively, stand with your back to the world of glamour and with the eye of your mind focuss

manner the fourth creative hierarchy and might be regarded as forming the basic personality ray of the fourth creative hierarchy. the one given above is a transient and fleeting personality ray of a minor incarnation. 12. in the aquarian age which is rapidly coming, the dweller will present slightly different personality forces: a. personality ray .5 th .b asic and determining. b. mind ray. 4th. the creative effect. c. astral ray. 6th. conditioning incentives. d. physical ray. 7th. incoming ray. 13. each great cycle in the zodiac is in the nature of an incarnation of the human family, and each great race is a somewhat similar happening; the latter is, however, of more importance where the human understanding and consciousness is concerned. the analogy is to the few important incarnations

leasure in emotional experience and in its dramatisation: this led to the establishment of the drama as its first artistic expression; by means of this, down the ages, man has supplemented individual emotional and dramatic living with a vicarious submergence in it, thus exteriorising himself and supplementing his personal dramas, desires, and objectives with those which were developed by means of the creative imagination, thus laying the foundation for the recognition intelligent and real of the part in relation to the whole. thus from earliest atlantean times the foundation was laid for the unfoldment of the sense of mystical duality through the various stages of an anthropomorphic recognition of deity to the recognition of the real in man himself, until finally we arrive at the propositi

destroy upon the material plane. but, in the case of the aspirant, the power to meditate upon spiritual reality and to contact the soul offsets the dangers inherent in focussing on and using solely the light of matter; to the lesser light of matter is added the light of the soul and then these two blended lights, or aspects of the one light, are focussed upon the mental plane through the power of the creative imagination. this enables man eventually to dissipate glamour and liberates him from the astral plane. 3. the third stage is that in which the light of matter, the light of the mind and the light of the soul (as a channel for the intuition) are consciously blended, fused and focussed. the man then turns this blended light, under soul direction, upon the world of glamour and upon the p

chniques of the past. today the process is to be changed because enough people are now the product of understanding and can work wisely and also scientifically. the process i am developing for you is one of rapid and effective dissipation and is based upon the acceptance of the hypothesis of light, upon the recognition of the fact that the astral plane has no true existence, upon a trained use of the creative imagination and upon the unquestioning following of instructions, individually and as a group. it is my intention to give you two formulas one for the use of the individual and the other which groups can use as they contribute their united effort to the dissipation of glamour, either of group glamour or in relation to some aspect of the prevalent world glamour. two things will be appa

e implications in this sentence. b. a recognition of the ways in which this glamour affects the daily life and all relationships. 2. the three stages of focussing outlined (pp. 208-210) must be undertaken. a. the stage of focussing the light of the mind and the light of matter in the mental vehicle. this is done by a process of lifting up and of blending and fusion, and to do this the activity of the creative imagination is employed. b. the stage of meditation which in time brings about the fusion of the light of matter, the light of the mind and the light of the soul upon the mental plane. c. the stage in which these three lights are realised to be one unified light a searchlight, ready to be turned in the needed direction. 3. the recognition of two aspects of preparedness: a. alignment o

ork. this is a statement of major importance because in destroying the peculiar type of glamour with which he is concerned, the aspirant or disciple begins to destroy his share in it that in him which gives him contact with the glamour and at the same time he is preparing himself for group service along the same line. this will not prove an easy task. ii. the technique or formula. 5. by an act of the creative imagination the worker endeavours to see and hear the soul the source of light and power in the three worlds breathing out the om into the mind of the attentive waiting personality. there the light and power of the soul is retained and held by the positive personality, for a negative attitude is not desirable. 6. the retained light and power, combined with the dual light of the person

en the already powerful glamour. it must be done in- 129- glamour: a world problem copyright 1998 lucis trust such a way that at the close of the process the glamour will be appreciably weakened and eventually dissipated. this is an important realisation. 9. having, as far as possible, achieved the needed concentration, realisation and relationship, the aspirant then (by an act of the will and of the creative imagination) turns on the searchlight and sees a vivid beam of light stream forth and pierce the glamour. he must visualise a broad brilliant beam, pouring forth from the illumined mind on to the astral plane. he must believe that this is so. 10. then comes an important and difficult phase of the work in which the worker names the glamour and sees it in process of dissipation. he aids

ALICE A BAILEY17 TELEPATHY AND THE ETHERIC VEHICLE

ruits of true meditation. the area involved is the head and throat, and the three centres which will be rendered active in the process are the head centre, which is receptive to impression from higher sources, and the ajna centre which is the recipient of the idealistic intuitional impressions; this ajna centre can then "broadcast" that which is received and recognised, using the throat centre as the creative formulator of thought, and the factor which embodies the sensed or intuited idea. it will be apparent to you, therefore, how necessary it is to have a better recognition of the activity of the centres, as they are detailed in the hindu philosophy; and until there is some real understanding of the part the vital body plays as the broadcaster and as the recipient of feelings, thoughts a

true, as an outgrowth of this idea, of all the three planetary centres: shamballa, the hierarchy and humanity. the name science of impression is that given to the process whereby the establishment of the required relationship in all these units of life takes place. the technique of invocation and evocation is the name given to the mode or method whereby the desired relationship is brought about. the creative work is the name given to the manifestation of the results of the two above processes. the three aspects of the technique of invocation and evocation with which the average disciple should concern himself are those of the building of the antahkarana, the correct use of the lower mind in its two higher functions (the holding of the mind steady in the light and the creation of the desir

word) when the entity concerned brings to the engendered circumstances the needed intelligence, wisdom, intuition or will. ponder on this. consciousness is inherent in all forms of life. that is an occult platitude. it is an innate potency which forever accompanies life in manifestation. these two, related through manifestation, are in reality atma-buddhi, spirit-reason, dedicated for the term of the creative period to a simultaneous functioning; the first result of their relation is the appearance of that which will enable the lord of the world to express his own unknown inscrutable purpose. during the cycle of manifestation, this combination of life-awareness, spirit-reason, atma-buddhi, is the product of the multiplicity in unity of which we hear so much demonstrating as activity, quali

posed intention of the planetary logos and yet, at the same time, remain creatively free as regards their reaction to these contacted impressions; this reaction- 44- telepathy and the etheric vehicle copyright 1998 lucis trust is necessarily dependent upon the type and quality of the mechanism which registers the impression. this mechanism has been developed by the life within the form throughout the creative period and as far as the time element has been involved the indwelling entity in any kingdom in nature has been free, and the time has been long or short, and the reaction to impression has been rapid or slow, according to the will of the controlling life. in the mineral kingdom, this reaction is very slow, for inertia or tamas controls the spiritual life within the mineral form; in t

i would like to add that in that great planetary struggle and his subsequent initiation, we are all implicated from the atom of substance up to and including all the lives which form the council chamber of the lord of the world; it is this titanic effort which is made by the sum total of all the living processes and entities that compose the manifestation of sanat kumara which is responsible for the creative evolutionary processes; it is also responsible for what we call time, with all that that concept involves of events, opportunity, the past, the present and the future, the good and the evil. the dynamic impression which emanates from shamballa reaches forth in great cycles and cyclic waves; these are impulsed from extra-planetary sources, as demanded or invoked by the lord of the worl

nner, and the masters have therefore to use certain of their disciples in this service. such disciples direct the desired impression to the solar plexus area of the magnetic aura. this magnetic aura has another point of entry in the region of the throat centre, utilising it as the recipient of higher impressions. this centre or area of energy is largely used and vitally activated by those who are the creative workers of the world; they have necessarily made a direct contact with the soul and are therefore wide open to those intuitive ideas which are the source of their creative work. according to the success they have in such creative production, and according to the beauty of their work, will be the impression they thereby convey to other men. curiously enough, the new and peculiar forms

is attractive magnetism is the energy dominating and controlling the hierarchy. 3. the intelligent activity of fire by friction. students would be well advised to re-read a treatise on cosmic fire where i deal at length with these three conditioning energies. this third energy is the basic energy expressing itself in the three worlds and in the four kingdoms in nature, climaxing its expression in the creative energy of the human kingdom. this energy emanated originally (as far as our solar system and our planetary scheme are concerned) in the first solar system and is the best proven and the best known energy in manifestation. it is the medium for activity in all forms through which the planetary logos expresses himself; it is the result of the activity of the divine mind, as that peculiar

ecame the transmitter of two aspects of energy: one of which was kama-manasic (desire-lower mind) and the other atmic-buddhic (spiritual will spiritual love) in the case of advanced humanity. herein lies full opportunity for all, as the law of evolution proceeds to dominate all manifestation. what is true of the macrocosm is true also of the microcosm. ii. the basis of non-separateness the use of the creative imagination is of value here. it may not give a true picture on all points, but it will convey one great reality. the reality to which i refer is that there is no possible separateness in our manifested planetary life or elsewhere for that matter, even beyond our planetary ring-pass-not. the concept of separateness, of individual isolation, is an illusion of the unillumined human mind

ALICE A BAILEY18 A TREATISE ON THE SEVEN RAYS VOLUME III ESOTERIC ASTROLOGY

s and thus so dominate his personality life that prediction and certainty, as to activity and circumstance, are no longer possible. the soul is dominating, and the planets cease to condition the life. so it is with the constellations and the planetary logoi. they can offset the lower influences as they awaken to and respond to the infinitely higher vibrations of the three major constellations. 2. the creative hierarchies. it might here be appropriate if i interpolated a chart or a tabulation which may be found suggestive of some of these interlocking energies which play through, traverse, return, stimulate and energise every part of our solar system. they only evoke conscious response where the vehicle of expression and of response is adequate to the impact, and this statement is true of t

ponds to another combination and it is with these that i shall principally deal. that is why the three charts here given do not appear to coincide. they are drawn up to express the situation in regard to three groups: 1. the mass of people who conform to orthodox and recognised astrological conclusions. 2. disciples and advanced individuals, conforming to the conclusions of esoteric astrology. 3. the creative hierarchies, giving the interim situation in this world cycle. tabulation iv. the orthodox astrological relationship constellations and planetary rulers in connection with ordinary man- 40- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis trust constellation r uler ray related to 1. aries .m ars. 6th ray .s corpio .s ame ruler. 2. taurus. venus. 5th ra

rkness of pluto, who governs the lesser burning ground, in order that the man may live in truth in the higher land of light" 3. the sun (standing here for vulcan, which is a sacred planet) governs a centre in the front of the throat which is related to the para-thyroids and not to the thyroid gland, which is related to the throat centre. this centre in the front of the throat falls into disuse as the creative period of throat activity begins. it acts as a "mediator" between the higher and the lower creative organs (between the sacral and the throat centres) and leads eventually to that creative activity which is consciously that of the functioning soul. vulcan was one of the first creative workers among men. he was also related to "cain who killed his brother" the symbolism underlying thes

birth, through mercury who rules aries esoterically, and also virgo, of which- 60- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis trust mercury is the exoteric ruler. through uranus also, aries is related to aquarius, the sign of world service, leading to death and liberation in pisces. uranus is the planet through which zodiacal energy flows, in connection with the creative hierarchies upon our planet, from one of the stars of the great bear. it is these relationships with which esoteric astrology deals, and from them the universal can be grasped and the particular understood. the human being in his eventual recognised group relationships is of more importance than appears in his individual life, which the orthodox horoscope seeks to elucidate. it only d

ce of the decanates when he assigned mars, the sun and venus to the three decanates. he touched the truth of the inner subjective reversal upon the wheel which brings in other energies and influences when he substituted venus for jupiter. mind and heart must be coordinated and brought into play when the great reversal takes place. we have seen that aries is the sign of beginnings the beginning of the creative process, the first step of the soul (the microcosm of the already initiated macrocosm) towards incarnation, the beginning of recurring and constant cycles of experience, the beginning of the period wherein the soul changes its direction, its purpose and its method, and finally enters upon that definitely defined process which we call spiritual regeneration and initiation. there are fo

ird and the seventh ray activity on the exoteric wheel. 3. the moon ray four the will to be and to know plus the fusion of heart and mind is the result of the work carried forward in the fourth creative hierarchy under the influence of that energy which produces harmony through conflict. i would here call your attention to the fact that in connection with the moon, as it is related here to one of the creative hierarchies, you have in the moon itself the exoteric influences of the ordinary mode of procedure upon the wheel of life, and in the planet which it veils and hides (in this case the planet uranus) you have the esoteric energy which brings this hierarchy to subjective realisation. uranus gives innate spontaneous activity and this produces evolutionary development both natural and spi

he horn of plenty subjected to and guarded by the horn of life" again, an ancient proverb runs "the ram when it has become the scapegoat, has sought illumination as the bull of god and has climbed the mountain top in the semblance of the goat changes its shape into the unicorn. great is the hidden key" if the symbolism is carried a little further, it might be stated that: 1. the ram leads us into the creative life of earth and into the darkness of matter. this is the blue of midnight- 94- a treatise on the seven rays- volume iii: esoteric astrology copyright 1998 lucis trust 2. the bull leads into the places of desire in search of "wrathful satisfaction" this is the red of greed and anger, changing eventually into the golden light of illumination. 3. the goat leads us into arid ways in sea

e has taken the third initiation and can consciously mount the cardinal cross, he is then released from the ruling of saturn and comes under the influence of venus, who is governor or ruler of the hierarchy which is that of the crocodiles. a reference to the tabulation heretofore given will show this. it is only when a man is upon the cardinal cross that the significance, purpose and potencies of the creative hierarchies become clear to him and the "doors of entrance" into all of them stand wide open. on the mutable cross and on the fixed cross we have the so-called green ray, controlling not only the daily life of karmic liability upon the path of evolution, but also controlling the experiences and processes of evolution. the reason for this is that capricorn is an earth sign and because

ALICE A BAILEY19 THE UNFINISHED AUTOBIOGRAPHY

o me as they are, and i depend upon them for counsel and understanding and they do not fail me. i have been officially on hitler's "blacklist" because of my defence of the jews whilst lecturing up and down western europe. in spite, however, of knowing full well the wonderful qualities of the jew, his contribution to western culture and learning and his wonderful assets and gifts along the line of the creative arts i still fail to see any immediate solution of their crucial and appalling problem. there are faults on both sides. i do not here refer to the faults or rather the evil criminality of the germans or the poles towards their jewish citizens. i refer to all those people who are for the jews and not against them. we gentiles have not yet found out what to do in order to liberate the j

. the intricate process of divine creation, and the consequent manifestation of god, bring much mental stimulation and mental unfoldment but frequently little real understanding. esoteric schools are occupied with promoting the growth of understanding. certain elementary rules, intended primarily for the purification of the emotional-desire nature have been usefully disseminated; the many planes, the creative fires and the differentiation of substance have been exhaustively discussed, as have been the various septenates which condition life, consciousness and form. none of this is esoteric teaching. devotion to the masters has been taught, but they have been inadequately presented. those masters are portrayed as peculiarly interested in the teacher of the group, and the personal friends of

ALICE A BAILEY20 A TREATISE ON THE SEVEN RAYS VOLUME IV ESOTERIC HEALING

tal energy. with the intelligentsia of the world and the aspirant (those ready for, or already on, the probationary path) we find the above three streams reaching a point of equilibrium, and thus- 21- a treatise on the seven rays- volume iv: esoteric healing copyright 1998 lucis trust producing an integrating or coordinating personality. these number amongst them also the mystics of the world and the creative workers, who are conscious of the inspiration and the spiritual contact which indicates a beginning of the inflow of soul energy. with the disciples of the world, we find a group of men and women coming under the control of soul energy, whilst the other three energies are being increasingly subordinated to this higher type of control. it should be borne in mind that there are two othe

to the patient on the other. see these lines going out from you to the heart centre of the group and to the patient. but work ever from the ajna centre until instructed to do differently. in this way, the ajna centre and the heart centre of all the persons involved will be closely interrelated. you see here where the value of visualisation comes in. it is in reality the etheric externalisation of the creative imagination- 63- a treatise on the seven rays- volume iv: esoteric healing copyright 1998 lucis trust think this last sentence out. 4. then use thought, directed thought, for a brief moment and think of the one you seek to heal, linking up with him, and focussing your attention on him so that he becomes a reality in your consciousness and close to you. when you are aware what the phys

d in this group, radiate upon you, my brother, and permeate every part of your body healing, soothing, strengthening; and dissipating all that hinders service and good health" say this slowly and deliberately, believing in the results. see that no thought-power or will-power enters into the stream of healing energy, but only a concentrated radiating love. the use of the visualising faculty and of the creative imagination, plus a sense of deep and steadfast love, will keep the mind and the will in abeyance. i would emphasise the urgent necessity for complete silence and reticence in relation to all healing work. never let it be known by anyone that you are working in this manner, and never mention to anyone the names of those you are seeking to aid. do not discuss the patient under treatmen

yet, know nothing. the four aspects of matter produce the correspondence also to the four divine attributes as well as to the three divine aspects. the analogy of the basic dualism of all manifestation is also preserved, thus making the nine of initiation the three, the four and the two. this correspondence to the initiatory process is, however, in the reverse direction, for it is initiation into the creative third aspect, the matter aspect and the world of intelligent activity. it is not initiation into the second or soul aspect, as is the case with the hierarchical initiations for which the disciple is preparing. it is the initiation of the soul into the experience of physical incarnation, into physical plane existence, and into the art of functioning as a human being. the door into this

true persona or mask. b. it achieves this functioning activity fully by the time the third initiation is taken. i would remind you that this initiation is regarded by the hierarchy as the first major initiation, a fact which i have already communicated. it is the organ for the distribution of the energy of the third aspect the energy of active intelligence. e. it is related to the personality by the creative thread of life, and is therefore closely connected with the throat centre (the centre of creative activity, just as the head centre is related to the centre at the base of the spine. an active interplay, once established between the ajna centre and the throat centre, produces a creative life and a manifested expression of the divine idea on the part of the initiate. in the same way, t

ally related to the first ray. the sixth is peculiarly linked to the third ray and the third aspect of divinity as well as to the second ray and the second aspect. it fuses, anchors and expresses. this is a fact which i have not hitherto emphasised in my other writings. the ajna centre is the point in the head where the dualistic nature of manifestation in the three worlds is symbolised. it fuses the creative energies of the throat and the sublimated energies of desire or the true love of the heart. h. this centre, having only two real petals, is not a true lotus in the same sense as are the other centres. its petals are composed of 96 lesser petals or units of force (48+ 48= 96) but these do not assume the flower shape of the other lotuses. they spread out like the wings of an airplane to

erage man. 2. the throat centre for the aspirant and probationary disciple. 3. the ajna centre for disciples and initiates. here again you have a great triplicity of energies, containing great potencies today, owing to the fact that the expression of the third aspect of active intelligence has reached such heights through human development and consciousness. c. it is related to the personality by the creative thread, to the soul by the thread of consciousness, and to the monad by the sutratma or life thread. it is not related to any of the divine aspects by the antahkarana because that thread which links monad and personality directly (and finally independently of the soul) simply anchors the monadic expression of life in the head, at the head centre. then direct consciousness is establish

usness is established between the monad and the personality, and a great duality comes into being. life, consciousness and form are then all focussed creatively and actively in the head, and their activity is directed from the head via the two head centres. the ajna centre only comes into creative activity when the antahkarana has been built. in the earlier stages it is the throat centre which is the creative agent, and in the earliest period of all the sacral centre is active. you have, however, one interesting thing to remember. the building of the antahkarana only becomes genuinely possible when the creative life of the aspirant shifts from the sacral centre into the throat and is becoming factual and expressive. of this connecting "bridge" the neck itself is the symbol, as it relates t

ALICE A BAILEY21 EDUCATION IN THE NEW AGE

mporary inwardly-oriented researches. the re-entry of the spiritual factor in life and education is something more than a recrudescence of some earlier forms of christian ideology. in this education for the new age, the type of east-west philosophy presented by the tibetan will find its proper setting. here we have the elements of a complete theory, as follows (a) subjective planning; a theory of the creative self-development of the individual (b) objective planning; a theory of the good society for human persons to live in. the psychological and social implications of the education for the new age must be stated as explicitly as possible. the next step is to test the validity of the principles in concrete applications. the testing must be done in terms of operational techniques relevant t

nsiderably. all, however, teach these same fundamental things; they teach the youth of the country to read and write and to attain a fair measure of ability to deal with figures through instruction in elementary arithmetic. these three are curiously symbolic of the whole evolutionary unfoldment of the race. reading has to do with the clothing of ideas with form and is related to the first step in the creative process, wherein deity, governed and impelled by an idea (embodying god's purpose- 16- education in the new age copyright 1998 lucis trust and plan, converted that idea into the desired substance and clothed it with the needed outer appearance. writing symbolises the method whereby the process is carried on, but it is of course far more personal in its implications. reading is concern

ersonal in its implications. reading is concerned essentially with the realisation of a clothed idea of some kind, whereas writing is, curiously enough, concerned with the individual's conscious self-relation to ideas, and his use of words in writing is the measure of the grasp he may have of these universal ideas. arithmetic (and the power to add, to subtract, and to multiply) is related also to the creative process and concerns the production of those forms upon the physical plane which will adequately produce the idea and bring it to manifestation. vision might be regarded as concerning itself with the higher levels of the mental plane, whereon the idea is sensed and seen. writing has a more definite relation to the concrete levels of the mental plane and to the ability of the man to br

nscious. this is love. it leads to wisdom, which is love in manifested activity. self-interest becomes group interest. such should be the major objective of all true educational endeavour. love of self (self-consciousness, love of those around us (group-consciousness, become eventually love of the whole (god consciousness. such are the steps. 3. active intelligence. this concerns the unfolding of the creative nature of the conscious, spiritual man. it takes place through right use of the mind, with its power to intuit ideas, to respond to impact, to translate, analyse, and to construct forms for revelation. thus the soul of- 19- education in the new age copyright 1998 lucis trust man creates. this creative process can be described, as far as its steps are concerned, as follows: a. the soul

of phenomenal things comes into being and our modern civilisation is the result of this creative activity of the soul's desire nature, limited by form. ponder on this. c. the soul creates through the direct agency of the lower mind and hence the appearance of the world of symbols which fill our united lives with interest, concepts, ideas and beauty, through the written word, the spoken word, and the creative arts. these are the products of the thought of the thinkers of the race. the right direction of this already developed tendency is the aim of all true education. the nature of ideas, the modes of intuiting them, and the laws which should govern all creative work are its goals and objectives. thus we come to the world of attributes which supplement the activity of the three aspects, in

a sound foundation is laid for the coming civilisation; they must undertake that it is general and universal in its scope, truthful in its presentation and constructive in its approach. what initial steps the educators of the different countries take will inevitably determine the nature of the coming civilisation. they must prepare for a renaissance of all the arts and for a new and free flow of the creative spirit in man. they must lay an emphatic importance upon those great moments in human history wherein man's divinity flamed forth and indicated new ways of thinking, new modes of human planning and thus changed for all time the trend of human affairs. these moments produced the- 35- education in the new age copyright 1998 lucis trust magna charta; they gave emphasis, through the frenc

ties; it is only possible when the student is intelligently polarised and mentally focussed; it is only useful when the student can move among these inner realities with skill and understanding. esotericism- 48- education in the new age copyright 1998 lucis trust involves also comprehension of the relation between forces and energies and the power to use energy for the strengthening, and then for the creative use of the forces contacted; hence their redemption. esotericism uses the forces of the third aspect (that of intelligent substance) as recipients of the energies of the two higher aspects and, in so doing, salvages substance. esotericism is the art of "bringing down to earth" those energies which emanate from the highest sources and there "grounding them" or anchoring them. as illust

d, in this way, become alive and reach a new level of constructive usefulness. there is already a definite tendency in this direction and it is good and sound. the past of humanity as the foundation for present happenings and the present as the determining factor for the future, will increasingly be recognised and thus great and needed changes will be brought about in human psychology as a whole. the creative aptitude of the human being should also, under the new era, receive fuller attention; the child will be spurred on to individual effort suited to his temperament and capacity. thus he will be induced to contribute what he can of beauty to the world and of right thought to the sumtotal of human thinking; he will be encouraged to investigate and the world of science will open up before

ALICE A BAILEY22 DISCIPLESHIP IN THE NEW AGE VOLUME II

low: 1. centre the consciousness in the head. 2. imagine yourself as retreating even more consciously within towards that point of contact where personality-soul and the teacher in the world of souls can meet and become as one. 3. then hold yourself as poised and steady as possible, preserving that detached poise as fully as may be during the following process which is carried forward silently by the creative activity of the imagination- 19- discipleship in the new age- volume ii copyright 1998 lucis trust a. imagine or visualise yourself as standing before a golden or ivory door. b. see that door slowly open, revealing a long low room with three windows one looking east, one looking west and one looking north. seated before the eastern window on a low carved chair (but looking towards you

iately into, or through, the disk of blue and become aware of the higher consciousness, or divinity. 5. three things are, at this stage, essential to success: a. the mind must be "held steady in the light" and for this receptive experience all the previous work in meditation has been essential. its positive, attentive activity has been an essential factor in producing the desired mind control. b. the creative imagination, involving as it does the power to visualise, has also to be developed and consciously used in obedience to instruction in the early stages. this obedience has to be rendered voluntarily, even though blindly, before the true objectives can be grasped. c. results must be expected and an inner sensitivity developed which will eventually obviate surprise and lead to a conscio

cations, but at no time whilst so occupied was he to lose sight of the inner orientation and specific recollection. all the time he was outwardly busy, he was simultaneously occupied with a constant realisation of a retreat inward, a heightening of his vibration, and a raising of his consciousness. b. on the day of the full moon, you were asked to go through a symbolic performance in the realm of the creative imagination, and through the medium of its agent, visualisation. this performance involved the following steps: 1. the recognition that in the blue disk, at the end of the golden pathway, was an ivory door which was slowly opening into a room with three windows. 2. the recognition that the group, as a unit, was advancing into that room and there, united in an- 40- discipleship in the

ry (could we symbolically call it the seed pod or sheath) will become living and potent units of energy (spiritual energy) and the succeeding period of group interrelation and group activity will be correspondingly potent. in the furtherance of this process, leading to radiatory and magnetic living, the method suggested is as follows: stage i 1. reflective alignment of soul and personality, using the creative imagination in the process. this is a "feeling" or astral activity. 2. assumed relation of solar plexus, heart and head, and the focus of the assuming consciousness to be in the region of the ajna centre. this is done mentally. 3. when this has been achieved and realised, there follows next the concentration of aspiration and of thought in the heart centre, imagining it to be just bet

by the ashrams of the chohans, welded together in the great ashram of the hierarchy itself, and moving ever into closer relation with the great council chamber of sanat kumara, the lord of the world, in shamballa. this has to be brought about on earth by disciples, acting under instructions such as i now give you and by their prompt collaboration with their masters. the doing of this will invoke the creative imagination of the disciple, and this, in its turn, will be conditioned and controlled by the illumined mind. a second stage comes when the disciple, having considered the ashram as outlined above, and having thereby imaginatively "fixed" the fact of shamballa in his consciousness, turns his thoughts to the hierarchy or to the soul. remember always that the hierarchy is simply the wor

pidly, holding the consciousness steadily in the mind, and not in the head. it presupposes an immediate mental focussing of the disciple at the very beginning of his meditation work- 96- discipleship in the new age- volume ii copyright 1998 lucis trust ii. the stage of consideration. 1. of the ashram as a whole, i.e, of the hierarchy as the ashram of sanat kumara. you will see, through the use of the creative imagination, all the ashrams in close contact with shamballa as: a. responsive to the purpose, implemented by the ashrams of the chohans. b. impressed by the energy of will as the great ashram energises its component parts the various ashrams within its periphery of influence. c. vitalising the initiates and disciples who are affiliated with the masters and working in their ashrams. d

idea which the theme has engendered, or take the theme-word itself if no ideas have come to you, and in imagination formulate it in such a way that it can be presented to others, to your friends, to those you seek to help and to humanity when opportunity offers. think the idea through mentally, emotionally, and practically, thus precipitating it outwards into the world of thought. 3. then (using the creative imagination and seeing yourself as a responsible transmitter, doing the work of the ashram) breathe out the idea as a formulated, living thoughtform into the great stream of mental substance which is ever playing upon the human consciousness. 4. sound the om, thus "closing the episode" close the above meditation with a daily dedication of yourself to the service of humanity; renew you

as intermediaries between the three groups of self-conscious lives upon our planet, and also between our planet and that which lies behind and beyond it and with which our planetary logos has intimate and intensive relation. i am not, however, going to deal today with that which is extra-planetary; it would be, for you, sheer waste of time. i will deal with the theme of meditation as the agent of the creative process now, and with the part meditation must play in the preparation for the coming of the christ and the inauguration of the new civilisation which is so definitely on its way. there are, as you may surmise (if you have read my instructions intelligently, seven phases of the creative meditative process; all of them are productive of the required results. all that at present exists

ALICE A BAILEY23 THE EXTERNALISATION OF THE HIERARCHY

personality nature in its physical and emotional forms. i wonder whether you can grasp the implications of this paragraph. when the mind aspect (the third aspect of the personality) is more fully developed, then the focus of the effort of the dark forces will change and the problem of the jews will disappear. mankind is not yet handling its problems intelligently. thus the forces and energies of the creative process are exceedingly active at this time in preparing what i might call the "material of the world" and the substance of all the four kingdoms in nature for the coming changes. as the ploughman turns the soil of his field and harrows it, and so brings that which is underneath to eventual fruition, so a similar process is taking place in the world today, and all is preparatory for t

certain are your very highest speculations. be content with your duty and the immediate service which will lead you a step further upon the way to which you are ordained, and this way you can travel rapidly and with eager feet or slowly and with lagging steps. the above enumerated forces are, however, part of the temporary interlocking of energies which is going on between the many expressions of the creative process at this time. they are likewise conditioned by the incoming aquarian force and "measured" by the outgoing piscean forces. i would have you note here my use of the word "forces" and "force" for not idly have i made them- 61- the externalisation of the hierarchy copyright 1998 lucis trust singular and plural. in this process of founding the kingdom of heaven upon earth, the same

he power of the soul as well as with the directed attention of the mind, they automatically become dynamically effective. students all the world over have for years used the sacred word, and have sounded the o.m. with great diligence. i would like here to ask: with what results? i myself will reply. with practically no results except a slight stimulation of the aspiration and a small awakening of the creative imagination. this means that the results achieved have had effect only within the aura of the person concerned and have not penetrated into his environment or produced any recognisable effects. the o.m. is potent and dynamically effective when rightly used and will produce changes, destroy that which must be eliminated or ended, and will build in, by attraction and consolidation that

he spine is aroused and the fire and the light of the personal threefold life (one aspect of which is often called the kundalini fire) is carried upwards and merged with the power and the light of the soul. the major approach of the two basic energies of form and soul (as an expression of spirit) are thereby related within the human being; the "marriage in the heavens" takes place and the task of the creative process of incarnation or individual manifestation is on the way to completion. within the planetary life, the same process goes on. the life of humanity as a whole (which is intelligent form life) and the life of the hierarchy (which is the life of the soul, under impulse from the spirit or will aspect as symbolised in shamballa, are fused and blended and then a new departure in the

resentation of the future possibilities, by them, to the masses of people in all lands. i would here remind you that members of the new group of world servers and men and women of goodwill must be sought for in every department of life. they will be found among the adherents of all the current ideologies and in political and scientific circles, among the world educators and philanthropists, among the creative workers, the industrialists, in ordinary homes and in the ranks of labour- 135- the externalisation of the hierarchy copyright 1998 lucis trust the new group of world servers the new group of world servers is not a new organisation which is forming in the world. it is simply a loose linking together of all men of constructive peace aims and goodwill who lay the emphasis upon the prior

you earlier in this communication. when you have done this, you will know where you personally stand. 2. for the entire week prior to the may full moon and the june full moon endeavour to do the following things- 149- the externalisation of the hierarchy copyright 1998 lucis trust a. link up with all disciples, aspirants and men and women of goodwill throughout the world and in all nations, using the creative imagination. b. eliminate out of your consciousness all negativity, seeing yourself clearly as ranged on the side of the forces of light; you are, therefore, not neutral in thought. see to it also that when taking right action in the conflict against the forces of materialism you preserve ever a spirit of love for all individuals who have been swept into the vortex of their potency. c

reater potency. 3. ray avatars. these great beings come forth at relatively long intervals when a ray is coming into manifestation. they embody the quality and the force of a particular ray. next century, when the seventh ray has achieved complete manifestation and the piscean influence is entirely removed, the seventh ray avatar will appear. his work will demonstrate the law, order and rhythm of the creative process as it works out on the physical plane, blending spirit and matter. and as this ray is called the ray of ceremonial order or ritual, he will be largely instrumental in producing those conditions which will permit of the reappearance upon earth of the mysteries of initiation, of which the hierarchy is the custodian. he is necessarily connected with the great white lodge on siriu

ession of right human relations. this will guarantee a workable world order and not an imposed tyranny or a mystical and impossible dream. 3. the realisation of a general outline of that coming world order which will be in line with humanity's need, basic in its implications, and which will provide that structure of living interrelation which will foster latent love, intuitional understanding and the creative power in man. those are the three major objectives with which i have dealt in past communications. i have also made suggestion as to modes of activity which are practical some of them of an exoteric nature, such as the compiling of mailing lists, in every country, of those who think and express goodwill; others, such as the creation of the network of light, through the formation of tr

ALICE A BAILEY24 A TREATISE ON THE SEVEN RAYS VOLUME V THE RAYS AND THE INITIATIONS

they are distinct from each other; and (as the old commentary puts it "the sound, the final and yet initiating sound, concerns that which is neither time nor space; it lies outside the manifested all, the source of all that is and yet is naught (no thing. a.a.b) there are, therefore, great points of tension from which the sacred word, in its major aspects, goes forth. let me list them for you: 1. the creative point of tension a tension achieved by a planetary logos when he responds to the sound of the ineffable name and breathes it forth in his turn in three great sounds which made one sound on his own plane of expression, thus creating the manifested world, the impulse towards the unfoldment of consciousness, and the influence of life itself. this is the sound. 2. seven points of tension

rth should take place according to the plan. this involves upon his part a vision of that plan, identification with the underlying purpose, and the ability through the medium of the higher mind, which is the lowest aspect of the spiritual triad to work in the world of ideas and to create those forms of thought which will aid in the materialising of the plan in conformity with the purpose. this is the creative work of thoughtform building and that is why, we are told, that the first great demand "sounds forth within the world of god's ideas and towards the desert, a long time left behind. upon that great demand the initiate who has pledged himself to serve the world returns into that desert, bringing with him the seed and water for which the desert cries" the second demand is related to the

there is no astral plane, from the standpoint of the master, yet thousands of millions recognise it and labour in its delusive sphere and are there aided by the initiated disciple working from the higher corresponding levels. this is true of all the planetary work, whether accomplished by initiates and masters, working directly in the three worlds, or from higher levels, as work the nirmanakayas (the creative contemplatives of the planet, or from shamballa from the council chamber of the lord of the world. all the efforts of the hierarchy or of the "conditioning lives (as they are sometimes called) of shamballa are dedicated to the furthering of the evolutionary plan which will finally embody divine purpose. i keep emphasising this distinction between plan and purpose with deliberation, be

this sentence will lead to those actions which "produce the death and dissipation and final dissolution of the personality through the ending of karma" it must be remembered that a master has no personality at all. his divine nature is all that he has. the form through which he works (if he is working through and living in a physical vehicle) is a created image, the product of a focussed will and the creative imagination; it is not the product of desire, as in the case of a human being. this is an important distinction and one which warrants careful thinking. the lesser lives (which are governed by the moon) have been dispersed. they no longer respond to the ancient call of the reincarnating soul, which again and again has gathered to itself the lives which it has touched and coloured by i

he master of his surroundings, the director of his possessions, and the one who is the breath itself, despatching the lives to the reservoir of substance, or recalling them at will to resume their relation to him. putting it this way, you will note how the disciple is really enjoined to recognise (with the assistance of his group) that he is essentially the father aspect himself, the first cause, the creative will and the breath of life within the form. this is a somewhat new attitude which he is asked to take, because hitherto the emphasis upon his focus has been to regard himself as the soul, reincarnating when desire calls and withdrawing when need arises. the group life as a whole is here needed to make possible this shift in realisation away from form and consciousness to the will and

ife, group planetary relationships, and the fundamental science of invocation and evocation which underlies all world processes, which is the inspiring energy behind all evolutionary unfoldment, and which creates the medium or channel of related communication between the great centres in our planet, through which the life of our logos flows and his purposes are worked out. i would remind you that the creative process was initiated by sound, and in that sound the logos both invoked and evoked. he issued the call and he engineered and implemented the response and thus the "army of the voice (as the secret doctrine calls it) came into being. the head (the idea, the heart (the ideal) and the throat (the creative agent of the resulting idol, the temporary and fleeting expression of the ideal, i

he triangle of energy to which we give the name the "three buddhas of activity" they are therefore closely connected with the third aspect of divinity. they are essentially the "eye within the triangle" a most familiar symbol to many today. they are the expression, in activity, of the all-see-ing eye; through their agency god sees, and through them and the energy directed through them, he directs the creative process. they are under the complete control of the three buddhas of activity, who are the cosmic prototypes of the lords of the three major rays, but not in the sense usually understood when the rays are considered in their relation to man. they are the correspondence of these three rays and are responsible for the entire manifested universe, but only within the orbit of the third as

intones the a.u.m. and- 130- a treatise on the seven rays- volume v: the rays and the initiations copyright 1998 lucis trust all things come to be; he it is who voices the word, the o.m, and god incarnate in humanity appears on earth: he it is who utters the sound, and upon that outgoing breath holds all things in life; and in the rise and fall of its cadences there is found the cyclic rhythm of the creative process. he it will be who will withdraw the sound and centering the vibration within himself, will some day bring to a close this periodic manifestation and carry the sound to other localities in space, holding it in quiescence on the withdrawn breath until a later cycle of expression dawns. then it will again be exhaled and sent forth to provide a new field of experience for the liv

ALICE BAILEY THE LABOURS OF HERCULES

ant crucifixion upon the cross of matter. the characteristics of the man immersed in form life and under the rule of matter are fear, individualism, competition and greed. these have to give place to spiritual confidence, cooperation, group awareness and selflessness. this is the lesson that hercules brings to us, and this is the demonstration [10] of the life of god which is being wrought out in the creative process, and which flowers forth more beautifully each time that the life of god makes its sweep around the zodiac which, the astronomers tell us, takes approximately twenty-five thousand years to accomplish. this is the story of the cosmic christ, crucified upon the fixed cross of the heavens; this is the story of the historical christ, given us in the gospel story and enacted two th

nated in each human being, god, incarnate in matter. this is the story of our solar system, the story of our planet, the story of the human being. thus as we look at the starry heavens above, we have eternally pictured for us this great drama, which the story of hercules elucidates in detail for the aspirant. key thoughts four key thoughts can be given here which express the underlying purpose of the creative process and the objective of both the cosmic christ and of the individual aspirant. they give us the clue to the working out of the plan. taken together they embody the entire story of the relationship of spirit and matter, of life and form, and of soul and body. first "nature expresses invisible energies through visible forms" back of the objective world of phenomena, human or solar

adian days, this sign aries was called that "wherein the sacrifice of righteousness was made" or the sign of "the fallen angels. the sons of god, impelled by this basic urge, fell from their high estate, took form, and started upon their individual round upon round of the zodiac. thirdly, we find the urge to resurrection. in aries, which has seen the beginning of form life and which has initiated the creative work, there begins to be felt the urge to achieve freedom from the form, to roll away the stone from the door of the sepulchre of the soul, and to stand in the liberty of the sons of god. in aries is found the impulse which leads to the building of the form, which for ages will constitute the prison house of the soul. this reaches its mass form in cancer, and its human form in leo; th

xes not your powers; such are two lessons learnt. rise soon and seek the country, guarded by gate the third, and find the golden apples. bring them here. the tibetan (djwhal khul- 27- the labours of hercules the meaning of the labor in spite of all initial partial failure, hercules has made his start. in line with the universal law he has begun his work oil the mental plane. in the working out of the creative plan, thought-impulse is followed by desire. that state of consciousness, which we call mental, is succeeded by the state of sensitivity, and this second labor deals with the desire world and with the potency of desire. it is one of the most interesting labors and one that is [42] told us in fullest detail. some of the accounts given of the various tests to which hercules was subjecte

. the "eye of the bull" in taurus, the magnificent fixed star, aldebaran, is one of the reasons why this constellation is regarded as conferring illumination. in ancient days it was called the leading star of the heavens, and taurus has always been connected with light and, therefore, with christ, who proclaimed himself as the light of the world. light, illumination and sound, as an expression of the creative force: these are the three basic ideas connected with this constellation. the "interpreter of the divine voice, as taurus was called in ancient egypt, can be paraphrased into christian terminology and called "the word made flesh. it is an interesting sidelight on the power of the zodiacal influences to recall that the bull's-eye lantern can be traced back to the bull's eve in taurus

r nature the cyclops. when the bull of desire has been handed over to the cyclops, to the initiate with the single eye, which is himself, the soul, the three divine aspects, will begin to manifest: brontes, steropes and arges will guard the sacred bull, and hercules, the disciple, will no longer have any responsibility. brontes is the symbol of the first aspect of god, the father who spoke and is the creative sound. steropes means lightning, or light, and is the second aspect, the soul. arges means whirling activity, the third aspect of divinity, expressing itself in the intense activity of physical plane life. these divine aspects constitute the controlling factor and once they have gained possession of the sacred bull, the problem of hercules is solved. the two keywords of taurus are (fr

e ancient pictures is portrayed as a female serpent. it covers more than a hundred degrees and lies beneath the three constellations, cancer, leo and virgo. in scorpio, this serpent of matter or of illusion, with which the soul has identified itself for so long, is finally overcome. it y has in it sixty stars, and again we come in touch with a significant number, for six is the number of mind, of the creative work of the universal mind, and of the six days of creation. in the sixth sign, virgo, we have the completed form. we are told in the book of revelations that the mark of the beast is 666, and hydra, the serpent, lies under three constellations and its number 6 is, therefore, three times potent. ten is the number of completion. six expresses, therefore, the limitations of the body nat

BELL CHRISTOPHER PAUL TSIU MARPO THE CAREER OF A TIBETAN PROTECTOR DEITY

was connected to this past he became a popular figurehead of the terma tradition, authenticating the teachings of the nyingma sect, which has its roots in this dynastic period. we will continue to see multiple methods by which tibetans envision a continued connection to this glorified past, including in the development of tsiu marpo. understandably, termas provide a vast field of possibility for the creative enhancement of buddhist teachings in tibet. tibetan textual lineages make the concept of transmission a necessity as a matter of propagation and maintenance. the terma tradition allows transmission to be no longer contingent on the survival of lineage-holders or linear propagation. rather, it has created a new form of transmission, one that is perpetually open to new additions that ca

, these demons then give up their life-energy to tamdrin, who receives this as well as the vows of the deities to protect the buddhist teachings. 1.12 chapter 2: lineage in the second chapter, dorj dech ma asks tamdrin about the origins of the seven riders. tamdrin s answer is tsiu marpo s history, detailed in chapter 2 of this study. the remaining five chapters are the actual ritual process. 127 the creative manner in which the terma tradition responds to disputed authenticity was explored in chapter 1. see mayer 1996, pp. 6-21 for buddhist concerns involving canonicity and authenticity. 76 1.13 chapter 3: ritual materials and preparation the third chapter details the ritual materials and preparations required for the ritual performance, and it begins with establishing a sacred ritual sit

BLAVATSKY H P ANTHROPOGENESIS

asserted in the bible. moreover, the second adam[[footnote continued on next page[[vol. 2, page] 2 the secret doctrine. the secret doctrine is not alone in speaking of primeval men born simultaneously on the seven divisions of our globe. in the divine "pymander" of hermes we find the same seven primeval men* evolving from nature and "heavenly man" in the collective sense of the word, namely, from the creative spirits; and in the fragments (collected by george smith) of chaldean tablets on which is inscribed the babylonian legend of creation, in the first column of the cutha tablet, seven human beings with the faces of ravens (black, swarthy complexions, whom "the (seven) great gods created" are mentioned. or, as explained in lines 16 and 18 "in the midst of the earth they grew up and becam

on- is the synthesis of the ten sephiroth. of these, the upper triad remains in the archetypal world as the future "trinity" while the seven lower sephiroth create the manifested material world; and this septenate is the second adam. genesis, and the mysteries upon which it was fabricated, came from egypt. the "god" of the 1st chapter of genesis is the logos, and the "lord god" of the 2nd chapter the creative elohim- the lower powers* thus saith pymander "this is the mystery that to this day was hidden. nature being mingled with the heavenly man (elohim, or dhyanis, brought forth a wonder. seven men, all males and females (hermaphrodite. according to the nature of the seven governors- book ii. v. 29- or the seven hosts of the pitris or elohim, who projected or created him. this is very cle

e 'lords of being- the first and the highest of which are, collectively, jivatma, or pratyagatma (said figuratively to issue from paramatma. it is the logos of the greek philosophers- appearing at the beginning of every new manvantara. from these downwards- formed from the everconsolidating waves of that light, which becomes on the objective plane gross matter- proceed the numerous hierarchies of the creative forces, some formless, others having their[[footnote(s* this is a flat contradiction of swedenborg, who saw, in "the first earth of the astral world" inhabitants dressed as are the peasants in europe; and on the fourth earth women clad as are the shepherdesses in a bal masque. even the famous astronomer huygens laboured under the mistaken idea that other worlds and planets have the sa

ral point; the 3 or[[diagram; the five[[diagram, and the seven or[[diagram, or again[[diagram; the triangle in the square and the synthesizing point in the interlaced double triangles. this for the world of the archetypes. the phenomenal world receives its culmination and the reflex of all in man. therefore he is the mystic square- in his metaphysical aspect- the tetraktis; and becomes the cubeon the creative plain. his symbol is the cube unfolded* and 6 becoming 7, or the[[diagram] three crossways (the female) and four vertically; and this is man, the culmination of the deity on earth, whose body is the cross of flesh, on, through, and in which he is ever crucifying and putting to death the divine logos or his higher self "the universe" says every philosophy and cosmogony "hath a ruler (r

oduce these numbers, which by temurah may be changed in various ways for various purposes (kabala) the reader is asked to turn to stanza iv. of book i. and its fourth commentary to find that the 3, 4 (7, and the thrice seven, or 1065, the number of jehovah, is the number of the 21 prajapati mentioned in the mahabharata, or the three sephrim (words in cipher or figures. and this comparison between the creative powers of archaic philosophy and the anthropomorphic creator of exoteric judaism (since their esotericism shows its identity with the secret doctrine) will lead the student to perceive and discover that, in truth, jehovah is but a lunar and[[footnote(s* in the "book al-chazari" by jehuda-ha-levi, translated by dr. d. cassell[[vol. 2, page] 41 the emanations of ain-soph "generation" go

- i.e. spirit and matter inseparable from each other- is a philosophical necessity. separate them and that which is left is a gross superstition under a mask of emotionalism. but why "geometrize" as plato has it, why represent these emanations under the form of an immense arithmetical table? the question is well answered by the author just cited. his remarks are quoted in part ii "the theogony of the creative gods "mental perception" he says "to become physical perception, must have the cosmic principle of light: and by this, our mental circle must become visible through light; or, for its complete manifestation, the circle must be that of physical visibility, or light itself. such conceptions, thus formulated, became the groundwork of the philosophy of the divine manifesting in the univer

which exhales and inhales them" says our catechism "ideal nature" the abstract space in which everything in the universe is mysteriously and invisibly generated, is the same female side of procreative power in nature in the vedic as in every other cosmogony. aditi is sephira, and the sophia- achamoth of the gnostics, and isis, the virgin mother of horus. in every cosmogony, behind and higher than the creative deity, there is a superior deity, a planner, an architect, of whom the creator is but the executive agent. and still higher, over and around, within and without, there is the unknowable and the unknown, the source and cause of all these emanations. it thus becomes easy to account for the reason why "adam-adami" is found in the chaldean scripture, certainly earlier than the mosaic book

dragon slain by merodach, or satan, in the astral waves. in the hindu puranas, brahma, the creator, is seen recommencing de novo several creations after as many failures; and two great creations are mentioned* the padma and the varaha, the present, when the earth was lifted out of the water by brahma, in the shape of a boar, or "varaha avatar" creation is shown as a sport, an amusement (lila) of the creative god. the zohar speaks of primordial worlds, which perished as soon as they came into existence. and the same is said in midraish, rabbi abahu explaining distinctly (in bereschith rabba, parscha ix) that "the holy one" had successively created and de[[footnote(s* these two must not be confused with the seven creations or divisions in each kalpa (see book i "the seven creations. the pri

BLAVATSKY H P COSMOGENESIS

deus lunus. 386 a glance at the lunar myth. 387 a key-note to the moon. 389 copies and originals. 393 the moon bi-sexual. 397- x. tree and serpent and crocodile worship. 403 degeneration of the symbol. 405 the seven-headed dragons. 407 dragon and crocodile. 409- xi. demon est deus inversus. 411 death is life. 413 the fall of the angels. 418 transformation of the legend. 421- xii. the theogony of the creative gods. 424 the point within the circle. 426 the logos or verbum. 429 the factors of creation. 432 identity of the hierarchies in all religions. 438 difference between the aryan and semitic systems. 444[[vol. 1, page] xiv contents. page. xiii. the seven creations. 445 the gnostic and the hindu versions. 449 the seven puranic "creations. 450- xiv. the four elements. 460 the "gods" and th

collisions producing lateral movements. epicurus and lucretius taught the same, only adding to the lateral motion of the atoms the idea of affinity- an occult teaching. from the beginning of man's inheritance, from the first appearance of the architects of the globe he lives in, the unrevealed deity was recognised and considered under its only philosophical aspect- universal motion, the thrill of the creative breath in nature. occultism sums up the "one existence" thus "deity is an arcane, living (or moving) fire, and the eternal witnesses to this unseen presence are light, heat, moisture- this trinity including, and being the cause of, every[[footnote(s[[footnote continued from previous page] that absolute wisdom which transcends the ideas of time and space. mind, as we know it, is resolv

eings, the manifested lives, never from the unmanifestable one life; from those entities, called primordial man, dhyani-buddhas, or dhyan-chohans, the "rishi-prajapati" of the hindus, the elohim or "sons of god" the planetary spirits of all nations, who have become gods for men. he also regards the adi-sakti- the direct emanation of mulaprakriti, the eternal root of that, and the female aspect of the creative cause brahma, in her a'kasic form of the universal soul- as philosophically a maya, and cause of human maya. but this view does not prevent him from believing in its existence so long as it lasts, to wit, for one mahamanvantara; nor from applying akasa, the radiation of mulaprakriti* to practical purposes, connected as the world-soul is with all natural phenomena, known or unknown to

as a huge animal, caught and embedded in the polar ice, remains the same for ages[[vol. 1, page] 19 proem. not perish with created things (or achyuta, a name of vishnu; whereas the orthodox christian separates his personal creative deity into the three personages of the trinity, and admits of no higher deity. the latter, in occultism, is the abstract triangle; with the orthodox, the perfect cube. the creative god or the aggregate gods are regarded by the eastern philosopher as bhrantidarsanatah "false apprehension" something "conceived of, by reason of erroneous appearances, as a material form" and explained as arising from the illusive conception of the egotistic personal and human soul (lower fifth principle. it is beautifully expressed in a new translation of vishnu purana "that brahma

n from the web of light. darkness alone was father-mother, svabhavat, and svabhavat was in darkness (a (a) the secret doctrine, in the stanzas given here, occupies itself chiefly, if not entirely, with our solar system, and especially with our planetary chain. the "seven sons" therefore, are the creators of the latter. this teaching will be explained more fully hereafter (see part ii "theogony of the creative gods[[vol. 1, page] 61 divine thought, divine thinkers. svabhavat, the "plastic essence" that fills the universe, is the root of all things. svabhavat is, so to say, the buddhistic concrete aspect of the abstraction called in hindu philosophy mulaprakriti. it is the body of the soul, and that which ether would be to akasa, the latter being the informing principle of the former. chines

from cosmical down to microcosmical effects, from super-human down to human and sub-human beings, the totality, in short, of objective existence- then the first and chief difficulty will disappear and occult cosmology may be mastered* all the kabalists and occultists, eastern and western, recognise (a[[footnote(s* in the egyptian as in the indian theogony there was a concealed deity, the one, and the creative, androgynous god. thus shoo is the god of creation and osiris is, in his original primary form, the "god whose name is unknown (see mariette's abydos ii, p. 63, and vol. iii, pp. 413, 414, no. 1122[[vol. 1, page] 76 the secret doctrine. the identity of "father-mother" with primordial aether or akasa (astral light; and (b) its homogeneity before the evolution of the "son" cosmically fo

as the other manifested quaternary and the seven proceed from the mother alone. it is the latter who is the immaculate virgin-mother, who is overshadowed, not impregnated, by the universal mystery- when she emerges from her state of laya or undifferentiated condition. in reality, they are, of course, all one; but their aspects on the various planes of being are different (see part ii "theogony of the creative gods) the first "primordial" are the highest beings on the scale of existence. they are the archangels of christianity, those who refuse- as michael did in the latter system, and as did the eldest "mind-born sons" of brahma (veddhas- to create or rather to multiply- stanza iv- continued. 3. from the effulgency of light- the ray of the ever-darkness- sprung in space the re-awakened ene

y, eros is the third person in the primeval trinity: chaos, gaea, eros: answering to the kabalistic en-soph (for chaos is space[[chaino "void) the boundless all, shekinah and the ancient of days, or the holy ghost; so fohat is one thing in the yet unmanifested universe and another in the phenomenal and cosmic world. in the latter, he is that occult, electric, vital power, which, under the will of the creative logos, unites and brings together all forms, giving them the first impulse which becomes in time law. but in the unmanifested universe, fohat is no more this, than eros is the later brilliant winged cupid, or love. fohat has naught to do with kosmos yet, since kosmos is not born, and the gods still sleep in the bosom of "father-mother" he is an abstract philosophical idea. he produces

BLUE EQUINOX

ld western world. i am thinking of riders to the sea. experience dulls us; words are prostituted in the brothel of life. in riders to the sea, synge says merely .a man was drowned. his genius sweeps away the cobwebs which time spins over the door of the cavern of our imagination. we realize the meaning of those words .a man was drowned. this power to make us feel is the divine thing in art. it is the creative force which answers .yea. to the prophet s cynical "lord, shall these dead bones live" now this is exactly what yvette guilbert has done for song. she has not done it for one century only. she has made all time speak, give up its secret, to those who are capable to live in that divine air of the spirit which magazines, cocktails, and automobiles so easily pollute. i see in yvette guil

ould be noticed that this is not quite identical with the way in which the master of the temple detaches the being that was once called .self. to fling it down from the the equinox 112 abyss that it may .appear in the heaven of jupiter as a morning star or as an evening star, to give light to them that dwell upon the earth. this magus is a much stronger person than the master of the temple. he is the creative force, while the master is merely the receptive. but in these verses 78, 79, 80, it might be very easily supposed that it was merely a recapitulation of the former remarks, and i am inclined to think that there is a certain amount of confusion in the mind of the author between these two grades. she attained only the lower. but careful study of these verses will incline the reader to p

of klesha, here identified with love of worldly enjoyment, seems to put one back almost before the beginning. is it now only that the almost-arhat no longer wants to go to the theatre? it must not be interpreted in this low sense. at the same time, it is difficult to discover a sense high enough to fit the passage. with tanha it is easier to find a meaning, for madame seems to identify tanha with the creative force of which we have spoken. but this is of course incompatible with the buddhist teaching on the subject. tanha is properly defined as the hunger of the individual for continuous personal existence, either in a material or a spiritual sense. with regard to the rest of the verse, it certainly reads as if yet again blavatsky had taken the sword to a gordian knot. by saying that compa

BOOK OF JASHAR

tal about the universe or might simply entertain us. bloom compares j to shakespeare's "king lear" which is not diminished by being neither history nor theology. after reading bloom, i became fascinated by the power of simple stories to transform our view of society. the best works of economic theory are also such stories, but written in a new and specialized vocabulary. i began to wonder whether the creative process by which we write modern social science might in some ways be similar to the way that the ancient prophets produced their scriptures. then, i came across the biblical references to jashar, another book of ancient israel. many apocryphal and pseudepigraphic texts are studied today, but it was jashar that captured my imagination. so i began to work on producing a new english ver

BUCKLAND RAYMOND COMPLETE BOOK OF WITCHCRAFT

. we seek to live in harmony with nature, in ecological balance offering fulfillment to life and consciousness within an evolutionary concept. 3. we acknowledge a depth of power far greater than that apparent to the average person. because it is far greater than ordinary it is sometimes called "supernatural, but we see it as lying within that which is naturally potential to all. 4. we conceive of the creative power in the universe as manifesting through polarity as masculine and feminine and that this same creative power lies in all people, and functions through the interaction of the masculine and feminine. we value neither above the other, knowing each to be supportive to the other. we value sex as pleasure, as the symbol and embodiment of life, and as one of the sources of energies used

her occultists, but among ordinary, everyday folk. the trouble is that, in listening to these conversations, it quickly becomes obvious that many are mere dabblers in this realm. many are confused "which technique is best "why am i getting nothing out of it "am i doing it right" so, what is meditation? quite simply it is a listening. listening to the higher self or, if you prefer, the inner self, the creative force, the higher consciousness; even the gods themselves. it can be all of these. properly used, meditation opens the door to individual growth and personal advancement. of all the techniques of advancement in the psychic and spiritual fields, meditation is by far the most effective. coinciden-tally, it is also the most simple. and it can be practiced alone or in a group setting. the

or to individual growth and personal advancement. of all the techniques of advancement in the psychic and spiritual fields, meditation is by far the most effective. coinciden-tally, it is also the most simple. and it can be practiced alone or in a group setting. the late, renowned psychic edgar cayce, in one of his readings# 281 -13, said that "meditation is emptying self of all that hinders from the creative forces rising along the natural channels of the physical man to be disseminated through those centers and sources that create the activities of the physical, mental and spiritual man; properly done (meditation) must make one stronger mentally, physically. we may receive that strength and power that fits each individual, each soul for greater activity in this material world" in short

CASE PAUL F THE BOOK OF TOKENS

11, the half of 22. the letter-name, d l th, is concealed in the saying "the lord is a man of war, because the hebrew for "man of war, used in exodus 15: 3, is ish milkhamah, a i sh m l ch m h, which has the value 434, the same as the letter-name. atziluth is the highest of the four qabalistic "worlds. it is the archetypal world, practically the same as plato's world of ideas. below it is briah, the creative world, or world of mental patterns. below briah is yetzirah, the world of formation, or plane of invisible forces. the fourth, and lowest, plane is assiah, the material world, or world of action and things [48] the meditation on heh* 1 in whatsoever object thou perceivest, know me as the essence, as the idea, and as the interior nature. because of this the wise come easily to me by ma

srael. 6 for my way is the way of the word, and the word is hidden in thy heart. for this is the word creative, which calleth all things into being. here is a mystery, for the letter heh concealeth the word, and the word is as truly a vision as it is a voice. with me there is no difference between speech and sight. in very truth, i utter myself by seeing. unto the uninstructed the coming forth of the creative word is as a mist and a vapor. for existence is as a veil of concealment which hideth my true nature from their eyes. hidden and imperceptible is the essence of my being which sages call "concealed with all concealments [54] heh 7 by day, when thy senses busy themselves with their appropriate objects, if thou seest me at all, shall i be unto thee even as to thy forefathers, naught but

the value of the letter-name heh, h h. another example of gematria comes in a later phrase of paragraph 5, for "hidden in my bosom" is evidently based on the numeral identity between chob, ch b "hidingplace, bosom, and the letter-name heh, h h [59] t h e book of t o k e n s 6" heh concealeth the word. the value of the lettername is 10, which reduces to 1, the number of aleph, and aleph stands for the creative word (the divine name, i h v h) which calls all things into being. the phrase" i utter myself by seeing, based on the attribution of sight to heh, means that the universe is called into manifestation by the self-contemplation of spirit "a mist and a vapor. the hebrew noun ade, a d, has the numeral value 5, the same as the single letter heh, and means "fog, mist. 9 heh is called "the m

exercises in which counting is essential, because they include rhythmic breathing, and rhythmic intonation of divine names, etc. in hebrew, shemen le-mawaur, sh m n l m a v r "oil for lighting, is the number 667, and this is the number of sod ha-pehooluth, s v d h p o v l v th "secret of all spiritual activities, the name of the path of wisdom corresponding to teth [95] the meditation on yod* iam the creative hand, which fashioneth the worlds and establisheth the spheres, while yet the primal fire circleth untrammeled in the womb of space. that fashioning is not as the handiwork of man. it is my self-utterance through the voice of vision. by it i declare myself. yea, i utter myself as the father of all, and from my fatherhood is the brotherhood of all creatures. therefore do the wise see i

its effects upon existing conditions, for it destroys the old to build the new "in this connection observe that scorpio is the house of mars by night, in contrast to aries which mars rules by day. in the tarot, nun corresponds to death, while heh, the letter corresponding to aries, is attributed to the emperor. death is the ruler of form, and the world of formation, as the emperor is the ruler of the creative world. that is to say, all forms must change, and what changes them is imagination "the universal imagination performs the greater transformations, but the imagination of man is no different, save in degree. in fact, the imagination of man is the universal imagination at work in a particular localized center. the same power works through all animate and inanimate creation (if we may s

mals described in the vision of ezekiel "they four had the face of a lion, of an eagle, of a man, and of an ox" these living creatures correspond to the four aspects of the absolute. the lion corresponds to life, to the element of fire, to atziluth, the archetypal world, to yod in i h v h, and to the sephirah chokmah, root of fire. the eagle corresponds to mind, to the element of water, to briah, the creative world, to the first heh in i h v h, and to the sephirah [189] t h e book of t o k e n s binah, the root of water. the man corresponds to the third aspect, truth or law, to the element of air, to yetzirah, the formative world, to vav in i h vh, and to the sephirah tiphareth, attributed to air. the ox or bull corresponds to the fourth aspect, love, to the element of earth, to assiah, th

CASSANDRA EASON A PRACTICAL GUIDE TO WITCHCRAFT AND MAGIC

ides of the same coin, a principle that finds expression in eastern taoism and underpins the ancient chinese/ ching (the book of changes, often used for divination. negativity can be transformed into healing energies through positive ritual. the goddess is the source of all creation, from whom, in the original virgin birth, her son-consort, the horned god, came. the horned god and the goddess are the creative male and female principles that act and react, not in opposition to each other, but as complementary and necessary parts of a whole. there are variations on this idea within the teachings of wicca. some traditions consider the goddess to be of greater significance than her male counterpart. others regard them as equal, assuming different aspects according to the season and ritual: she

ing back threefold. the goddess and the horned god in wicca neither evocation nor invocation is part of modern witchcraft, however, and white witches do not recognise any demonic figures in their religion. when we refer to the goddess and her son-consort, the horned god of wicca, we are referring to the archetype or source energies of the feminine and masculine aspects of ultimate power. they are the creative female and male principles, acting not in opposition to each other but as complementary and necessary parts of a whole. all the named goddesses and gods in witchcraft represent the different qualities of these supreme forms, for example the goddesses of the hunt, or specific forms in different cultures. there are, of course, variations within wicca; some traditions emphasise the impor

cally to the people. as the sky gods gained supremacy, they married the earth goddesses who slowly evolved into patronesses of women, marriage and childbirth. so, for example, odin the norse all-father married frigg, goddess of women, marriage and motherhood. but in witchcraft, though the sky fathers and their wives are used for the focus of specific rites, the goddess retains the earlier form as the creative principle. as the triple goddess- maiden, mother and wise woman or crone- she is frequently central to coven work. generally in magick the goddess is recognised as the prime mover of existence, bringing forth from herself in the first virgin birth the animus, or male, principle. for this reason, it is often the high priestess who casts the circle, though in some covens the goddess rul

CHAOS MAGICK AND LUCIFERISM

ss into one part, sensation not being manifold becomes intensified. by the abstention of desire, except in the object, this is attained (at the psychological time this determines itself aos-the book of pleasure sigils may be constructed through several methods as the following; letter manipulations, from arabic, greek or otherwise. paintings and other abstractions of sight through art. musick and the creative act of sound production. letter manipulations can be a useful method of enfleshing desires, creating servitors or elementals or to cast hexes or witch-spells. the medieval system of magic and invocation used sigils in this form extensively and almost exclusively. this can be found in various grimoires from the grimorium verum to abramelin the mage. the demons, angels and other spirits

DAVID ICKE THE BIGGEST SECRET

ed that humans have an internalclock which is in sync with the sun. in short, the suns effect on human life isfundamental and far beyond its obvious contribution of warmth and light. the56extraterrestrials knew this in these ancient times and the sun was viewed with awe. itis the physical and spiritual heart of the solar system and it came to symbolise thecreator, particularly the male aspects of the creative force. he who is the light ofthe world. this knowledge of the sun will be a common theme throughout the rest ofthis book as we journey through history to the present day. it does, however, make thedecoding of history a little more complex because the ancients would constantly usesun and astrological symbolism in their stories and some of the names for their godswould be used to symbol

trol and diminish the great unwashed? wevegot them to believe a fantasy about jesus and weve conned them to think that after onelife on earth, god decides if they go to heaven or hell. we have also conned them to thinkthat we, the men in frocks, know how god wants them to live and that anything to dowith the esoteric is the devil. anything else? hey, we need to be careful about that sexualenergy, the creative force. got to shut that down or their power source will still be there.ive got just the man. i say, augustine, in my office, please. saint augustine of hippo,like most of the early church heroes, was from north africa. he couldnt get enough sexearlier in his life, but after his alleged conversion to christianity at the age of 31, heswitched dramatically and decided that sex was horrid

ative extreme of female energy, however,is behind the scenes manipulation, covertly setting up the events and conflicts which theextreme of the male energy can play out in public. in other words, you cant see it. thisis the energy that the agents of the babylonian brotherhood work with and theysymbolise this with names like semiramis, isis and all the rest. they also know that thefemale energy is the creative force, which brought forth even the sun, as the egyptiansused to say of isis. this female force, like all energy, is neutral. you can createsomething positive or something malevolent, but to do either you need to harness the139female, the creative force. hence you have the constant female symbolism by thebrotherhood in all its forms. it is the balanced, positive expression of the fema

e military, of course, which is nothing more than aschool for mind control. the yes sir mentally is pure mind control and subordinationto the will of another. soldiers are not encouraged to think and question, only to do asthey are told. you want to be mind controlled? ok, simple- join the military. thesexual theme of the programming and abuse is also inspired by the manipulation ofsexual energy, the creative force, and at the point of orgasm the mind psyche is wideopen to access other higher or lower dimensions, depending on the state of being ofthose involved. these mind control programmers have high-tech equipment whichstimulate those parts of the brain which trigger the orgasm and so open the mind of thevictim to the lower demonic dimensions, the reptilians. the programming techniquesa

from their female energythat their intuition and connection with their higher selves is all but extinguished.meanwhile the brotherhood initiates have been using the negative frequencies of thefemale energy (hecate) to connect with their reptilian masters on the lower fourthdimension and to manipulate the world secretly from behind the movie screen. thesuppression and perversion of sexual energy, the creative force, is another fundamentalmeans of limiting human potential to manifest their infinite power for creativity and self-determination.interconnected with the manipulation of the female energy is the manipulation oftime. this is another aspect of the symbolism in the pont de ualma tunnel. thebrotherhood has tuned the human consciousness into a false perspective of time and indoing so t

because we are the worldand the world is us. what we call society is the sum total of human thinking and feeling.it is a reflection of our attitudes. when we change them, we change society we are only achange of mind away from real freedom, the freedom to express our cod-givenuniqueness and celebrate the diversity of gifts, perceptions and inspiration that existwithin the collective human psyche. the creative force is within us all and desperate toexpress itself. it is the suppression of this energy which leads to so much pent-upfrustration and therefore violence and depression. imagine you are a gifted artist or494dancer, but peer pressure, parent pressure and the demands of the system insist that youwork in a bank or sit next to a factory machine all day. or you want to express yourcreat

spected the value of all creativityand sought ways of allowing it to be expressed, these things would not happen on the scalethat they do. instead we demand that such creativity must pay for itself or contribute tothe economy- the brotherhoods economy. we know the price of everything and the valueof nothing. if, however, we could open our hearts to a greater vision of possibility, wewould unleash the creative force in everyone and allow it to express its uniqueness. what aworld of incredible diversity and inspiration we would then experience. a world guided bythe flow of the creative force and not by the profit demands of the brotherhood bankers.i talked at the start of the book about thinking the unthinkable. the information herehas challenged you to do that. to consider the evidence that

DION FORTUNE MYSTICAL QABALA

sephiroth respectively. in the second triangle we have the pairs of opposites which find their equilibrium in a third, placed upon the middle pillar of the tree. from this we deduce that the first triangle derives its significance from that which lies behind it, and the second triangle derives its significance from that into which it issues forth. in the first triangle we find a representation of the creative forces of the substance of the universe; in the second we have a representation of the governing forces of evolving life. in chesed is the wise and kindly king, the father of his people, organising his realm, building up industry, fostering learning, and bringing the gifts of civilisation. in geburah we have a warrior king, leading his people in battle, defend mg his kingdom from the

the content of consciousness, is essentially synthetic. these terms, however, are apparently taken from a somewhat crude translation of the hebrew names given to the four levels into which the qabalists divide manifestation. 18. these four levels permit of yet another grouping of the sephiroth. the highest of these is atziluth, the archetypal world, consisting of kether. the second, briah, called the creative world, consists of chokmah and binab, the supernal abba and ama, father and mother. the third level is that of yetzirah, the formative world, consisting of the six central sephiroth, viz. chesed, geburah, tiphareth, netzach, hod, and yesod. the fourth world is assiah, the material world, represented by malkuth. 19. the ten sephiroth are also conformed into seven palaces. in the first

extremely illuminating to our present argument. 26. dr jung has a great deal to say concerning the myth-making faculty of the human mind, and the occultist knows it to be true. he knows also, however, that its implications are much farther reaching than psychology has yet suspected. the mind of poet or mystic, dwelling upon the great natural forces and factors of the manifested universe, has, by the creative use of the imagination, penetrated far more deeply into their secret causes and springs of being than has the scientist; it is not for nothing that the racial imagination, working thus, has come to associate certain animals with certain gods; a brief examination of the examples cited serves to show the basis of the association. the doves of venus show her gentler aspect, and the cat-b

earth. unhappy the people whose morality is a savage system of taboos designed to propitiate an imaginary moloch of a deity, for they shall be sterile and sinful. equally unhappy the people whose morality outrages the sanctity of natural process and in plucking the flower has no regard for the fruit, for they shall be diseased of body and corrupt of estate. 11. in chokmah, then, we must see both the creative word which said "let there be light" and the lingam of siva and the phallus adored by the bacchantes. we must learn to recognise dynamic force, and revere it wherever we see it, for its god-name is jehovah tetragrammaton. we see it in the spread tail of the peacock and the iridescence of the neck of the dove; but we also hear it in the yowl of the tom-cat and smell it in the stench of

called in hebrew mazloth. we thus see that the ancient rabbis rightly understood the process of the evolution of our solar system. 14. the yetziratic text assigned to chokmah is, as usual, exceedingly obscure in its wording; nevertheless we can gather from it certain illuminating hints. the second path, as it denominates chokmah, it calls the illuminating intelligence. we have already referred to the creative word which said "let there be light" among the symbols assigned to chokmah in "777 (mathers-crowley system) is that of the inner robe of glory, a gnostic term. these two ideas, taken together, lead on the imagination to the idea of the ensouling life, the illuminating spirit. it is the male force that implants the fecundating spark in the passive ovum on all planes and transforms its

actical occultism, unpalatable as it may be to many; and it explains why so many magical enterprises are sterile. 40. these matters are highly recondite secrets of the mysteries, of which we moderns have lost the keys; but the experience of the new psychology, and its allied art of psychiatry, has abundantly proved the soundness of the basis on which the ancients built when they made adoration of the creative principle and of fertility an important part of their religious life. it is a matter of well-established experience that the person who has dissociated his or her sexual feelings from consciousness can never get to grips with life on any level. this fact is the basis of modern psychotherapy. in occult work the inhibited, repressed person tends to unbalanced forms of psychism and mediu

ioning in the sphere of chesed whether he knows it or not; and all those who can also function in terms of chesed and think ahead as he does, seeing the thing that must arise from given causes long before the first line is drawn on the plan or the first brick laid in the trench, are able to possess themselves of the valuable land where the wharfs must be built and the main street must run. 9. all the creative work of the world is done thus, by minds working in terms of chesed the king seated upon his throne, holding sceptre and orb, ruling and guiding his people. 10. by contrast with this we observe the people whose minds cannot function above the level of malkuth, the bride of the king. they are the folk who cannot see the wood for trees. they think in terms of detail, lacking any synthet

tor in ourselves that is the basis of our instincts, each of which, in their unintellectualised essence, gives rises to appropriate reflexes, just as an infant's lips will suck anything that is inserted between them. 6. the beings of netzach, the elohim, are not so much intelligences as the embodiments of ideas. 7. these elohim, to give them their hebrew name, are the formative influences whereby the creative force expresses itself in nature. their true character is to be discerned in chesed, where they are described by the sepher yetzirah as the holy powers" in netzach, however, which represents the upper stratum of the reflecting ether, they undergo a change, the image-making mind of man has begun to work upon them, moulding the astral light into forms that shall represent them to his co

DION FORTUNE PSYCHIC SELF DEFENSE

and the etheric double acts upon the physical molecules held in its meshes. i dare to prophesy the next advances in medicine will be bound up with the knowledge of the nature and function of the etheric double. the next type of psychic attack which we must consider is that conducted by means of artificial elementals. these are distinguished from thought-forms by the fact that, once formulated by the creative mind of the magician, they possess a 23 of 103 distinct and independent life of their own, though strictly conditioned as to nature by the concept of their creator. the life of these creatures is akin to that of an electric battery, it slowly leaks out by means of radiation, and unless recharged periodically, will finally weaken and die out. the whole question of the making, charging

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 1

itants. xenocritus thought that penance and self-mortification, though not agreeable to the gods, pacified the malice of the cacodaemons. ahrimanes and his followers finally took up their abode in all the space between the earth and the fixed stars, and there established their domain, which is called ahriman-abad. as ahrimanes was the spirit of evil, his counterpart in persian dualism was ormuzd, the creative and benevolent being. aic see american institutes for research ailuromancy divination through superstitions concerning cats. for example, a black cat crossing your path is a bad omen in the united states and germany, although usually regarded as lucky in britain. owning a black cat is also believed to be lucky. a cat washing its face or ears, or climbing up furniture, is said to indic

oncerning various methods for the destruction of apepi, including many magical directions. it stipulates that the name of apepi must be written in green on a papyrus and then burnt. wax figures of his attendant fiends were to be made, mutilated, and burnt, in the hope that, through the agency of sympathetic magic, their prototypes might be injured or destroyed. another portion of the work details the creative process and describes how men and women were formed from the tears of the god khepera. this portion is known as the book of knowing the evolutions of ra. the work is evidently very ancient, as is shown by the circumstance that many variant readings occur, and only one copy is known. the funeral papyrus in which it is contained was discovered at thebes in 1860, purchased by the archaeo

le. other laws deal with basic observations concerning motion, polarity, cycles, cause and effect, gender, and mind. the acceptance of these laws leads to a number of spiritual practices. central to astara is lama yoga, a method of mind expansion originally taught to earlyne chaney by the masters. the law of vibration has led to the practice of reciting om, the sanskrit word believed to encompass the creative energy of the universe. along with other yogic and meditative techniques, astara recommends a natural food diet that leans toward vegetarianism. astara is headquartered in a complex in upland, california, where members congregate and regular sunday services and a cycle of conferences and retreats are held throughout the year. most members relate to astara through a set of corresponden

nitored the information from bartholomew and gauged it according to its helpful effects. her acceptance of bartholomew was also helped by consulting the i ching, a chinese divination method that involves the throwing of sticks that can create one of 64 hexagram patterns. she got the fiftieth, which refers to the hollow ruler who is receptive to the wisdom of a sage; and the first, which refers to the creative power of the deity. she decided that she was the ruler and bartholomew the sage and thus that the channeling was a valid experience. equally important, she observed that she and others who began to act out of bartholomew s wisdom were benefiting from it. for herself, moore discovered a balance between the use of her rational thinking abilities when appropriate and her intuitive self a

ne 10.18, 1956) and in time (june 18, 1956) and life (june 25, 1956. an amusing and witty expose of the bridey murphy story appeared in fads and fallacies in the name of science by martin gardner. the bridey murphy case highlights the remarkable ability of the subconscious mind to create fantasies of other lives and personalities that can be elicited under hypnosis. the same faculty is present in the creative imagination of novelists, although consciously controlled. since the bridey murphy case was published, there have been numerous cases of claimed memories of former existence under hypnosis, but few have found them evidential, given the inherent problem of hypnotists guiding the sessions and making leading suggestions to the subject. hypnotism continues to be used in counseling situati

essage. they had emerged in order to assist human evolution. it was time to lift the spell of matter and to bring forth a new planetary being. humankind, carey argued, is poised on the brink of a momentous transformation: the earth is ripe for harvest. two resources are available to assist humans in the transformative period: the advanced intelligences, such as those channeling through carey; and the creative power of thought. as with other new age channelings, carey s emphasizes the problems of overreliance on rational thought in problem solving and living with guilt imposed in younger years. sources: carey, ken. flat rock journal: a day in the ozark mountains. thorndike, maine: g. k. hall, 1994. notes to my children: a simplified metaphysics. kansas city, mo: uni-sun, 1984. return of the

verall acceptance of several ideals: chivalry, world peace, and the reduction of human suffering. each member is encouraged to find the best way to bind these values into reality in his/her daily life. the organization has several levels at which members may become involved. at the innermost level are several colleges, structures to focus research on the arcane sciences, the mundane sciences, and the creative sciences. there is also an inner order of sovereign templar initiates that focuses upon what are understood to be the traditional teachings of the templars. cercle international is headed by the grand master, currently fr. raymond bernard. there are national organizations in various countries and an english-speaking division, circles international, headquartered in plainfield, indiana

rding to chamberlain, and modern european civilization was built on the germanic or teutonic race. as to the components of modern (i.e, nineteenth century) culture, he hypothesizes six major influences: hellenic art and philosophy; roman law and organization; the revelation of christ; racial chaos in the wake of the fall of the roman empire; the negative and destructive influence of the jews; and the creative and regenerative mission of the teutonic (or aryan) race. chamberlain s anti-semitism led him to reject the idea of the jewish-born messiah of christianity and to propose an essentially germanic religion deriving from the symbols of the aryan race. the mystical/occult underpinnings of chamberlain s beliefs had a great influence on hitler s nazi faith. he wrote a number of other books

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

lso been consecrated by archbishop watters. in 1990, the church of the talking pines changed its name to madonna ministry. the church continues a major focus on spiritual healing, as does religious science, but includes a wide diversity of healers who represent the broad spectrum of holistic health practices. the healing emphasis led it into a relationship with the world federation of healing and the creative health network as cosponsors of the annual international healing summit. the first summit was held in 1997 in monterey, california; subsequent summits included meetings at glastonbury (1999) and australia (2000. the madonna ministry is headquartered at 237 w. ave. alessandro, san clemente, ca 92672-4334. it maintains two internet sites, http//www.madonnaministry.org, and http/ www.par

er analogy with childbirth is that of pain. materialization encyclopedia of occultism& parapsychology. 5th ed. 988 the moans and movements of the entranced medium remind one strangely of a woman in travail. to the legitimate objection that one biological process was natural and the other anomalous, geley answered: normal physiology is the product of organic activity such as evolution has made it. the creative and directive idea normally works in a given sense, that of the evolution of the species, and conforms to the manner of that evolution. supernormal physiology, on the other hand, is the product of ideoplastic activity directed in a divergent manner by an abnormal effort of the directive idea. it was also soon noted that the ectoplasmic shapes tended to conform to the bodily pattern of

the solar year into more manageable units we have come to know as months (actually the moon takes only 27.32 days to orbit the earth, but because of the movement around the sun it takes 29.53 days for it to complete a cycle from full moon to full moon. in astrology the moon represents the inner emotional side of the self, the subconscious mind and psyche. the moon s placement in the chart reveals the creative side of the person, where he/she might give birth to new ideas, how his/her nurturing side is expressed, or where great passion is resting. the moon is paired off with the sun, related to the overall aspects of one s outer visible life. over the years, from folklore and astrology, the moon was identified with a variety of behavior patterns, most notably mental disorders, or lunacy. th

e said to evoke beautiful forms or have paranormal effects. encyclopedia of occultism& parapsychology. 5th ed. music (paranormal) 1075 in hinduism, the first manifestation of creation was said to be that of subtle sound vibration, giving rise to the forms of the material world. each sound produced a form, and combinations of sound created complicated shapes. this is also the basis of mantra yoga. the creative power of sound is also echoed in the christian scripture: in the beginning was the word, and the word was with god, and the word was god (john 1:1. through this century attempts have been made to explore the legendary traditions from scientific perspectives. the great indian scientist sir jagadis chunder bose devised sensitive apparatus to demonstrate subtle plant reactions, many of w

reative factor in occult practice, and it is not impossible that even initial fraud could sometimes be a stimulating factor in producing paranormal phenomena by priming the pump, so to speak. ancient religions sometimes used mechanical contrivances to simulate divine power, rather like religious conjuring tricks. many have argued that the reputed power of prayer may be more closely connected with the creative power of the praying individual rather than derived from the action of god (or the gods. prayers to eastern or western deities appear equally to produce results. the mental state appears to be a relevant factor. closely related is the willpower of the magical practitioner, which again has some relevance to the mystical concept of concentration and meditation being preliminaries to the

oulouse, france. osmont published articles on psychic subjects in initiation et science and psychic magazine (a french journal. she died in paris may 13, 1953. sources: osmont, anne. envoutements et exorcisms a travers le ages (sorcery and exorcism through the ages) n.p, 1954. le mouvement symboliste (the symbolist movement. paris: maison du livre, 1917. le rythme createur de forces et de formes (the creative rhythm of forces and forms. paris: les editions de champselysees, 1942. ossowiecki, stephan (1877.1944) polish engineer and clairvoyant. reportedly, he read thoughts from early childhood. at the engineering institute at petrograd, where ossowiecki studied, he reportedly answered questions enclosed in sealed envelopes. supposedly he described the colored auras of people in his presence

f with the underlying universal spirit, in which condition anything is believed possible, especially on a personal scale. numerous reports indicate that prayer with faith and confidence in this metaphysical context has produced the desired results in both a religious and secular setting. one wing of new thought has retained a religious prayerful context, while a secular wing has simply emphasized the creative powers of the mind in achieving fulfillment of desire. it seems possible that there are factors in prayer that are applicable to both religious and secular frames of thought, that faith and confidence enhance psychic factors at present not clearly identified. even such mundane attempts to influence events as the willing of the fall of dice in parapsychological research may hold clues

t begins with hermetic philosophy and jungian psychology, especially the concept of archetypes. specific archetypes will become the focus of attention and the subject of pathworking, the foundation of the order s esoteric practices. the basic curriculum also includes instruction in pagan mythology, genealogy, and astrology. the order teaches that the deities of norse paganism represent in essence the creative/ destructive forces of the cosmos. students are also advised to supplement their study with additional readings, including the writings of adolf hitler, freidrich nietsche, julius evola, and oswald spengler. the order may be contacted at box 1473, deer park, wa 99006. it publishes a quarterly periodical, crossing the abyss. its web presence may be accessed at http//www.thulean.org. th

EXTRAORDINARY ENCOUNTERS AN ENCYCLOPEDIA OF EXTRATERRESTRIALS AND OTHERWORLDY BEINGS

dit to a gifted writer of science fiction. though he possessed a keen native intelligence, keith was neither a writer nor a reader. he did, however, have some previously existing interest not profound or particularly well informed, in my observation in ufos, the paranormal, and the occult. as i listened to him over many hours, i began to feel as if somehow in his waking life keith had tapped into the creative potential most of us experience in our dreams. as we doze off to sleep and dream, images begin to well up out of the unconscious; in no more than a moment we may find ourselves inundated with psychic materials sufficient to fill a fat victorian novel. when our eyes open in the morning, all of that, alas, is gone. keith had the capacity, it seemed to me, not only to live inside his dre

FELDMAN DANIEL QABALAH THE MYSTICAL HERITAGE OF THE CHILDREN OF ABRAHAM

od di (pronounced ood, the literal meaning of which is often said to be eternity. 14 in this root mantra, shem ayn ims is the not (al, the negatively existent mysterious unknown, the hidden of hidden ones. yisroel (larsy) is the supernal israel, the witness states (alef worlds) of vast face in atziluth, and the name hvhy is the small face totality archetype. elohenu (vnyhla, our elohim) refers to the creative aspect of small face in general, and the consciousness of our local star (sun) in particular. the mantra then returns to the station of small face with the repetition of hvhy. it climaxes with echad (dxa, alluding to the great unity of vast and small face. in using the shem ayn for meditation, one can visualize the name hvhy as dancing letters of fire on a black circular background ag

g hrvt 4/ e< h 4 g% g% mymt 35$ 9 e< h3 g% g g tnmt +5: 9 8) h+ g g trapt+ 8 6& 2 4 h% g" g xysm 0< e 5h 0- 0$ 1 2' 8: h" 2: 2 2:e 8) b 8) the following thesis applies the ideas of modern scientific cosmology to the qabalistic model of the work of creation (ma aseh b reshith. in extending his analysis to include the successive development of the natural forces, the work of the chariot mentor took the creative license of inserting the word ruach into the first verse, correlating it with the gaseous state of matter. the first line of torah b reshith in the format of the gan eden (garden of eden) torah as a continuous stream of letters is /rah tav,ymsh ta,yhlaarbtysarb one possible way to break this line into words is /rah_tav_,ym_(xvr)_sh_ta_,yhla_ arb_tys_arb in the beginning there was an e

nsistence, she strayed after the idols of her ancestors. but, in time, she renounced the idol worship and re-attached herself to a life of virtue. 37 woodroffe, sir john. mahanirvana tantra (the great liberation, ganesh, madras, 1953. woodroffe, sir john. the serpent power (satchakracidrupini and padukapanchakra, ganesh, madras, 1958. the vedas are sacred hindu scriptures. it is said that brahma (the creative aspect of vast face as brahman) sang a veda and thereby created the solar system. the sanatana dharma is the sacred tradition of the aryan hindus. 38 woodroffe, sir john. introduction to tantra shastra, ganesh, madras, 1958. jivashakti is the energy of embodied consciousness. prana is the life force, synonymous with ruach in qabalah and qi in taoism. the hissing referred to in the quo

FRANCIS A YATES GIORDANO BRUNO AND THE HERMETIC TRADITION

nd the lament for the egyptian religion, becomes sanctified because it contains a prophecy concerning the son of god. it was not only in the asclepius that the hermetic writers used the expression "son of god. at the beginning of pimander, which is the hermetic account of creation, the act of creation is said to be through a luminous word, who is the son of god.2 when discussing the son of god as the creative word, with quotations from the scriptures, lactantius brings in gentile confirmation, pointing out that the greeks speak of him as the logos, and also trismegistus. he was doubtless thinking of the passage on the creative word as the son of god in the pimander, and he adds that "trismegistus, who by some means or other searched into almost all truth, often described the excellence and

g in that work of the account of creation in the timaeus he adds "trismegistus mercurius teaches more clearly such an origin of the generation of the world. nor need we wonder that this man knew so much, if this mercurius was the same man as moses, as artapanus the historian shows with many conjectures.2" and trismegistus is even better than moses because he saw, long before the incarnation, that the creative word was the son of god "ille (moses) potenti verbo domini cuncta areata nunciat, hie (mercurius) verbum illud lucens, quod omnia illuminet. fimum dei esse asseverat" probably ficino is here thinking of a comparison with the beginning of st. john's gospel. as ficino hurriedly translated the pimander for cosimo he would have realised how right lactantius had been when he said that tris

hom all things depend, wishes to create, to make something like that. nor is this treated as a sin of disobedience.1 he is allowed into the society of the seven governors who love him and impart to him their powers. this egyptian adam is more than human; he is divine and belongs to the race of the star demons, the divinely created governors of the lower world. he is even stated to be "brother" to the creative word- demiurge son of god, the "second god" who moves the stars. it is true that he falls, but this fall is in itself an act of his power. he can lean down through the armature of the spheres, tear open 1 festugiere thinks that though man's desire to create was not a fault, since permission to do so was given to him by the father, yet his entry immediately afterwards into the demiurgi

the divinity of christ verified. and with cabala, too, there went a kind of magic, practical cabala. hermetism and cabalism also corroborated one another on a theme which was fundamental for them both, namely the creation by the word. the mysteries of the hermetica are mysteries of the word, or the logos, and in the pimander, it was by the luminous word, the son of god issuing from the nous that the creative act was made. in genesis"'god spoke" to form the created world, and, since he spoke in hebrew, this is why for the cabalist the words and letters of the hebrew tongue are subjects for endless mystical meditations, and why, for the practical cabalist, they contain magical power. lactantius may have helped to cement the union between hermetism and christian cabalism on this point, for

e hebrew alphabet. the doctrine of the sephiroth is laid down in the book of creation, or sefer yetzirah, and it is constantly referred to throughout the zohar, the mystical work written in spain in the thirteenth century which embodies the traditions of spanish cabalism of that time. the sephiroth are "the ten names most common to god and in their entirety they form his one great name- they are "the creative names which god called into the world",3 and the created universe is the external development of these forces alive in god. this creative aspect of the sephiroth involves them in a connection with cosmology, and there is a relationship between the sephiroth and the ten spheres of the cosmos, composed of the spheres of the seven planets, the sphere of fixed stars, and the higher sphere

ich the infinite subtleties of cabalist mysticism are based is connected with the scriptures through elaborate mystical interpretations of the words and letters of the hebrew text, particularly the book genesis (on which large parts of the zohar are a commentary. the hebrew alphabet, for the cabalist, contains the name or names of god; it reflects the fundamental spiritual nature of the world and the creative language of god. creation from the point of view of god is the expression of his hidden self that gives itself a name, the holy name of god,4 the perpetual act of creation. in contemplating the letters of the hebrew alphabet and their configurations as constituents of god's name, the cabalist is contemplating both god himself and his works through the power of the name. the two branch

man as magus, as operator, having within him the divine creative power, and the magical power of marrying earth to heaven rests on the gnostic heresy that man was once, and can become again through his intellect, the reflection of the divine mens, a divine being. the final revaluation of the magician in the renaissance is that he becomes a divine man. once again one is reminded of a parallel with the creative artists for this was the epithet which their contemporaries awarded to the great, of whom they often speak as the divine raphael, or the divine leonardo, or the divine michelangelo. ficino, as we saw from his apology, encountered difficulties from theologians because of his magic. since pico had been much bolder than ficino, his difficulties were much more serious, and the pico case b

h are not as yet clear to the spectators. mersenne1 and descartes were suspected of being rosicrucians because of their recondite interests. and at the same time and place in which hermetism is in retreat before the onslaughts of mersenne, aided by casaubon's discovery, campanella is prophesying at court that the infant louis xiv will build the egyptian city of the sun. the seventeenth century is the creative period of modern science, and the fludd controversies come at the crucial moment when the new turn begins to be made, when the mechanical philosophy of nature provided the hypothesis and the development of mathematics provided the tool for the first decisive victory of man over nature. for "the whole magnificent movement of modern science is essentially of a piece; the later biologica

FREEMASONRY AND CATHOLICISM BY MAX HEINDEL 2

p and which is possessed by the plant. the vital energy which he absorbed into his body was used solely for the purpose of growing, until the time of propagation came, when a new budding body was cast off to grow also. there was no incentive to action, but if there had been, man would have had no mind or will to direct it. for the emancipation of humanity from this negative condition, one-half of the creative force was turned upward under the direction of the angels for the purpose of building a larynx and a brain, that man might learn to create by thought as do the divine hierarchies, and express the creative thought in words. thus man ceased to be physically hermaphrodite and became uni-sexual. he can no longer create from himself physically as do the hermaphrodite plants, nor psychicall

his becomes apparent to him and he starts to search for light, he stands at the pathway of regeneration guarded by the lords of mercury who with their wisdom will guide him toward the desired goal. the method as outlined by the ancient alchemists we shall discuss when we have summed up in a few words the points made. these must be firmly fixed in mind to appreciate the full value of what follows. the creative force used by god to bring a solar system into manifestation, and the force used by the divine hierarchies to form the physical vehicle of the lower kingdoms over which they rule as group spirits, expresses itself in a dual manner as will and imagination, and is the same as the united creative force of the male and the female which results in the creation of a human body. at one time

al vehicle of the lower kingdoms over which they rule as group spirits, expresses itself in a dual manner as will and imagination, and is the same as the united creative force of the male and the female which results in the creation of a human body. at one time man was bi-sexual, male-female, and therefore each was able to propagate his species without assistance from anyone else. but one-half of the creative force has been temporarily diverted upwards to build a brain and larynx in order to enable him sometime to create by his own mind, to form thoughts and speak the word of power that shall make his thoughts flesh. three great creative hierarchies were particularly concerned in bringing about this change: the angels from the moon, the mercurians, and the lucifer spirits from mars. the al

by the power of mind, you still squander one-half of your divine heritage upon desire and sense-gratification. if, therefore, you would become as they, you must learn to turn your whole creative energy upward to be used under the direction of your intelligence entirely. thus only can you become as the gods and create from yourself by the power of your mind and the great word whereby you may speak the creative fiat. remember that physically you were once hermaphrodite like the plant and able to create from yourself. look into the future now through the perspective of the past and realize that your present uni-sexual condition is only a temporary phase of evolution and that in the future your whole creative force must be turned upwards so that you shall become a hermaphrodite spiritually, an

e 'elixir-vitae' which springs from the living stone of the spiritually hermaphrodite philosopher. the alchemical process of kindling and elevating it is accomplished in the spinal cord where the salt, sulphur, mercury and azoth are found. it is raised to incandescence by high and noble thought, by meditation upon spiritual subjects, and by altruism expressed in the daily life. the second half of the creative energy thus drawn upward through the spinal canal is a spinal spirit-fire, the serpent of wisdom. gradually it is raised higher and higher and when it reaches the pituitary body and the pineal gland in the brain, it sets them to vibrating, opening up the spiritual worlds and enabling man to commune with the gods. then this fire radiates in all directions and permeates the whole body a

a home atmosphere of high and noble thought, both parents and children are making wonderful progress. and as great souls cannot be born to ignoble parents any more than water can sink below its level, it would, indeed, be very wrong for aspirants to discipleship to live an entirely celibate life for the sake of self- advancement when conditions permit them to wed; furthermore, the expenditure of the creative force at the few times in a life when it is legitimately required for propagation would not seriously interfere with the spiritual development undertaken to become the philosopher's stone, and the soul- growth gained by assuming the duties of parenthood would far outweigh any possible loss. what the rosicrucians teach then is that marriage between people who will limit their use of th

arth. we shall find at the time of the first advent of christ both hiram abiff, the son of cain, and solomon, the son of seth, reborn to take from him the next great initiation into the christian mysteries. in the last chapter we saw while considering "the philosopher's stone" that the spinal cord is the principal laboratory for the alchemist, and that the spinal spirit fire, generated by turning the creative force upward through the spinal canal, passing it between the pituitary body and the pineal gland in the brain, gives to man a third eye as it were wherewith to see in the spiritual worlds. when this serpentine spirit fire has been sufficiently evolved, he may read by its light the wisdom of the ages. therefore christ exhorted his disciples to be wise as serpents. the egyptian word na

sects and "isms" have branched out in one direction and another, but still jesus from the invisible worlds enfolds in his love all the sons of seth who will call upon his name by faith, and he will eventually unite the scattered churches in the kingdom of christ. christian rosenkreuz was given charge of the sons of cain who seek the light of knowledge at the sacred fires of the mystic shrine. as the creative energy implanted by their divine ancestor samael caused cain to work out their own salvation through the fire of tribulation, and fashion for themselves the golden wedding garment, which is the "open sesame" to the invisible world. and though the cleansing blood of jesus is an absolute necessity to millions of weaker brothers, there can scarcely be any question when we assert that the

FREEMASONRY AND CATHOLICISM BY MAX HEINDEL

so in the moon period among the angels, some had affinity for water, others abhorred it and loved fire. the continued cycles of condensation and evaporation of the moisture surrounding the fiery center eventually caused incrustation, and it was the purpose of jehovah to mold this "red earth" translated adam, into forms wherein to imprison and quench the spirits of the fire. to this end, he issued the creative fiat, and the prototypes of fish, fowl and every living thing appeared, even including the primitive human form, which were created by his angels; thus he hoped to make all that lives and moves subservient to his will. against this plan a minority of the angels rebelled; they had too great an affinity for fire to bear contact with water, and refused to create the forms as ordered; but

mbolic language its status in the cosmic order and the ideal which it tries to realize. from the old testament, containing the atlantean mystery teaching, we learn that mankind was created male-female, bi-sexual, and that each one was capable of propagating his species without the co-operation of another as is the case with some plants today. later on, we are informed, jehovah removed one pole of the creative force from adam, the early humanity, and that there were henceforth two sexes. the esoteric teaching supplements this information by stating that the purpose of this change was to use one pole of the creative force for the building of a brain and larynx wherewith mankind might acquire knowledge and express itself in speech. the intimate connection between the organs, brain, larynx and

he so-called curse pronounced upon eve after her confession declares that she must bear her children in sorrow and pain and that the race will die. it has always been a great stumbling block to bible commentators as to what connection there could be between the eating of an apple, death, and painful parturition; but when we are acquainted with the chaste expressions of the bible, which designates the creative act by such passages as "adam knew eve and she bore abel "how can i bear a child seeing i know not a man" et cetera, it is very evident that the tree of knowledge is a symbolical expression for the creative act. then it is plain that the serpents taught eve how to perform the creative act and that eve instructed adam. therefore, christ designated the serpents as harmful while admittin

hile admitting their wisdom. to get at the identity of the serpent it is necessary to invoke the esoteric teaching, which points them out as the martial lucifer spirits, rulers of the serpentine sign scorpio. their initiates, even so late as the egyptian dynasty, wore the uraeus or serpent symbol in the forehead as a sign of the source of their wisdom. as a consequence of this unauthorized use of the creative force, humanity ceased to be ethereal and crystallized into the coats of skin or physical body which now hides from them the gods who dwell in the invisible realms; and great was their sorrow at this loss. generation had been originally established by the angels under jehovah. it was then performed in great temples under propitious planetary conditions and parturition was then painles

thereal and crystallized into the coats of skin or physical body which now hides from them the gods who dwell in the invisible realms; and great was their sorrow at this loss. generation had been originally established by the angels under jehovah. it was then performed in great temples under propitious planetary conditions and parturition was then painless, as it is today among wild animals where the creative function is not abused for the purpose of gratifying the senses. degeneration resulted from the ignorant and unauthorized abuse inaugurated by the lucifer spirits. regeneration must be undertaken in order to restore man to his lost estate as a spiritual being and to free him from this body of death wherein he is now encrusted. death must be swallowed up in immortality. to attain this

the. in that ancient age when cain and abel first found themselves upon earth, abel contentedly cared for the flocks created like himself and his parents, adam and eve, by jehovah; but in cain, semi-divine progeny of the lucifer spirit, samael, and eve, the creature of jehovah, divine incentive to original effort burned; he tilled the field and made two blades of grass grow where one grew before; the creative instinct must have expression. hiram, being the focus of and having inherited all the crafts of cain, was also invested with the spirit of samael intensified in commensurate ratio; therefore he was consumed by an overpowering urge to add something to the temple that would eclipse the rest of the structure in beauty and importance. out of the travail of his spirit was born the concepti

FREEMASONS SATANISM AND SYMBOLISM

be surprised, for albert pike told us that freemasonry is "identical to the mysteries" masonic emblem of square and compass depicting sex masonic authors boldly state that the symbolism of the traditional square and compass of freemasonry represents the heterosexual sex act. listen to albert pike explaining this fact to members of the 32nd degree "the compass, therefore, is the hermetic symbol of the creative deity, and the square of the productive earth or universe [morals and dogma, p. 850-1. therefore, the masons look at the compass as the male phallus and the square as the female vulva. as you look at the masonic emblem here, you can see the obvious penetration of the female square point by the points of the compass. one point of difference here is that the satanist generally reverses

FULLER J F C SECRET WISDOM OF THE QABALAH

secret wisdom of the qabalah page 23 the hebrew adonai, for the true name of tetragrammaton (yhvh) may not be pronounced. thus, as the ayin, ain soph, and ain sopb aur form a group of three unthinkable principles, so do ehyeh, yhvh, and elohim form a group of three intelligent principles- abstract thoughts, thought in time and thought in everything; for the whole universe arose out of the voice (the creative instrument) which expressed the ineffable thought of light in the words gyehe aur h- hlet there be light h. thus to the qabalist the universe is a divine form reflected in a beam of light, a form which will vanish utterly back into the ayin when this beam is cut off. existence, therefore, is light; perhaps that light which present-day science calls gradiation h. the sephirotic scheme

rbits, or spheres; the probable germ of the idea of the sephiroth, or media between the highest and lowest worlds. 12 historically interesting as these general origins are, philosophically the most important correspondences are those connected with the sephirah 'hokmah; for in many places in the old testament and in the new, especially in the works of st. paul and st. john, is wisdom described as the creative power. the book of genesis opens with the words gin the beginning h, which in hebrew are rendered by the word b'raishith, which by many qabalists is spelt be'raishith, which means gthrough wisdom h, or through the word or principle which expresses wisdom- namely the logos of philo and st. john. a similar idea is found in the chaldaic word memrah, in the vach of the rig veda, honover o

aining within itself ten of these intelligences, each of which is threefold in nature for as it is written: gjust as the ancient is represented by the number three, so are all the other lights of a threefold nature. h 21 in all there are, therefore, 400 sephiroth in the world scheme, and as 400 is the numerical value of u, tau,th, the last letter of the hebrew alphabet, 400 completes the cycle of the creative voice or logos. as the threefold order is intellectually important, so is the fourfold order physically important, the two multiplied together making 12 and representing the zodiac (see plate v on page 34, the twelve months of the year, etc, and consequently the entire creative cycle symbolized by two interlaced six-pointed stars or seals of solomon; the one being the great work below

no serpent; then one serpent; lastly two forms of one serpent, that is a serpent possessing two complementary energies which when balanced cause its immediate destruction. these two energies, or powers, are called metatron and sammael; and in the name of tetragrammaton they are symbolized by the od and the vau- the serpent coiled up or passive and the serpent erect or active. the first represents the creative energy and the second actual movement or change. these two serpents are the guardians of those forces which man calls good and evil; they are, as we have already mentioned, symbolized by yakhin and boaz, the pillars of solomon's temple, and flow into kether through the fifty gates of binah, 50 being the numerical value of kl (lk) which means gall h, or the gunderstanding of all h. mos

for all men, or, according to the hebrews, all the chosen people, are sons of god, particles of divinity, atoms of spirit, and when all these atoms unite in one spiritual ecstasy the messiah is born; for he is the integration of the totality of spirit in mankind. not a spark descending into darkness, but darkness dissolving into illimitable light. from the active to the formal, from the formal to the creative, from the creative to the archetypal, and thence back into the no-thingness, the source and the end of all things: such is the complete messianic hypostasis. secret wisdom of the qabalah page 61 chapter vi the source of mystic power the essence of the qabalah. the wisdom of the qabalah may be sublime or it may be diabolical; but whatever its values are, one thing is certain: they are

GAMBLE ELIZA BURT THE GOD IDEA OF THE ANCIENTS OR SEX IN RELIGION

itive religion, the analogy existing between the growth of the god-idea and the development of the human race, and especially of the two sex-principles, is everywhere clearly apparent "religion is to be found alone with its justification and explanation in the relations of the sexes. there and therein only"[3 [3] hargrave jennings, phallicism. as the conception of a deity originated in sex, or in the creative agencies female and male which animate nature, we may reasonably expect to find, in the history of the development of the two sex-principles and in the notions entertained concerning them throughout past ages, a tolerably correct account of the growth of the god-idea. we shall perceive that during an earlier age of human existence, not only were the reproductive powers throughout natu

t we shall find also that the prevailing ideas relative to the importance of either sex in the office of reproduction decided the sex of this universal creative force. we shall observe also that the ideas of a god have always corresponded with the current opinions regarding the importance of either sex in human society. in other words, so long as female power and influence were in the ascendency, the creative force was regarded as embodying the principles of the female nature; later, however, when woman's power waned, and the supremacy of man was gained, the god-idea began gradually to assume the male characters and attributes. through scientific research the fact has been observed that, for ages after life appeared on the earth, the male had no separate existence; that the two sex-princip

hildren. the ceremonies observed at these festive seasons consisted for the most part in merry-making and in general thanksgiving, in which the gratitude of the worshippers found expression in song and dance, and in invocations to their deity for a return or continuance of her gifts. subsequently, through the awe and reverence inspired by the mysteries involved in birth and life, the adoration of the creative principles in vegetable existence became supplemented by the worship of the creative functions in human beings and in animals. the earth, including the power inherent in it by which the continuity of existence is maintained, and by which new forms are continuously called into life, embodied the idea of god; and, as this inner force was regarded as inherent in matter, or as a manifesta

pment, have been discovered the beginnings of the religious idea and the mental qualities which among primitive races prompted worship, so, also, through extinct tongues and the symbolism used in religious rites and ceremonies, many of the processes have been unearthed whereby the original and beautiful conceptions of the deity, and the worship inspired by the operations of nature, and especially the creative functions in human beings gradually became obscured by the grossest ideas and the vilest practices. the symbols which appear in connection with early religious rites and ceremonies, and under which are veiled the conceptions of a still earlier and purer age, when compared with subsequently developed notions relative to the same objects, indicate plainly the change which has been wroug

s gradually became obscured by the grossest ideas and the vilest practices. the symbols which appear in connection with early religious rites and ceremonies, and under which are veiled the conceptions of a still earlier and purer age, when compared with subsequently developed notions relative to the same objects, indicate plainly the change which has been wrought in the original ideas relative to the creative functions, and furnish an index to the direction which human development, or growth, has taken. as the human race constructs its own gods, and as by the conceptions involved in the deities worshipped at any given time in the history of mankind we are able to form a correct estimate of the character, temperament, and aspirations of the worshippers, so the history of the gods of the rac

deities worshipped at any given time in the history of mankind we are able to form a correct estimate of the character, temperament, and aspirations of the worshippers, so the history of the gods of the race, as revealed to us through the means of symbols, monumental records, and the investigation of extinct tongues, proves that from a stage of nature worship and a pure and rational conception of the creative forces in the universe, mankind, in course of time, degenerated into mere devotees of sensual pleasure. with the corruption of human nature and the decline of mental power which followed the supremacy of the animal instincts, the earlier abstract idea of god was gradually lost sight of, and man himself in the form of a potentate or ruler, together with the various emblems of virility

e descriptions of two trees of life, also a tree of knowledge. in the accounts given of these trees, the ficus, the female tree of life, represents the life of the soul, while the palm, the male tree of life, is that which gives physical life, which also is the true significance of the word "lord" when, however, either of these trees stood alone, or unaccompanied by its counterpart, by it both of the creative principles were understood. by these ideas is suggested the thought which among a certain school of psychologists of the present century seems to be gaining ground, namely: that man is a dual entity, or, in other words, that he has a subjective mind and an objective self, which so long as this life endures must co-operate or work together. in the following descriptions of egyptian emb

them until they acquire such a degree of magnitude as to burst it open and release themselves, after which, like other aquatic weeds, they take root wherever the current deposits them. this plant, therefore, being thus productive of itself, and vegetating from its own matrix, without being fostered in the earth, was naturally adopted as the symbol of the productive power of the waters, upon which the creative spirit of the creator operated in giving life and vegetation to matter. we accordingly find it employed in every part of the northern hemisphere, where the symbolical religion improperly called idolatry does or did prevail. the sacred images of the tartars, japanese, and indians are almost all placed upon it, of which numerous instances occur in the publication of kaempfer, sonnerat

GILBERT THE MAGICAL MASON

lacing the four mystic hebrew letters by the fivethe ten sephirothiiivowels of our modem languages.'rhusthe sacred name, if written only in its first reflection, is the last word arising from our human intelligence, on quitting the most arduous summits of science, to trust itself to the wings of faith. it is then but the human name of god, or if preferred, the divine name of the nature of man.[od,the creative activity of wisdom. he, the incomprehensible understanding. vau, the equilibrated union of the two. iod is chocmah, he is binah, the vau is tiphereth, the second he is malkuth, the kingdom, in which we see the reflection, or rainbow of the crown, kether. such is the divine ideal in the three worlds: three triangles which are as one triangle, three complete ideals, three complete and a

and the wind carried it in its belly, and its nurse was the earth' this is a grand arcanum for those who can read it. read also 'that which is above is like that which is below, and 'that which is below is like that which is above in the formation of the one power; as in heaven above, so on earth below, there exists an analogy between the sublime personalities of god-head in the realms above, and the creative and mother divine forces holding sway in this particular terra, our world. the essence of fire is developed in us through sol, or fire, luna, or water, wind, or air, and is as if nourished in our earth. its forces pulsate with attraction and repulsion, they ascend and they descend, even as we see in an analogous manner the sun of our universe holds by attraction all the planets in the

l philosophy, and from these early attempts at using the rarer forces of nature and the undeveloped faculties of man have come the studies of electricity, of magnetism and the discovery of the supra-normal process of the human mind and personality shown in hypnotism, telepathy and similar modern developments. on the other hand, the deeply mystical and learned specula255 tions of the ancients upon the creative power above us and the relations between god and man as developed in the old and new testaments, in the kabalah of the hebrews, in the wisdom of buddha, in the bhagavat gita of the hindoos, in the revelations of st john the divine, and in the pauline epistles and the many doctrines of the later greek gnostics, although of theinterest, have partly lapsed into oblivion; at any158themagi

are like the later hebrew kabalah- knowledge received and transmitted as legends from generation to generation, before the era arrived when they could be recorded in any script now comprehensible. in addition to this form of history, the world has at intervals received inspiration and enlightenment from great beings who have dwelled among men, and who appear to have been in truth messengers from the creative divinity who is over all, or from his emanations, whether they may be called archangels, devas or gods; some of these appear to have taught forms of religion, some ethics and morality, and others important truths of nature. may we so think of zoroaster, of gautama the288themagicalmasonbuddha, of hermes trismegistus of egypt, of lao tze and confucius, of pythagoras, of socrates and pla

GLOBAL FREEMASONRY

heistic, a charge which was vehemently, if never entirely successfully, rebutted by the kabbalists. not only was the divine plural in kabbalistic theosophy, but in its first subtle emanation from unknowable unity god had taken on a dual form as male and female; a supernal father and mother, hokhmah and binah, were god's first emanated forms. kabbalists used frankly sexual metaphors to explain how the creative intercourse of hokhmah and binah generated further creation. 27 an interesting feature of this mystical theology is that, according to it, human beings are not created, but are in some way divine. owens describes this myth: the complex divine image was also visualized by kabbalah as having a unitary, anthropomorphic form. god was, by one kabbalistic recension, adam kadmon: the first p

re (rocks, mountains, winds, water, etc) has its own spirit and consciousness. the greek philosopher aristotle combined this belief with materialism (the belief that matter is uncreated and is the only absolute) and even today, the attribution of consciousness to lifeless things being the essence of materialism has become a kind of contemporary paganism. global freemasonry ddg materialism accepts the creative ability of lifeless and unconscious matter. in other words, it turns matter into an idol. masons believe that atoms have spirit and openly admit to their belief in such a superstition. masonic writings are full of interesting accounts of this belief. an article in mimar sinan entitled "the way of truth" maintains: if we accept the animist hierarchy that spirit exists in an atom, that

GNOSTIC HANDBOOK

al kingdom is known as the pleroma or fullness, because it is filled to the brim with light and life. at the same time, the major spiritual forces within it are known as aeons. while in the gnostic tradition we tend to emphasize the three principles, the divine will, logos and sophia and the seven spirits or aeons, there is a universe of created beings which exist in the pleroma and which fulfill the creative directive expressed by the lord of wisdom. in one gnostic tradition, michael (as a manifestation of the logos ray) and first the gnostic handbook page 26 estate predecessor of jesus, who was the first created immortal. the divine will the divine will is the first principle of action, it is kether in the kabbalah and brahma in the hindu traditions. it is the creative principle, not in

in the norse traditions the gods are ultimately destroyed at ragnorak and a new cycle of manifestation, conflict and resolution begins. while within gnosticism the omega day ends the cycle and a new heaven and new earth begins. the vedic system outlines this cycle in far more detail, the whole of creation is governed by a series of cyclic processes, these range from the days and nights of brahma (the creative force) to the yugas or epochs. the sanskrit names for the four ages are krita or satya yuga, treta yuga, dvapara yuga and kali yuga. the krita or satya yuga is the golden age, the age of spirit and it is from here that things get successively worse until the kali age, which ends in an apocalypse of water and fire. each age in succession is shorter than its predecessor, is more intense

GNOSTIC STUDIES THE GNOSTIC HANDBOOK II GNOSTIC THEURGY

if one looses. what is the use of a divine quest if everyone achieves the same end with some simply taking more time than others. no, reincarnation is a process of opportunities, opportunities that if missed, have dire consequences. reincarnation does not go on forever, in the vedic tradition there are certainly days and nights of brahma- cycles of creation and cessation. if you do not make it in the creative cycle you will not survive the cessation. in the biblical tradition it is much the same. when the bible talks of the period from creation to the end of the world, it is clearly limiting man s opportunities to be redeemed. man s opportunity for transfiguration is limited, he does not have an eternity to make up his mind. again and again we find that reincarnation is for a certain time

GOLDEN DAWN MEDITATION WITH THE ARCHANGEL GABRIEL

y! may the angel taliahad and the ruler tharsis be also in attendance! i have gained admission to this temple through the badge of the cup of stolistes. hear me! i arn one who has received the mystic title of monocris de astris and the symbol of maim. as a unicorn of the stars i invoke the powers of water to bear witness to my spiritual endeavor. grant me the knowledge of the element of water and the creative realm, so that i may obtain greater understanding of hidden things and thereby advance in the great work" circumambulate the temple three times, saluting with the neophyte signs when passing the east. go to the west and face east. give the adoration to the lord of the universe: holy art thou, lord of the universe (projection sign) holy art thou, whom nature hath not formed (ps) holy a

GOLDEN DAWN RITUALS ZAM10

to containing your aura within the black egg. say "invisible, i cannot pass by the gate of the invisible, save by the virtue of the name of light" step 20 formulate the shroud forcibly. say" i am the light shrouded in darkness. i am the wielder of the forces of the balance" 9 step 21 concentrate the shroud mentally. go to the west of the altar, and remain standing. say "o thou divine creature of the creative darkness of spirit, formulate thou about me. i command thee by the name of hwchy. come unto me, shroud of darkness and of night. i conjure ye, o particles of spiritual darkness, that ye enfold me as an unseen guard and as a shroud of utter silence and of mystery. in and by the names hyha, alga and \yhla hwhy, i conjure thee. in and by the names exarp, betom, hcoma, nanta, i invoke the

GOLDEN DAWN RITUALS ZAM3

upon reaching the heaven of levanah, let the adept stand in the sign of the enterer, projecting the healing light to the golden wand of the chief adept, who having purified himself and risen unto his higher genius, will be receiving the light through the gold wand of trapt and projecting it unto the healing petitions surrounded by the four elements (notice that the adept is now in the position of the creative force as tho-oth in the exordium of the enterer of the threshold) step 14 at the pinnacle of projected power, let the adept say "khabs om pekht" followed by the sign of silence. chief adept will say "konx om pax. light in extension" followed by the sign of silence. step 15 let the adept now descend at his or her own pace and close with the usual banishind the advanced meditation of ra

GRERALD SCHUELER AN ADVANCED GUIDE TO ENOCHIAN MAGICK

occultism uses these terms because of their correspondences. cosmic water is somewhat like physical water. for example, it is reflective, and expressive. both can be easily molded into any desired shape. but the similarities can only be stretched so far. the golden dawn taught the qabalistic doctrine of four worlds or planes as follows: 1. atziluth, the divine world of archetypal ideas. 2. briah, the creative world of the archangels. 3. yetzirah, the astral world of angels and demons. 4. assiah, the physical world, the lowest and most material. these bear striking sinnilarities to the enochian earth, water, air, and fire tablets. you must always remember that the earth tabeet refers to the etheric plane rather than to our physical world. in the same way, the hebrew qabalah equates the lowe

sit the city of the pyramids. magister templi binah zid cross the abyss and gain full (master of the temple) knowledge and conversation of the holy guardian angel magus chockmah zom enter spiritual plane and gain full mastery of life. ipsissimus kether lil enter non-duality 'these were used in the golden dawn. 151 sex in enochian magick for us, sex is the first unconscious manifestation of chiah, the creative energy; and although (like everything else) it is shown both on the spiritual and the physical planes, its most important forth-showing is on the "magical" plane, because i t actually produces phenomena which partake of all these. thus in sex we find every one of the primary correspondences of chokmah. aleister crowley, magick without tears the first aethyr, lil, and all the inconceiv

the physiological basis of the oversoul (of the nature of the gods. the 153 154 supernal father is said to have risen up from the depths and uttered the word which led to the creation of the world. it was not a deliberate conscious act so much as a spontaneous outward expession of inherent internal creative forces. the same is true of the phallus, at least to a degree. the entire world arose from the creative impulse of the divine father contacting the material nature of the divine mother. the father is chockmah, wisdom and pure consciousness. the mother is binah, understanding, the sea, the matrix, field, or space, in which creation finds itself. the self is masculine. the n o t self is feminine. subjectivity is masculine. objectivity is feminine. every being is a geometric point of consc

many of these formulas. in addition, 71x 16=1136, which ,connects the formula with its parent phrase. the words t-oog mean "like a chamber" both 77 and 71 are values for the word t-il meaning "like an aethyr" the formula of toog is thus associated with the feminine current. it is not surprising that 77 is the number for odosa which means "to open up what is within" the name itself suggests lust (the creative desire of leo) joined to motion (the chariot of cancer) by the two modes of karmic 183 retribution (the justice of libra. karma is both personal and collective and can result in either harmony or conflict, good or evil this dualistic nature of justice was personified by the egyptian goddess maati (maati was the twofold aspect of maat, goddess of truth and justice, consort to the god t

s karma. two forces impel him:(1) the attraction of binah (2) the impulse of his karma: and the ease and even the safety of his passage depend on the strength and direction of the latter. aleister crowley, liber thisharb exoterically it (ie, the word tcshetra9 means simply-"field" while esoterically it represents "the great abyss" of the kabalists, the chaos and the plane (cteis or yoni, in which the creative energy implants the germ of the manifested universe. in other words they are the purusha and prakriti of kapila, the blind and the cripple producing motion by their union, purusha supplying the head and prakriti the limbs. h.p. blavatsky, the theosophist, vol v, no. 5 (53) one of the most significant milestones in the life of a magician is the crossing of the great outer abyss. enochi

al body. conduct the appropriate banishing rituals. an advanced vrelp meditation. step 1. meditate on the meaning and correspondences of the magick square of vrelp. consider its similarities with the magick squares of arsoe and laha. step 2. meditate on the magick square of vrelp itself. consider the balance of its letters. consider the four corners which include v (the devil in capricorn) and p (the creative lust of leo. step 3. meditate on yourself as a solar expression. consider the similarities between the light of the sun and the light of consciousness. step 4. transfer the magical forces embodied in the 262 talisman of the magick square of vrelp to yourself. consider your own body of light as a possible vehicle in which to visit the sun. step 5. imagine your consciousness to be one w

ke in y our l e f t hand. fa c e the watchtower of water and say, 325 mpharslgaiol (em-peh-heh-ar-ess-elgah-eeoh- leh) raagiosl (rah-ah-geeoh- sel) great king of water who rules over the square s in the great cross of water, come to me. slgaiol (sel-gah-ee-oh-leh) soaiznt (soh-ahee-zoden-teh) saiinov (sahee- ee-noh-veh) mighty seniors of the square s in the great cross of water, come to me. bring the creative power of leo and the unbounded energy of mars here to me. concentrate on the square s of the great cross of water. see the power that abounds in this region to be flowing from the great cross of water into the blue cake in the form of a pale blue mist. step 5. replace the talisman of the square s with that of the square l and say, mpharslgaiol raagiosl great king over the square l in

ross of air into the yellow cake in the form of a light yellow mist. step 7. replace the talisman of the square a with that of the square h and say, oroibahaozpi bataivah 327 great king over the square h in the great cross of air, come to me. habioro (hab-bee-oh-roh) htnorda (heh-teh-noh-rah-dah) hipotga (hee-poh-teh-gah) mighty seniors of the square h in the great cross of air, come to me. bring the creative power of leo and the stability of saturn here to me. concentrate on the square h in the great cross of air. see the power that abounds in this region to be flowing from the great cross of air into the yellow cake in the form of a light yellow mist. step 8. hold the talisman of the first square a from the center of the great cross of fire in your right hand. hold the red cake in your l

GREY W G CONDENSATION OF KABBALAH

ed creation. three pushes of three concepts symbolised as spheres, followed by a final heave which produced material existence. much like the birth-process where after nine months of gestation, one last effort expels the entire result from a mother s body, and a separate yet blood-related soul becomes born. a case of god creating man after his own image and likeness. this four-fold process suited the creative name of god perfectly. yhvh (i was, i am, i will be. three letters with the second re-used as a final. the kabbalists thought in terms for this by postulating a four world theory, or four distinct advances of consciousness by which god arrived at the state of creation we live in. they classified these as: 1. atzilut or a condition of origination in which god did no more than conceive

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

g in festive song, might proceed that of worshipping. in the slavic tongues suxva is gloria, slaviti venerari, slavik [0. slav, slaviy, russ. solovuy] the glorifying jubilant bird, as drjs(t>i/ is from del8(o, and our nahtigala from galan, canere. if dot86faculty, as in 7ron]t7, i.e, faber^ that ei'5w i see, and delsu i sing, both change ei into ot proves no connexion between them, the change being common to many verbs(\ei-rru xolttos /cei/tat koltt; vates, at once seer and singer, is an important link. tr.^ns. vol. iii^ b 900 poetry (and our smid equally stood foi' the fraraer of tlie lied or lay, on. liosa-smisr, was to be

H SPENCER LEWIS ROSICRUCIAN MANUAL AMORC 1990

e science of astronomy.[163] aten.a name for the symbol of the "sole everliving god" made understandable by akhnaton after he established a monotheistic religion in egypt. aten was represented by the sun disk, the sun being the symbol of the life-giving radiance of the invisible god. not as god, or even as a sacred symbol, is the sun disk used by modern rosicrucians, but as an objective symbol of the creative mind and divine essence of god. atlantis.the name of the continent once occupying a considerable portion of the space occupied now by the atlantic ocean. atlantis was well advanced in civilization in parts and was the ancient home of mystic culture. mt. pico, which still rises above the ocean among the group of azores islands, was a sacred mountain for mystic initiation (see ritual of

dvantage of the subconscious reasoning. disease.a local or general disturbance of the harmonious constructive process of the living creative cells. regardless of the cause, the condition is fundamentally the same. the disturbing, breakingdown process among the diseased cells is being strongly or weakly fought by the healthy, normal cells, according to the general constitution of the body. through the creative, constructive powers of the healthy cells, nature attempts to end the destruction and renew the diseased cells and restore health. the battle calls for concentration of energy and robs the general system of its normal status, while the disease is also disqualifying many cells, organs, tissues, and parts of the body for normal, constructive work; hence fevers, weakness, mental and phys

profit organization. the general administration of the order is governed by the board of directors of the supreme grand lodge of whom the imperator is president. the general membership of the order constitutes a separate body under the direction of the supreme grand lodge through the grand lodge executive committee, composed of the grand master, the grand secretary, and the grand treasurer. logos.the creative cosmic or divine power manifest as a spoken word. the divine idea or thought objectified by divine utterance. lost word.to the natural cosmic forces, the physical laws of the universe, man attributes a once uttered word as their source, which continues to reverberate throughout the universe and which he can no longer, at least in its entirety, apprehend. the word is conceived as a vib

HANDBOOK OF EGYPTIAN MYTHOLOGY

deities, the period of rule by semidivine kings (history, and the return to chaos. chaos summary: before creation there was a state of chaos that contained the potential for all life. this inchoate state was imagined as a dark watery domain of unlimited depth and extent. elements and qualities of chaos could be personified as gods and goddesses. some of these deities had to change or die to begin the creative process. the origin of the universe was an intellectual problem that came to fascinate the egyptians. texts that allude to the unknowable era before creation define it as the time before two things had developed. 1 the cosmos was not yet divided into pairs of opposites such as earth and sky, light and darkness, male and female, or life and death. the egyptians speculated that the prim

claims to have been with the creator even in the primeval era. in the cosmogony of neith recorded in the roman period temple at esna, this goddess creates the whole world with seven magic words. when isis came to be worshipped as a creator deity during the same period, she was called the mistress of the word in the beginning. from at least as early as the new kingdom, the god ptah could represent the creative mind. then sia and hu were identified as the heart and tongue of ptah. this concept is expounded in the so-called memphite theology and in various hymns to ptah. the ancient egyptians believed that the heart was the organ of thought and feeling. so ptah was said to have made the world after planning it in his heart. it was through what the heart plans and the tongue commands that ever

nked with those of more established creator deities such as ra or ptah. the hand of atum. before creation begins there is no division into genders. the creator seems to include both the male and female principles. creator deities were commonly called the father and mother of all things. deities who were normally regarded as male, such as atum, are described as giving birth to other deities during the creative process.8 the actual means by which the creator reproduced were sometimes left vague and sometimes described in terms of blunt sexual imagery. pyramid texts (pt) spell 527 says that atum took his penis in his hand and masturbated and so were born the two siblings, that is shu and tefnut. in pt 600, atum- khepri is said to be the one who spat out shu and tefnut.9 several passages in th

me lines. ra- atum placated the angry eye by placing her on his forehead as the uraeus. shown as a cobra coiled around the sun disk, she was more powerful than all other deities. important goddesses such as hathor, bastet, and mut can be called both the eye of atum and the eye of ra. other egyptian texts refer to these two eyes as if they were separate 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

sun and other celestial bodies across the sky. young beetles hatch out of buried dung balls and fly off. their apparently miraculous emergence from the ground may have given rise to the idea of khepri as a self-generated deity. as early as the pyramid texts, khepri is given as one of the names of the sun god. he is addressed as the shining one and the one who is in the nun. khepri was linked with the creative power of the heart and identified with the infant sun god who began creation by rising out of the primeval waters or the primeval lotus. 152 handbook of egyptian mythology the miracle of that first sunrise was repeated every day. in the myth, the true name of ra, the wounded sun god tells isis that he is khepri in the morning, ra at noon, atum in the evening. khepri, the young sun of

HELENA BLAVATSKY THE KEY TO THEOSOPHY

one line of life along which they are strung, like beads, runs unbroken; it is ever that particular line, never any other. it is therefore individual, an individual vital undulation, which began in nirvana, or the subjective side of nature, as the light or heat undulation through aether, began at its dynamic source; is careering through the objective side of nature under the impulse of karma and the creative direction of tanha (the unsatisfied desire for existence; and leads through many cyclic changes back to nirvana. mr. rhys-davids calls that which passes from personality to personality along the individual chain character, or doing. since character is not a mere metaphysical abstraction, but the sum of one's mental qualities and moral propensities, would it not help to dispel what mr

nciple, or deity (see theosophical glossary) skandhas the attributes of every personality, which after death form the basis, so to say, for a new karmic reincarnation. they are five in the popular or exoteric system of the buddhists: i.e, rupa, form or body, which leaves behind it its magnetic atoms and occult affinities; vedana, sensations, which do likewise; sanjna, or abstract ideas, which are the creative powers at work from one incarnation to another; samkhara, tendencies of mind; and vij ana, mental powers. somnambulism "sleep walking" a psycho-physiological state, too well known to need explanation. spiritism the same as the above, with the difference that the spiritualists reject almost unanimously the doctrine of reincarnation, while the spiritists make of it the fundamental princ

s, namely, krita (or satya) yuga, the golden age; treta -yuga, dvapara-yuga, and finally kali-yuga, the black age-in which we now page 171 the key to theosophy- hp blavatsky.txt are. zenobia the queen of palmyra, defeated by the emperor aurelianus. she had for her instructor longinus, the famous critic and logician in the third century ad (see longinus) zivo, kabar (or yukabar) the name of one of the creative deities in the nazarene codex (see isis unveiled) zohar (heb) the book of splendor, a cabalistic work attributed to simeon ben iochai, in the first century of our era (see for fuller explanation theosophical glossary) zoroastrian one who follows the religion of the parsis, sun, or fire-worshippers. appendix -ooo- the theosophical society: information for inquirers the theosophical soc

HUEBNER LOUISE WITCHCRAFT FOR ALL WICCA 04

ou're intending to do and how you can make good in your career. but it also, indirectly, has to do with people and authority over you. as the fourth circle had to do with people in your background, the tenth circle deals with the people you are trying to reach, so it can be the area dealing with your ambition. the eleventh circle, you should notice, is directly opposite the fifth circle, which is the creative expression of yourself. the eleventh circle, being opposite the fifth, is what you reach because of that creative expression. if your creative expression is the writing of a book, the eleventh circle would indicate whether or not you were published or whether you were someone who just wrote for yourself and never were in print. in a love affair, the eleventh circle deals with what kin

ically you should be able to calculate cycles within cycles, and break it down to your daily, weekly or monthly cycle. look at cycles of ten year cycles. during the first ten, attention is focused on you. in the next ten, you are reacting to everyone else and from twenty to thirty you are involved in the jupiter cycle; this is creative and may be why this is suddenly the potent time for sex; it's the creative urge. jupiter has to do with creativity, a joyous response to situations around you. from thirty to forty is the saturn cycle, denoting restrictions; forty to fifty, mercury, making abstract things real. communication is important at that point; the average individual wants to be very certain that everybody understands him verbally. from fifty to sixty are the venus years. this is the

INITIATION INTO HERMETICS

and expansion. in the beginning of all things created therefore must have been fire and light, and in the bible we read: fiat lux there shall be light. the origin of the light, of course, is to be sought in the fire. each element and therefore that of fire, too, has two polarities, i.e, the active and the passive one, which means positive) and negative. plus will always signify the constructive, the creative, the productive sources whereas minus stands for all that is destructive or dissecting. there are always two basic qualities, which must be clearly distinguished in each element. religions have always imputed the good to the active and the evil to the passive side. but fundamentally spoken, there are no such things as good or bad; they are nothing but human conceptions. in the univers

ect you imagined, nothing else of the surroundings must be noticed. check disturbances with the aid of the string of beads. if you have succeeded in holding on to any object hanging plastically in the air for 5 minutes without the least incident, the task of this exercise has been fulfilled. after the visual concentration, let us make an inquiry about the auditory concentration. at the beginning, the creative imagination has to perform a certain role. it is, as it were, impossible to say, imagine the ticking of a clock or something like that because the concept of imagination generally involves a pictorial representation, which cannot be said about auditory exercises. for the sake of better understanding we ought to say: imagine you hear the ticking of a cock. therefore let us employ this

ISIS UNVEILED

were the first works of god. he only said that god created heavea and earth through the prindpu, who is his son. it is not the time he points to, but to the immediate author of the creatichi" angels, according to augustine, were created b^ore the firmament, and according to the esoteric interpretation, the heaven and earth were cre- ated after that, evolving from the second principle or the logos the creative deity "the word priticipe" says beausobre* quoting augus- tine "does not mean that the heaven and earth were created before anything else, for, to begin with, the angeu were created before that; but that god did everything through his wisdom, which u his verlmm, and which the christian bme named the beginning" thus adopting the exo- teric meaning of the word abandoned to the multitude

matic narrow-mindedness, and a childish fear of looking to the bottom of things, invariably leads to fetish-worship and superstition. when cyril, the bishop of alexandria, had openly embraced the cause of isis, the egyptian goddess, and had anthropomorphized her into mary, the mother of god; and the trinitarian controversy had been begun; from that moment the egyptian doctrine of the emanation of the creative god out of emepht? began to be tortured in a thousand ways, until the councils had agreed upon the adoption of it as it now stands the disfigured ternary of the kabalistic solomon and philo! but as ha origin was yet too evident, the word was no longer called the 'heavenly man' the primal adam kadmon, but became the logos christ and was made as old as the 'ancient of the ancient' his f

roverbs, viii, 23, it reads "i was effused from otdam, from has (wisdom. by this sentence the wise king-kabalist refers to one of the mysteries of the human spirit the immortal crown of the man-trinity. while it ought to read as above, and be interpreted kabalistically to mean that the (or my eternal, immortal ego, the spiritual entity, was effused from the boundless and nameless eternity through the creative wisdom of the unknown god, it reads in the canonical translation "the lord possessed me in the beginning of his way, before his works of old" which is unintelligible nonsense, without the kabalistic interpretation. when solomon is made to say that/ was "from the beginning. while as yet he [the supreme deity] had not made the earth nor the highest part of the dust of the world. z was t

laced by the axm; figurei in india. it it the emblem of the the celertial papendicular and the t erm. tiimltrti, three in one. lite trian^ with trial horiiontal baae-linb* but the idea iti apex upward indicates the male prind- is the tame; adam ifj^mmi? the type pie, downward the female; the two typify- of humanity a* a cosectite totality within ing at the nme time tpirit and matter. the unity of the creative god and the uni- hiit wtdd within the infinite universe it venal ^lirit. the microcoam within the macrocomn. as toa bn? tb* trinit? ol sum, ud a, in the jewish kabala. it is tbe tymbol of bbht of the womb of the universe, the terreatrial dpk, tli tgg, whose archetype is the golden mun- dpk dane egg. it is from within this spiritual bosom of mother natute that proceed all the great sav

rom the eternity, boundless and absolute; and it emitted from itself the spirit "one is the spirit of the living god, blessed be his name, who jjveth for ever! voice, spirit, and word, this is the holy spirit* and this is the kabalistic abstract trinity, so unceremoniously anthropomorphized by the fathers. from this triple one emanated the whole cosmos. first from oss emanated number two, or air, the creative element; and then number three. water, proceeded from the air; ether or fire complete the mystic four, the arba-il "when the concealed of the concealed wanted to reveal himself, he first made a point [primordial point, or the first sephira, air or holy ghost, shaped it into a sacred form [the ten sephiroth, or the heavenly man, and covered it with a rich and splendid garment, thai it

^uuh 9. 707. ibid, muhnah 10. 708. zoltar. i. 2 a. digitizecoy google the night of brahma 278 servants' quotes the yd^rak, showing the cosmtcal character of the later personified angeu" and that the spirit permeates every minutest atom of the cosmos* when the cyde of creation is nm down, the energy of the manifested word is weakening. he alone, the unconceivable, is unchangeable (ever latent, but the creative force, thou^ also eternal, as it has been in the former from 'no beginning' yet must be subject to periodical cycles of activity and rest; as it had a beffinnin^ in one of its aspects, when it first emanated, therefore it must also have an end. thus the evening succeeds the day, and the night of the deity approaches. brahma is gradually falling asleep. in one of the books of the zohar

JASMUHEEN THE FOOD OF GODS

sdom and divine power blend together we all can come into a state of freedom where we can express our divine nature with honor. divine nutrition: the madonna frequency& the food of gods with jasmuheen 68 divine love, divine wisdom and divine power are also the three frequencies of original creation, from which all life and intelligence has been born to move through the field of akasha and support the creative processes that occur within the quantum field. as such the violet light band carries the energy of perfect transformation, perfect healing, perfect re-energizing, perfect alignment and perfect flow and so is nourishing on all levels. amrita. the nectar of gods the dow and its nourishment via amrita: apart from the pineal gland and the hypothalamus, the dow can utilize another of our m

, then maintaining this frequency can be difficult. however, thankfully the theta field radiation is like an atomic blast in power compared to the beta field radiation, which is like a candle in comparison, so numbers are not the overriding factor here. the next factor is to do with how trusting an individual is of the god within and also how real is the idea that we are a god in form who has all the creative power, healing power and transformational power that we need at our disposal. many people believe this intellectually but not on a cellular level. tapping into dow power and then witnessing its flow and the benefits it brings all helps to build this trust. in this field experience is everything for the flow of divine love is not an intellectual affair and only when we feel this flow w

edominates around us externally. only the timing of dow power manifestation is restricted by the beta field. eventually, all longed for and desired and clear programs come into manifestation in one form or another, in one time frame or another. our dow is a multi-dimensional, limitless being who is fully aware of its power as a god in form. it is also aware that we are all pre-programmed with all the creative power of the cosmic computer and that we can create any reality that we choose once we have remembered the real boss and the real power that drives the biosystem. hence the first step in perfect theta. delta field feeding is an all level alignment with our dow and our sincere surrender of the bio-system to our dow. once given back its power this master computer controller can begin to

one is allowing this divine limitless spark within. and without. to sustain them, they then take on its qualities. i remember the first day that i felt as though i was no longer restricted to physical reality but was completely free. free to choose. free to create. free to study, research and then apply these new ways of being and thinking. every day i feel how life is a gift and literally thank the creative force for the joy of having this physical experience. i choose to remember that i am a spiritual being having a human experience. i am now in wonder of it all as seeing yourself as a spiritual being will then draw that essence to you via the law of resonance which operates. to various degrees, in all fields. electromagnetically. regarding other benefits, many report increased energy l

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

r. sellon asserts, to this day one of the chief, if not the leading, dogma of the hindoo religion. incontestable evidence could be adduced to prove this however strange and impossible it seems the key of all worship the world over; and highest in esteem in the most highly civilised nations. though it has degenerated into gross and sensual superstition, it was originally intended as the worship of the creative principle in nature. innumerable curious particulars lie scattered up and down, in all countries of the world, relating to this worship, mad as it seems bad as, in its grossness, it is. it is only in modern times that sensuality, and not sublimity, has been actively assot origin of the fleur-de-lis. 39 ciated with this worship, however. there was a time when the rites connected with i

K AMBER THE BASICS OF MAGICK

to re-orient yourself to the outer world..and when you're ready, count to three, and on the count of three open your eyes,and return feeling relaxed,alert and at peace* as always, change any of the wording or images in this meditation if it suits your purpose better. the important part is just to finally and completely let go of your intention, so that the energy can be recycled in whatever form the creative force and your own consciousness will allow. out of this release, new the basics of magick get any book for free on: www.abika.com 38 lives, new opportunities, and new magical opportunities are bogh20073 1 notes on editions of sefer yetzirah in english don karr sefer yetzirah (book of formation, hereafter sy) is the oldest known speculative treatise in hebrew. there are three prime re

KETAB E SIYAH

great abyss; yawning chaos once more is ascendant and the architecture of the world falls into disorder. one by one the stars dim and die. mote by mote the earth is turned to dust. to avert this awful end i, satan, now raise my voice to sound the word of creation to resound about the sky's high vault. here beneath the eternal sea of the night by my most potent art i command the very principle of the creative to give life to a new race who shall reverse all wrong and make new the universe decaying. 146 they shall tread amongst the stars as giants and they shall be as giants upon earth, their tread shall resound like thunder, their voices like clear trumpets heralding the new age. their eyes shall flash with fire and their arms reach across the sky's vault to pluck planets from their orbits

sons of heaven when they are grown great with time like the germ that becomes the tree. that seed i now make fertile with second creation and win the victory yet unwon upon this night and hereafter. again i, satan, now raise my voice to sound the word of creation to resound about the sky's high vault. here beneath the eternal sea of the night by my most potent art i command the very principle of the creative to give life to a new race who shall reverse all wrong and make new the universe decaying. they shall tread amongst the stars as giants and they shall be as giants upon earth, their tread shall resound like thunder, their voices like clear trumpets heralding the new age. their eyes shall flash with fire and their arms reach across the sky's vault to pluck planets from their orbits. wi

at first 238 but when you have accomplished noah's submission and entirely cowed him and his line, making them but instruments of my will, then you shall teach to them that charm that i shall teach you now. this spell is no more mine to command ever since that ruinous injury wrought on me by the son that i so cherished, repaying with spite such love, before the gates of heaven in battle. now that the creative principle is lost to me it does but reside in the nephilim. thus the nephilim alone might speak the spell and employ its power upon the earth. this spell shall open the cataracts of the sky and release the deep waters from their reservoirs, throwing open the hundred gates that the torrents might be loosed upon the earth, sweeping all like dread, thunderous worms. all the earth shall b

she had never heard. what was she to him? one so much in his power should not, it seemed to gabriel, master him so well. was it then an act of love or hate? was it then loving or rapine that heaven's prince enacted on that day? did he yield to the spell that held, overcome by passions beyond his strength, or was it that he avenged himself on love and sired misery by an act of hate? 325 never has the creative act destroyed so much as on that most fatal of days. the intensity of that passion seared the very world to ashes though the flame burned most slow. at that time it was that rome declared a census in all their lands and the carpenter, with his wife, burdened with a child of love or hate yet not of that line traced back to bethlehem, journeyed thither, for it was his father's town. gre

LEADBEATER C W THE HIDDEN LIFE IN FREEMASONRY 2E

aspect of the same truth is seen in the fact that it is the power behind modern science. without fire chemistry, physics, geology, astronomy and all the practical applications of these sciences could not exist. the m.m. is symbolically a wielder of this power; he is a worker in metals, a caster of pillars, hollow within, to contain the archives of the soul and spirit. in his hand is kriyashakti, the creative power. 725. the path of the moon is said to typify the life of the ordinary man, who clings to objects of desire and parts with them reluctantly at death. after a period in the astral and heavenly worlds he returns to earth, to repeat the process. it is the path of rebirth after intervals. the path of the sun is that of the occult aspirant, the man of spiritual desires, who values lif

f man with its cycle of existence from childhood through manhood to old age, and in nature with its alternations of day and night and the rhythmic flow of seasons. in this connection it is of interest to note how many words denoting spirit in different languages primarily mean breath- spiritus in latin, pneuma in greek, ruach in hebrew, atma in sanskrit. it is this divine breath, the holy spirit, the creative fire of god, whom we especially invoke in the degree of the h.r.a. 771. within the circle the triangle is placed, teaching us that god, though one in essence, manifests as a trinity- power, wisdom and love. the divine will is the centre of the circle resting in itself in eternal and unchanging peace; the divine wisdom is the process of radiation, the holy spirit who is the source of d

y, creating the manifoldness of things as it goes forth from the centre; the divine love is shown forth in the circumference of the circle, uniting all separated creatures in the very bond of peace. this threefold nature of the divine is present throughout all creation, in every object and in every creature. in our own consciousness it is manifest in the spiritual will, the intuitional wisdom and the creative intelligence which are three aspects or modes of the spirit of man, made in the image and likeness of his creator. in the universe around us we see it as the three qualities of manifestation- inertia, mobility and rhythm, known in hindu philosophy as the three gunas, and in western philosophy as space or extension, time or change, and rhythm or qualities which give to each thing its d

LEADBEATER CW GLIMPSES OF MASONIC HISTORY

igence behind that form who acts as a mediator or channel between the suppliant and the deity behind. hathor, for instance, was the goddess of love and beauty, while as we have seen, isis was the queen of truth and the mother of all things; yet both were representatives of the feminine aspect of the deity, as also was nephthys. ptah was the master architect of the universe, the holy spirit who is the creative fire of god; he was the celestial worker in metals, and the chief smelter, caster and sculptor of the gods, the skilful craftsman by whom the design for every part of the framework of the world was made(*sir e. a. wallis budge, the papyrus of ani, p. 170) 74. the brothers of horus 75. among the other deities who were especially connected with the mysteries, who still play a most impor

d about the thoughts and the beliefs of the minoan race, but from the objects found and the monuments discovered some conclusions may be drawn which are sufficient for our present purpose. 228. worship in crete 229. the main worship appears to have centred round the feminine aspect of the deity already mentioned who, like isis amongst the egyptians and demeter amongst the later greeks, symbolized the creative power and fostering care of mother-nature. connected with her worship was the sacred tree, depicted in so many presentations of minoan shrines, while the deity herself was associated with the dove, the lion, the fish and the snake, typifying her dominion over air, earth, water and the fire within the earth. 230. as i have written above, the most sacred symbol in minoan worship was the

lodges of masonry. 306. the loss of the divine name 307. the second great doctrine of kabbalism which concerns us here is the loss of the divine name, or rather of the correct method of pronouncing that name. the jews thought of this name as a word of four letters, j.h.v.h, which we generally read as jehovah. the tradition relates that the omnific word which, being the name of god, commanded all the creative forces of nature, was pronounced by the high priest once a year on the day of atonement, but that after the exile the true pronunciation was lost. the consonants remained, but the vowel points essential to correct articulation had been forgotten (the present masoretic system of vowel points was introduced only in the tenth century a.d) this was woven into a beautiful allegory of the d

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

ayer s nightmare in which derrick coleman dreams about a dark realm in which a group of overweight over-forties play as well as coleman because they are wearing this specific brand of shoes. a smirking demon laughs at the basketball player who wakes up abruptly from his nightmare. the devil s laughter, however, still echoes in his bedroom. another amusing ad using the theme of damnation is one of the creative got milk? tv commercials. as a heartless business executive is on a cell phone firing his own mother from her job, he is hit and killed by a bus. awakening in the next life, a soft unseen voice says, welcome to eternity. after asserting that he must be in heaven, the ex-businessman starts eating giant chocolate 4 ahriman chip cookies. he then opens a large refrigerator full of milk ca

LIBER LIBRAE

e outward expression of thy thought, and therefore hath it been said that gthe thought of foolishness is sin. h thought is the commencement of action, and if a chance thought can produce much effect, what cannot fixed thought do? 18. therefore, as hath already been said, establish thyself firmly in the equilibrium of forces, in the centre of the cross of the elements, that cross from whose centre the creative word issued in the birth of the dawning universe. 19. be thou therefore prompt and active as the sylphs, but avoid frivolity and caprice; be energetic and strong like the salamanders, but avoid irritability and ferocity; be flexible and attentive to images like the undines, but avoid idleness and changeability; be laborious and patient like the gnomes, but avoid grossness and avarice

LIBER LVII

how. there are useful ones, e.g. qma= illegible 26 liber lviii why athbash? why not abshath? or agrath? or any other of the possible combinations? about the only useful temurah is aiq bkr, given above. in this do we find a suggestive reasoning. for example, we find it in the attribution of \yhla to the pentagram which gives p [see .a note on genesis, equinox, no. ii. p. 184] here we write elohim, the creative deities, round a pentagram, and read it reverse beginning with l, g, the letter of equilibrium, and obtain an approximation to p 3.1415 (good enough for the benighted hebrew, as if thereby the finite square of creation was assimilated to the infinite circle of the creator. yes: but why should not berashith 2, 2, 1, 3, 1, 4, give, say, e?40 the only answer is, that if you screw it roun

38 11= 418 q.v. in part ii. 39. dja hwhy, jehovah is one. 39= 13 3. this is then the affirmation of the aspiring soul. 40. a .dead. number of fixed law, 4 10, tetragrammaton, the lesser countenance immutable in the heaviness of malkuth. 41 \a, the mother, unfertilised as unenlightened. 42. ama, the mother, still dark. here are the 42 judges of the dead in amennti, and here is the 42-fold name of the creative god. see liber 418. 44 \d, blood. see part ii. here 4 11= the corruption of the created world. 45. hm, a secret title of yetzirah, the formative world \da, adam, man, the species (not .the first man. a is air, the divine breath which stirs \d, blood, into being. 49. a number useful in the calculations of dr dee, and a mystic number of venus. 50. the number of the gates of binah, whose

LIBER LXVII THE SWORD OF SONG

ce if i say that the buddha.in spite of the ridiculous membrane legend* one of those foul follies which idiot devotees invent only too freely. was a confirmed and habitual adulterer. it* membrum virile illius in membrana inclusum esse aiunt, ne copulare posset. would be easy to argue with hegel-huxley that he who thinks of an act commits it (cf. jesus also in this connection, though he only knows the creative value of desire, and that since a and not-a are mutually limiting, therefore interdependent, therefore identical, he who forbids an act commits it; but i feel that this is no place for metaphysical hairsplitting; let us prove what we have to prove in the plainest way. i would premise in the first place that to commit adultery in the divorce court sense is not here in question. it assu

LIBER MMCMXI NOTE ON GENESIS

d and manifest in one, produce the number 3; as it is written .for the mind of the father said that .all things should be cut into three. whose will. assenting all things were so divided. for the mind of the father said into three, governing all things by mind. and there appeared in it the triad, virtue and wisdom and multiscient truth. thus floweth forth the form of the triad. thus is formulated the creative trinity which is, as it were, the essential preliminary to manifestation. this mystic son of the eternal parents, having for his number 3, is typified in all the sacred scripts by that number. thus it is written of the manifestation of the son of god upon the earth .shiloh shall come (the initial of which mystery-name is c [chaldaan oracles, fragment 13 in the westcott/ cory editions;

LIBER SAMEKH

el to indwell his heart. line 1 gi am he h asserts the destruction of the sense of separateness between self and self. it affirms existence, but of the third person only. gthe bornless spirit h is free of all space, ghaving sight in the feet, h that they may choose their own path.25 gstrong h is gbr, the magician escorted by the sun and the moon (see liber d and liber 777. gthe immortal fire h is the creative self; impersonal energy cannot perish, no matter what forms it assumes. combustion is love. line 2 gtruth h is the necessary relation of any two things; therefore, although it implied duality, it enables us to conceive of two things as being one thing such that it demands to be defined by complementals. thus, an liber samekh svb figvra dccc 24 hyperbola is a simple idea, but its const

LINDOW JOHN NORSE MYTHOLOGY A GUIDE TO THE GODS HEROES RITUALS AND BELIEFS

forward to ragnarok: the failed oath of blood-brotherhood, the binding of evil creatures, and the gathering of einherjar, the chosen warriors of odin, at valholl. the mythic future also has two stages. in the near future is ragnarok, when the power of the gods over the jotnar characteristic of the mythic present will be reversed. surt will lead the forces of chaos against the gods, who will fall. the creative activities of the near past will be undone: time reckoning will fail as the sun and moon are swallowed and the heavens destroyed, and the entire cosmos will be consumed by flames and water. each of the major gods will die in individual combat with a giant adversary, but odin, at least, will be avenged, by his son vidar, the silent god, and this vengeance constitutes a bridge to the di

al traditions about them as well as in the concrete form of the gaming pieces voluspa, stanza 61, says they will find in the grass. this paradise will be fertile and devoid of jotnar. as i have thus outlined it, the overall chronology of scandinavian mythology is neatly symmetrical. the early present looks back to the near past, just as the later present looks forward directly to the near future. the creative work of the near past is undone in the near future, but the vicious relationship between gods and jotnar, which enabled the creation of the cosmos and led to its destruction, is gone in the distant future, just as it was not present in the distant past. but there has still been a progression: in the distant past there was no cosmos, but in the distant future there is a green world wit

LOGOMACHY OF ZOS

ould not know it. we are as we are until we extend to other needs. the mind drinks a plethora of impressions, of vaguenesses, of things held in awe. the incompatibilities, when forgotten and buried, shall re-awaken as a great race to reach unity in new-rhythmed patterns which later develop into a cultivated process. instead of controlling us our inhibitions are often self-destructive. they negate the creative act through fear to perform. talk your psycho-physical troubles out into the open but do nothing to remove their cause. that would be too easy and might indict civilization. there is no escape by escapism. a labour of forging more chains to prevent suicide. if i cannot believe in the eternity of ego, whatever its fluctuations, in what shall i believe? there is no whole without our par

thing reacted against. anathema quadrivial: the dark obliques from zodiacal signs, the evolutionary-parental chains, the environmental matrix, the obsession from foiled appetitive urges: thus are we born prehensive to, and slaves of, inheritances. creating a necessity is our utility. the divine effluvium is an eternal creative diversity: we are an ingression by contingency from which we simulate the creative when sufficiently individualistic. t w 5 rf6..q5. f. xu rf6- e% e( 9= emotional experience. those who would know themselves through their gods as other than their own selves. how blighted they appear, how sadly lost are they in their tautological theories. they too shall awaken from their adolescence and realize that the less we now of ourselves in other gods the nearer we are to the

6 3= v..1 r^9 ,q..1, n@ always is. we do not say that that microbe is a man or has the potentiality of a man, although we may assert that man is a recurring form of parasite having for himself and his kind the greatest hatred. life is not a means to an end, but a transference to other means c transcending or regressing. there is no greater evidence of weakness and inferiority than that of greed. the creative man gives much and desires little, while the bankrupt, decaying and diseased, needs every privilege and the world to succour him. a genius is not a person who has more or finer ideas than another, but one who is able not only to visualize but to incarnate them. everyone desires to escape from themselves. by any or every means. a sublimation that leads them back to themselves. the exte

LUCIFERIAN SORCERY

is/her holy guardian angel, the true will or direction of life in which you shall journey. this is also the path of healing, of perfecting the self in any way you can and to begin a strong foundation in luciferian magick (astral projection and development of the psyche. the right hand path seeks to align the individual with the flowing stream of nature, to align the self with the avenue of god or the creative force itself. this form may be defined or named as lucifer, as the eldest angel of the creative source who has journeyed through both paths. the left side of the path is that of sorcery/witchcraft and the mysteries of astral vampirism. this is the area of which the individual who seek the control of the self and the exterior through sorcery and goetic black magick, more properly, the

LUCIFERIAN WITCHCRAFT THE MYSTERY REVEALED

is/her holy guardian angel, the true will or direction of life in which you shall journey. this is also the path of healing, of perfecting the self in any way you can and to begin a strong foundation in luciferian magick (astral projection and development of the psyche. the right hand path seeks to align the individual with the flowing stream of nature, to align the self with the avenue of god or the creative force itself. this form may be defined or named as lucifer, as the eldest angel of the creative source who has journeyed through both paths. the left side of the path is that of sorcery/witchcraft and the mysteries of astral vampirism. this is the area of which the individual who seek the control of the self and the exterior through sorcery and goetic black magick, more properly, the

MACNULTY W KIRK KABBALAH AND FREEMASONRY

hokmah, revelation. the compasses are actually dividers; and they are a tool of proportion, appropriate to keep things in balance. i have placed them at keter where they also indicate that the two sides to the tree become one in the last analysis. to the right of the tree is a tracing board, the third of the immovable jewels. it, too, is an instrument of creativity and design and appropriate for the creative level of the spirit where it indicates that labor in this degree is concerned with understanding and cooperating with the divine plan. the third degree tracing board in fact, there is a good deal more to the third degree than the master mason's tools indicate. figure 17 shows the tracing board of that degree; and as you can see, the subject of the degree is death. many masons think of

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

ough the constituent parts of the lower world, he slew the titans in order that the divine idea might not be entirely lost. from the ashes of the titans he formed mankind, whose purpose of existence was to preserve and eventually to release the bacchic idea, or rational soul, from the titanic fabrication. jupiter, being the demiurgus and fabricator of the material universe, is the third person of the creative triad, consequently the lord of death, for death exists only in the lower sphere of being over which he presides. disintegration takes place so that reintegration may follow upon a higher level of form or intelligence. the thunderbolts of jupiter are emblematic of his disintegrative power; they reveal the purpose of death, which is to rescue the rational soul from the devouring power

ing in all directions from its body (the mysteries taught that the universal life was personified as a dragon) the great dragon called hermes by name, and asked him why he thus meditated upon the world mystery. terrified by the spectacle, hermes prostrated himself before the dragon, beseeching it to reveal its identity. the great creature answered that it was poimandres, the mind of the universe, the creative intelligence, and the absolute emperor of all (schure identifies poimandres as the god osiris) hermes then besought poimandres to disclose the nature of the universe and the constitution of the gods. the dragon acquiesced, bidding trismegistus hold its image in his mind. immediately the form of poimandres changed. where it had stood there was a glorious and pulsating radiance. this li

at its priests served the solar energy and that their supreme deity was in every case this divine light personified. godfrey higgins, after thirty years of inquiry into the origin of religious beliefs, is of the opinion that "all the gods of antiquity resolved themselves into the solar fire, sometimes itself as god, or sometimes an emblem or shekinah of that higher principle, known by the name of the creative being or god" the egyptian priests in many of their ceremonies wore the skins of lions, which were symbols of the solar orb, owing to the fact that the sun is exalted, dignified, and most fortunately placed in the constellation of leo, which he rules and which was at one time the keystone of the celestial arch. again, hercules is the solar deity, for as this mighty hunter performed hi

nd substance of all things. from this proceed the lower worlds as nine emanations in groups of three (the ophionic, ibimorphous, and nepht an triads. consider in this connection the analogy of the qabbalistic sephiroth, or the nine spheres issuing from kether, the crown. the twelve governors of the universe (the mendesian, ammonian, mompht an, and ompht an triads--vehicles for the distribution of the creative influences, and shown in the upper region of the table-are directed in their activities by the divine mind patterns existing in the archetypal sphere, the archetypes are abstract patterns formulated in the divine mind and by them all the inferior activities are controlled. p. 59 [paragraph continues] in the lower region of the table are the father fountains (the hor an, pandoch an, th

d fourth, ethereal; the fifth, sixth, and seventh, material; the seventh being the one called terrestrial and hater of light, and is located under the moon, comprising click to enlarge westcott's key to the bembine table. from westcott's the isiac tablet. zoroaster declared that the number three shines throughout the world. this is revealed in the bembine, table by a series of triads representing the creative impulses. of the isiac table alexandre lenoir writes "the isiac table, as a work of art, is not of great interest. it is but a composition, rather cold and insignificant, whose figures, summarily sketched and methodically placed near each other, give but little impression of life. but, if on the contrary after examining it, we understand the purpose of the author, we become soon convi

st. peter, who carries two crossed keys, one gold and one silver; st. james the great, who bears a pilgrim's staff and an escalop shell; and st. john, who holds a cup from which the poison miraculously departed in the form of a serpent (see handbook of christian symbolism) the figure of christ upon the second phalange of the thumb does not follow the pagan system of assigning the first person of the creative triad to this position. god the father should occupy the second phalange, god the son the first phalange, while to god the holy spirit is assigned the base of the thumb--also, according to the philosophic arrangement, the virgin should occupy the base of the thumb, which is sacred to the moon. p. 75 principle; in a state of unfoldment and regeneration it is the house or sanctuary of t

the ten commandments of the spiritual law. the four fingers of each hand represent the four elements and the three phalanges of each finger represent the divisions of the element, so that in each hand there are twelve parts to the fingers, which are analogous to the signs of the zodiac, whereas the two phalanges and base of each thumb signify the threefold deity. the first phalange corresponds to the creative aspect, the second to the preservative aspect, and the base to the generative and destructive aspect. when the hands are brought together, the result is the twenty-four elders and the six days of creation. in symbolism the body is divided vertically into halves, the right half being considered as light and the left half as darkness. by those unacquainted with the true meanings of ligh

of god which is cognizable to the lower senses. the face consists of a natural trinity: the eyes representing the spiritual power which comprehends; the nostrils representing the preservative and vivifying power; and the mouth and ears representing the material demiurgic power of the lower world. the first sphere is eternally existent and is creative; the second sphere pertains to the mystery of the creative breach; and the third sphere click to enlarge the threefold life of the inner man. redrawn from gichtel's theosophia practica. johann georg gichtel, a profound philosopher and mystic, the most illumined of the disciples of jakob b hme, secretly circulated the above diagrams among a small group of devoted friends and students. gichtel republished the writings of b hme, illustrating the

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

e of virgo (p. 125)the chances of the correspondence being mere coincidence are so remote that we must assume thatwhoever was directing the planning of washington, d.c, not only had a considerable knowledge ofastrology, but had a vested interest in emphasizing the role of the sign virgo (p. 65)time and time again we shall see that a knowledge of the stars played an important part in every stageof the creative phases in the construction of the city. indeed, as the story of washington d.c, unfolds,we will be forced to the conclusion that the 13 approximately straight lines of avenues which lenfantplanned for the city were symbolic of the stripes of the national flag, laid out to receive the impress ofthe stars (p. 66)as we approach the mysteries of washington, d.c, we shall find that the ima

t? why do over 70% of the products webuy have names that mean nothing in english? what are the occult techniquesused by corporations and governments to manipulate and control the humanmind? in this so called age of entertainment are we owning our ownthoughts? how do we get back to being a symbol literate culture and personally find our own power symbols which bring us each back intoalignment with the creative intelligence? are the sorcerers and witch doctors really of the past? what are the real meanings of the words hollywood and media? why are tv programs called programs? find out how the major franchises use sacred geometry in their municipal positioning and why they and even banks are designed to subliminally represent churches.what do words like lexus, nissan, coke, visa, nike, fila

MICHAEL WYNN THE SOUL TRAVELERS

eality, the number of universes, and the rulers of those universes. in the kabala, the universe is divided into 10 parts, each called sephirah, and these 10 sephirah are further divided into 4 worlds and constitute a separate universe, each containing its own ruler and inhabitants. the 4 worlds, in which the 10 sephirah are divided into, are: atziluth, the divine world of archetypal ideas; briah, the creative world of the archangels; yetzirah, the astral world of angels and demons; assiah, the material world. in the kabala, and occult in general, the universe is seen as series of layers where energy, originating from the top, cascades downwards becoming increasingly solid. each layer represents a slightly more solid reflection of the contents of the layers above. since this energy is const

s, satan is his brother. these sons of god are commonly equated with the children of jehovah; zeus is also said to have plenty offspring. modern-day satanists often remark that satan successfully stole yahweh s creative power, and this belief has fueled much use of phallic symbolism. the planet is dotted with obelisks, like the washington monument, which are merely phallic symbols which represent the creative principle that satan now possesses. it is the fire prometheus stole from the gods. the act of stealing jehovah s creative principle, however, also resulted in the discontinuance of the births of new angels; now a race whose numbers are forever in decline. it is also remarked that jehovah transformed his children, the arch-angels, into new kinds of beings when they were young. god exis

mortar, and make poison thereof, to slay the sons of men. choronozon goes on to state, i have prevailed against the kingdom of the father, and befouled his beard; and i have prevailed against the kingdom of the son, and torn off his phallus; but against the kingdom of the holy ghost shall i strive and not prevail. as stated earlier, satanists make numerous references to a devilish force stealing the creative power of the most high god, and this has given birth to much phallic symbolism. subservient to hades are many lesser demons, some of which are merely empty shells with little intellect. for the novelist h.p. lovecraft, hades went by the name azag-thoth, the mad blind god. azag-thoth is presented as the leader of the demons and resides at the center of the universe in a dark underworld

were the children of the fallen angels, were also said to have pale skin, silver hair, and bright eyes. it is said that the sphinx originally bore the face of lucifer himself, before an egyptian king restored the sphinx with his own face. after assuming the form of azazel, satan used his newly-won creative energy to give birth to the nephilim race, who was half angel and half man. after stealing the creative energy from jehovah, the angels would multiple no more, and satan intended to use the nephilim to increase his numbers, being still out-numbered by the angels. many of these nephilim would die in the--michael wynn's "the soul travelers" 83 flood, but a bloodline, like that of the nephilim goliath and his brothers, did survive. these giants were warlike, brutal, and ruled over humanity

MICHAEL W FORD NOX UMBRA

h and samael were born by an emanation beneath the throne of god. their shape was an androgynous being, double-faced and thus revealed as a part of the adversary (the opposer, shaitan. samael, in hebrew legend has twelve wings, which integrates azazel (the djinn of fire, shaitan) and samael as lucifer, the force related to the noon-tide sun. samael is thus the devil, one half of the adversary and the creative/solar force of the sun. lilith joined with samael through leviathan, the great dragon. ashmodai was said to be another mate of lilith, whom was said in some hebrew legends to be two aspects of the same goddess. the son of lilith and ashmodai was called sariel, the sword of ashmodai. his face flames with fire. sariel had kept a sealed book of secrets, a grimoire with words of power. th

MORALS AND DOGMA

used in french lodges instead of the proper letter. yod is, in the kabalah, the symbol of unity, of the supreme deity, the first letter of the holy name; and also a symbol of the great kabalistic triads. to understand its mystic meanings, you must open the pages of the sohar and siphra de zeniutha, and other kabalistic books, and ponder deeply on their meaning. it must suffice to say, that it is the creative energy of the deity, is represented as a _point, and that point in the centre of the _circle_ of immensity. it is to us in this degree, the symbol of that unmanifested deity, the absolute, who has no name. our french brethren place this letter yod in the centre of the blazing star. and in the old lectures, our ancient english brethren said "the blazing star or glory in the centre refe

ver to suffer his prejudices or passions to betray him" this is not to _interpret_ the symbols of masonry. it is said by some, with a nearer approach to interpretation, that the point within the circle represents god in the centre of the universe. it is a common egyptian sign for the sun and osiris, and is still used as the astronomical sign of the great luminary. in the kabalah the point is yod, the creative energy of god, irradiating with light the circular space which god, the universal light, left vacant, wherein to create the worlds, by withdrawing his substance of light back on all sides from one point. our brethren add that "this circle is embordered by two perpendicular parallel lines, representing saint john the baptist and saint john the evangelist, and upon the top rest the holy

t you use it for good purposes--to teach, exhort, ennoble the people, and not to mislead and corrupt them. corrupt and venal orators are the assassins of the public liberties and of public morals. the will is a force; its limits as yet unknown. it is in the power of the will that we chiefly see the spiritual and divine in man. there is a seeming identity between his will that moves other men, and the creative will whose action seems so incomprehensible. it is the men of _will_ and _action, not the men of pure intellect, that govern the world. finally, the three greatest moral forces are faith, which is the only true wisdom, and the very foundation of all government; hope, which is strength, and insures success; and charity, which is beauty, and alone makes animated, united effort possible

divine_ world (aziluth, which is that of the first cause, and wherein the whole eternity of things in the beginning existed as unity, to be afterward, during eternity uttered forth, clothed with form, and the attributes that constitute them matter, the first principle is single and first, and yet not the very illimitable deity, incomprehensible, undefinable; but himself in so far as manifested by the creative thought. to compare littleness with infinity--arkwright, as inventor of the spinning-jenny, and not the _man_ arkwright _otherwise_ and _beyond that. all we can know of the very god is, compared to his wholeness, only as an infinitesimal fraction of a unit, compared with an infinity of units. in the world of creation, which is that of second causes [the kabalistic world briah, the aut

_beyond that. all we can know of the very god is, compared to his wholeness, only as an infinitesimal fraction of a unit, compared with an infinity of units. in the world of creation, which is that of second causes [the kabalistic world briah, the autocracy of the first principle is complete, but we conceive of it only as the cause of the second causes. here it is manifested by the binary, and is the creative principle passive. finally: in the third world, yezirah, or of formation, it is revealed in the perfect form, the form of forms, the world, the supreme beauty and excellence, the created perfection. thus the principle is at once the first, the second, and the third, since it is all in all, the centre and cause of all. it is not _the genius of plato_ that we here admire. we recognize o

with seven seals on the tracing-board. he caused the creation of the world by the primitive thought[[greek??a, ennoia, or _spirit[[greek??e? a, pneuma, that issued from him by means of his _voice_ or the word; and which _thought_ or _spirit_ was personified as the goddess neith. she, too, was a divinity of _light, and mother of the sun; and the feast of lamps was celebrated in her honor at sais. the creative _power, another manifestation of deity, proceeding to the creation conceived of in her, the divine _intelligence, produced with its word the universe, symbolized by an egg issuing from the mouth of kneph; from which egg came phtha, image of the supreme intelligence as realized in the world, and the type of that manifested in man; the principal agent, also, of nature, or the creative a

r and mother of all, in the sublimest sense. it penetrates everything; and without it nothing can exist an instant. from this double force, designated by the two parts of the word i. h. u. h. emanated the first-born of god, the universal form, in which are contained all beings; the persian and platonic archetype of things, united with the infinite by the primitive ray of light. this first-born is the creative agent, conservator, and animating principle of the universe. it is the light of light. it possesses the three primitive forces of the divinity, light, spirit, and life f??e, and. as it has received what it gives, light and life, it is equally considered as the generative and conceptive principle, the primitive man, adam kadmon. as such, it has revealed itself in ten emanations or _sep

, intellect or the word _intelligence, source of the oil of anointing, responds to the holy ghost of the christian faith _beauty_ is represented by green and yellow _victory_ is yahovah-tsabaoth, the column on the right hand, the column _jachin: glory_ is the column _boaz, on the left hand. and thus our symbols appear again in the kabalah. and again the light, the object of our labors, appears as the creative power of deity. the circle, also, was the special symbol of the first sephirah, kether, or the crown. we do not further follow the kabalah in its four worlds of spirits _aziluth, briah, yezirah, and _asiah, or of _emanation, creation, formation, and _fabrication, one inferior to and one emerging from the other, the superior always enveloping the inferior; its doctrine that, in all tha

NAUDON PAUL THE SECRET HISTORY OF FREEMASONRY

ives. but the relationship between artisan and the higher power extended much further than this. christian religion teaches that we carry within us the divine virtues; we are, in effect, a temple for them. in following the exemplary life shown by christ, we are able to attain perfection and, through the action of christ within us, ensure that christ lives. in our work we are thus a participant in the creative labor of god. for more than a millennium, this christian truth permeated more and more of human life. in the middle ages it became one of the principles of social organization. even at the beginning of the fifteenth century, fra angelico's contemporaries would say that angels came down to paint his painting during the inspired slumber of this incomparable dominican monk. on the social

ociations pursued religious, charitable, and social goals as well as those pertaining to the defense of their craft interests. in this chapter, we will not revisit the initiatic, religious, and cultural character of the craft brotherhoods and communities, particularly those of the masons. for these workers, they could claim the pure quality and perfection of their work only by integrating it into the creative work of god, the great architect of the universe, the sole dispenser of the good and the beautiful. it is up to humans, through their conduct and effort, to earn the essential grace of this assistance from on high. all the old statutes expressly mention the religious, moral, and social duties imposed upon the association's brothers. it was a requirement that the initiate had been born

ONYX TABLET OF SET

shall be many in the aeons and ages to come. observe that it doth shape and define that which is the pentagram of set, which is itself our seal and the key to all beauty of proportion "even as the triangle and trihedron shall be as drugs to lure men-beasts to blind labor towards the worship of an apex of self-extinction, so we of the pentagram and the trapezoid author ever-unfolding memorials to the creative genius of man. think not that because the first sights before your opened eyes are these sacred keys, that they shall be reverenced. indeed with the passage of time they shall be changed and effaced by those who have forgotten their power, and their origin shall fade into the mists of time "but this temple shall endure until the race of man shall cease, and those who enter its fold sh

PHILIP NEIL MYTHS LEGENDS EXPLAINED

sing his arms in blessing, he carries the ankh, symbol of the life-giving elements of air and water, from which hangs a sacred djed pillar, signifying stability. ankh djed pillar the egyptian gods a ll the gods of ancient egypt are, like the hindu gods, aspects of the great divine essence, named in one account of the creation as nebertcher, lord to the uttermost limit. re, the sun god, represents the creative consciousness of this all-powerful god, and the rest of the gods, brought into being by re, represent other aspects. egyptian gods were also interrelated or merged: amun, the hidden, the chief god worshipped at karnak, was a god of the air, but as amun-re he was a sun god and as amun-min, a fertility god. known by various names, most of the gods could also be depicted in animal as wel

is kingdom to live simply in the country and worship pan, the god of wild and lonely places. goat-god here, pan plays a flute, rather than the pan pipes. this is another indication, coupled with the presence of athena, that the artist confused elements of the story of marsyas with that of pan. laurel wreath apollo is crowned with a wreath of wild laurel from parnassus. it signifies his mastery of the creative arts, and recalls his fated love for the nymph daphne, who was turned into a laurel tree (see pp. 38-39. god of music apollo, the god of music, played the lyre the stringed instrument invented for him by hermes (mercury, pan s father. it was played by either strumming or plucking with a plectrum. a whispered secret when apollo turned his ears into those of an ass, midas hid his shame

was furious that theseus and ariadne had profaned his sacred grotto on naxos. but other sources say that dionysus wanted ariadne, and scared theseus away by appearing to him in a dream, causing him to forget her. dionysus then married ariadne, although their first two children, oenopion and thoas, are sometimes referred to as fathered by theseus. music and poetry dionysus was associated, through the creative inspiration of wine, with poetry, song, music, and drama, resulting in much revelry. maenads the female devotees of dionysus were known as maenads, which translates as raving women. in their ecstatic orgies they tore animals and even humans such as pentheus, king of thebes to pieces, and devoured their raw flesh. silenus silenus, dionysus drunken old tutor, is his constant companion

RABBI MOSHE WISNEFSKY APPLES FROM THE ORCHARD THE ARIZAL ON THE PARASHAH

ient. he intended from the outset that there be a greater and a smaller luminary, one radiating and one reflective. since both are necessary components of creation, there is no intrinsic superiority of one over the other; from g-d fs perspective, they are both ggreat luminaries. h still, in the context of creation, there is an implied superiority of the giver over the recipient, and, in order for the creative drama to unfold, creation fs perspective must be allowed to prevail over the creator fs. thus, as soon as it was created, the moon was immediately diminished.13 this gsin h of the moon and its subsequent banishment from the daytime is seen as the precursor to the sin of adam and eve with the fruit of the tree of knowledge and their subsequent banishment from the garden of eden. thus

of masculinity) the arizal on parashat terumah 334 it is taught in kabbalah that the hebrew alphabet is the means through which g-d created the world. the form, name, and numerical value of every letter embody the different energies; by blending these energies together in words, g-d created the world. specifically, we are taught that g-d created the world using his name havayah, which means that the creative process is reflected in the order and gpersonality h of the four letters that compose it. we thus have here a clear indication that the male-female dynamic is the existential underpinning of all reality: the world was created through the name havayah; thus, all reality reflects the structure and dynamics of this name; and this name itself reflects two levels of union between male and

t will remain above, with z feir anpin, and will not descend into gehinom, while g[any quarrel] that is not for the sake of heaven h but is rather for the gother side h [the side of evil, gwill not endure h there above, but will descend to gehinom. whatever aspects of gevurah assent to be sweetened by chesed can remain together with it, functioning as male and female in the orderly development of the creative process. those coarser aspects of gevurah that are too egocentric to be sweetened, ipso facto become the forces of pure punishment for sin, i.e. for egocentricity. korach was not concerned with g-d fs glory, but sought to confound the work of creation [as follows. the [original] gevurah of which we speak is holy, and when it is properly sweetened, it indeed remains above [in the realm

i, are called gthe community. h they inform the lower court, and they are more fragranced and sweetened. it is known that the lower court is called gthe community, h as it is written, gg-d stands in the community of g-d. h7 the gevurah of binah is much more severe than that of malchut. in simple terms, this is because it is much more crucial to be selective and critical at the conceptual stage of the creative process than it is at the expressive stage. an error at the conceptual stage will have severe repercussions all down the chain of development. in contrast, if the conceptual stage was passed properly, a lot more latitude can be given to the final means of expression. since the conceptual integrity of the process has been so zealously guarded, the strength and intensity of the concept

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

awn. moreover the alchemical treatises are eloquent in their description of the poisonous nature of this condition which, though extremely unpleasant, is a highly necessary one, and success in its production is at least one symptom of good working. it is held that the highest results may not be obtained until this particular type of change has occurred. so far as the nature of the environment and the creative power of the personal self permits, the task implied by the <57> coagula formula is to assemble them and remould them nearer to the heart's desire. and here again, the alchemists are adamant in their insistence upon the aphorism that "nature unaided fails" for the alchemist, so the tradition asserts, commences hi work where nature has left off. and were this solve phenomenon to occur

utward expression of the thought, and therefore it hath been said that "the thought of foolishness is sin" thought therefore is the commencement of action, and if a chance thought can produce much effect, what cannot fixed thought do? therefore, as has been already said, establish thyself firmly in the equilibrium of forces, in the centre of the cross of the elements, that cross from whose centre the creative word issued in the birth of the dawning universe. as it was said unto thee in the grade of theoricus "be thou <149> therefore prompt and active as the sylphs, but avoid frivolity and caprice. be energetic and strong like the salamanders, but avoid irritability and ferocity. be flexible and attentive to images like the undines, but avoid idleness and changeability. be laborious and pat

northern quadrangle, who are known by the title and honourable office of seniors. hear ye my petition ,ye celestial seniors who rule over the earth in the north quadrangle, and who bear the names of laidrom, alhedega, aczinor, ahrnbicv, lzinopo, liiansa. be this day present with me, so that the angel axir may be caused to manifest physically unto me in this temple, to the end that he may teach me the creative art, and how i may divinely fix the higher self within a purified body, and how i may find the hidden stone of the philosophers, that stone whereon is a new name written. 0 thou angel, axir, subservient in the lesser angle of earth, in the great northern quadrangle, i do invocate and conjure thee, being armed with divine power. by the name of ic zod heh chaland by the spirit <204> nam

s before, halt in north, formulate pillars, and the blueblack egg between them. then pass to east <236> invisible, i cannot pass by the gate of the invisible, save by virtue of the name of light formulate shroud forcibly. i am light shrouded in darkness. i am the wielder of the forces of the balance. concentrate shroud mentally. go west of the altar, remain standing, and say: 0 thou divine egg of the creative darkness of spirit, formulate thou about me. i command thee by the name of yeheshuah. come unto me, shroud of darknessand of night. i conjure ye, 0 particles of spiritual darkness, that ye enfold me as an unseen guard and as a shroud of utter silence and of mystery. in and by the names eheieh, agla, and yhvh elohim, i conjure thee. in and by the holy names exarp, bitom, hcoma, nanta

ng the reciprocal paths of venus and leo. she is the great feminine force controlling the very source of life, gathering into herself all the energising forces and holding them in solution until the time of release. her colours, pale blue, deepening into sky blue, silvery white, and silver, relieved by touches of orange and flame, carry out these ideas. ill. the empress. she is an aspect of isis; the creative and positive side of nature is suggested here. the egyptian trilogy, isis, hathor and nephthys, symbolised by the crescent, full moon, and gibbous moon are represented in the tarot by the high priestess, hathor. the empress, isis, takes either the crescent moon or venus as her symbol. justice, nephthys, takes the gibbous moon. isis and venus gives the aspect of love, while hathor is r

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

all forms. by a revolution about its own centre, the square produces a circle equal to itself, and this is the quadrature of the circle, the circular movement of four equal angles around the same point. that which is above equals that which is below, says hermes. here then is the duad serving as the measure of unity, and the relation of equality between above and below forms with these the triad. the creative principle is the ideal phallus; the created principle is the formal cteis. the insertion of the vertical phallus into the horizontal cteis forms the stauros of the gnostics, or the philosophical cross of masons. thus, the intersection of two produces four, which, by its movement, defines the circle with all degrees thereof' is man; h is woman; 1 is the principle; 2 is the word; a is t

it was necessary to hollow out a cteis or trench of shadow equivalent to the dimension determined by his creative desire, and attributed by him to the ideal jod of the radiating light. such is the mysterious language of the kabalists in the talmud, and on account of vulgar ignorance and malignity, it is impossible for us to explain or simplify it further. what then is creation? it is the house of the creative word. what is the cteis? it is the house of the phallus. what is the nature of the active principle? to diffuse. what is that of the passive? to gather in and to fructify. what is man? he who initiates, who toils, who furrows, who sows. what is woman? she who forms, unites, irrigates and harvests. man wages war, woman brings peace about; man destroys to create, woman builds up to pres

esses of adaptation in rise among the great masters, especially that which is contained in the hermetic fortress of henry khunrath. we may refer our readers also to an admirable treatise attributed to hermes trismegistus and entitled minerva mundi. it is found only in certain editions of hermes and contains, in allegories full of profundity and poetry, the doctrine of individual self-creation, or the creative law consequent on the harmony between two forces which are termed fixed and volatile by alchemists, and are necessity and liberty in the absolute order. the diversity of the forms which abound in nature is explained, in this treatise, by the diversity of spirits, and monstrosity by divergence of efforts. its study and understanding are indispensable for all adepts who would fathom the

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

ht at the meeting-place of three cross-roads, yelled three times in honour of triple hecate. all these figures, with the acts analogous thereto, all these dispositions of numbers and of characters, are, as we have said, so many instruments for the education of the will, by fixing and determining its habits. they serve, furthermore, to combine all powers of the human soul in action and to increase the creative force of imagination. it is the gymnastics of thought in training for realization: and hence the effect of these practices is infallible, like nature, when they are fulfilled with absolute confidence and indomitable perseverance. the great master tells us that faith could transplant trees into the sea and remove mountains. even a superstitious and insensate practice is efficacious bec

RUBY TABLET OF SET

what the bourgeoisie actually fear from socialist movements is that they will take the acquisitions and possessions. nietzsche has comparable contempt for the socialists/radical left because they insist on ignoring "the actual inequality of man" hence the ideal socialist state is simply a tyranny of the most inferior and the most stupid. since all ideals, all horizons have been shown to be false, the creative individual reacts against this intolerable movement towards the "last man" with an impulse of nihilism. nihilism as nietzsche conceives it is a psychological sickness, a tendency towards selfdestruction born of resentment of one's perceived impotence in the face of a terrible, degenerate, yet seemingly inevitable future. this nihilism, continues nietzsche, is false and unnecessary. it

te ordering into twelves or dodecads. we should also recollect that in all probability we have only a very faulty reproduction of these diagrams, for we have to take into account the translating and copying and re-copying by ignorant scribes. the three lines are said to be three voices which jeou will send forth when he is ordered "to praise the father" that is to say, to emanate, for this is how the creative song of praise is sung. 7 'scinaocsca xpiatoa with reverence and godly fear this great central name and number of the gnosis must be approached. but let not any faithful christian reader fear lest he or she be too unlearned and ignorant, or too non-graduate and amateur to grasp the very simple structure on which the mathematical element is based. this little table shews the difference

enough substance to compose a good nursery rhyme, much less an opus. the future? well, if this work seems pessimistic now [you see, i had to say "pessimistic. by now the reader will have thought it. we have been trained to think only in the optimistic, pessimistic, or objective frames of mind in order to relegate thought. if possible we should try to think in none of the three, thence will emerge the creative intellect] realistically man's future lies in the hands of madmen. a great thinker) once wrote "if all the leaders of men in the world went crazy for 24 hours, it would make no difference. humanity has released its hold on itself; man has expired to the lash of unidirection and goal. in some cases, hundreds of millions of lives are threatened in order to force an idea on a few thousan

nd set were fused in one composite being. and so commenced the time of set-harwer- known as the age of satan- which was to bridge the expiring aeon of harwer and the forthcoming aeon of set. truth there was in the words of my opposite self, but a truth ever tinged with the inconsistency and irrationality of which i have spoken. and so the book of the law was confusion to all who came upon it, and the creative brilliance of the magus aleister crowley was ever flawed by mindless destructiveness. he himself could never understand this, for he perceived harwer as a unified self. and so he was perplexed by a mystery he could not identify. and i, set, spoke too in the book of the law "aye! listen to the numbers and the words "what meaneth this, o prophet? thou knowest not, nor shalt thou know ev

hentic form, uncorrupted by the osirian distortions. again set pointedly uses the phrase "common year" when referring to the christian("anno domini) dating system; his repugnance is evident. truth there was in the words of my opposite self, but a truth ever tinged with the inconsistency and irrationality of which i have spoken. and so the book of the law was confusion to all who came upon it, and the creative brilliance of the magus aleister crowley was ever flawed by mindless destructiveness. he himself could never understand this, for he perceived harwer as a unified self. and so he was perplexed by a mystery he could not identify. harwer, as an entity possessing characteristics of both the non-conscious universe and the independently-conscious set, is necessarily inconsistent and irrati

d his essence, such as great hor. i can now accept most of the third key's statement: ipsissimus michael aquino is majestic man, and manifests the word of set on earth. he personifies the gift of set in man, and was called harwer by magus barrett. note: set's pentagram inside the circle of the mathematical order is symbolic not only of everything else we have discovered, but of set's gift in man, the creative xepering will within material bodies. let us now review the written statements about harwer, and examine how they fit my analysis. set discusses harwer in the book of coming forth by night. we can also investigate harwer through satan, set/harwer fused; we will use the diabolicon and the ninth solstice message as source material for this study. in 1904 set came forth as his opposite s

middle interpretation of this sign" the book of thoth continues "is given by the serpent, who is, moreover, the main theme of the sign" the passage continues by pointing out that its manner of propulsion are like the twin phases of life which are called life and death and then repeats that the serpent is the principal symbol of male energy. it is definetely a phallic symbol and as such stands for the creative effect of active energy on the passive, sperm and egg being one of the best representations of such energy's impact and results. the serpent has had a place of long standing in occult tradition and it is not inappropriate that it should turn up as one of the suspect its presence, like that of the scorpion and the eagle, to be similar in function to the three figures on the old temple

crease a reading's impact upon a querant. analyze the number of the querant's name (and birthday, if you wish, or analyze the number of the key word within the question. does that number appear repeated throughout the reading? does it appear echoed by one or more significant cards? if so, point this out to the querant, not as coincidence but as evidence of how the reading applies to the question. the creative magician can use coincidences in many ways. allow yourself to look for such numerological coincidences, and you will have more freedom to receive pointers from your higher self. use coincidence that your higher self says is valid (valid coincidences are useful correspondences, whose usefulness is independent of the coincidence. remember that numerology is what you make of it. let's lo

SALMANRUSHDIE THESATANICVERSES

presentations, to his amazed clients, with the help of straw boater and silver--headed cane; claimed to own the first loire ch teau to be fitted with telex and fax machines; and made much of his "intimate" association with the prime minister he referred to affectionately as "mrs. torture. the personification of philistine triumphalism, midatlantic--accented hal was one of the glories of the age, the creative half of the city's hottest agency, the valance& lang partnership. like billy battuta he liked big cars driven by big chauffeurs. it was said that once, while being driven at high speed down a cornish lane in order to "heat up" a particularly glacial seven-foot finnish model, there had been an accident: no injuries, but when the other driver emerged furiously from his wrecked vehicle h

SATANICON

: inner magical art: ima describes the celebrant s regression to an emotionally base state. his imagination is operating at peak efficiency and the elements of time and space are in a state of disorder. the imagery is intense and abundant for the series of events that take place within the black magician s domain of darkness, the black chapel. anyone can be present, and anything can happen within the creative darkness of the celebrant s mind. caution: during creative darkness, the practitioner of satanicon magick may unknowingly subject himself to fits of infernal madness: conjuring darkness and demons may inadvertently cause a change in the psyche; a crossing of the boundary which separates control from chaos: images and objects present visually change, becoming disturbingly disordered; s

directs this negative energy onto the image of his enemy -16- note: under no circumstance is any actual life form, human or animal, injured or destroyed during this or any other ritual in the satanicon. to do otherwise would be criminal and a violation of the laws of satanic magick. suggested imagery for cursing: the devil s chain obtain a long black cord (two to three feet in length) and during the creative darkness, concentrate your hatred upon the imagery of your enemy (imagery may be a photo or even a mental picture) as you tie a series of nine knots the full length of the cord. this will act as a binding agent which will bring misfortune and a string of endless problems to your adversary. figures: a doll made fro wax, clay, cloth, etc, which represents your foe is a very common metho

ernal will! in satanicus honos! 4 offertory: grasp the chalice of change and raise it to the satanagram in an offering manner while saying: i present to you, dark lord, the elixor of change! bring forth the infernal will! drink from the chalice. 5 grasp the sword of satan and point it towards the satanagram while calling forth the appropriate demons. afterward, replace the sword upon the altar. 6 the creative darkness. 7 face the satanagram and recite the appropriate decree of satan. 8 the decrees of satan are statements of infernal law words of conviction and purpose. the demonic elements in attendance are the executors of the principles of the -26- satanagram. the satanic will has been exercised and the decrees are the words of enforcement. each decree of satan correlates with a specific

ropriate decree of satan. 8 the decrees of satan are statements of infernal law words of conviction and purpose. the demonic elements in attendance are the executors of the principles of the -26- satanagram. the satanic will has been exercised and the decrees are the words of enforcement. each decree of satan correlates with a specific rite and shall be appropriately applied. at the conclusion of the creative darkness, the proper decree is recited by the celebrant while facing the satanagram. by the powers of my infernal will and by the laws of the satanagram, i do hereby address you, my demonic brethren of the night! you, who have seen and felt the potency of my lust, my act of anointment, and my desire for her (him, go forth! go forth and fill her (him) with insatiable desire so that she

SCHLAGER NEIL WORLD RELIGIONS REFERENCE LIBRARY

power exists in the world that is not noticeable to the average person. although wiccans take part in formal rituals, they regard the natural world, such as the blossom of a flower or a fertile field, as having the power to instill feelings of awe and mystery. a key belief of wiccans has to do with the nature of the divine. wicca is a duotheistic religion (a religion of two gods) that emphasizes the creative power of both the masculine and the feminine deities. the (usually unnamed) goddess is the mother, the source of fertility, abundance, love, and growth. her chief symbol is the moon. her other symbols include the cup, flowers, mirrors, seashells, and jewels. the god is associated with the hunt and is regarded as the source of all life. his symbols include not only the life-giving sun

8 world religions: almanac neo-paganism equal. this observance marks the beginning of spring, of planting, and of reproduction. the next sabbat is beltane (or beltaine) on april 30. by now spring is well under way. beltane marks the return of vitality and passion into the world, a process that continues through the summer solstice, around june 21. during this period the world has been filled with the creative power of the god and goddess, concluding on august 1 with lughnasadh, the harvest festival. on about september 21, wiccans celebrate the mabon, the autumn equinox, and the completion of the harvest season. again, the hours of day and night are equal, but at this point in the cycle darkness is overtaking the light. finally, at samhain, on october 31, wiccans bid the sun goodbye and eng

s a number of ritual prayers, includes the yashts, which are individual hymns to ahura mazda and to the guardian angels. the visperad contains a service dedicated to ahura mazda. sacred symbols the most common symbol of zoroastrianism is fire. for this reason, zoroastrians have sometimes been mistakenly characterized as fire worshippers, but this is incorrect. rather, they see fire as a symbol of the creative power of ahura mazda. it is also a symbol of truth and righteousness, an element that purifies and provides light and that cannot be corrupted. zoroastrian places of worship are called fire temples. here, a fire called adur aduran( fire of fires) is kept constantly burning to represent the light of god. the fire is the focal point of worship services. at only ten zoroastrian temples

courage and support responsibility toward the environment. cunningham points out that many of us are involved in ecology saving the earth from utter destruction by our own hands. wiccans acknowledge a depth of power far greater than that apparent to the average person, as stated at the 1974 meeting. they find power and divine awe in seemingly ordinary aspects of nature, such as flowers and trees. the creative power of the universe is both masculine and feminine and contained within each person: wicca, writes cunningham, reveres [respects and honors] these twin deities [called the god and goddess] because of its links with nature. wiccans seek the interaction of the outer and inner (psychological) worlds and, as cunningham writes, can contact and communicate with [the god and goddess] becau

y sources wicca: a guide for the solitary practitioner meaning in the universe comes from fulfilling and affirming life: wiccans emphasize the bright aspects of the deities because this gives us purpose to grow and evolve to the highest realm of existence. wiccans do not worship satan, the devil, or evil. cunningham makes clear throughout his book that worship of the god and goddess is worship of the creative, lifeaffirming powers of the universe, those powers that sustain and support the universe. things to remember while reading wicca: a guide for the solitary practitioner: wicca is regarded as a form of paganism. the modern word pagan has negative associations, suggesting that a person is backward and ignorant. the word comes from a latin word, paganus, meaning country dweller. the word

igious tolerance, vivekananda discusses in his speech the nature of god. he notes that throughout the world, different peoples have varying concepts of god. christians worship god, muslims worship allah, hindus worship brahma, and so on. vivekananda, though, says that each of these gods, and many others, are all expressions 109 of the same fundamental truth: that god is eternal and unchanging and the creative force and power throughout the universe. differing ideas of the nature and being of god are simply the result of different cultural needs. god is multifaceted, meaning that he has many characteristics. just as hindus worship numerous gods that are facets, or aspects, of brahma, so the world community can worship numerous gods that are aspects of a single, unchanging supreme deity. eac

STEINER RUDOLF CHRISTIANITY AS MYSTICAL FACT

oduce its colorful blossom. and it would not rest until it had the mysteries and mysteriosophy 19 understood that force and grasped it directly. thus did the mystai look upon the public divinities, not denying them, not declaring them redundant, but understanding nonetheless that they were the product of human beings. it is the forces of nature the gods working in nature that are at the same time the creative forces in the mystes. and it is these, working internally, that engender the images of the gods. the mystes aim is to grasp the godmaking power,18 which is something higher than the public divinities, and on a different plane. xenophanes alludes to it as follows: one god is greater than all, whether gods, whether earth-dwelling mortals; unlike whatever can die is his form, and unlike

ntered it could ever find the way out. now theseus wished to deliver his native city from such a shameful tribute, and so had to be cast into the labyrinth, as if to become the monster s prey, and then kill the minotaur. this task he undertook, overcame the formidable enemy, and then regained the open air; for ariadne had given him a ball of thread to help him. the mystai wanted to understand how the creative human mind came to invent such a story. they studied the creative spirit in order to understand it, rather as a myth and mysteriosophy 65 botanist studies plants. they were looking for a truth, an implicit wisdom, in what the myth expressed in popular form. sallust adopts the standpoint of the mysteries when he characterizes myth in such terms: the universe itself can be called a myth

in things, hidden under a spell, whirled about by love and strife. but if we find the divinity who is hidden there, we must ourselves be divine beings. for empedocles adheres to the view that like can only be known by like. 80 these ideas about the nature of humanity and the cosmos transcend considerations of sense experience. they are ideas that the mystai found in their myth of osiris: the god, the creative power is poured out into the world. this appears in empedocles four elements. god osiris is slain. human beings, with their knowledge (which is divine in nature) will restore him to life. we are to rediscover him in the form of horus (son of god, logos, wisdom) in the opposition between strife (typhon) and love (isis. in a greek way, empedocles expresses his basic ideas in terms that

and the text reads: a quart of wheat for a day s wages, three quarts of barley for a day s wages. thus the rider carries a pair of scales.142 when the fourth seal is opened, the rider who appears is called death, and hell was following close behind him; the rider stands for righteousness in religion. when the fifth seal is opened, the souls of those who have already taken up christianity appear: the creative idea behind christianity itself is manifested. but this refers only to the first stage of christian society, which is no less transitory than the other manifestations of the creative ideas. the sixth seal is opened. and now it is revealed that the spiritual world of christianity is something eternal. the apocalypse of john 133 the people are pervaded by the spiritual reality that actu

lusions, claimed by so many to be the only ones grounded in the facts of science, are in reality quite unable to explain the scope of that natural science itself. this book will not be rejected, then, by those who see that mysticism may properly be combined with an appreciation of our up-to-date understanding of nature. the mystical knowledge described here will lead me to show, in this book, how the creative power at work in christianity was preparing the grounds for its own appearance in the pre-christian mystery-cults. the pre- christian mysticism of these cults was the soil in which the seed of christianity was able to grow and become independent enabling us to understand christianity in its own right, while tracing it back to the pre- christian mystical experience from which it evolve

a step on the path toward the birth of the i. rudolf steiner says of one who experiences such an awakening: in this moment, one has become a philosopher. 12 he does not say: in this moment one has become a christian. later, however, he calls this path of awakening that leads to the birth of the i pauline thoughts in the realm of epistemology, because, just as paul awoke on the way to damascus to the creative reality of christ, so does anyone who has become a philosopher awaken to the creative power that belongs to the essential being of thinking.13 11. ibid, p. 33. 12. methodische grundlagen der anthroposophie, gesammelte aufs tze zur philosophie, nauruwissenschaft, sthetik und seelenkunde 1884-1901, rudolf steiner verlag, dornach, switzerland, 1989, p. 527 (ga 30. 13. the karma of materi

s a further development and clarification, and also, in part, a supplement to what was said in 1902.24 the new understanding results from the perspective of the pre-christian mysteries. they are the ground upon which christianity has developed. nevertheless, it cannot simply be derived from the mysteries; it is the seed of an independent species. indeed, we must reverse the causality and say that the creative power at work in christianity was preparing the grounds for its own appearance in the pre-christian mystery cults. 25 the mysteries are the dawning light of the rising sun of christianity. 24. an excellent study of this is found in christoph lindenberg s book, individualismus und offenbare religion, rudolf steiner zugang zum christentum, expanded edition, stuttgart, 1995. 25. see page

TECHNICIANS GUIDE TO THE LEFT HAND PATH

portant part of the left hand path psychological construction, thus making it real in the sense that activity and results can now be generated through that construction. it is the difference in a true sage, master, or magus and one who just learned alot. they may have the same knowledge, but how it is perceived in relation to the why and what for of things is vastly different in scale; as will be the creative activities manifested from that knowledge. what really is important is that in order for there to be any connection (to its source) a properly tuned receptor capable of that connection must exist (consider it a circuit. if that does not exist, the originating source will fade into non-existence. the originating source has released energy, this energy has found receptors whose qualitie

THE BLACK LODGE

hshvh, the adept, the son of man, is tiphereth. and the solar man, the son of the sun, is the solar intelligence manifesting below the abyss; unity- 111- multiplied by 6 (tiphereth) equals 666, the son of the sun, the great seven headed beast (cf liber cccxxxiii ch 49) or the seven sephiroth below the abyss. this seven headed beast who has ten horns (the manifestation of the "masculine" aspect of the creative power in the ten spheres of the tree of life) is a subject for the dominus liminis of the a .a. and for the inner sphere of our own order and it cannot be more openly discussed in this place. as to the demoniac entities, their nature must be clearly understood. the process of evolution demands a continuous interaction of all forms of life: through the attrition thus produced, they imp

THE CRAFT GRIMOIRE OF ECLECTIC VERSION 2

tch towers continued( grimoire of eclectic magick air is the intellectual element. it is clear and uncluttered. in magick its color is bright pale yellow, and it is employed in spells for visualization, inspiration, learning, and freedom. the celtic god, dagha is associated with air. in the tarot it is the suit of swords (sometimes wands. it is also know as yetzirah, the formative world. water is the creative element. it is emotional, fluid, and forever changing. in magick, its color is deep blue, and it is used in spells for friendship, fertility, creation, and emotional healing or purification. the celtic goddess, cerridwen is associated with water. in the tarot it is the suit of cups or chalices. it is also known as briah, the creative world. fire is the element of change and passion. i

nality of its user, or within a coven, order or group, the teachings of that tradition. altars can take any form, from a ritual table, to the top of your bedroom dresser. it is the place for you to honor the lord and lady, and to work your magick. basic ritual tools are, the chalice, the athame (pronounced, ath-ah-may, the pentacle, and the wand. chalice this tool, more then any other, represents the creative aspect of the goddess. it is the symbol of the womb. in ritual, it is used for the sharing of wine, juice, or herbal potions. it can also be employed for scrying. it is associated with the element of water. athame this tool represents the active principle of the god. usually it is black handled, with a double-edged blade. in ritual, it is used to cast the circle, as well as to evoke o

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 1

soul; you inhabit a body) life is purposeful and continuous. all human life operates under the law of karma and reincarnation. love fulfills that law. the will of all humans creates their destiny. the mind of all humans has formative powers. the answer to all problems is within the self. in accordance with the above postulates, humankind is enjoined as follows: realize first your relationship to the creative forces of the universe: god. formulate your ideas and purpose in life. strive to achieve those ideals. be active. be patient. be joyous. leave the results to god. do not seek to evade any problem. be a channel of good to other people. dr. gladys mcgarey is a medical doctor who employs various concepts from the edgar cayce material in her practice at the association for research and en

e transcendent or subjective level of the mind of a medium, all subjective knowledge gained by establishing telepathic rapport with the unconscious level of other minds will be immediately interpreted as information gained by the intercession of spirits. and so far as the transcendent mind of the medium is able to receive impressions of the spirits, that mental image will be impersonated with all the creative abilities that reside in the almost limitless range of subjective intelligence. m delving deeper barbanell, maurice. spiritualism today. london: herbert jenkins, 1969. fodor, nandor. an encyclopedia of psychic science. secaucus, n.j: citadel press, 1966. mysteries of the unknown: spirit summonings. alexandria, va: time-life books, 1989. uphoff, walter and mary jo. new psychic frontier

lazaris. body, mind spirit 7, no. 1 (january/ february 1988. jane roberts (1929 1984) on september 9, 1963, 34-year-old jane roberts had finished her dinner and was sitting down to her usual evening session of poetry writing. her husband, robert f. butts, was in his art studio, three rooms away, working on his painting. roberts picked up her pen and stared at the blank piece of paper, waiting for the creative juices to begin flowing. she had no reason to suspect that this night would be any different from others in her life. all at once she found herself in the throes of an experience she could only liken to a drugless trip. between one normal minute and the next, a fantastic avalanche of radical, new ideas burst into my head, with tremendous force, as if my skull were some sort of receivi

book the divine flame (1966) hardy suggested that science should entertain the possibility that the rapture of spiritual experience may be a part of natural history and that perhaps it may have only developed as religion when man s speech enabled him to compare and discuss this strange feeling of what [rudolf] otto called the numinous [and] what i am calling a divine flame as an integral part of the creative evolutionary process which man, with his greater perceptive faculties, is now becoming aware. hardy concedes that science can no more be concerned with the inner essence of religion than it can be with the nature of art or the poetry of human love. but he does maintain that an organized scientific knowledge indeed one closely related to psychology dealing with the records of man s rel

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 3

ny of humankind s major material and spiritual breakthroughs may have come from these virtually unmapped, uncharted regions of the mind. there are many reasons why the great majority of scientific researchers remain doubtful about the validity of altered states of consciousness, such as the misuse of hypnosis by amateur practitioners, the lack of understanding by professionals and public alike of the creative processes, and the disastrous results of the recreational use of lsd and other psychedelic drugs. descriptions of mystical revelations become almost florid as self-proclaimed seers and mystics attempt to translate their psychedelic drug or trance state experiences into the language of a technically oriented society. quite frequently, creative geniuses of western culture have compared

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

vate a crystal for the purpose of healing. those who wished to focus the healing abilities inherent in crystal were told that they must activate their crystal by breathing their gintent h to help others into the crystal. the process of activation involved their taking their crystal in the left hand. according to new age channeling, the act of holding one fs crystal in the left hand will stimulate the creative, intuitive process in the right brain hemisphere. once this has occurred, the supposed vortex of energy in the crystal begins interacting with the individual fs electromagnetic field and will start to increase the field energy around him or her. when the energy field has been activated, the individual is to begin to breathe into the crystal the intention to be able to heal the physica

THE KEY TO THE MYSTERIES

en one of them whose silent 40 prophecy was to turn ceaselessly as he walked, covered with rags, in the palace of luxury and riches. i have seen one of them whose face shone like that of christ: he had callosities on his hands, and wore the workman's blouse; with clay he kneaded epics. he twisted together the sword of right and the sceptre of duty; and upon this column of gold and steel he placed the creative sign of love. one day, in a great popular assembly, he went down into the road with a piece of bread in his hand which he broke and distributed, saying "bread of god, do thou make bread for all" i know another of them who cried "i will no longer adore the god of the devil! i will not have a hangman for my god" and they thought that he blasphemed. no; but the energy of his faith overfl

fessor, then, master eliphas levi, gave the persons assembled in mme. de b-'s drawing-room the scientific explanation of the three signatures, and this is what he said "these three signs belong to the series of sacred and primitive hieroglyphs, known only to initiates of the first order. the first is the signature of typhon. it expresses the blasphemy of the evil spirit by establishing dualism in the creative principle. for the crux ansata of osiris is a lingam upside down, and represents the paternal and active force of god (the vertical line extending from the circle) fertilizing passive nature (the horizontal line. to double the vertical line is to affirm that nature has two fathers; it is to put adultery in the place of the divine motherhood, it is to affirm, instead of the principle o

its reabsorption into the abysses of universal spirit. it is thus that death preserves and reproduces life, it is thus that life is betrothed to death. do you understand now what lucifer is "is it not the very genius of ancient prometheus" that force which sets in motion the world, life, even movement, and which regulates the course of successive forms? this force, by its resistance, equilibrated the creative principle. it is thus that the elohim gave birth to the earth. when, subsequently, men were placed upon the earth by the lord, as intermediate spirits, in their enthusiasm, which led them to search nature in its depths, they gave themselves over to the influence of that proud and powerful genius, and when they were softly ravished away over the precipice of death to find life, there i

s of magnetization, attracts us to each other, or estranges us from each other, subordinates one to the wishes of the other by causing him to enter his centre of attraction, re-establishes or disturbs the equilibrium in animal economy by its transmutations and its 201 alternate currents, receives and transmits the imprints of the force of imagination which is in men the image and the semblance of the creative word, and thus produces presentiments and determines dreams. the science of miracles is then the knowledge of this marvellous force, and the art of doing miracles is simply the art of magnetizing or "illuminating" beings, according to the invariable laws of magnetism or astral light. we prefer the word "light" to the word "magnetism" because it is more traditional in occultism, and ex

. one realizes evil in books of morality ill-written far more than in the poetry of catullus or the ingenious allegories of apuleius. there are no bad books, except those which are badly conceived and badly executed. every word of beauty is a word of truth. it is a light crystallized in speech. but in order that the most brilliant light may be produced and made visible, a shadow is necessary; and the creative word, that it may become efficacious, needs contradictions. it must submit to the ordeal of negation, of sarcasm, and then to that more cruel yet, of indifference and forgetfulness. 240 the master said "if a corn of wheat fall into the ground and die, it abideth alone; but if it die, it bringeth forth much fruit" affirmation and negation must, then, marry each other, and from their un

THE MAGICIAN S KABBALAH

t it is the unity, and thus only through its own reflection (the formula of 1+1=2, rather than the mystic formula of 0=2) as the "2" of chockmah can manifestation begin. in the light of progress up the tree (the initiatory system, then the svph stage of chockmah is the "end" as the grade of ipssissimus in kether is "beyond the comprehension of all lower grades" as crowley puts it. nun in binah at the creative stage represented by binah, the sephirah at the top of the negative pillar of form, we see "shadowed forth" the nun of ain and the final veil of ain svph avr. it is obvious that an immediate connection can be made in that the value of nvn is fifty, and from binah are derived the "fifty gates of understanding. nvn is primarily the letter of transformation, and the "scorpio energy" of a

bush sings, in "sat in your lap (from the album "the dreaming "i hold a cup of wisdom (binah and chockmah, but there is nothing within" which is to state, kabbalistically, that binah is the final shadowing forth of the three negative veils of ain soph aur. svph has the value of 868, which breaks down to 22 (the number of paths on the tree) and 2+2= 4, which is to say that the svph, or "end" is in the creative process actually the beginning of the material world (4, the number of materialisation) from chockmah, to which i have attributed svph. note that again it is also the reflection of itself (2+2= 4) in order to manifest. avr, the "light" has the value of 207, which reduces to 9, the number of teth, the snake of wisdom. thus, the light and the snake are brought together (as the zorastori

st given expansion in the sephirah chockmah. as symbolic of manifestation, the universe card depicts chockmah as the first manifestation of unity, the first visibility of kether in the "first swirlings" of the primum mobile, the zodiac. indeed the "golden dawn" tarot card depicts the spheres of the zodiac arranged around the central figure of the atu (see later chapter for further explanations of the creative process of chockmah as depicted by the zodiac. spelt in full, tau is tau-vau, the universe and the hierophant. this affirms the hierophant as symbolic of god's wisdom (the translation of chockmah being "wisdom) and as the interface between god (kether) and the rest of creation (binah to malkuth. this idea is mirrored in that the attribution of yhvh to the sephiroth links kether to cho

is now directed, and what was merely "location" now has "direction. logos translates as either word or thought, and hence is taken as the self-expression of god. in heraclitus, logos is the underlying balance or rationality in the manifest world of flux. the stoics took this idea as the reason of the universe, god. the "divine plan" that mystics search for has its place in chockmah, the layer of the creative process wherein the lattice or "array" is formed. jewish thinkers, on the other hand, identified the logos with wisdom, and the memra, or word. john states "in the beginning was the logos, and the "wisdom of solomon" says "like a fine mist she [wisdom] rises from the power of god. she is the reflection of the everlasting light. herself unchanging, but makes all things new. she spans t

urah, force and power, the numeration being pachad (peh-cheth- daleth, fear and judgement. the divine name of chockmah (or embodiment of chockmah in the world of atziluth, emanation) is yah, spelt yod-heh, relating to sapentia, or wisdom. this name formulates the first duality of divinity into active (yod) force and passive (heh) form. the extension is completed by binah as the lightning flash of the creative process continues its expansion. through the auphanim (chockmah in the world of yetzirah, formation, chockmah influences the forms of all circular movements, and lays the "astral" template of swirling movements, evident in everything from the shape of shells, the physical structure of the brain and to the grand dance of planets in orbit, and the vast sprawls of spiral star-dense galax

ifestation through the sephirah of chockmah. one meaning of this card is that of time, but another is "synchronicity, the "non-causal connectiveness" of things postulated by jung in a psychoanalytical context, but a mainstay of occult teachings throughout the ages. the nature of chockmah is the essence of this aspect of manifestation, in that there is no differentiation of events at this stage of the creative process. hanged man the "drowned man" or sacrificed god aspect of this card links with the nature of chockmah as showing the sacrifice of the point of singularity by extending its essence towards manifestation. the card is also symbolic of initiation, and hence mirrors the initiation of the creative process through chockmah. in symbolic form, showing the reversal of the man, it refers

vels of sound. the maxim of colour, sound and number systems is that they all relate to frequencies of vibration, and the universe is seen as a constantly active system which may be reduced to ranges of energy arrayed in levels of frequency. king scale: blue- the sky (masloth. empress scale: white, flecked red, blue, yellow- the robe of the justified osiris is of these colours, which are those of the creative energy fulfilled as white. emperor scale: blue pearl grey- derived from the king and queen scale by simple admixture. queen scale: grey- refers to the cloudy appearance of the human seed, and the transmission of the white of kether to the black of binah. also the grey traditionally associated with wisdom (i.e. druids, merlin, even gandalf "greybeard" of the fictional world of "the lor

from the king and queen scale by simple admixture. queen scale: grey- refers to the cloudy appearance of the human seed, and the transmission of the white of kether to the black of binah. also the grey traditionally associated with wisdom (i.e. druids, merlin, even gandalf "greybeard" of the fictional world of "the lord of the rings. chapter six; binah, the angel of the tides a useful analogy of the creative process represented by the uppermost three sephiroth of the tree, the supernal triad, is that of water flowing from a tap. the source of the water is the kether, whilst the pouring stream is the chockmah aspect of the system. if one cups ones hands into a hollow and places them in the path of the water, this represents binah, the formative aspect of the creative process. the water the

THE MIDDLE PILLAR

rojected outwards into a terrifying and awe-inspiring deity. discernment of the true motives of conduct and attitude towards life is, therefore, an absolute essential. this accomplished, then may be examined that other side of the medallion which is man's own psyche. the two pillars of the temple 7 as a practical system, magic is concerned not so much with analysis as with bringing into operation the creative and intuitive parts of man. a psychological techruque can never be a wholly integrative one until it accepts ths spiritual side of man and assists the analysand in the recognition of or acquaintance with its activity. at ths moment, the treatment of these matters remains almost entirely within the domain of magic alone. fully does it recognize the necessity for integration. not only d

ne world, we contact those subtle images which the ancients called the gods. or rather the ordinary every-day sphere of consciousness becomes invaded by a volitional up-welling of these archaic images and archetypes the first set of psychic forms, subtle, intangible, and dynamic, through which the libido flows on its outward journey from the it. the 2nd and 3rd sephiroth constitute what is called the creative world, the state of sushupti.20 it is that stratum of the primordial psychic sphere in which function the principles of the anirna and animus, wisdom and understanding. therefore its reaction upon the ego would be through a stimulation of the creative faculties, and an enhancement of its entire horizon and field of awareness. as the second state of consciousness, it has a corresponden

nd still, the desirable condition to permit the ascent of the archetypes and inspiration of other levels of consciousness. during the period of attention to the middle pillar, dreams far more readily cross the threshold of consciousness, and as time proceeds, they seem very definitely to pertain to less superficial aspects of the psyche, to the regions which normally are very difficult to contact-the creative and archetypal worlds of the animus, the almost exclusive concern in the past of poets, mystics, and magicians. the fourth routine exercise, the vibratory formula, is fundamentally an extension of the middle pillar visualization. its technique proceeds in a way similar to the earlier exercise. but here we confront a rationale of a different order. the theory here is that by awakening

tic tree of life, yang energy can also be attributed to the masculine right-hand pillar called yachin, while yin energy corresponds to the feminine left-hand pillar of boaz. 10. this is similar to the golden dawn teachings concerning the sub-elementsthat each element contains a mixture of the other elements as well. 11. again, a mixture of the elements. 12. logos is greek for "word" it represents the creative principle. 13. the supernals are the three highest sephiroth of kether, chokmah, and binah. these three are considered to be on a higher level than the rest of the sephiroth. 14. from the voice of the silence by h. p. blavatsky. 15. to clanfy, the ninth sephirah is yesod, to which the nephesh is attributed. 16. to clar, the supernal sephiroth are kether, chokmah, and binah, to which t

ess. turya is described as conscious dreamless sleep or meditative sleep. in the western tradition, the four worlds of the qabalah as placed upon the tree of life are atziluth (containing kether, bn'ah (composed of the sephiroth of chokmah and binah, yetzirah (including all sephiroth from chesed to yesod, and assiah (consisting only of malkuth. atziluth is the divine world of archetypes, briah is the creative world of archangels, yetzirah is the formative world of angels and the astral realm, and assiah is the active, material world. 20. the state of mind in dreamless sleep. 21. these are known as the chakras. see part two, chapter eight. 22. complete awareness of the state of mind. 23. this is excellent advice. we should point out, however, that not all psychotherapists are sympathetic to

ing around the temple. it would be more accurate to describe this process as "circulationf' or "circumagitation" of the light. however, regardie has derived the misuse of the word "circurnambulation" from original order manuscripts-see the golden dawn, page 347, line 7. 27. one of the tragedies of western culture is the depreciation of the human faculty of imagination. rather than celebrate it as the creative power of genius that is responsible for all human invention, westerners tend to belittle this gift as a childish diversion. 28. some advanced middle pillar exercises are given in part two, chapter ten. 29. spiritual mastery. chapter three the qabalistic cross and the pentagram ritual s ome years ago, the principles of this exercise of the qabalistic cross were published in my book the

cise a number of times on their own over a period of a few weeks to be certain that it is effective. it can also be done entirely solo if preferred) anima and animus the second step in the process of individuation is defined by the encounter with the animus or the anima. the anima is the embodiment of the reflective feminine nature of man's subconscious, while the animus is the personification of the creative masculine nature of a woman's subconscious. both are "soul images" whch usually manifest themselves in anthropomorphic form as "fantasy lovers" in dream and imagination. animus and anima have a direct relationshp with the persona or mask-if the persona is emotional, the soul image is rational, and vice versa. they are two of the most important archetypes, often influencing how we resp

scious of nothing but its own existence. it is incapable of learningfrom the past, incapable of understanding contemporary events, and incapable of drawing right conclusions aboutfuture. it is hypnotized by itseyand therefore cannot be argued with. it inevitably dooms itseyto calamities that must strike it dead.22 all of us surrender to such arrogance during ths process of individuation, however, the creative energies that are stimulated in the psyche by the appearance of archetypes can be fully accessed only after one has humbly acquired the ability to discern the difference between hm or her self and them. on the road to self-growth, we must not mistake personal insights into our own inner workings as messages from god to his new chosen prophet. we must work to clarify our relationship t

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

brother for five rupees, or less. h*3. the mere fact of breathing breaks the second precept. buddha, being an habitual adulterer,*4. constantly broke the third; and the fourth and fifth likewise *1. vol. ii, p. 192 *2. vol. ii, p. 225 *3. vol. ii, p. 192 *4. it would be easy to argue with hegel-huxley that he who thinks of an act commits it (cf. jesus also in this connection, though he only knows the creative value of desire, and that since a and not-a are mutually limiting, therefore interdependent, therefore identical, he who forbids an act commits it. vol. ii, p. 193. agnosticism ex oriente lux. as old as the vedas is the idea of agnosticism, though in name it is not yet forty years of age. everywhere we look we find the. of paul, midst the greeks, the egyptians, the hebrews, the chalde

THE TAROT OF C C ZAIN

with it a cross. the cubic stone, image of the perfect solid, signifies labor which has reached completion. the cat, pictured on the side of the stone, indicates that the vision of the soul penetrates the illusions of matter. the sovereign's helmet is an emblem of force conquered by power. the ruler is in possession of the scepter of isis, indicating that he has knowledge of the spiritual use of the creative energies; and he points downward with his left hand to indicate that he uses these energies in the subjugation of the physical. the sacred serpent at his brow indicates enlightenment; and the hawk, sacred to the sun, indicates his ambition to attain spiritual supremacy. the cross, formed by his legs, symbolizes the four elemental kingdoms he has mastered, and the expansion of human po

saturn, or satan; the sign most devoted to material ambitions. and the beings chained at the feet of this master of chaos also have goat heads, indicating that their intelligence has been used exclusively to further material and selfish ambitions. this malignant entity has the head of a crocodile, symbol of cruelty. the snake emerging from his body, instead of from his brow, indicates the use of the creative energy, not for enlightenment, but for physical gratification. it also represents medium-ship, rather than conscious control; for the chief center of power in disintegrative mediumship is the solar plexus. the two men with goat heads chained by the neck at the monster's feet represent the certain fate that awaits all who use magical powers to attain selfish or purely material ends. so

hree strings, signifying harmony of body, intellect and emotions. the twelve flowers of the wreath above are the twelve zodiacal signs in which all experience is gained. the three blossoms of each flower indicate that both souls, as represented joined in the winged linga, have garnered the flowers of zodiacal experience on all planes, physical, astral and spiritual. the head of the lion signifies the creative forces of the solar sign, leo, and the courage which is necessary to all real attainment. the head of the bull represents the fructifying agent of nature and points out the necessity of labor in all progress. the eagle signifies that sex, as signified by the sign scorpio, has been turned into channels which lead to spirituality. and the head of the man indicates that both intuition an

THE WITCH CULT OF ZOS VEL THANATOS

ne part, sensation not being manifold becomes intensified. by the abstention of desire, except in the object, this is attained (at the psychological time this determines itself aos-the book of pleasure sigils may be constructed through several methods as the following; 1. letter manipulations, from arabic, greek or otherwise. 2. paintings and other abstractions of sight through art. 3. musick and the creative act of sound production. letter manipulations can be a useful method of enfleshing desires, creating servitors or elementals or to cast hexes or witch-spells. the medieval system of magic and invocation used sigils in this form extensively and almost exclusively. this can be found in various grimoires from the grimorium verum to abramelin the mage. the demons, angels and other spirits

TWO ESSAYS ON THE WORSHIP OF PRIAPUS

rior to the macedonian conquest, it appears with the chaplet or rosary, such as is now used in the romish churches;2 the beads of which were used, anciently, to reckon time.3 their being placed in a circle, marked its progressive continuity; while their separation from each other marked the divisions, by which it is made to return on itself, and thus produce years, months, and days. the symbol of the creative power is placed upon them, because these divisions were particularly under his influence and protection; the sun being his visible image, and the centre of his power, from which his emanations extended through the universe. hence the egyptians, in their sacred hymns, called upon osiris, as the being who dwelt concealed in the embraces of the sun;4 and hence the great luminary itself i

ns upon one of those figures commonly called sileni; but which, from their heavy unwieldy forms, were probably intended as personifications of brute inert matter, from which all things are formed, but which, 1 il. q, ver. xix. 2 proclus in theol. plat. lib. i. c. 21. 3 see plate v. fig. 3. 42 on the worship being incapable of producing anything of itself, is properly represented as the support of the creative power, though not actively instrumental in his work. the total baldness of this figure represents the exhausted, unproductive state of matter, when the generative powers were separated from it; for it was an opinion of the ancients, which i remember to have met with in some part of the works of aristotle, to which i cannot at present refer, that every act of coition produced a transie

i cannot at present refer, that every act of coition produced a transient chill in the brain, by which some of the roots of the hair were loosened; so that baldness was a mark of sterility acquired by excessive exertion. the figures of pan have nearly the same forms with that which i have here supposed to represent inert matter; only that they are compounded with those of the goat, the symbol of the creative power, by which matter was fructified and regulated. to this is sometimes added the organ of generation, of an enormous magnitude, to signify the application of this power to its noblest end, the procreation of sensitive and rational beings. this composition forms the common priapus of the roman poets, who was worshipped among the other personages of the heathen mythology, but underst

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

t to show their modesty in not indulging their concupiscence, but in doing their duty in the way best adapted to answer the ends proposed by the creator. on the greek medals, where the cow is the symbol of the deity, 1 recherches sur les arts, liv. i. c. 3. 2 lib. iv, v. 1260 46 on the worship she is frequently represented licking a calf, which is sucking her.1 this is probably meant to show that the creative power cherishes and nourishes, as well as generates; for, as all quadrupeds lick their young, to refresh and invigorate them immediately after birth, it is natural to suppose, according to the general system of symbolical writing, that this action should be taken as an emblem of the effect it was thought to produce. on other medals the bull or cow is represented licking itself;2 which

ich i shall not venture to describe, but only 1 arch ol. vol. viii. p. 189. 48 on the worship observe, that the action, which i have supposed to be a symbol of refreshment and invigoration, is mutually applied by both to their respective organs of generation,1 the emblems of the active and passive powers of procreation, which mutually cherish and invigorate each other. the hindoos still represent the creative powers of the deity by these ancient symbols, the male and female organs of generation; and worship them with the same pious reverence as the greeks and egyptians did.2 like them too they have buried the original principles of their theology under a mass of poetical mythology, so that few of them can give any more perfect account of their faith, than that they mean to worship one firs

, is alike the cause of creation, preservation, and destruction; which three attributes are all expressed in the mystic syllable om. to repeat this in silence, with firm devotion, and immoveable attention, is the surest means of perfection,2 and consequent reabsorption, since it leads to the contemplation of the deity, in his three great characteristic attributes. the first and greatest of these, the creative or generative attribute, seems to have been originally represented by the union of the male and female organs of generation, which, under the title of the lingam, still occupies the central and most interior recesses of their temples or pagodas; and is also worn, attached to bracelets, round their necks and arms.3 in a little portable temple brought from the rohilla country during the

58 on the worship under whose direction its power is always exerted. strength and wisdom therefore, when considered as attributes of the deity, are in fact one and the same. the greek minerva is usually represented with the spear uplifted in her hand, in the same manner as the indian gonnis holds the battle-axe.1 both are given to denote the destroying power equally belonging to divine wisdom, as the creative or preserving. the statue of jupiter at labranda in caria held in his hand the battle-axe, instead of thunder; and on the medals of tenedos and thyatira, we find it represented alone as the symbol of the deity, in the same manner as the thunder is upon a great variety of other medals. i am the thunderbolt, says the deity in the bagvat geeta;2 and when we find this supposed engine of d

TYSON DONALD NEW MILLENNIUM MAGIC

at they are the formative expressions of one or several minds over a relatively brief period of time, rather than an entire culture acting over the span of centuries or millennia. to be perceived, all spirits must be created. a spirit does not exist unless it is conceived in some way. this process of creation can be voluntary or involuntary on the part of the human mind that acts as a conduit for the creative virtue of the light. it can be based on an existing traditional pattern or be wholly novel to human experience. it can be the work of one person, or several, or many. it can occur in a single day or extend over years. the existence of the spirit can be brought about on the mental, astral, or physical circles of being. all spirits emanate from the unmanifest. their unity is basic, thei

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, desires, and emotions that have been given a form by the creative will of an individual, or more rarely a group. they have their own identity and a sense of purpose that revolves around the task they were created to fulfill. once given life, they fear death and will use all their limited abilities to avoid being dispersed. the longer they live, the stronger and more complex they become, for they continue to draw identity from the magus who shaped th

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 sigil is a symbol derived by one of various systems fiom the name of a spir- it. by concentrating the creative will on the sigil, the magus is able to call forth the spirit it represents into his or her conscious awareness. since it is a graphic representation of the name, the sigil is more amenable to mental reten- tion and handling than the name itself. ideally, the lines and angles of the sigil intuitively reflect the nature of the spir- it it designates. placid spirits should have sigils m

ysical body of the magus, for the purpose of experiencing or manip- ulating those beings or forces. the word invoke is fiom the french for "to call in" evocation and invocation are not clearly distinguished in common usage or dictionary definitions, but they are distinct practices in modern magic. law, cosmic: the harmonious and orderly evolution of the universe, driven by the negative entropy of the creative spirit that shapes and animates all living things. a life, even the smallest single-celled plant or animal, has its place and its purpose in the unfolding of cosmic law. its very existence testified to this fact. however, it is possible for conscious beings to oppose cosmic law through free will, thereby putting their lives in discord with evolution. luck: the improbable synchronicity

he personal universe of one individual has a considerable overlap with the personal universe of another individual. this is especially true when these persons share the same time, culture, and dwelling place. differences between personal universes are more noticeable when individuals are separated by cul- tural differences or large spans of time, or where one of the minds is aberrant. unmanifest: the creative source from which all manifest things emanate. the high- est concept of god, who is without form or quality. the unmanifest lies with- in the point of the higher self, and for this reason cannot be perceived. only when an archetype or ideal form emerges from the unrnanifest can the human mind draw a circle around it, allowing it to be perceived by the conscious awareness. the unmanife

TYSON DONALD THE MAGICAL WORKBOOK

perpendicular lines. centering helps spiritual intelligences, such as any angels or deities that you may subsequently invoke, to locate your presence. centering in one form or another should be done at the opening of most rituals. the cross is a symbol for the earth. by making your body into a cross, you momentarily become the earth. the star within the sphere of the heart-center is a symbol for the creative, empowering source within the higher self of the individual. by identifying yourself with the star through centering, you momentarily become the spiritual center of the universe. each human being resides at the center of his or her own universe, and indeed can never leave it, but this truth is usually veiled by the distractions of material existence. centering reminds us that we are a

TYSON DONALD THE POWER OF THE WORD

ther and mother (i and first h) alternately generate the son (v) and daughter (second h. the generative unit is complete in the trinity, but this trinity endlessly alternates its polarity, male-female-male giving way to male-female-female, and vice versa. the v elevates his twin sister, the second h, to the throne of the now barren mother, the first h, whom she replaces. her mature beauty arouses the creative lust of the v, who ascends to the throne of his father, the i. by this ascent he is transformed and his old identity "dies" or passes from existence. the renewed and fertile male-female pair in turn produce the next generation. it is interesting tq note that in ancient egypt it was the custom for the young prince to replace the dying king, his father, on the throne and marry his own s

t is interesting tq note that in ancient egypt it was the custom for the young prince to replace the dying king, his father, on the throne and marry his own sister, the princess, who became queen and took over the post of her mother. in this way, the king was forever renewed in his own blood and might be said symbolically to be deathless. this egyptian custom is an imitation on the human level of the creative process of tetragrammaton. on this question see also the remarks of crowley in appendix b. in order to understand the essential differences between the letters of the name, it is necessary to reduce them to binary symbolism. this is the same symbolic system of logic that runs the modern computer. the binary 26 tetragrammaton system is composed of only two characters, which are usually

abbi loew himself, who had the mediating gift of air (aleph, would have tied these extremes together by reciting the letters of the mutable ihhv, hvih, vhhi, and hlvh. it is possible that words of power other than the twelve banners of tetragrammaton were used in the creation of the golem. however, the permutations of the name would seem the most appropriate choice for this ritual, which imitates the creative act of supreme deity. it is worth noting that the golem, although he could see, hear, and understand what was happening around him, did not possess the gir of speech. since the golem was created not by god, but by men who were themselves the creations of god, the spark of divinity that lies within each living human being was not passed on to him. even though he looked like a man, he w

r throat. the consequence of this inherent difference between vowels and consonants is that vowels have power and consonants, for the most part, do not. both are necessary to form words, but the vowels are the vitality of the words, and the consonants merely act as a template to limit and shape that vital energy into a unique pattern. magically, vowels are masculine and represent shiva or shakta, the creative god force that embodies everything but is itself without form; consonants are feminine and represent shakti, the formative goddess force that has no inherent creativity but enables all creation. the most famous of eastern mantras, om or aum, involves the prolonged sustaining of the 0 sound, which causes a strong vibration in the diaphragm, chest cavity, and throat, followed by a gradu

the moon. the final theorem of dee's book pointed the way to the extraction of the names of the twenty-four wings of the winds, three pairs for each element, each pair made up of a left-hand spirit of judgment and a right-hand spirit of compassion. dee's second enochian key, where the wings of the winds are mentioned, demonstrated that it is necessary to assume the god-form of yehovashah (ihvshh, the creative and compassionate aspect of the heavenly christ, when we seek to command and direct the twelve wings of mercy on the right side through the "invoking" sigils of the banners; and to assume the god-form of yeheshuah (ihshvh, the judicative and vengeful aspect of heavenly christ, when we seek to command and direct the twelve wings of severity on the left side through the "banishing" sigi

fixed opinions that she expresses forcefully and is intolerant of the views of others. strong possessive affections, she likes to command those she loves for their own good. she speaks in a mellow voice with a tone of authority, and has a deep, ringing laugh. function: to dominate in matters of the heart. to attain a realistic selfanalysis of personal faults and virtues. for critical judgment in the creative arts and drama. to oversee the happiness of loved ones and protect them from harm. fornz and function of the wings vii angel: daviel (dvi+al) pronounced: dav'-i-el hebrew: h4'711 enochian: c7-la2l: banner: hvhi polarity: sun tjpe: mercy side: right sex: male element: water quality: cardinal sign: cancer house: fourth direction: south-southeast stone: garnet (red) ifibe: judah apostle:

mmaton is also applied to the four worlds, and the primordial four elements. to the archetypal world the letter "y" is given. hence the archetypal world is the father, the all-begetter, and all-devourer of the worlds. the 'y" also represents, in this instince, the element of fire, showing forth the fierce, active, spiritual nature of the father. the" h primal of the tetragrammaton is allocated to the creative world to which, being receptive and passive, the element of water pertains. this plane represents the mother who, before the son can be given birth, awaits the creative energy and the influx of divine life from the father. the formative world is assigned to the letter "v" the son, and the latter, like the father, is active, male and energetic; hence the element air is the attribution

animals described in the vision of ezekiel "they four had the face of a lion, of an eagle, of a man, and of an ox" these living creatures correspond to the four aspects of the absolute. the lion corresponds to life, to the element of fire, to atzilutthh,e archetypal world, to yod in ihvh, and to the sephirah chokmah, root of fire. the eagle corresponds to mind, to the element of water, to briah, the creative world, to the first heh in ihvh, and to the sephirah binah, the root of water. the man corresponds to the third aspect, truth or law, to the element of air, to yetzirahth, e formative world, to vav in ihvh, and to the sephirah tiphareth, attributed to air. the ox or bull corresponds to the fourth aspect, love, to the element of earth, to assiaht,h e material world, to the final heh in

WALLIS BUDGE E A LEGENDS OF THE EGYPTIAN GODS

he production of shu and tefnut to an act of masturbation. originally these gods were the personifications of air and dryness, and liquids respectively; thus with their creation the materials for the construction of the atmosphere and sky came into being. shu and tefnut were united, and their offspring were keb, the earth-god, and nut, the sky-goddess. we have now five gods in existence; khepera, the creative principle, shu, the atmosphere, tefnut, the waters above the heavens, nut, the sky-goddess, and keb, the earth-god. presumably about this time the sun first rose out of the watery abyss of nu, and shone upon the world and produced day. in early times the sun, or his light, was regarded as a form of shu. the gods keb and nut were united in an embrace, and the effect of the coming of li

WEOR SAMAEL AUN ESOTERIC COURSE OF KABBLAH

evil can enter into them. then love is converted into hatred, illusion is followed by deception. with the mantric prayer that we have taught in this lesson, we retain that brilliant cosmic light that envelops the human couple in that supreme moment of love with the condition of avoiding, by all means, the ejaculation of the ens seminis. the mantras of this invocation have the power of transmuting the creative energies into light and fire. estos mantrams tienen el poder de transmutar nuestra energ a sexual en luz y fuego, dentro del laboratorio alkimista del organismo humano: la oraci n con sus mantrams puede utilizarse en magia sexual; tal oraci n con sus mantrams, es una clave omnipotente para meditar en nuestra madre divina. el maestro huiracocha dijo en su novela rosacruz: cuando el hom

el instante supremo del amor, a condici n de evitar a toda costa la eyaculaci n del ens seminis. los mantrams de esta invocaci n tienen el poder de transmutar las energ as creadoras, en luz y fuego. 20 the bachelors and bachelorettes can also transmute and sublimate their sexual energies and carry them to the heart with this prayer and these mantras. you must know that in the temple of the heart, the creative energies are mixed with the forces of christ and thereafter they elevate to the superior worlds. the inner christ lives in the heart temple. the cross of initiation is received in the heart temple. this mantric prayer is also a formula of priestly power that the magician utilizes in his practices of internal meditation in order to arrive at the feet of his divine mother. if the medita

oman. they combine the substances of their seven bodies (above and below) by crossing the four elements (fire, air, water and earth) of sex, which are represented in each corner of the square] the process of creating a new being (the true human being) is performed within the laws of the musical octaves. the seven notes of the musical scale are the foundation of the whole creation. if we transmute the creative energy, we initiate a new octave in the ethereal world, which outcome is the birth of the soma- puchicon (the soul s wedding gown. with this vehicle, we may be able to consciously penetrate into all the departments of the kingdom. the third octave permits us to generate the true astral body, the astral christ [the christic astral body. when we reach this level, the old astral, the pha

r words, her larynx emits the moaning sound of the letter m. krumm heller stated that initiation must start with the letter m and s. if we want to be born in the internal worlds, then we must also utter the sound of the letter m (as when one moans. it is about being born and we must be born. thereafter we slowly exhale, we wait for the breath to naturally return and we inhale, we mentally pump up the creative energy and make it rise through the two canals id and pingal into the chalice (the brain. we repeat the effort and we continue. trabajo con el chacra prost tico inmediatamente se termina el trabajo diario con el arcano a.z.f. debe el alkimista acostarse en dec bito dorsal (boca arriba) y trabajar con el chacra prost tico. este chacra es important simo en la alta magia. el alkimista in

turalmente y al inhalar bombeamos mentalmente, hacemos subir la energ a creadora por los dos canales de id y pingal hasta el c liz (cerebro. repetimos el esfuerzo y continuamos. 95 imagination and willpower imagination is feminine and willpower is masculine. when we work with the prostatic& uterine] chakra we must fuse these two powers in an alchemical wedding in order to promote the ascension of the creative energy. we do this first through the sympathetic chords of the physical body. second, through the sympathetic chords of the ethereal body. third, through the sympathetic chords of the body of desires. fourth, through the sympathetic chords of the mental body. fifth, through the sympathetic chords of the causal body. advanced students must carry the creative energy even to the ain soph

cal body. second, through the sympathetic chords of the ethereal body. third, through the sympathetic chords of the body of desires. fourth, through the sympathetic chords of the mental body. fifth, through the sympathetic chords of the causal body. advanced students must carry the creative energy even to the ain soph. the heart after certain time of practice, the student must learn how to direct the creative energy from the brain to the heart (the fourteenth arcanum is the arcanum of temperance. transformation (second aspect of the 14th arcanum) in jinas state, a body can shape-shift easily. circe20 shape-shifted men into pigs [temporarily; legend states that apuleius shape-shifted himself into an ass. to manage shape-shifting the following latin mantrams are used: est sit, esto, fiat. on

as eyaculan el ens seminis durante sus pr cticas de magia sexual. con la eyaculaci n del ens seminis se pierden billones de tomos solares que son reemplazados por billones de tomos del enemigo secreto. estos tomos sat nicos son recogidos de los infiernos at micos del hombre por los rganos creadores despu s de la eyaculaci n. 112 these satanic atoms are picked up from the atomic infernos of man by the creative organs after the ejaculation. when such satanic atoms attempt to rise through the sympathetic canals to the brain, they are downwardly precipitated by the three rays: father, son and holy spirit. when these kinds of tenebrous atoms descend, they violently crash against a master atom of the black lodge that resides in the fundamental chakra of the coccygeal bone. this evil atomic entit

WESTERN MANDALAS OF TRANSFORMATION SR AL

el, sunflower copol, frankincense cypress, lovage, nightshade, storax tone e e a-flat f-sharp c c-sharp d d-sharp b f a-sharp f-sharp a-flat g a-flat a c b-flat b d c a note: there are many hues or shades the student can experiment with; for example the golden dawn complementary chart is a bit more complicated than this one, but i have found the best results to come from personal experimentation. the creative student. the principal point is to establish relationship. steinbrecher pointed out that of all the archetypal entities encountered, connecting with one's h. g. a. should be the first and most important archetypal relationship. this idea has counterparts in many aspects of jungian work as well. it is the most valuable kind of guide in any kind of active imagination, pathwork or visual

he tarot by the high priestess. when employed in talismanic art, two draws energy which is related to reconciliation, union, memory, duplication, repetition, analogy, rhythm and periodicity. 3. when the primordial idea of unity is added to the idea of a binary, what results is a ternary. it draws us out from the absolutism of dualism. it is the synthesis after experiencing thesis and anti-thesis: the creative third force. three is the number of creation, the cause of everything comprehensible. it represents both adaptation and transmutation. it is binah, the holy spirit or third person of the trinity on the tree. it is characterized by the first geometrical shape, the triangle. the triangle of art in the western magical tradition is where materializations occur when doing evocations. as th

he third sephira, binah represents the origin of trinitarian dogmas, because, as levi explains, the universal way of thinking about relationship is grammatically: that which speaks, that which is spoken to, and that which is spoken about. in magic, this is origin, realization, and adaptation. in theology it supposes an intelligent cause, a mediation (the logos, and a creative expression. binah is the creative principle which in turn births the rest of the sephiroth. when we are dealing with only two-letter hebrew combinations, there exists the possibility of reversal. we said that there were two words that add up to three. the first is ab, and the second is ba (baw, which means to come, arrive, enter (ben yehuda. the root can be read either way. here we see the beginnings of a fascinating

ical. it is the number of self-multiplication and any number multiplied by nine will always have a product with digits that reduce to nine. the goal or completion of the great work in qabalah is really the manifestation of the divine name (ihvh, which is the complete expression and representation of all that the word signifies "i am what was, what is, and what will be" therefore the perfection of the creative process initiated in binah is the manifestation of god's idea to god herself. the "everlasting kingdom" spoken of so often in the bible implies the attainment of an objective which has been in the universal mind from the beginning or foundation of the world. another numerical example of this relationship is demonstrated in the equation 9x9=81. by gematria, this points to the fullness

combined sigil of intelligence the number 369 is also the value of olahm ha-briah, figure 11-m or the world of creation. this world includes the sephiroth chesod and geburah (whose colors combine to make purple, or yesod's color on the tree) as well as tiphareth. this triangle represents the emanation of created forces, which in qabalah are called elohim. their association with the moon hints at the creative powers of reflection, and in this sense can be compared to the moon's reflection of the sun. there are many ancient jewish kabbalistic rituals which celebrate the joining of sun and moon, or tiphareth and yesod. in hebrew the word for moon is levanah, which means beautiful heart (lb nh. in greek, the word mathesis, which means disciple, also has a numeration of 369. it has a particula

-shvtmi: the shuhamite (2 kings 4: 8) 369: hshmdk: you be destroyed (locks. destruction is the foundation of existence (book of tokens. that is: peh=80=yesod 3321: theosophic extension of the planetary line 3321: mlka b-thrshishim od b-rvch shchrim: intelligence of the moon: queen of the tarshishim forever, in the spirit of the dawning ones (the tarshishim are a choir of angels assigned to briah, the creative world) mem finals equal 600 3321: on earth as it is in heaven (greek) chapter 12 the kamea of daath/pluto the magical numbers of the kamea of daath/pluto are eleven, 121, 671, and 7381. gematria for these numbers is in the correspondence tables at the end of the chapter. daath has seldom (if ever) been addressed as a planetary sephira in treatises that deal with magical squares. case

non-existent god made the cosmos out of the non-existent, casting down and planting a single seed containing within itself the whole seed-mass of the cosmos (jonas, 1963. the book of proverbs tells us "with wisdom god established the earth, with understanding he established the heavens, and with his knowledge, the depths (chaos) were broken up (prov 3: 19, 20. it is through daath (knowledge) that the creative power of the elohim (emanating from binah) begins to manifest something from the chaotic nothing. although masculine language is used in proverbs, in qabalah, these depths are often referred to as the womb, or ani in hebrew. this word is simply a rearrangement of the word ain, or nothingness, and therefore would have the same numerical value. this value is sixty-one, which is the numb

s that compose the divine names (ihvh and ahih, it would be an appropriate mantra to chant or meditate on. it is the number of daath itself, the kamea that is eleven by eleven. translated into tarot keys, it is the magician (one) working through justice (eleven. or, one could work with the energies of the hebrew letters themselves.aleph, the primal life-force acting upon yod, the primal point and the creative hand. the next number, as we circle the points of the cross (clockwise, is 121. besides the associations given at the end of this chapter, the hebrew letter archetypes in this number are peh (100) kaph (twenty) and aleph (one. again, we can do a writing meditation exercise freely associating to what these letter archetypes mean in this particular relationship to one another; or use th

WICCA MAGICK OCCULT THREE GREEN BOOKS DRUIDISM

cross the nation. that is why it is important that we so diligently search for them. ossie davis. i have a great belief in the fact that whenever there is chaos, it creates wonderful thinking. i consider chaos a gift. septima poinsette clark there is no beauty but in relationships. nothing cut off by itself is beautiful. never can things in destructive relationships be beautiful. all beauty is in the creative purpose of our relationships; all ugliness is in the destructive aims of the destroyer s arrangements. ayi kwei armah back of the problem of race and color lies a greater problem which both obscures and implements it; and that is the fact that so many civilized persons are willing to live in comfort even if the price of this is poverty, ignorance and disease of the majority of their f

WILLIAM WESCOTT THE CHALDEAN ORACLES OF ZOROASTER TRANSLATION

deities_ higher demons: angels_ human souls_ lower demons, elementals fiery 4 of 13 airy earthy watery_ evil demons lucifugous; the kliphoth_ chald an theology contemplated three great divisions of supra-mundane things: the first was eternal, without beginning or end, being the "paternal depth" the bosom of the deity. the second was conceived to be that mode of being having beginning but no end; the creative world or empyr um falls under this head, abounding as it does in productions, but its source remaining superior to these. the third and last order of divine things had a beginning in time and will end, this is the transitory ethereal world. seven spheres extended through these three worlds, viz, one in the empyr um or verging from it, three in the ethereal and three in the elementary

each world, as also was a special mode of writing the four lettered name appropriate thereto; and, indeed in that system it is taught that the order of the elements, both macrocosmic and microcosmic, on every plane, is directly controlled by the "revolution of the name" that name is associated with the thers of the elements and is thus considered as a universal law; it is the power which marshals the creative host, summed up in the demiurgus, hypezokos, or flower of fire. reference may here be made to the psychic anatomy of the human being according to plato. he places the intellect in the head; the soul endowed with some of the passions, such as fortitude, in the heart; while another soul, of which the appetites, desires and grosser passions are its faculties, about the stomach and the sp

WOLFSON ELLIOT ALEF MEM TAU KABBALISTIC MUSINGS ON TIME TRUTH AND DEATH

yet discrete. as simplicius put it, as to what time may be, then, to this question hardly the wisest would be able to find an answer. 15 in the course of the passage of much time, the same sentiment has been expressed by many of the finest philosophical minds. to mention two examples from the twentieth century, alfred north whitehead wrote: it is impossible to meditate on time and the mystery of the creative passage of nature without overwhelming emotion at the limitations of human knowledge. 16 heidegger, too, observed: although we constantly reckon with time or take account of it without explicitly measuring it by the clock and are abandoned to it as the most commonplace thing, whether we are lost in it or pressed by it although time is as familiar to us as only something in our dasein

nd expectation,65 a psychological process that mimics the foundational mystery of christian faith, the incarnation of the eternal word at a particular point in time, an historical event that summons an abiding-in-being-born rather than the passing-away that is characteristic of all things ephemeral.66 in some respects, augustine anticipated the view of henri bergson for whom time is expressive of the creative impulse of being, the lan vital, the pure duration, which he contrasts sharply with measured time, casting the two in a series of antinomies succession and simultaneity, alteration and homogeneity, thinking time/ hermeneutic suppositions 11 intensive magnitude and spatial representation. science demonstrates unequivocally the human mind s capacity to measure time mathematically though

hud. worship of the heart: a study in maimonides philosophy of religion. albany: state university of new york press, 1995. ben-shlomo, joseph. the mystical theology of moses cordovero. jerusalem: mosad bialik, 1965 (hebrew. benz, ernst. the mystical sources of german romantic philosophy. translated by balir r. reynolds and eunice m. paul. allison park: pickwick publications, 1983. bergson, henri. the creative mind. translated by mabelle l. andison. new york: philosophical library, 1946. duration and simultaneity: bergson and the einsteinian universe. edited with an introduction by robin durie, translation of supplementary material by mark lewis and robin durie. manchester: clinamen press, 1999. time and free will: an essay on the immediate data of consciousness. translated by f. l. pogson

uction by thomas pfau. albany: state university of new york press, 1994. philosophical investigations into the essence of human freedom and related matters. translated by priscilla hayden-roy. in philosophy of german idealism, 217 284. edited by ernst behler. new york: continuum, 1987. s mtliche werke. vol. 8. edited by karl friedrich august schelling. stuttgart: cotta, 1861. schl ter, margarete. the creative force of a hermeneutic rule. the principle there is no earlier and later in the torah in midrashic and talmudic literature. in creation and re-creation in jewish thought: festschrift in honor of joseph dan on the occasion of his seventieth birthday, edited by rachel elior and peter sch fer, 59 84. t bingen: mohr siebeck, 2005. schmidt-biggemann, wilhelm. jakob b hme und die kabbala. i

ZALEWSKI SECRET INNER ORDER RITUALS OF THE GOLDEN DAWN OCR

park that is in me more than myself; the deepest layer of consciousness" this is one of the highest forms of manifestation of the kabbalistic soul. it equates to kether, and hence is a blueprint for the entire tree in a balanced format, as shown by the winged sphere (soul) balanced between the forces of good and evil (the two serpents. second adept's wand his wand is the chiah or "essential will, the creative impulse of yechidah which through it attains its realization" on the tree, this is chokmah (wisdom) or masculine force of the great father. third adept's wand this wand is the neshamah, and corresponds to binah; the great mother: symbol of understanding. the officers these have been associated to what some collectively call the neshamah, or the upper spiritual plane of the three phase

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