Amduat & the mysteries of the self

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Last night listened to Diana Kreikamp’s presentation on The Amduat: the Great Awakening, for the Magical Woman’s Summer Salon. which is also the title of her book. See link below for recording.
Amduat Salon7 Recording

I learned how this important ancient text brings together two important threads of Egyptian magical religion – the cult of sun god Ra & cult of underworld deity Osiris. At the midnight hour of Sun’s journey, when he makes the transition and begins his regenerations. Here he meets with Osiris, and the two cults merge.

Later, when the existential threat comes in the form of personification of “evil”, the snake Apophis. The still frail sungod needs strong protections, which he gets from Goddess Isis and also her companion, the “Elder Magician” who use their magick to ward off the threats.

Then, as now, different people were supporters of the cults of different deities, all of whom are part of the drama in some way. The ancient Sethians, viewed the “Elder Magician” as an avatar of Seth.

Members of mystery cults identified with these underworld myths, looking for their true selves in the unconscious. Is there really the basis to the idea of an ancient mystery cult of the living, made up of priests and scribes? The archaeological evidence indicates this to be the case.
I also explored this phenomenon as background to “Isis goddess of Egypt & India”

Such ancient mystery cults in temples are mentioned in Great Hymn to Osiris as well as in other places.

“Praise to thee, Osiris! Thou Lord of eternity, king of gods! Those with many names and lordly of being! With mysterious ceremonies in the temples” Great Hymn of Osiris / Hymn of Amenmose

These were the precursors to the famous mystery cults of the classical world, a lively account of one dedicated to Isis & Osiris is found in Apuleius’s novel “The Golden Ass”.

The Lion Goddess serenades Min, the ithyphallic god in the morning

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A hymn for god Amun-Min on the final day of his lunar month. When Repyt, ancient lion goddess of Athribis,
hymns the god from the eastern gateway of her temple, greets him as he rises in the morning in his house on
the eastern side of the river at the “Horizon of Min” (Akhmin)

“May you be satisfied,
May you awaken in peace,
may you be awake,
the lord of the sanctuary,
who with great power of destruction against his enemies … now rise in peace

“May you be content,
may you awaken in peace,
awaken,
You who gives life to your father Osiris,
awaken in peace, wake up and be content.

“May you be satisfied,
may you awaken in peace,
awaken,
Awake leader awaken
The great Horus in Akhmin,
the nemesis for those who will suffer at your hand,
You who now sleep in peace.

“May you be content,
may you awaken in peace,
awaken with transfigured body
But awaken in peace.

May you be happy,
Your majesty awakened,
the living one who gives the air
to the one whose throat is constricted.
Awaken in peace,
To keep the one who is within him/her healthy, and in peace.

“May you be satisfied,
May you awaken in peace,
may you be awake,
lord of the sanctuary,
one with great power of destruction against his enemies .. . now rise in peace

“You who loves the beautiful day,
for whose soul the gods are in peace.
in whose hand is life and death, rise in peace.

Victories for you over all the of the rulers of the nine bows,
to you the gods bow, in peace.

You are called Lord by the kings of upper and lower Egypt,
the Lords of the two lands,
the chosen ones of ptah,
who moved by the image of Min-Re,
The sun god
And by Horus, the Lord of letopolis,
And all their names,
You are their truth

I offer you Myrrh and wine,
and all good things,
treating you like a king.
I see your morning glory
As on the first golden day
when our souls were united,
And we are are transfigured at the gate
forever, as gods

This land shall flame and glow …
You shall be the satisfied as one who is in the seat of the Bastet,
Where those of earth also sit,
Man, woman,
Enjoying the fiery warmth of Sekhmet,
the mistress of heaven …
The one whose cheeks glow red at a feast,
As she eats raw meat
To whom the gods pray when they see it,
Because the gateways are open
The heart melted by the mistress of the flame
Rejoice, for the mistress, clothed in red linen,
Loves her lover
Our destiny

Composed, based on translated fragments by Mogg Morgan for Diti

Typhonian – what does it mean?

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What is a Typhonian? A new magical tradition also a spiritual path but one with ancient antecedents. In this sense like Babalon, Baphomet, & Babi.

Typhon is name of ancient Greek evil supernatural entity used by them as an overlay onto Egyptian Seth. They didn’t have that much in common though at that moment at end of pharaonic culture they obviously thought they did.

The Egyptian scribe-magicians recorded the name Typhon in their spells alongside that of Seth whilst at same time indicating in code that Seth was the real name with power.

The move associated many attributes of Typhon, who is almost wholly negative with Egyptian Seth, who does or did have many positive roles as “Lord of power & might”.

His is an all seeing, powerful eye that makes him the only deity who can stare Apophis, the personification of chaos & destruction, in the eye & not be paralyzed by its evil void.

In the 20th century neopagan revival the ancient cult of Seth began to reemerge in the magical discourse but under the Greek name Typhon. Not too obvious in Crowley but his disciples, such as Kenneth Grant, thought they perceived his presence as a hidden god, which seems appropriate.

The revivalists also influenced by inspired but flawed interpretations of Egyptian culture from Victorian theosophical authors such as Gerald Massey who relied heavily on Greek pov – Egyptological material on these myths being less widely known at that time…

So, apart from historical stuff what does a post modern Typhonian actually believe or do – & how does Apophis fit into the picture? Is he or she yet another name for Seth?

“Be not unaware of me oh Seth, if you know me, I shall know you” is the ancient spell, his aloof secretive nature who knows not just what he knows but secret identities of all others.

Seth, being a monstrous soul, is the most psychologically important of the ancient ones, certainly those that have a name. His companions look like demons, but ultimately these are more useful to us than the angels, approached wisely that is.

Typhonian magick, purports to go beyond conventional morality and the politically correct, and this is reflected in the “demonic” systems with which it is often associated. The Picatrix would probably be a typical typhonian text but there again, as its Arabic title alerts us, beneath all this is the “Goal of the Wise” – an individual gnostic quest for wisdom, knowledge, self mastery, for which one must sometimes descend into hell, or the underworld, the territory of Seth.

So a Typhonian is one who descends into void, or into hell if you like, who explores the weirder byways of magick and enters the dark and the nightside, not just for the hell of it but on the firm conviction that there, and perhaps only there, will they encounter the knowledge, inspiration and love, they and their world needs. (Mogg Morgan)

Don Webb

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Interviewed by John Wisniewski

Could you tell us about writing your latest Vampires psychic energy. What interested you in this subject?

My first serious interaction with the “occult” was the popular neo-shamanism of the 1980s – glowing light bodies perceived with the aid of drugs and a rather media-driven idea of energy (owing more to Star Trek than say the Vedas). When I had cleaned up my life, foresworn chemical aides and was seeking to explore human potential while keeping jobs and marriage I began exploring ritual magick in the context of the Temple of Set. The Temple’s Order of the Vampyre utilized “empty hand” methods involving attention, passion, glamour, atmosphere etc. The earlier (somewhat manic) methods I had used were directly applicable here WITHOUT drugs. I began a hybrid method of the Order of the Vampyre’s approach, legitimate scholarly studies of shamanism and my wild youth to develop an eclectic and pragmatic approach to the notion of energy magick. I taught it privately to my own students (beginning about 1991) and decided to teach it to a larger group.

When did you become interested in occult subjects, Don?

The Unknown knocked on my door three times. As a child I was entranced by occult media and became proficient in scaring my chums by performing seances. Puberty came and with other interests. In my early twenties I played with neo-shamanism – with mixed results. The most disappointing thing was seeing that all the humans I met with similar interests either were without morals, mentally ill or rationally impaired. I performed a Working of the Intention, “Send me to a Teacher or I’m done.” When I was 23. Economic circumstances sent me to Austin, Texas. I foreswore any occult/esoteric activities for six years, then a set of coincidences lead me to meeting. Dr. Stephen Flowers.

When did you write your first book?

My first book was Uncle Ovid’s Exercise Book which won the Fiction Collective prize in 1989, judged by Rodolfo Ayana. My first occult book was The Seven Faces of Darkness a study of Set-Typhon in the Greek Magical Papyri which came out in 1994.

Please tell us about Overthrowing the Old Gods Aleister Crowley and the Book of the Law? What did Aleister want to tell us about writing Book of the Law?

In 2004 a rather silly thread of emails appeared on an internal mailing list of the Temple of Set abut Crowley. In order to clear up some misinformation I responded with 31 short essays about notions that I perceived as important but overlooked or misunderstood about Aleister. I assumed that would be more or less my final word on the subject. My Teacher, Dr. Flowers ran a small press (then called Runa Raven Press) and I brought out a chapbook of these essays called The Fire and the Force. Dr. Flowers had a rather unscrupulous associate who told me that almost no copies of the chapbook sold and I pursued other lines of study. However a small group of Setians wanted to explore the notions in my mini-book and asked me to provide a platform to explore these ideas. I created a temporary study group (called an element in Setian jargon) to explore these ideas from the point of view of philosophy, pragmatics (or in today’s lingo “success magic”), and scholarly Egyptology. We did a 93 day working (31 days for each facet) and shared our results with the Temple. The members asked for a second 9g3 day Working, devoted to Set, Horus and Mehen (one of the forms of the conjoined Set-Horus entity). . I upgraded the Element into a permanent group the Order of the Hawk Faced Lord. I pitched a book on our ideas to Inner Traditions including a commentary on the Book of the Law, one of the few forbidden acts in Thelema.

Aleister needed a message from Beyond – he was about to give up the occult and start a normal married life. His honeymoon in Cairo was a last fling. Yet going to the King’s Chamber of the Great Pyramid with its airshaft aimed at the Big Dipper, or as the Egyptians would say the Thigh of Set, he aligned his inner needs and a cosmic purpose perfectly. Getting a revealed text is the first part. Changing your life by decoding such a text through word, thought and especially deed is the second part. Teaching others your insights is the third part. Then presenting them with your text is the fourth part. If your students can then use the text is the fifth part. Only in all of these can we say Aleister was trying to tell us something – the same message he was trying to tell himself. His message was:

a. Work on developing yourself, be hard
b. Use the fruits of your labor to improve mankind
c. While you do this, the universe will present you mysteries
d. Pursue those with the same unbending intent as in “a” above
e. Eventually an infallible internal oracle will arise
f. Trust that oracle over social conventions and received ideas
g. If you do so Victory is inevitable although difficult
h. Methods of the East (especially yoga) and the West (Especially Golden Dawn) will help. Drugs and dirty, dirty sex will also help.
i. In the meantime let me have your wallet, arse and girlfriend
j. I am a better poet than Yates
k. Spell “magic” as “Magick” there’s some great multi-lingual puns and numerology involved – trust me I am the Great Beast
A-G is pretty dead on. I-K is a little questionable.

When did you join The temple of Set, and could you tell us about writing
Mysteries of The Temple of Set?

I joined the Temple of Set in 1989. The Temple takes years to work through its grades, with the exception of Dr. Flowers, who obtained the Grade of Magus in seven years and – um me, who obtained the Grade of Magus in seven years and became the High Priest in 1996. The Temple had shunned publicity – so when an anti-esoteric backlash called the “Satanic Panic” began there was nothing about us in the world – making us a target for the most lurid tabloid remarks. As High Priest I decided to address some misconceptions plus add certain aspects of my Utterance of Xeper, the eternal word of Set, I wrote a few essays plus added a selection of my columns from the church newsletter the Scroll of Set. _Mysteries of the Temple of Set_ is the third volume of my Teachings as Magus. The others are The Seven Faces of Darkness, Uncle Setnakt’s Essential Guide to the Left Hand Path, and Uncle SetNakt’s Nightbook_. The first deals with Set and Set-Typhon in Antiquity, the second with the transcendental branch of the Western Left Hand Path, the third with the basic theology and ontology of the Temple of Set, and the last deeply esoteric related to the other three as well as an examination of my own revealed text, The Book of the Heb-Sed. With _Overthrowing the Old Gods_ I began a new set of Teachings connected with my role of Ipsissimus.

Please tell us about writing Starry wisdom. What interests you about
the writings of H. P. Lovecraft?

In 1982 I took a class called “Writing the Science Fiction Story.” You could get an “A” by writing a story or doing a research paper. I found writing a story to be much easier so I produced a dreadful Lovecraftian pastiche “Diary found in an Abandoned Jeep.” Submitting to a magazine brought an instant offer of publication – which never actually occurred, but did lead me to try my hand at Science Fiction, Fantasy and Horror writing Over the years I’ve stories in Amazing, Analog, Asimov’s, Interzone, Weird Tales (and hundreds of other places). Lovecraft appealed to me deeply because he: A) wrote in a variety of styles from lyric fantasy to science fiction B) utilized the idea of forbidden books and forgotten ruins C) helped put other writers D) created strange hoax-like situations by putting his ideas into the stories of other writers, borrowing other writers’ mythologies, and letting us friends use his and E) using a character named Webb in “The Call of Cthulhu.”

Lovecraft’s highly alien, beyond good and evil, blend of weird magick and strange science is very appealing for the human magician bored with conventional occultism. I have had a few collections of my Lovecraftian tales issued. The Washington Post said you should read my latest collection Building Strange Temples and frankly who am I to argue with the Washington Post?

What will your next book be about, Don?

I just turned in the manuscript for _A Year of Living Magically_ to Inner Traditions, It is a year-long training manual. I am working on a book of magical theory and a biography of Dr, Michael A. Aquino as my next two esoteric projects, although I may write a book on writing horror fiction based on my horror class that I’ve taught annually since 2002 at UCLA Extension.

Amduat: The Great Awakening

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By guest Blogger Diana Kreikamp

The ancient Egyptian Amduat is an important funeral text with twelve illustrations from Egyptian antiquity that describes the journey after life.

The Amduat tells the story of the Sungod Râ as he travels through the twelve hours of the night. At the end of the day the sun has lost his power to shine. Aged and exhausted Râ sinks beneath the horizon of the West. The sun has died and the world becomes shrouded in darkness. Then, twelve hours later, the sun arises again from the horizon of the East. Râ is reborn and his renewed appearance returns the light to the world. Thus, Râ has transformed death into a new life.

The extraordinary thing about the Amduat is the fact that the transformation process of the death and subsequent rebirth of Râ, has been described and depicted in twelve phases, or hours. The Amduat sends a clear message that death isn’t the end. Death is simply a transition from the old into a new phase; a new life. This grants men insight and trust in the mysteries surrounding death. It is clear that the Amduat is so much more than a simple mythical story telling the nightly voyage of the sun.

The Duat

The word Amduat means; “Book of the Hidden Chambre”. The word can also be translated as “What is in the Duat”. When a person dies, their soul goes to an area known as the Duat. After sundown, the Sungod Râ disappears in the Duat to start his journey through the First Hour of the night. The Sungod sails on a river through this nightly landscape on his boat. There are various Gods and animals standing on both sides of this river to support Râ during his journey. However, there also are creatures there intending to destroy Râ.

Every hour is inhabited by different beings and has a different landscape. For example, one such hour is dominated by a dry dessert whereas another one contains an abundance of water. The twelve hour journey proves to be full of challenges. Râ has to brave many counteracting forces to eventually become reborn at the end of the Twelfth Hour in the Eastern horizon.

Universal journey

To understand the ancient symbolical language of the Amduat, I completed many years of research and translated various old hieroglyphic texts anew to properly understand the underlying message. During ten years I meditated daily using the texts and images of the Amduat. The Egyptian heritage centers on spirituality and goes far beyond the layer of rational thinking. Back then, life was about making contact with the Divine through worship and servitude of the Gods in the many temples.

Meditation exceeds rational thinking and allows you to descend into the dimension beyond the visible and tangible earthly life. You connect with a different layer of knowledge that lies deep within the sub consciousness. In doing so, I discovered that the nightly voyage of the Sungod is a symbolical reference to the universal journey of mankind.

Raising awareness

The sun, or the light, is the symbol of consciousness and of the higher aspect of oneself. On a more profound layer, the journey through the Duat is a voyage that makes one aware of his True Self. The Duat symbolises our inner world, or our sub consciousness. In order to become aware of it, we have to descend into our inner world. The knowledge we gain while there, can be brought up so we can reflect it to the knowledge in the world outside of ourselves. The reflection of two opposites gifts us a reference and allows our consciousness to expand, or our awareness to rise.

During our lives, we develop ourselves as a child into adulthood, which makes our consciousness grow naturally. Each time, old perspectives and convictions are let go to make place for a renewed vision and consciousness. This makes us grow and become more aware of who we are and our place in the world.

However, there lies the paradox since this natural process of becoming aware usually happens unconsciously. Most people live their lives without knowing exactly who they are. The connection with the true core, or their Higher Self, is on a subconscious level. Every human being has to follow their own path. When we are conscious of the higher aspect of ourselves, then our inner Sungod can take the lead. Then we can connect and identify ourselves with the hidden light within and use it as our inner power. The Knowledge of our Self reveals our unique talents that can subsequently be put to use in your daily lives to complete the tasks we are meant to do.

Spiritual system

The Amduat contains an ingenious system that we can use to become aware of who we truly are. It teaches us to connect with our True Self to awaken in a higher plane of consciousness. By following the sun through the twelve hours of the night, we are brought back to our core and make contact with our own inner Sungod, the Higher Self. On the way, inner blockades need to be cleared that otherwise impede the descent into our true core. Every time again a layer is scraped off in your inner being, similar to polishing a diamond in the rough.

This is an intense process for during this journey your True Self is revealed. Of course, this sounds fantastic. However, do be aware that the confrontation with this light aspect will have the same impact as the confrontations with the shadow part of yourself. We are inclined to deny both sides and to turn a blind eye to the truth.

Death and rebirth

The journey through the twelve hours of the night is an initiation during which a transition takes place. The old consciousness is dissolved and transformed in the rebirth and awakening of a new consciousness. This is why it is a journey of life and death. During our life, only our old consciousness dies to make place for the birth of a renewed self. We no longer are the child we once were, nor the same person we were yesterday. We have transformed ourselves again and again into a renewed version of ourselves.

When working with the Amduat, we simultaneously learn to die in a befitting manner at the end of our lives. That is the moment when we truly experience the journey to rebirth. Therefore, the voyage through the Duat is destined for both the deceased and any living soul on earth.

Meditation

Even though the Amduat is thousands of years old, the system is still applicable now. In my book I explain the voyage of the sun in great detail. Each hour is described from an academic as well as an esoteric perspective. By bridging the gap between rational and inner knowledge, you are able to gain a more profound understanding. Furthermore, every hour I explain the process of transformation that you will experience when you partake in the journey through meditation.

The Amduat contains many texts and hundreds of Deities to focus your meditation on. These Deities are gateways that open when you focus your attention on them. All of them are reflections of your inner being and set something in motion within you. The resulting inner images then take on a tangible form in real life as well. They subject you to trials and hold up a mirror to you. Each hour has its own energy and specific effect on you. Step by step, you learn to look beyond the outer layers and make contact with the true reality hidden underneath. That is how the Amduat provides a system to stimulate the process of raising awareness in a structured manner.

Diana Kreikamp

Reading the book

Do you want to dive into the heritage of the ancient Egyptians; the Amduat? Then read the book; Amduat: The Great Awakening. It contains the nightly voyage through the Duat in much detail as well as a wealth of information about the ancient Egyptian tradition.

Diana Kreikamp, “Amduat: The Great Awakening”.
(Released in May 2021)

Rap to Pan

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Thrill with lovely lust of the light,

O man! My man!

Come charging out of the night Of Pan!

Io Pan! Io Pan!

Io Pan! Come over the sea

From Shambala and paradise!

Roaming like Bacchus, with his guards

Companion females and males all hard

On a milk-white ass, come over the sea

To me, to me! Come with priestess in bridal dress

(Shepherdess and pythoness)

Come with Artemis, who in wildwood trod,

And wash your white thigh, beautiful god,

In the moon of the woods, on the lotus press,

The golden tongue my jewel to bless!

Dip the purple of passionate prayer

In the crimson shrine, lusty & bare,

Your soul that startles with eyes of blue

As we watch your ecstasy seeping through

The tangled thicket, the ancient grove

Of the living tree that is spirit and soul

And body and brain — come over the sea,

Io Pan! Io Pan!

Devil or god, to me, to me,

My man! my man!

Come with trumpets sounding shrill

Over the hill!

Come with drums low thundering

From the spring!

Come with flute and come with pipe!

Am I not ripe?

I, who wait and tremble and wrestle

With breathe that has no way to settle

My body, weary of empty embrace,

Strong as a lion and smooth as a snake —

Come, O come!

I am numb

With the lonely lust of devildom.

Thrust the sword through iron fetters,

All-devourer, all-begetter;

Give me the sign of the Open Eye,

And the token aroused of horny thigh,

And the word of madness and mystery,

O Pan! Io Pan!

Io Pan! Io Pan Pan! Pan Pan! Pan,

I am one love

Do as you will, as a great god can,

O Pan! Io Pan!

Io Pan! Io Pan Pan! I am awake

In the grip of the snake.

The eagle slashes with beak and claw;

The gods withdraw:

The great beasts come.

Io Pan! I am borne

To come on the horn

Of the Unicorn.

I am Pan! Io Pan! Io Pan Pan! Pan!

I am your mate, I am your one,

Goat of your flock, I am gold, I am god,

Flesh to your bone, flower to your rod.

With hoofs of steel, I race on the rocks

Through solstice sunrise to equinox.

And I rave, and I howl and I rip and I rend

Everlasting, world without end,

Maenad, Mystoi, Woman, Man,

In the might of Pan.

Io Pan! Io Pan Pan! Pan! Io Pan!

 

(found after AC)

Renenutet

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It’s the 8th day after the full moon, Ugraparbah night, a night of radiating terror? The hunger is immense and the knowledge is out there, just reach out and let it flow through you, download it and upgrade yourself. 

So, it’s a day after the last quarter of the moon and finally, the time felt right for the Renanuteth invocation, the Serpent head goddess, the mother of all serpents. We kept delaying it, as she demanded an offering of that intoxicating smoke, one needs to be very certain of time, space and mind to offer it. 

The temple space is ready,  Zar music is playing in the background and on the altar between the burning candles a silver plate with a bunch of dry leaves, our offering, Salvia divinorum.

It’s been a year since we last journeyed into the Salvia dimension and I was very nervous to cross the gates of these ancient strange worlds again.

Some of you know that I’m an experienced traveller in hyperspace and in some of the galaxies and constellations I travelled to, I feel at home, (ayahuasca, mushrooms, peyote, San Pedro, to name a few) but Salvia, is a whole different story. 

We opened the space and read the invocation:

Thōzo pithē etc  (Thermouthe Pythia)

Thermouthē

The doors are open

And seven virgins 

Shall arise from the deep earth

Their garments of purest linen

Their faces those of serpents

You are the fates of heaven

Wielding golden wands

Welcome

Hail thou seven fates of heaven

O noble and good virgins

O sacred ones 

Hail thou chrepsienthaēs?

Hail thou menescheēs

Hail thou mechran!

Hail thou ararmachēs

Hail thou echommiē

Hail thou tichnondaēs

Hail thou erou rombriesē

Hail thou seven

snake-headed goddesses

The fates of heaven

The goddesses who hold the pole in its place

Thozopithe formula

Hail thou bear goddess,

Great one

 ruling heaven. 

Reigning over the pole of the stars. 

Hail Highest one, 

beautiful-shining goddess. 

Whose element is Incorruptible. 

Hail thous Composite of the all, 

The all illuminating, 

bond of the universe

You who stand on the pole, you who the lord god appointed to turn the holy pole with a strong hand. 

The first offering 

As soon as the first offering is done, I’ve noticed a very subtle movement, like ripples of heat and colour emanating from the altar. I look around the room, there’s a strange glow all around the fireplace.

The colour-heat ripples around the altar are getting bigger and before I realise what is happening a wave of serpent-like fractal shapes and colours are flowing over me. I try to stay calm, letting the serpent aura engulf me. Yeah… stay calm, I keep hearing myself mumbling…

Something is moving along the altar, two serpents, one black the other one colourful.  Both glowing and moving (flowing?) down the altar along the wall towards the fireplace. The coloured serpent disappeared in the fire, the black serpent stopped at the left of the fireplace and erected itself. Beautiful, fearsome, awesome, terrifying. Her flaming eyes pierced mine with a hypnotic gaze.

I tried to shift my gaze, to move a little but I was frozen with awe and terror. She’s getting closer, her aura is so bright and huge I can nearly touch it (that if I wasn’t freaking out here, my heart is racing. I think I’m going to faint.) Wait, she’s communicating with me. I can hear a strange whisper echoing inside my head, an ancient serpentine language vibrating down my spine. She’s taking over me, crawling up and down inside my body.

I can’t take it anymore, I cry out and fall down to my knees, I can hear myself praying in her ancient language.

Praying for mercy

Crying my heart out for Her to spare my life.

She’s gone.

My Serpent queen. 

The Second Offering 

Still shaking, I place the second offering on the altar. The smoke is thick and white.

The music is rhythmic, hypnotic, wild and tribal. I can feel it in my bones like the rhythm is part of me. I hear the ‘mama song’ and I can feel them, my three beautiful mamas, dancing around me, opening the gates for me, making me see.  The Zar company are here, with their drums and songs. His holiness, the Nubian priest is there too. So majestic in his white robes. He stretches his arm out and invites me to approach. The music stopped and everything went quiet. 

Stillness, like we are all frozen between time and space.

The air is crackling with static electricity and energy, it feels like we are trapped in a teardrop that is gonna explode any moment now.

Cacophonia. 

An explosion of sounds, screams and shouts, crazy rhythms are turning slowly into music and songs, these ancient songs and hypnotic rhythms I’ve heard before. The music gets louder and louder it takes over me, it’s in me, it’s coming from inside me, I am the music.

The black mama took me by the hand and started to dance. We are dancing. Blue mama is to my right and red mama to my left. More people joining in and circling us, with their drums and bells, all-dancing the wild ecstatic dance. I can feel something behind me, not sure what, it sends shivers down my spine. Black mama holding my hands tight looking into my eyes and smiling, whispering in her ancient language, “keep dancing habibti”. I close my eyes and I dance and spin, I can’t feel my body, there is something on my back, I freak out but black mama’s hands are squeezing mine reassuring me to keep dancing, so I find my rhythm and let go, I  can fly. I can see the company from above in a dancing frenzy, the Nubian priest is on his knees praying and crying, the three mamas spinning like mad dervishes. 

All of these are orchestrated by the elder of the company. He is standing in the middle of all the maddens, a big grin on his face drumming his magickal drum and shouting mad order towards the sky.

I can feel he’s calling me, I can feel his drumming vibrates in my ears and heart, I hear shouting and wild screams. Black mana’s grip is tightening around mine and I can feel her pulling me down.

I crash back to the here and now.

The Third Offering 

At this point, I’m weary and tired, but there’s no way back, it has to be done.

I inhale the smoky essence of the offering and lean back into the fluffy white clouds.

There’s a huge wheel in the distance. The wheel rotates slowly as if spinning in a very slow motion. With each rotation of the wheel, it seems that I’m moving forward towards it like it’s pulling me nearer to it somehow. 

I look down at my feet and realize that I am attached to the wheel like Leonardo de Vinci ‘The Vitruvian Man.

As soon as I understand that I’m attached to the wheel, it starts to spin faster and faster. I can see myself spinning, turning, becoming an endless spiral of Fibonacci numbers,  fractals.

I close my eyes and thinking to myself “I can relax now”

Boom, I’m back in the room.

We closed the circle, taking extra care seeing the portal tightly shut, and making sure that no strange entities lurking in the shadows. 

I don’t know when I’ll go through this portal again.

New moon Bath ritual

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The New Moon brings with it another cycle of new beginnings and rebirth. A fresh start and time to focus our intentions, ideas and dreams into creative manifestation. 

The Amrita kala and Kameswari correspond with the essence of the Clary Sage.  As its name suggests, Clary is the oil of clarity, clear thinking and clear visions.  Using Clary sage on the new moon will direct the Amrita kala and Kameswari’s essence our way. Few drops in the ritual bath will help us to become open to changes, new ideas and new perceptions, clear our mind and make space for new visions and dreams.

Clary Sage 

Clary Sage essential oil, is mainly used for menstrual complaints, childbirth and can help in releasing female sexual dysfunction (frigidity). Clary sage is a general nerve tonic and like the garden sage, it cools inflammation and is especially useful for throat and respiratory infections.

It has a calming effect on the mind and it is known to induce euphoria.

Clary sage has a relaxing effect on the body and mind, encouraging sleep and vivid dreams.

Salvia Sclarea

Salvia Sclarea

The ritual

Prepare your oil blend in a small bowl, 1 tablespoon of sea salt and about 6-10 drops of Clary Sage oil.

When your bath is full, add the blend into the bath and make the figure 8 with your hand in the water while focusing on your intentions and prayers, offer yourself (by getting into the water) to the spirit of the oil. Once you’re in the bath, let your body relax into the water. Close your eyes, take a few deep breaths inhaling the scent of the oil and listen to your guided meditation: 

Chandra (Moon) gayatri mantra:

om kshira-putraya vidmahe

amrita-tattvaya dhimahi

tanno chandra prachodayat

 

I bow down to Lord Chandra holder of the lotus. 

Who shines in the brilliant color of gold. 

May Lord Chandra illuminate my intellect

and shed light on my path. 

*I recommend recording the meditation beforehand, so you can listen to it while you are bathing. I make a playlist that lasts about 25-30 minutes, starting with about 7-10 minutes of some relaxing music, then guided meditation for about 10 minutes, followed with 10 minutes of more relaxing music. When the music stops, it’s your queue to get out of the ritual bath.

  • When a bath is not an option, you can inhale the oil while listening to the mantra/meditation. Once the mantra is over, utter license to depart (say thanks and put the Clary sage bottle away).                                   ***Excessive inhalation of the Clary sage oil might cause headaches!

 

Tantrik Trance ?

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Tanutari bhasilo amar
(The boat of my body is floating on the ocean of existence)

The boat of my body is floating on the ocean of existence.
My Mind, my good helmsman,
Row carefully. See That you
Don’t drown me at sea.
Our oarsman are the five senses and their objects –
But they’re paddling the boat in the wrong direction.
Please try to control them
.
Steer the rudder in Kali’s name,
Hoist the kundalini sail,
And let’s set off in a favourable wind.
Thwart the six
Lust and his band
With the great mantra
Lest they harass us on our way.
Take Kamalakanta. Let’s sing a boat song
In Kali’s name, and be happy
For we’re heading to the city
Of ceaseless bliss.

Kamalakanta Bhattacarya
From selection in “Tantra in Practice”

For some the idea that Tantra is all about trance states comes as a bit of a shock and is resisted. But seems like
a reasonable insight to me. Here’s something from academia, as many find this significant. Though has to be said, the idea is not common.

“Theravada meditation, places considerably emphasis on the development of Samadhi (concentration or trance),
perhaps better described as focussing of the mind-body” Samuel 2008: 219

The Witch of King’s Cross – Rosaleen Norton

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A story that needs to be told, this ground breaking documentary does the trick. Although at 1 hour 15minutes maybe a little overlong for the format and could be a bit faster. Even so it was great to see and hear her biographer, the late Nevill Drury contributing to the story he did so much to research over several editions of his book Pan’s Daughter : the magical world of Rosaleen Norton. I found the first half the most interesting, when she was younger and a rising star, before the grey men in the Australian patriarchy, and the catholic church brought her down and mostly extinguished her fire, sometimes literally in the fire, when the police were ordered by the courts to burn two of her paintings. Outrageous stuff that courts order burning of pictures, a real witchhunt.

The dirty tricks, the illegal raids on her home by the press are all there. And though she fought back and embraced and reclaimed her witch archetype, it was something of a pyric victory as she ended her days mostly as a recluse and died alone in a hospice run by nuns. Many of her former friends in the film seemed too untogether to be there for her at the end. 

She became something of a parody of herself, sometimes grotesque in the media game. I was so glad to see the pictures of her in her sister’s garden, her hair down and unbleached, no fringe and no crazy eyebrows – just the beautiful person she once was. 

So overall, despite a great body of work, she was well ahead of her time. But a wasted genius, and not through any fault of her own, other than being a woman and a witch.  Her astral magick, with which she connected with Gavin Greenlees and Eugene Goossens enabling them to connect across space and time, is experiencing something of a revival just now and the greater details in Nevill’s book will be useful for that. The patrician musician Goossens was an important occult influence though in the end, the career of this magical superstar was destroyed by a media conceived scandal. He died soon after but never blamed Roie for the any of it; despite her keeping a photographic record of their work, which was stolen from its hiding place in her flat by a hostile journalist and they then sealed her, and his fate. So let us remember her, and induct her into the company of gnostic and tantrik saints. A true original, whose magick and witchcraft did not come from the usual suspects of the time, but was a power of love, direct and from above. 

Honorable mention to the choreographer, actors and sound people for great soundtrack, though was odd that subtitles when pan danced musick subtitled as esoteric when Lilith danced is was dramatic, great track called “Dark Arts” by Brian De Mercia.  Everyone should see this film and support the makers by paying the modest fee to own it. 

Mandrake Newsletter has more information on the biography of Rosaleen Norton Pan’s Daughter and some words from its author Nevill Drury

 

 

 

 

 

Chaos Craft and the wheel of the year – Green

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Green magick

And here we are again, another year has passed and for a brief moment the wheel of the year is hovering over the colour green, indicating is the time of the year again for a little green magic.

So what is it green magic and why now?

Imbolc is celebrated on February 1st, which is about halfway between the winter solstice and the spring equinox. It symbolizes the “infancy”- the first signs of life, and marking the beginning of spring. Flowers are starting to come back and on the trees, little buds start to form. Nature slowly wakes up after the long winter sleep.

This is the time that nature reminds us that we are also reawakening, letting go of the past and making space for new beginnings, new plans and dreams.

It’s a sign!

Traditionally Imbolc is the festival honouring the goddess Brigid (Brighid, Bride, Brigit). Brigid is the goddess of fire, healing, the Sun and of the hearth. She is the goddess of fertility, smithcraft and poetry. She also likes the colour green.

Goddess of the hearth

So what is so magical about the colour green?

Green is the colour of nature and it resonates with growth and expansion, stability and endurance. The darker shades of green usually associated with money. Green also symbolizes harmony, healing, fertility, hope, love and protection. These qualities correspond with Brigid and with the sun, that makes nature green to broaden our hearts and fill it with love and excitement of a budding new dream.

Imbolc symbolizes the awakening of nature, new beginnings and love which creates a magickal window to work some green magic.

Magic, prosperity, healing, protection, love and abundance are good themes to focus on at any time but will get a special boost if included in your Imbolc magical practice and on your Green magic altar. 

Happy Imbolc and don’t forget to eat your greens:)

For further reading on Chaos Craft click HERE 

 

The energetic qualities of cypress oil

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When I think of Cypress essential oil, the words that always come to mind are: transitions, change, transformation and renewal.

I stop and take a breath and more words and images flow in, which reminds me of the essence of the Cypress tree symbolism:

Inner strength, strengthening of the soul and spiritual strength, “Not broken in a storm”, determination, purity and compassion.

Cypress — Cupressus semperviren, is native to the Middle East and the Mediterranean, however, its other varieties are grown all over the world.

The cypress, an evergreen tree, very tall — its roots are firmly buried in the ground and its head touches clouds, is resistant to storms and strong winds and is the most common tree in cemeteries throughout the Middle East and the Mediterranean.

The cypress symbolizes the soul’s journey from the moment of death to the return to the source, to the one.

Dealing with someone that just lost a loved one, cypress oil will usually be the first I’ll start the treatment with. The fresh scent of the cypress cleanses us and clarifies the thoughts. 

This quality of the fragrance paves the way for the containment of pain and loss. 

It also transforms and prepares the patient for the acceptance and relief of their grief. 

At the same time, it enhances the most important tool in the therapist tool kit – compassion.

In the case of a postpartum stillbirth,  for me, using cypress is necessary in almost all cases.

In a stillbirth, the cypress symbolizes the pain of the mother. The pain which is rising and flooding her from the root – the womb. The pain of losing a baby, who was born but did not take root in life, threatens to break her.

This is where the energy of the cypress enters and with the clarity of its fragrance, purifies our body and soul just before at the point when it is about to be broken.

 

Raised by Wolves

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Raised by Wolves a new sci-fi tv series created by Aaron Guzikowski and produced by Ridley Scott.

Starring: Amanda Collin, Abubakar Salim, Winta McGrath, Niamh Algar, Travis Fimmel

Raised by Wolves touches on a lot of issues, concepts and ideas (some might even say taboos) that are so weird we rather not think about but at the same time will raise many questions and a deeper look into the concept of distorted time and how our future actions actually affect our past. 

From the first episode, I was hypnotised by the bleak and oppressive atmosphere that was induced by the very clever use of the colour scheme of grey, dark grey, off-white and cream, even the green and the blue had a greyish effect on the viewer’s psyche. 

The idea that the future of the entire human race, is in the caring (?) hands of two very advanced and sophisticated androids (super androids?) is quite unsettling. It raises questions and awareness, about the ethics of investing in the future development of the human-like androids. At the same time, the realization and understanding that surface from our subconscious are that maybe now is the time, that we need to start getting used to these kinds of ideas and concepts. As it seems that the technology is already here. If that wasn’t enough to fill one with questions and the feeling of dread of “what is going on?” it didn’t take long before a new idea crept up to raise even more questions, adding to the overall feel of uneasiness that flows through the series. 

We learned that our future is in the hands of the super-androids, but now we know they can get hurt, badly and even bleed!  I don’t know about you, but as far as I know, or thought I knew, androids are supposed to be machines and when they get broken we either fix or scrap them. But we all know how Mr Scott works, so why do I find myself surprised and unsettled by a very damaged and bleeding android? Maybe it’s because of the whitish colour of the blood like substance that is pouring out of the body of the android that’s just been shot.

To my mind, if androids had veins, I would be expecting to see a darkish maybe even black oily substance coming out of them. After all, they are machines that run on grease and oil. But here, I think, the white substance is representing two things:

1- The white substance might symbolise that these particular androids are “creatures” of light – you will not find any bit of darkness in them, not even in their veins.

2- The white substance resembles battery acid, hence the androids run on some very advanced batteries. The battery powers the android’s nervous system, sending electric charges all over their very complex body-systems, enabling them to think and to feel?

Those of you that have read thus far probably think to themselves, that there is nothing new in these ideas, we’ve seen all before, and I agree. There is nothing new in the concept of human-android hybrid and definitely is a recurring theme in Ridley Scott films such as in Blade Runner, Alien Covenant. In the classic sci-fi TV program Battlestar Galactica, the human race faces a threat from the Cylons, which are another type of very evolved android in search of god, which brings me to the next unsettling thought that crossed my mind while watching Raised by Wolves. The mother android has been programmed to carry out a mission no matter what. It will use all its power, resources, advanced technologies, calculations and its wits (did I just say wits?) to carry out its mission to success. 

Their android technology is so advanced that at times I find myself thinking that the android really believes in its mission and that belief makes it act and behave in a certain way. It even rejects a different human belief – embracing its maker’s belief as an atheist and rejecting the belief in the all-powerful god – Sol. 

All through the series the theme of believers versus non-believers is slowly advanced as we watch our non-believer heroes beginning to accept the idea that there might be something out there, some kind of power that just might pull the strings on its behalf if they just believe in it. 

On the other side, some of our heroes from the believer’s camp are starting to realize that maybe some aspect of their belief is not acceptable and based on lies. Belief versus non-belief is, of course, the ultimate human dilemma, but now there’s a new player – an atheist programmed android that starts to believe (or is it just malfunctioning?) Throughout the episodes, we watch our heroes, both human and androids trying to understand and work through the complexities of surviving on a cold and dark planet. It gets even more complicated when the android realizes it can dream – and why not, if we go with second theory: (The white substance resembles battery acid, hence the androids run on some very advanced batteries. The battery governs the android’s nervous system, sending electric current all over their very complex body-system, enabling them to think and to feel?) so why not to dream too, deep android electric dreams. The dreams are so deep and mystical, the android becomes some kind of a seer into the future or maybe the past of humankind. 

The last episode blew my mind, the possibilities of a new theory, well new to me anyway, of where we came from and where we are going, made my head spin. And like all of this wasn’t enough, there is a serpent too. A sacred serpent. 

Many of the ideas that unsettled me are not new to sci-fi fans. The difference in Raised by Wolves is that it is done in such a brilliant way that you have to face these ideas while at the same time processing the information. With each episode, the ideas are getting more complex and presented in such a way that they seem completely real and feasible. The horrors of those ideas coming true might make some of us think that Raised by Wolves is another sci-fi horror and gore tv series, but it’s not. There aren’t any Alien type monsters and gore on this planet, and hardly any blood crazy scenes (if at all). What makes us feel this way is how we are presented with those far-out ideas and concepts.

I wish I could say some more, but then it would contain spoilers. Raised by Wolves definitely won’t be everybody’s cup of tea, and I think it might raise some questions and a few eyebrows even with hardcore sci-fi fans. I think it was great, definitely made me think and hope for a better future so we can have an even better past.

You can watch the trailer HERE

The Autumn Equinox, Sandworms, The Tower and the Hebrew letter Pei – פ

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“My awareness flows into that timeless stratum from where I can view time, I sense the available paths, the winds of the future, the winds of the past, The one-eyed vision of the past, the one-eyed vision of the present, and the one-eyed vision of the future, all combined in a trinocular vision that permits me to see time become space.”  Paul Atreides, Dune

“My awareness flows into that timeless stratum from where I can view time”

It is nearly the autumn equinox and you can feel the change in the air, most of the trees are still in their bright and deep green but there are more leaves on the ground and the horse-chestnut trees are turning brown. It is two days before the autumn equinox and my awareness flows into that timeless stratum from where I can view time. On Tuesday at 2:30 pm, we will get a glimpse of time manifesting itself, like a secret door that closes behind us and opens again but to a new and different direction. The astral compass points to the west.  This Time we face The Great Spirit Of The West, which at this point of time, for me, it will be represented by Leviathan, some may refer to it as Apophis or Tiamat or in our case the great beasts of the sand ocean of Dune, the mighty Sandworms.

Sandworm

Thinking about Leviathan, I can’t help but keep going back to the story of Jonah that has been “swallowed by a large fish, in whose belly he spends three days and three nights. While in the great fish, Jonah prays to God in his affliction and commits to giving thanks and to paying what he has vowed. God then commands the fish to vomit Jonah out”.(Wikipedia

Jonah and the Whale by Pieter Lastman

Basically what this story tries to teach us is that Jonah had to be swallowed by a whale before he could “see the light” and be reborn. On a personal level, Jonah’s story always reminds me of a little saying that circulates among my friends the spies drinkers, “you will never know your truth, until the Serpent spirit devourers you and spits you back out again.

Serpent spirit by symbolika.com

The belly of Leviathan, Tiamat, the Queen Serpent call it what you like, symbolises the abyss we are standing in front of. Once swallowed or devoured by Leviathan and co, symbolises the full-on head jump into the abyss knowing that the only way through it is by looking at the raw guts of Leviathan and taking responsibility for our actions.

Time to take responsibilities

“I sense the available paths, the winds of the future, the winds of the past”

The realization or gnosis one undergoes in the belly of Leviathan directs us to a better understanding of the paths we already took and the ones that lie ahead of us. Once we open our eyes, and our truth has been registered within our body and soul, we become like undigested food in the belly of Leviathan waiting to be spat out like the precious Ambergris and reborn into a new reality, a new path.

“The one-eyed vision of the past, the one-eyed vision of the present, and the one-eyed vision of the future, all combined in a trinocular vision that permits me to see time become space.”

Reading these lines made me think of the Tower.  It is only now while writing this I can see the connection with Jez’s post about the Orfordness Lighthouse. The lighthouse combined vision is focused on the sea and on the West, guiding the ships ashore and lighting the way to those souls crossing the West Gate on their journey beyond.

For the Equinox rite, we decided to head west and visit the ancestral land of Glamorgan. The call of the western land was very strong this time and after driving for a couple of hours we stopped at our favourite beach. It’s the new moon and the tide is so far out it feels like we are strolling on an endless beach with no sight or a glimpse of the Celtic sea ahead of us.

I couldn’t avoid the eerie feeling while walking on that vast sandy beach. The landscape stretching to the horizon. At the back of my mind, a little question kept nagging me, would the sea ever come back? 

The Westcoast has its fair share of bleak and eerie landscapes but that afternoon on the eve of the autumn equinox, the beach felt more eerie than usual. Another thought crossed my mind; I came to look for Leviathan but instead, I probably will find a huge beach sandworm…

We walked along the deserted beach and before long we came upon a 19th-century Watchtower and immediately the pennies dropped and I saw the connection to the tower from Jez post to the tower card and the autumn equinox. 

The Watchtower is situated to the West, watching the rise of the tide, measuring its highs and lows, calculating the length of the days and nights, light and the dark. Tonight we will face the darkest of the moon and the lowest of the tides but tomorrow we’re gonna wake up into a beautiful balanced day and the west gate shall be opened.

The watchtower

The Tower

In the Thoth tarot deck, the tower card is attributed to the letter Pei – פ  which means a mouth(Peh-פ), it also refers to the planet Mars and as it happens, the autumn equinox this year falls on a Tuesday. Lady synchronicity pulling her strings again.

Let’s go back to the letter Pei and how it’s related to our equinox work and Leviathan. For a while now I wanted to share some insights which come to me while meditating and studying some of the popular and respected books in my own culture. 

“The letter Pei symbolizes the channel by which freedom would reign throughout the cosmos. It also represents our meditative channel for altering the future events of our lives. The letter Pei gives us the power to redirect our energies to higher, more productive states of consciousness and understanding, that yesterday, today and tomorrow, are all one and the same, once we released the limits of rational consciousness.” Rav Berg, The Energy Of The Hebrew Letters. 

 This made me think of  “The one-eyed vision of the past, the one-eyed vision of the present, and the one-eyed vision of the future, all combined in a trinocular vision that permits me to see time become space” (Paul Atreides, Dune, as mentioned above)

It is only when we unbind ourselves from the limitations of rational consciousness and understanding that there are alternatives, and different perceptions, our consciousness is altered and we start seeing/understanding/experiencing a new perspective of time.

By understanding the energy of Pei, the mouth, we are advancing into the highest level of our inner and encircling light/mysteries and awakening to the realization that we can challenge the authority of the cosmos and succeed in altering its direction. 

The understanding of the power of the voice, the spoken word, is ancient and probably exists since the beginning of time when we became aware of our voices for the first time. I don’t think I have to explain the power of the spoken word/s. We can make or break, bless or curse with our words. The written word is also very powerful, but we all know that to make it real, to have an impact, you have to say it out loud. Like praying, we can pray very quietly in our hearts but when we become the prayer we let it all out, we sing and we cry and we shout to our favourite deity, we let it all out by making a sound, by using our mouth. We make spells and release them by spelling out each word, sometimes each letter spelling it by using our words and whispers.                                                                                                The power of Pei פ.   

The realization of the magical formula that combines all the magical powers of the mouth into one letter – פ, it is quite amazing. The shape of the letter Pei resembles a serpent that hides its head within its body – פ, this, of course, made me think of the biblical Leviathan all curled up in the bottom of the sea waiting to be awakened. 

The destruction of Leviathan by Gustave Dore

The awakening of Leviathan can be linked to the destruction of the tower – the destruction of the illusion of the world and the matrix of ‘organized’ life which confined us. The swallowing of Jonah by the Leviathan symbolizes also the awakening from the illusion – the falling from the tower. The insight, the gnosis of new perceptions, a new reality, new life.

The letter Pei also symbolizes Malchut which governs the physical body just as the serpent that hides its head symbolizes the physical awakening of the body – the female genitalia can be symbolized as the mouth – Pei, while the man genitalia can be thought of the serpent, both are awakened within the kingdom – Malchut of the physical body. 

While writing this I find myself pondering how all this physical awakening stuff has got anything to do with the autumn equinox. So I set my time machine a few days back to Tuesday morning. This time we headed to a different beach, a secluded one, a quiet place for our annual season ritual. It’s a grey day and the beach is deserted. Unlike yesterday, the tide is not so far out but also not too high, the word balance comes to mind. The coastline looks wild and primal, we are the only people on the beach and we are looking for the best spot for the autumn equinox rite. 

I think we walked for about half an hour before we found the perfect spot. I must admit that rituals in nature are my favourite, no need for fancy clothing or an altar as each stone, tree or a flower can become the altar if needed, even better, We become the altar. Our mouth becomes the cup that holds within it the essence of the magic itself, the spoken words of the invocation or the spells we utter.

Facing the west we started with our invocation of Leviathan. Leviathan is a creature of the sea so to invoke it, it only makes sense (well, to me anyway) to invoke the ocean first. So we call upon the mighty ocean, asking to open up and show us the ways, hoping that our small offerings of coins and ancient prayers will awaken Leviathan, awaken us from another layer of illusion.

All through the ritual, the air was very still and quiet but as soon as we said our farewells and license to depart, a sharp cry and the fluttering of wings above our heads. I looked up and two magnificent birds were circulating above us, while at the same time a huge wave crashed onto the shore. I couldn’t avoid the symbolic situation and the line from Crowley’s writing about The Tower from The Book of Thoth crossed my mind: 

Bathed in the effulgence of this Eye (which now assumes even a third sense, that indicated in Atu XV) are the Dove bearing an olive branch and the Serpent.”

I don’t think the birds were doves and a whale (Leviathan in Hebrew means whale) did not jump out of the waters at that particular moment, but somehow we knew that our offering and prayers had been accepted.   

Not a whale in sight but a very cool spider web on the ancient rocks

Many thaks to Steve D for the inspiration. 

The Spider

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Last night I dreamt of a huge spider sitting on the wall and looking at me. I have no fear of spiders but neither got the need to have a pet tarantula. When I woke up I couldn’t help the feeling that the spider in my dream was trying to tell me something, to deliver some kind of totemic message.

 So what does the spider mean to me?

The spider symbolizes a few things:

  • Patience
  • Receptivity
  • Feminine energy
  • Creativity
  • Weaver of life’s fate
  • Shadow self, dark aspects of life or personality

The spider has 8 legs that resemble the 8 points of chaos, the all-seeing eye. The Hunter – the spider weaves its web so very finely and transparently, so the prey won’t notice it and will fly straight into the deadly trap. When weaving its magical trap, the spider is actually weaving its life story, home, food and creation.

The spider, though not reptilian, is somehow connected. The Serpent represents the male/yang/kundalini energy; the spider the feminine. Like the serpent who is the keeper and guardian of knowledge, so is the spider guarding fiercely at the gates of the unknown.

A while ago, I saw a spider catching a fly. Watching the spider hunt was mesmerising and made me think of how we humans are conditioned to think with our emotions, and feel everything. By doing so we are actually missing the beauty (and maybe the secrets) of nature.

Nature is like a spider, weaving its web of flora and fauna all over, and when it is time, hunting them down with fire, storms, floods etc.

Sometimes nature is the prey as when we cut down the forests or pollute the air and the sea.

The spider reminds me of my skills as a huntress, as the creative weaver of ideas and dreams, or as my dear friend Steve D. wrote in My Spidey  Sense is Tingling, “she skillfully walks her web rather than getting caught within it like a fly!”

NityaKlinna

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Hibiscus

 

Like in a dream
I see you
Coming out of the water
Your wet hair a golden halo
of liquid stars 
Pouring over your body
Your soft skin smeared with red sandal paste, 
Shimmering Amrita on your thighs 
Reflecting rainbows 
Onto your temple 
A timeless vision of 
She 
Who is eternally  Wet with love

 

The birth of Venus – Botticelli

Three Demon Daemons for Pisces

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As is well known to those who follow my reconstructed Egyptian daemonic or demonic calendar, every 30 day lunar period is dominated by three entities, one for each ten day period or trimester, also known as a decan, from Latin for 10. Here they are, as depicted on the wall of the temple of Isis at Philae:

The new moon began on 23rd February with the left most image known simply as Akhw, which I have translated elsewhere as spirit entity, very like the later idea of the Djinn, which in many ways is a belief system in continuity with that of Pharaonic Egypt. The astrological month of Pisces also, as it happens, begins more or less now, and these seem very appropriate spirits for the Pisces type.

Now of course, I have argued that all of the 36 decanal demons are like the class of demonic things known in old Egypt as the Akhw, but this is not to say this term is here just a generic thing. There is something very special about this demon. Rather than being generic we could say it is the paradigm for the whole array of night spirits, In the ancient almanac from which some of these details are gleaned, a great deal of otherwise lost folklore and mythology is recorded, often in passing. In several places in the long text, special rites are prescribed for the Akhw, who maybe otherwise become troublesome. No surprise then that the group of three have a particularly demonic aspect, where as other images could simple be those of the common gods of Egypt.

Interesting too that whereas many other images of the demons have been mutilated in later times, these three survive intact. Here’s an example of one of the other images, although with the typical mutilation of the effective organs, the face & hands. The context of these mutilations is a subject in its own right and very interesting magick too:

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The middlemost image shown earlier is very strange, quite monstrous really; a human headed entity, wearing the archaic skull cap similar to that worn by the god Ptah, but no arms! This absence of arms is intentional, nothing is left to chance in Egyptian art, although the meaning may be lost on us, but something like, he has no hands to take hold of you. His entire body tapers off into that of a crocodile. His or her name translated as “one who comes before or heralds the two souls (the Ba)” Now, as these entities are also groups of stars in the so-called decanal belt – he could be the herald in the sense of the group of stars that rises before the third and final demon, the one who rules the dark nights of the month, and the mysterious days before the next new moon when gods such as Horus arise from the body of their father Osiris. No surprise then that the entity that we are guided towards, is the strangest of the entire strange series of three. The image shows a snake with two heads, one at each end of his body. Monstrous but useful if you want to look in two directions, and in this case two levels, perhaps upper and lower. But troublesome if the two souls decide to pull in different directions. Perhaps they are meant to represent two snakes mating, their sensuous bodies molded together. Ancient mystery of the body is encoded here, one that emerged later in the Hindu tradition known as Tantra. Two souls are fine as long as they move in coordination and in the same direction. We tend to think that being single minded is the best way to get things done but perhaps here we can detect an equally old and valuable idea, that two heads are better than one.

The decans are discussed in greater detail in my books Supernatural Assault in Ancient Egypt and Phi-Neter: Power of the Egyptian gods. I’m currently working on a combined volume, devoted to the Egyptian Demonic Calendar. Look out for all these titles wherever good books are sold, but certainly on Amazon.

Oh, and my name is Mogg Morgan

 

 

The Eternal Moment

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The Eternal Moment

On the longest night of the year, the tribe has gathered for the Winter Solstice ceremony.  The Spice is very strong and it doesn’t take long before the doors of perception have opened before us. My ‘mission’ is to raise Babalon. My Babalon working will be like a prayer to raise her power and energy in Everywoman.

I believe that Babalon is Everywoman, but many women deny her existence, some are afraid of her, some are so prudish they truly believe she’s an whore. I embrace my Babalon, she is integrated within me, she is part of me and always was. There was time I didn’t know who she was or what is her name, so I called her “Everywoman”.

I’m Every Woman –  A tribute to Whitney Houston 

“Whatever you want, whatever you need, anything you want done baby, I’ll do it naturally.”

The ritual and ceremonial music are vibrating in the air but for some strange reason I can’t get out of my head the 80s anthem song by Chaka Khan – “I’m every woman”.

I remember the first time I heard it, the Chaka khan version, and how I thought to myself, what a great song, perfect for me. The song came out in 1978, I was only 10 years old.

In the 90s Whitney Houston took Chaka Khan’s song and made it into an even bigger anthem, a classic that will never go out of fashion, a good party will always have this anthem at the peak of the night.  I was a party girl back then, The Ministry of Sound and The Zap Club, were like my second homes. One night at the club, I recall thinking to myself; if “God is a DJ”, “Everywoman ” must be his wife! I didn’t know anything about Babalon or the Scarlet Woman at that time, but an affinity with Everywoman was always part of me.

Whitney Houston was born with the touch of the Red Goddess, she was beautiful, talented and charismatic. It didn’t take long before she became world-famous, she was, and still is, the most awarded female artists, and remains one of the best–selling musicians of all time. Whitney Houston was a goddess, flying high and far, but she couldn’t handle the fire of the Red Goddess, and soon those flames consumed her. After over a decade of meteoric success, she allowed her demons to take over, and she burnt out.

So I toast the first cup of Spice to you Whitney, and to Everywoman out there.

Here She Comes

My mind is racing. I really don’t understand where did all this stuff come from? I’m here at the ceremony and all I can hear is these 80s–90s club anthems playing in my head, and think of Whitney Houston. But then something at the corner of my eye catches my attention. I’m looking but not too sure what I am seeing. It’s a crack in space/time, like in the Dr Who episode “The Crack in the Wall”.  I knew it’s her on the other side. I call her, come, enter, my beautiful goddess. Flames burst out of the crack, it can only be her, and there she is – Babalon!                                            She is shining like the sun at sunrise, and the only thing on my mind is the question – Who swallowed the sun? Now as I write it down, it’s a bit obvious, don’t you think? But at the time I just couldn’t see it. 

The Library of Babel

As soon as she enters, I know – Babalon is the librarian of the Library of Babel. I am very pleased with myself and move on to other things. The goddess NewMedia is here too, and she is loading me with information, I need to write all this stuff down, I need to remember it all. I see the connections in everything I do, like synapses that pass electrical surges through a great spider’s web, or was it the WorldWideWeb? Marketing, advertising, books, writing, writing, writing, writing, writing … attention, attention! The system is overloaded. I’m stuck in a loop, thank god it’s time for the second cup.

Shiva is serving the second round of Spice. He has a special gift, he is a master of blessing the Spice, and this time he adds a special boon, a magickal journey.  As soon as I drink the second cup of Spice I’m back at the library of Babel. I’m lost in a maze, it’s HER maze, it’s HER LIBRARY! She is not the librarian at all,  it’s her library! At the very same moment, I notice a little path that leads to a garden.

The Garden of The Forking Paths 

The garden is strange, if anything, it looks like another maze, like the library. It’s kind of grey and dusty. I go down the path, thinking to myself “so who swallowed the sun?” At that time I didn’t have a clue. Then another thought crosses my mind – why is this garden is so “forked”? A garden should be light and green, soft and gentle, that word, Gentle, made me stop for a moment, and I rethink it all again.  Why is the garden so forked? A garden should be light and green and soft, like The Garden of Eden. The word EDEN in Hebrew means – Gentleness = עדן = EDEN. The path I chose in The Garden of The Forking Paths leads to The Garden of Eden!

This realization made me stop for a moment. I looked at the 9th Gate card that I had brought with me. In the card, which I painted a few days earlier, behind Babalon is the Ninth gate illuminated with the sun’s rays. I look at the card for a while, and as soon as I put it back in my bag, I’m back in The Library of Babel. I look around me, books are floating in the air, staircases spiralling in all directions like some weird Michael Escher picture. Then BANG! The Ninth Gate materializes in front of me in all its glory, and at the same time, the shocking realization; SHE IS THE LIBRARY, SHE IS THE LIBRARY.  Another crack appears in space/time. The room is spinning, thunder and lightning, a cacophony of strange and very loud noises. The library has exploded and I’m being sucked into a black hole, what remains of it is spinning around me; books, staircases, labyrinths, forking paths, gardens, all in a mad and chaotic dance, spiralling towards the black hole.

I’m going mad, am I going mad? I know I must look into the crack that grows with each moment, I know who’s coming, but I dare not look. I go down on my knees and try to pray. But only one word comes out of my mouth:

Baphomet 

I forgot all the words to the prayer. I can hardly find my voice, all  that comes out is a faint mumbling of just one word, the one that makes sense:

Baphomet

Baphomet

Baphomet

Each time I repeat this word, things getting clearer.

Baphomet. 

The room has stopped spinning.

Baphomet.

I can breathe again.

Baphomet. 

The books and the staircases are still spiralling around me but in very slow motion.

Baphomet.

Quiet. 

Everything has stopped as it is, books and staircases frozen in a mid spiral in the air. I can hear the beautiful ancient mantra, the sound of the sea, waves on a breezy sunny day, and I remember.

“I believe in one secret and ineffable LORD; and in one star in the company of Stars of whose fire we are created, and to which we shall return; and in one Father of Life, Mystery of Mystery, in His name CHAOS, the sole viceregent of the Sun upon the Earth; and in one Air the nourisher of all that breathes.                                                                                                    And I believe in one Earth, the Mother of us all, and in one Womb wherein all men are begotten, and wherein they shall rest, Mystery of Mystery, in Her name BABALON.                                                                                    And I believe in the Serpent and the Lion, Mystery of Mystery, in His name BAPHOMET.”

At this moment the beautiful shamaness comes and crashes on the mattress next to me, she knows nothing of Baphomet, but she understands Chaos. Together we are experiencing The Eternal Moment, we both know that the only time is now, and this now is for eternity. I hug her, whispering in her ear “open your eyes, and call Hir, Baphomet, sHe is already here” and she does and she sees what I see. 

And I believe in the Serpent and the Lion, Mystery of Mystery, in His name BAPHOMET.”

The tribes of the Spice are the tribes of the serpent and the lion (well, the Jaguar really…) Some follow the serpent, some follow the Jaguar, all are drinking the same Spice, both tribes sharing similar ceremonies but different rituals.  Baphomet walks among our tribes naturally – which takes me back to the beginning of the journey when I heard Whitney Houston singing in my head the lines “Whatever you want, whatever you need, anything you want done baby, I’ll do it naturally”…  Sooo Baphomet…

In the Thoth Tarot, the card Lust, ‘appears the legend of the woman and the lion, or rather lion–serpent’ (The Book of Thoth). Another realization of eternal moment, Babalon rides Baphomet just like the tantric Kali rides Shiva.

“And I believe in the Serpent and the Lion, Mystery of Mystery, in His name BAPHOMET.”

Baphomet is the serpent and the lion, Mystery of mystery; the Fifth Head of the serpent is The Raging Lion!

“The Desire and aspiration of the highest, most spiritual spark of your consciousness is to clothe itself in flesh and personality and to Come Into Being here and now. The purpose of Initiation is not to swap one for the other: it is to open the eyes of both, perceive what is Real, and empower the entire Self to its maximum potential…” (Michael Kelly, Dragonscales)

“The Fifth Head, that of the Raging Lion, is one specifically focused upon Desire, upon passion.” (Michael Kelly, Dragonscales)

With all this in mind, I hear the call for the third cup.

The Third Cup

The third cup is a meditation journey on the sounds and vibrations our Music Master has prepared for us.

The Music Master and I go back a long way. He was there the first time I took the Spice. He taught me how to listen to the vibrations and how to see with my ears. His journeys are my favourite part of these ceremonies, and after a night of illuminated Chaos, I am looking forward to lying down and chilling out on his magickal carpet.  The third cup is the cup of the Shamaness. I love this woman with all my heart. We look at each other and smile. I say: “only a little cup for me this time”, she looks at me, smiles back and pours the Spice, a full cup… I drink the blood of the dragon and lie back on the cushions and fly.

The Seven Jewels of the Red Goddess

In the myth of Inanna she descends into the underworld, and meets the guardians of the seven gates, who will not let her pass through unless she leaves one of her jewels in each gate, only then can she proceed into the underworld.

The Seven Jewels are:

  1. The Great Crown
  1. The Wand of Lapis Lazuli
  1. The Jewel Around her Neck
  1. The Jewel On Her Breast
  1. The Belt of Jewels Around Her Hips
  1. The Jewels Around Her Wrists and Ankles
  1. The Jewelled Robes

In his book Dragonscales, Michael Kelly asks what these seven jewels are? On page 125 of Dragonscales, he writes:  “As an exercise for further thought and meditation, I would like to throw out the suggestion that the seven jewels of Ishtar are resonant with the Seven Heads of Apep, but in reverse order, with the Jewelled Robes having an affinity with the Head of the Scorpion and the Great Crown having an affinity with the Head of the Typhon. This affinity and this inversion of ordering may be suggestive of one of the secret links between the Lady and the Serpent.  Muse upon it…”

I’m flying the magickal journey the Music Master takes us on and musing upon Michael’s riddle. It doesn’t take long and I’m back again at The Garden of the Forking Paths. Now there are new paths ahead of me, and I don’t know which one to follow.  There’s a tiny voice in the back of my mind which whispers “Follow Me”… so I follow it down a very narrow and very old path.                                                                                                                I love the author Tom Robbins. Back in the 90s, I read quite a few of his books which probably helped a lot to shape the way I think and perceive things. There is something in the myth of Ishtar’s seven jewels that reminds me of something he wrote, but what was it??

The song about Miriam the Prophetess is playing and I remember. In his book ‘Skinny Legs and All’  Tom Robbins writes the story of Salome and The Dance of The Seven Veils. The myth of the Seven Veils Dance and the myth of The Seven Jewels probably are based on the same myth of Inanna/Ishtar. In the original dance of The Seven Veils, those veils come off in the same order as the seven Jewels:

  1. The Veil around Her Face
  2. The Veil around The Shoulders                                                   
  3. The Veil Around her Neck                                                                  4.
  4. The Veil On Her Breast
  5. The Veil Around Her Hips
  6. The Veil Around Her Wrists and Ankle
  7. The Veil Around her Legs

In the book Skinny Legs and All, Tom Robbins actually does reverse the order in which the veils are coming off Salome:

I’ll try to explain:

The First Veil to come off is the veil around her legs, ‘The Jewelled Robes’, think again what the Jewelled robes might mean… she is dancing and her most precious jewel is unveiled. “Because Veils of ignorance, disinformation, and illusion separate us from that which is imperative to our understanding of our evolutionary journey… The first of those veils conceal the repression of the Goddess, masks the sexual face of the planet…” By taking her Jewelled Robes off first, our Red Goddess has awakened the Serpent, the Typhon, the Kundalini.  So, our  Salome is dancing and the veils of illusions keep coming off, one by one, unveiling and, abandoning old patterns such as blindness to the wonders of nature, politics, religion, money, death, time.

The Seventh Veil:  The Veil around Her Face – The Great Crown – The Head of The Scorpion;

“The illusion of the Seventh Veil was the illusion that you could get somebody else to do it for you. To hang on your cross.  Everybody had to take control of their own life, define their own death, and construct their own salvation. And when you finished, you didn’t call the Messiah. He’d call you.” (Skinny Legs and All)

This is all very much in the spirit of the Scorpion Head…

For me the theories of Tom Robbins always make sense. And now it’s nearly the end of the journey and the sun is going to rise any minute. I can just see that at the end of the path I’m journeying, there’s another path to follow (it is the garden of the forking paths after all) but I’m too tired now, maybe next time…

The Great Crown – The Head of The Typhon – Spirituality and awakening.  What a Night!

Here Comes The Sun.

“Whatever you want, whatever you need, anything you want done baby, i’ll do it naturally”

IO BAPHOMET

Fire & water

Last night Oshun and Red Goddess came to visit me in my dream. 

All through the dream Oshun song has played and I woke up with the tune still in my head.

Just before I woke up, I could hear the Red Goddess whispering in my ear “ They are too scared to look into the mirror because they can’t see what’s behind it”…

The dream reminded me of a little story Miryamdevi told me a long time ago. 

The story of fire and water, the story of Oshun and Babalon.

“Let me tell you about Babalon, fire and water, that’s her, like Oshun, the orisha of rivers and sweet waters.

I’d been invited to a ceremony, a celebration of the great queen serpent, I thought it would be the perfect space to evoke Babalon, I needed to get some answers from her, The Scarlet Woman.

So I put on my red dress and made a little tobacco offering to put in the fire. 

I waited for a sign and when it came, it was like a rhythm of an ayahuasca dream.

The serpent is awake,

Is coiling in my tummy and heart,

It is moving and winding, its scales are bright red,

It is getting ready to move up toward my neck,

I’m terrified it is going to swallow me,

It changes into a serpent-like flower,

Changing its colour from red to yellow,

More and more serpent-like flowers are popping around me.

I can hear the Oshun song from the distance,

I am singing it,

I can hear Babalon whispering in my ears, 

To understand me, go with Oshun.

At first, Babalon and Oshun look like they have nothing in common. Oshun is the Yellow Lady of the river and sweet waters, to embody the will and the passion to create magic and change, you need to move in a wavelike motion, to be fluid like water. 

Babalon rides the flames of the ever-burning fire. If you look closely at the flames, you can see that they have a strange fluidity.

Fire, like water, always has to move, to expand, never standing still. 

So both ladies share the same qualities:  Oshun, the watery aspect of Babalon, Babalon the fiery aspect of Oshun.

You cannot create magic from still water that lacks fluidity.

You cannot create magic from tamed fire, which will soon burn out and die.

You can read the full story of Fire and Water in NakedTantra by Miryamdevi & Minanath

 

אומנות הכאוס וגלגל השנה – סגול

בעוד כמה ימים נחגוג את בלטיין, החגיגה הטנטרית של הטבע. קונדליני מתעוררת ואיתה גאיה עמוסה בניצני פריחה ותפרחות בשלל צבעים, בעיקר גוונים של סגול. 

חרקים, חיות ואדם כאחד, זוחלים מהכוכים שלהם משפשפים את העיניים מותחים את הגפיים ויוצאים במחול חיזור סוער וחושני  ( טוב נו קצת הגזמתי, אבל אתם יודעים למה אני מתכוונת) יש משהו כזה מתוק באוויר, הזמנה רשמית מגאיה למסיבת טבע.

בהזמנה כתוב:

קוד לבוש – סגול

מומלץ לבוא יחפים ולהביא ענבים

הוא כבר הגיע לכאן

פאן.

נתראה בקרוב מאוד

גאיה.

פאן הוא המאהב של גאיה, הנשמה שלה, החיים שלה.

הוא מגיע פעם בשנה בעונה הזו ויוצא איתה בריקוד מושחת.

מנשק כל עלה ופרח בגופה הרדום. רוקד, בועט, מקפץ ורוקע בין ערוציה, מנתב זירמתו במיסתורי  נקיקיה 

בלטיין הוא המועד בו אנו חוגגים את התשוקה, התאווה, את הפיריון, או במילה אחת קטנה גדולה- סקס.

ואיך כל זה מתקשר לצבע הסגול?

אמר רבינו אליסטר קרואולי (סולם המלך, עמודה XV, הקבלה של קרואולי):

“הצבע הסגול הוא ההגמון, הבישופ של הצבעים, הוא משלב בתוכו את האדום של הדם ואת הכחול של השמיים”.

“הצבע הסגול מסמל תדר שהוא גם רוחני וגם אירוטי כאחד, זהו התדר הכי אינטנסיבי ועוצמתי בכל התדרים גם של הנפש וגם של הנשמה.”

קרואולי משתמש בצבע הסגול כמוטיב אירוטי -רוחני כדי להעביר את המסר האיזוטרי בטקסים ופולחן ת’למה.

מידי פעם הוא נהג להתהדר בכינוי “הכומר הסגול”.

דוגמא קלאסית לשימוש בצבע הסגול בכתיבה של קרואולי – מתוך ליבר אל (ספר החוק) פסקה 61 לקראת הסוף:

“אני אוהבת אותך! אני משתוקקת אליך! חיוור או סגול, מצועף או חושני, אני אשר כולי תענוג סגול ושיכרון חושים, חושקת בך. פרוש כנפיך ועורר את הפאר המתפתל בתוכך: בוא אלי!

הפסקה הבאה מתוך ההמנון לפאן:

סגול התפילה הנלהבת

הוטבל במקדש ארגמן,

חשוף ונחשק,

נשמתך יוקדת 

עין כחולה צופה

באקסטזה שלך 

מחלחלת”

אז איפה היינו?

את פולחן האביב חגגו כנראה מאז ומעולם, בעולם המערבי -באירופה בפרט יחגג הראשון במאי בריקודים ופיזוזים סביב ה -MAYPOLE (עמוד מאי) המסמל את האנרגיה הפאלית והלינגאם. העמוד מקושט בפרחים המסמלים את ניצני הפריון ואנרגית היוני.

ככל שמתקרבים לאיזורינו, בייחוד באיזור אגן הים התיכון ויוון, חגיגות פולחן האביב מרוכזות יותר סביב פולחן האל פאן.

לא יודעת מה אתכם אבל אני יודעת סביב איזה עמוד הייתי מעדיפה לפזז...

כמו שהבנתם, אומנות הכאוס מציעה את הדרך להתחבר לאנרגיה של בלטיין, לטבע ולאמא אדמה דרך העלאת התדר הסגול.

הדרך הכי קלה ובסיסית להתחבר לתדר הסגול הוא ביצירת אלתר סגול. פשר ללבוש משהו סגול ולאכול מאכלים סגולים.

 את חגיגות הבלטיין שלנו נתחיל באמבט טקסי שיעלה לנו את תדר הכישוף הסגול. 

התכונות של המים מאפשרות לנו ניקוי וטבילה רוחנית שתמיד רצויה ומומלצת לפני פעילות מאגית.

בלטיין – טקס אמבטיה

הכינו את חדר האמבטיה כמו שאתם מכינים את המרחב הטקסי שלכם, פרחים, נרות, מוזיקה,  אלתר סגול, כל מה שעולה על דעתכם שיתאים לטקס באמבטיה.

הכינו את תערובת השמנים לאמבט והניחו אותה על האלתר.

מלאו את האמבטיה במים בטמפרטורה שתהיה נעימה ונוחה לכם – מומלץ לשבת באמבט השמנים לפחות 15 דקות. כשהאמבטיה מלאה, הוסיפו את תערובת השמנים למים וערבבו אותם לתוך המים כשאתם “מציירים” בתוך המים את סמל האינסוף. זה הזמן להגיד את כוונותיכם, תפילותיכם, להציע את מנחתכם – הגוף שלכם – למים ולשמנים שיפתחו לכם את הפורטל ויחברו אתכם לתדר הסגול.

זה הזמן לשים קצת מוזיקה או הקלטה של דמיון מודרך או מנטרה. אני בדרך כלל מקליטה מראש את המנטרה שאני רוצה לצלול לתוכה באמבטיה, להעלאת התדר הסגול אקשיב למנטרה הבאה לעורר את האלה קונדליני.

Om Hreem Kleem Shreem Yam Ram Lam Sham Dam Vam Tam 

הכנסו למים ושכבו בנוח, עצמו את עיניכם והקשיבו למנטרה או למוזיקה שבחרתם.

15 דקות זה בדרך כלל הזמן שלוקח לגוף שלנו להגיע לרגיעה כללית שמאפשר לתערובת השמנים לפעול את קסמה על התודעה שלנו.

לאחר צאתכם מהאמבטיה, המהדרין ילבשו בגדים סגולים כל השאר ילבשו מה שבא להם.

נמשיך בטקס בלטיין בקריאה לפאן שיבוא ויעיר ויעטוף אותנו באנרגיה הפראית שלו אנרגיה של אביב וטבע מתעורר משנת חורף ארוכה.

ראפ לפאן

בתאוות אור קסומה, 

הו גבר!

איש שלי!

בוא וצא בסערה מהלילה 

של פאן! יו פאן! 

יו פאן! יו פאן! 

בוא וצא 

משאמבלה וגן עדן! 

משוטט כמו בכחוס, 

עם שומרים ובנות לוויה, 

זכרות נוקשה על אתון לבנה, 

בוא וצא מהים 

ובוא אלי, אליי!

בוא עם כוהנת בשמלת כלה (פיתונית ורועה) 

בוא עם ארטמיס,

בנעלי משי

ששטפה את ירכך הלבנה, 

אלוהים יפהפה, 

בקרחת היער, 

על הלוטוס דרכת, 

בלשונך המוזהבת 

אותי ברכת 

סגול התפילה הנלהבת

הוטבל במקדש ארגמן,

חשוף ונחשק,

נשמתך יוקדת 

עין כחולה צופה

באקסטזה שלך 

מחלחלת

בסבך החורש העתיק

העץ והחי 

עם רוח ונפש, גוף ושכל – 

בוא מעל הים, 

יו פאן! יו פאן!

שטן או אל, 

אליי, אליי, 

שלי! שלי!

האיש שלי! האיש שלי! 

בוא עם חצוצרות  

מעל הגבעה! 

בוא עם תופים רועמים 

מהאביב! 

בוא עם חליל ובוא עם מקטרת! 

האם אני כבר בשל? 

אני, שמחכה רועד ונאבק 

עם נשימה מפרפרת

שלא מוצאת את הדרך 

ליישב את גופי, 

עייפה מחיבוק ריק, 

חזקה כמו אריה 

חלקה כנחש – 

בואי, בוא! 

אני קהה 

מתאוות השטן 

הבודדת. 

דחוף את החרב דרך כבלי הברזל, 

זולל-כל, בורא כל; 

תן לי את אות 

העין הפקוחה, 

ואת הסימן שעוררה 

ירך התשוקה

ואת מילת הטירוף והמסתורין, 

הו פאן! יו פאן! 

יו פאן! יו פאן פאן! פאן פאן! פאן, 

אני האהבה 

עשה בי כרצונך, כפי שהאל

הגדול יכול

הו פאן! יו פאן! 

יו פאן! יו פאן פאן! 

אני מתעורר אוחז בנחש. 

במקור ובטופר הנשרים חותכים; 

האלים נסוגים 

החיות באות. 

יו פאן! 

נולדתי לבוא ולמות על הקרן  

 של חד הקרן.

אני פאן! יו פאן! 

יו פאן פאן! פאן! 

אני בן זוגך, אני האחד שלך, 

עז מצאנך 

אני זהב, 

אני אלוהיך, 

בשר לעצמותיך, 

פרח למטיך. 

עם פרסות פלדה אני מקפץ 

על סלעים 

מזריחת השמש  ביום המפנה

ועד ליום השוויון. 

ואני משתולל; ואני מיילל ואני קורע 

ואני הנצח, עולם ללא סוף, 

אחוז דיבוק מלא בסודות, 

אישה, גבר, בכוח של פאן. 

יו פאן! יו פאן פאן! פאן! יו פאן!

(תרגום חופשי מבוסס על ההמנון לפאן מאת אליסטר קרואולי) 

אם אתם בזוגיות, מניחה שהחגיגות ימשכו באופן ספונטני ומסויים, אם אתם בחברותא מסיבת הוללות  “עד דלא ידע” של שיכרון חושים או טראנס עמוק יעלו את האנרגיה של פאן ויחברו אתכם לתדר הסגול הזה שמסביב. בלטיין יצא ממש קרוב לל”ג בעומר השנה אז אפשר לחגוג מסביב למדורה רק לא לשכוח לשים לב לחיות ולסביבה.

כמו מטה לאל וגביע לאלה

כשמש לירח ושמים לארץ, כמו שאהבה היא לאהוב,

הברכה תבוא לחוגגים יחדיו

תערובת שמנים לאמבטית בלטיין:

בקערה קטנה ערבבו:

1 כף מלח ים או הימלאיה

3-5 טיפות של פטצ’ולי

4 טיפות ילאנג ילאנג

2-3 טיפות יסמין

5 טיפות ברגמוט / מנדרינה / לימון

אופציה שניה

במידה ואתם יכולים להשיג שמן רוטווה  (Ruthvah oil) ערבבו בכף מלח 3-5 טיפות של השמן (הריח מאוד דומיננטי לא הייתי ממליצה לשים יותר ולא רואה טעם לערבב אותו עם שמנים אחרים כי יאפיל עליהם).

אופציה שלישית

במידה ואין לכם גישה לאמבטיה אפשר לעשות את אותה התערובת בבקבוקון קטן 30- 50 מל. למלא את הבקבוקון בערך שני שליש גובה, בשמן שקדים או שמן צמחי אחר לבחירתכם ואז לטפטף את אותו מספר הטיפות שבמתכון המקורי (ללא המלח כמובן). את השמן תמרחו על עצמכם בנקודות משיחה סימבוליות- העין השלישית, צוואר, לב, סולאר פלקסוס וכפות הרגליים.

אופציה רביעית

למי שאין אפשרות לאמבטיה ו או לשמנים אתריים אפשר להשתמש בקטורת יסמין, ורד, סנדלווד, פטצולי או וניל או כל קטורת שיש בהישג ידכם. הדליקו את הקטורת ועטפו את גופכם וההילה שלכם בעשן הקטורת.

נתראה ביום ההיפוך הקייצי לקסם צהוב

Horus’s Protection

Horus’s protection is that of Him in the Sun-Disk, who lights the Two Lands with the light of his eyes-
and the protection of the afflicted as well.

Horus’s protection is that of Nut’s oldest son, who regulates the conduct of what is and what isn’t-
and the protection of the afflicted as well.

Horus’s protection is that of that great Traveller, who goes around the Two Lands at twilight-
and the protection of the afflicted as well.

Horus’s protection is that of the Lion in the night, who sails at the front of the sunset mountain-
and the protection of the afflicted as well.

Horus’s protection is that of the great hidden Ram, who goes around through his sacred eyes-
and the protection of the afflicted as well.

Horus’s protection is that of the great Falcon, who hovers in the sky, earth, and the Netherworld-
and the protection of the afflicted as well.

Horus’s protection is that of the great worthy Scarab, who flies in Nut-
and the protection of the afflicted as well.

Horus’s protection is that of the secret Corpse in his shape of one who is in his sarcophagus-
and the protection of the afflicted as well.

Horus’s protection is that of the Netherworlder of the Two Lands, who goes around in the above, with secret features-and the protection of the afflicted as well.
Horus’s protection is that of the divine Phoenix, who climbs through his sacred eyes-
and the protection of the afflicted as well.

Horus’s protection is that of his own body, with the magic of his mother Isis protecting it-
(and the protection of the afflicted as well).

Horus’s protection is that of the identities of his father in his cult in the nomes-
and the protection of the afflicted as well.

Horus’s protection is that of the mourning of his mother and the cries of his brother-
and the protection of the afflicted as well.

Horus’s protection is that of his own identity, which the gods serve by helping him-
and the protection of the afflicted as well.

“Awaken, Horus! Your protection is established. You should make the heart of your mother happy. Horus’s voice will lift up hearts when he has calmed her who was worried. Let your hearts be glad, you who are in Nut (the sky), for Horus has avenged his father.

 

 

Translated from Metternich Stela by A H Allen 

Originally uttered as the protection spell for Horus among the crocodiles, makes a good invocation of the power of Horus in any appropriate context

Interview with occult writer Paul Weston

Recently I had the chance to interview occult  Author Paul Weston. In this interview, he speaks about the life of Aleister Crowley, as well as his book The occult battle of Britain.

Weston tells us about Crowley and Yeats, and the writing of Diary of a Drug Fiend, as well as the early years of the Golden dawn. 

1.How did you become interested in the life of Aleister Crowley, Paul, to write your book Aleister Crowley and the Aeon of Horus?

1975 was the centenary of Crowley’s birth. I was 16 years old. I’d seen Led Zeppelin live twice that year and learned of Jimmy Page’s interest in some mysterious controversial figure. BBC Radio then featured a programme on Crowley and I made a point of listening. I was utterly fascinated by the diversity of his life: world-record mountaineer, yogi, mystic poet, occultist, sexual and drug pioneer, but also big-game hunter, writer of banned pornography, possessor of a formidable legend of infamy. From that point on, I was on the lookout for more information.

Colin Wilson’s summary of his life in The Occult and John Symonds biography The Great Beast told me a lot but were fairly hostile and contemptuous. It was reading the enormous autobiographical Confessions that really got me going as it was clear to me that Crowley was far more intelligent, interesting, and humorous than his critics. The seemingly strident egotism of it didn’t bother me in the slightest.

Robert Anton Wilson’s Cosmic Trigger opened me up to the extent of Crowley’s presence in the psychedelic sixties. I first heard of the episode involving Timothy Leary in the Algerian desert, where he seemed to follow in Crowley’s footsteps, which would later be heavily featured in my book. Robert Anton Wilson is undoubtedly the main inspiration for it. The Leary/Wilson eight-circuit map of consciousness provided the foundation of the section The Psychology of Thelema. RAW sometimes gets criticised by Thelemites but I think it’s important to remember that his ideas about Crowley were developed from his connections with Grady McMurty and Israel Regardie, who had both known Crowley and had important interaction with him. The Eye in the Triangle was a very important book, whatever people think of it now, and Regardie’s anthology of Crowley’s writing on drugs and his Gems From the Equinox were influential then. All of that formed part of my inspirations.

My book seemed to have its own agenda. I was writing my autobiographical Avalonian Aeon, which featured a lot of Crowley material, and I realised it was getting far too big and needed pruning. The idea came for a separate book. The scope of it just kept expanding. Having fully engaged in the project, I found myself in Cairo, on the feast days of The Book of the Law and even recited some of it in front of the Stele of Revealing that is so important a part in the story of how it came to be written. This was a wild outcome.

2.Many great names of the twentieth century are mentioned in the book. How did Crowley come to attract all of these famous names?

Crowley had a period of considerable fame in the twenties, albeit through a legend of infamy, so he stood out and got the attention of the naturally rebellious. I suggest in my book that, regardless of any personal failings, Crowley was an authentic prophet of the twentieth century in its diverse agony and ecstasy and his statements concerning how to navigate it: that we are unique Stars who must find our True Wills and act accordingly. I feel some people with remarkable gifts recognised that in his work and directly connected with it. Rocket scientist Jack Parsons was perhaps the most notable case. Avant-garde film-maker Kenneth Anger was another. Founder of modern Wicca Gerald Gardner inevitably looked into Crowley and met the Beast in person. Timothy Leary would have initially placed him in a lineage of drug experimenters but a more mysterious deeper connection eventually revealed itself.

3.What was Crowley’s relationship like with Yeats?

Crowley and Yeats were members of the Golden Dawn during the same period and were on opposite sides in a power struggle involving the Orders’ autocratic chief, Samuel Liddell Macgregor Mathers. Yeats thought of Crowley as a morally degenerate criminal type. Crowley felt that Yeats’ hostility to him was based on his jealousy of the Beast’s superior poetic gifts, a claim most would consider to be absurd. They appear to be very different characters but there are some strong similarities in the deeper passions that ruled their lives.

Yeats was obsessed with the idea of the daimon or higher genius. It was central to his consideration of himself as a poet and what true inspiration consisted of. It also informed his understanding of the Golden Dawn Kabbalistic teachings. Neshamah concerns what might be more generally thought of as the Soul, its higher aspects that allow one to have awareness of God. This is the Higher Genius. Its physical seat is the brain and its Kabbalistic placing is in the upper realms of the Tree of Life sephiroth Chokmah and Binah.

Crowley was stirred by the same concerns but in his case was particularly taken by the term Holy Guardian Angel. Mathers had translated some of the now legendary Sacred Magic of Abramelin the Mage, detailed instruction for a six-month retreat intended to achieve communion with the HGA. Crowley famously purchased the house at Boleskine at Loch Ness to enable him to give over to the procedure. This primarily involved strict adherence to Abramelin but he incorporated Golden Dawn details such as his own versification of a document dealing with the same material on the Neshamah that inspired Yeats in his daimon quest. People will argue as to whether HGA and daimon are essentially the same. For Yeats and Crowley, I look at where these ideas led them.

The main event of Crowley’s life was the reception from an allegedly non-human source of a text, supposedly dictated audibly to both he and his wife Rose, indicating the advent of a new epoch for the human race. There are great cycles, Aeons, in history and we have seen one where the Great Mother was the dominant religious form, followed by an era of the dying and resurrected God. Now we enter a time of the Crowned and Conquering Child, when our unique true identities are affirmed, free of constraint. Crowley believed that the source, named Aiwass, was his Holy Guardian Angel. The whole episode was considerably facilitated by the sudden onset of powerful psychism in Rose, who he had married the previous year.

Yeats married George Hyde Lees. Within days she suddenly gave over to prolonged psychism in the form of automatic writing from which enormous amounts of material emerged. The most notable outcome was Yeats work A Vision. This was a mystic view of enormous cycles of history and their significance in the destiny of individuals as revealed by their birthdates in relation to the phases of the moon. Yeats believed that his daimon was somehow collaborating with that of his wife in this production.

There are considerable differences between The Book of the Law and A Vision. The similarities are there, however. Yeats was driven by the daimon idea, Crowley by the Holy Guardian Angel. In each case, their wives developed a psychism that led to the creation of texts that each man considered to be their most important works. Both productions were framed by the concept of great historical cycles and concerned with establishing one’s true destiny.

4.Could you tell us about Crowley and the order of the Golden Dawn?

The most famous of all occult groups, The Hermetic Order of the Golden Dawn, was founded in London in 1888. The centre of gravity of their system was the Kabbalah, with its well-known glyph of the so-called Tree of Life, with its ten spheres, known as Sephiroth, linked together by twenty-two paths associated with the letters of the Hebrew alphabet. On this framework, into what Crowley later called a kind of filing cabinet, was attributed an enormous amount of material from what could be called the Western Mystery Tradition, including a lot of Egyptian details.

The twenty-two trumps of the tarot cards, the famous picture images of Death, the High Priestess, Wheel of Fortune and so on, were placed on the linking paths with their related Hebrew letters. A system of grades allowed practitioners to ascend the tree as their learning advanced. Each sphere involved particular studies and practices and initiatory rituals signified passage between them.

Although Mathers was undoubtedly aware of the masonic traditions of unknown superiors, the recent fame of Madame Blavatsky and her tales of contact with Himalayan Masters had brought the issue of Secret Chiefs some publicity. The single biggest point of contention around the Golden Dawn is Mathers’ assertion that he himself had met some of them. His story could easily be seen to be following the Blavatsky template. Some of these encounters were psychic. He worked with his clairvoyant wife Moina to obtain much of the higher level Golden Dawn material. Other meetings were allegedly physical. He believed that ‘they are human beings living on this Earth, but possessed of terrible and superhuman powers.’ His story of an encounter in Paris with a group of three of them can be seen as a strategy to confirm his complete authority over the Order. He claimed that terrific energy emanated from the mysterious beings that only an advanced adept could handle for more than a few minutes. It was strong enough to kill. Various intense physiological symptoms were reported during his different encounters such as problems with breathing, ‘cold sweats and bleeding from the nose, mouth and ears.’

Aleister Crowley joined the group in 1898 when he was twenty-three years old. Rich from a family inheritance and with no need to earn a living, he was able to dedicate a lot of time and energy to learning the material and working through the lower grades. He was initially very impressed by Mathers and undoubtedly took him as a style template for the modern magician.

Although Crowley felt that his contact with Aiwass and the inauguration of a New Aeon annulled the authority and relevance of the original Golden Dawn, its basic structure and curriculum remained extremely important to him. There were certainly adjustments but the continuity is clear. He had taken oaths to keep the material secret but published much of it in his regular hefty journal The Equinox. This resulted in a court case with Mathers. Crowley’s subsequent claiming of various grades of attainment was always based on Golden Dawn ideas and terminology.

He was obviously willing to believe in the idea of Secret Chiefs as the 1904 Cairo episode shows. In the late collection of letters Magick Without Tears, he says of them, ‘They can induce a girl to embroider a tapestry or initiate a political movement to culminate in a world-war; all in pursuit of some plan wholly beyond the purview or the comprehension of the deepest and subtlest thinkers…But are They men, in the usual sense of the word? They may be incarnate or discarnate: it is a matter of Their convenience…’.

5.What is the UFO connection to Crowley?

Crowley’s 1919 drawing designated ‘Lam’ is the central focus of this contentious connection.

It’s important to be clear about the history of this image. In 1918, during a period when he was living in America, Crowley engaged in an extensive six-month long magickal episode known as the Amalantrah Working, primarily with the aid of his Scarlet Woman of the time, Roddie Minor. A combination of sex and drugs helped induce repeated consistent visionary material focused on a being named Amalantrah. Crowley was satisfied that the imagery and names produced were authentic in as much as they met his Qabalistic checking criteria. Towards the end of the written records of the working, Amalantrah made the enigmatic statements “It’s all in the egg”, “Thou art to go this Way.” Unusually for Crowley’s magickal records there appear to be details missing during the final phase.

The drawing seems to originate from the same period and depicts a being with an elongated egg-shaped head and no ears. It was publicly displayed in an exhibition of Crowley’s artwork in New York in 1919. It also featured as the frontispiece for an edition of HP Blavatsky’s short mystical work The Voice of the Silence with an extensive running commentary from Crowley. There it was designated as ‘The Way’ and given this explanation: ‘LAM is the Tibetan word for Way or Path, and LAMA is he who Goeth, the specific title of the Gods of Egypt, the Treader of the Path, in Buddhistic phraseology. Its numerical value is 71, the number of this book.’ It was later stated that the figure was Crowley’s ‘guru’ and ‘painted from life.’ That appears to be all that Crowley ever had to say about it. It is by no means clear that the word Lam is a name belonging to the being in the picture.

Decades later, in the final years of his life, he gave it to Kenneth Grant who featured it in his 1972 The Magical Revival, describing it as ‘Lam, an extra-terrestrial intelligence with whom Crowley was in astral contact.’ It became an iconic part of his Typhonian Trilogies, works promoting, amongst other things, ‘Extra-Terrestrial Gnosis’. This is not necessarily physical ETS in nuts and bolts spaceships. In this context, it designates experiences and intelligence not confined to the consensus three-dimensional coordinates of planet Earth. Higher-dimensional realms coterminous with 3D may well be the spaces these mysteries move through.

It was Grant who suggested that the Parsons-Hubbard-Cameron Babalon Working had perhaps ripped a hole in the fabric of reality through which the modern UFO era manifested, an idea that has now become quite widespread. In Outside the Circles of Time, he stated that ‘Parsons opened the door and something flew in. The flavour of that something is indicated by a strange episode that occurred in March 1946 at the time of the conclusion of the Babalon Working. Marjorie Cameron saw an unidentifiable aerial phenomenon. She was exhilarated, considering it to be a Thelemic sign, a ‘war engine’ mentioned in The Book of the Law. This event inevitably predisposed her to be particularly interested in a phenomenon that erupted into popular consciousness the following year.

Grant instigated a specific Cult of Lam after coming to feel that the portrait was a focus of an increasingly intense extra-terrestrial energy that would be of great importance. The basic Kenneth Grant position was that firstly Lam is a name and image of something that gives access to Extra-Terrestrial gnosis, a state of consciousness. Lam was intrinsically part of the Amalantrah Working which opened a portal of some kind to other dimensions. This makes Crowley the first modern-style ET contactee. It also opens up a consideration of what is the real nature of the Secret Chiefs of Occultism and in particular, Aiwass.

In the Cult of Lam, as initiated by Kenneth Grant and developed by his closest long-term associate Michael Staley, Lam is not necessarily a distinct entity but a trans-aeonic portal to gnosis outside of the circles of time. Something about his visual appearance potentially serves to stimulate aspects of consciousness otherwise dormant. He could be a mask for the experience of the Hidden God/Holy Guardian Angel…

The basic method of Lam meditation consisted of sitting silently in front of a copy of the Crowley picture staring into its eyes. The name was then repeated internally in the manner of a mantra. This process was considered sufficient to potentially stimulate an altered state of consciousness. As mood shifted an imaginative attempt would be made to enter into Lam’s head, the Egg of Spirit, and then look out from his eyes. Profoundly alien zones might be thus encountered or general mutations of consciousness allowing download access to previously unknown realms of being.

An extension of this procedure formulated by Michael Staley begins with the fact that the name Lam also happens to be a Sanskrit seed syllable featured in some Kundalini yoga systems referring to the base chakra wherein the great serpent power resides that can be raised up the spinal column through a progressive expansion of consciousness until climactic enlightenment at the top of the head. Staley’s development involves visualising a serpent with the head of Lam ascending the spine through the chakras. The process does not directly identify Lam with Kundalini but may produce similar results.

The 1977 Cosmic Trigger by Robert Anton Wilson connected Crowley and Kenneth Grant’s ideas with the increasingly ET themed work of Timothy Leary and his Starseed Transmissions, a text full of Book of the Law nuances. Leary already felt connected with Crowley. Jack Parsons was also featured. The recent publication of Robert Temple’s The Sirius Mystery led Wilson on a journey that seemed to uncover a tradition of ‘contact’ ultimately sourced at the star that was important to the Egyptians. With this material, it became possible to speculate as to whether the fabled Secret Chiefs might be ETs or Inter-Dimensional Ultra-Terrestrials.

The Crowley UFO association intensified with the publication of Whitley Strieber’s hugely successful Communion in the eighties. The famous cover art instantly established a template for the depiction of the kind of entities that were supposedly involved in mass abductions at that time. It was soon increasingly publicised that there was a strong resemblance to Lam. With the Strieber impetus, Crowley, and occultism in general, particularly the Babalon Working, increasingly became part of a dense internet culture that often plays loose with the facts and is not helped by the baleful reputation of Crowley and Parsons having taken of the Oath of the Antichrist!

What we are left with is that reading books like Cosmic Trigger, and hopefully, my Aleister Crowley and the Aeon of Horus can set the reader off on a profitable journey that might encourage Extra-Terrestrial Gnosis. The path may lead into a hall of mirrors and delusion. The modern internet age provides greater possibilities than ever before for such an outcome. I will point to one example of the efficacy of the Cult of Lam. It was immediately after a Lam working with Michael Staley that Andrew Collins experienced what might be termed a download that led to his book The Cygnus Mystery. This in turn led to his rediscovery of a lost cave system on the Giza plateau detailed in his book Beneath the Pyramids.

6.could you tell us about Crowley writing Diary of a Drug Fiend? Did Crowley believe that using certain drugs could open doors for him creatively?

In the second chapter of 1904 The Book of the Law we find this evocative passage. ‘I am the Snake that giveth Knowledge & Delight and bright glory and stir the hearts of men with drunkenness. To worship me take wine and strange drugs whereof I will tell my prophet, & be drunk thereof! They shall not harm ye at all. It is a lie, this folly against self. The exposure of innocence is a lie. Be strong, o man! lust, enjoy all things of sense and rapture: fear not that any God shall deny thee for this.’ Believing as he did that it was dictated by a non-human intelligence, this statement carried authority for Crowley.

He was a graduate of fin-de-siecle decadence, producing a translation of the French poet Baudelaire’s writing on hashish. By the period following 1904, he had combined wide-ranging drug experimentation with extensive magical mystical discipline. The epic journey across the Algerian desert in 1909 exploring the angelic system of John Dee produced some astonishing visions. There may have been a chemical component occasionally involved. The 1910 public presentations of the so-called Rites of Eleusis included the passing round of a drink it has been suggested contained a mild amount of peyote. It’s clear that Crowley felt that the mystery cults of antiquity made use of drugs. All of this is exceptionally interesting and decades ahead of the sixties enthusiasms.

Jumping ahead to Diary of a Drug Fiend in 1922, things have seriously changed for the worse. We have a century of hindsight to understand that not all drugs are the same. Crowley felt that his great Nietzschean True Will, which enabled him to set world-mountaineering records, write voluminous works at fever-pitch, and engage in yoga practices for hours on end, could easily follow the admonitions in The Book of the Law and no harm would result. When it comes to heroin and cocaine unique problems result. During the time of the Sicilian Abbey of Thelema, Crowley became hopelessly addicted to both. It was a torment to him that his Will was struggling with the challenge.

Diary of a Drug Fiend emerges from that context. The novel concerns a couple who are very much characters we can see as typical of the Roaring Twenties. Peter Pendragon is of noble birth and fought in the Great War. He is left depressed and unable to find meaning in his life. He meets Louise Laleham, who is a follower of Basil King Lamus, a heavily idealised Crowley self-portrait. The couple falls in love and engages in a prolonged drug binge across Europe. They can easily be imagined at one of Jay Gatsby’s parties or enjoying the nightclubs of Weimar Germany to a jazz soundtrack. Hitting rock bottom in terms of addiction and financial ruin, suicide beckons, but a retreat to the Abbey of Thelema under the guidance of King Lamus and his tutelage in magick restore them by enabling them to find their True Will.

Those hostile to Crowley can easily find the work displays appalling egotism from an author dispensing high wisdom on how to handle drugs when hopelessly addicted himself. I believe that he was invoking his higher genius, his daemon, in his portrayal of King Lamus in an attempt to fully solve his own problems. He was passionately idealistic and wanted his Abbey of Thelema to fulfil its greatest potential so he told a story of how he imagined such a thing could come about, the kinds of people he sought to attract, and the help he hoped to give. In that, we could get a feeling for what was best about Aleister Crowley. The enormous autobiographical Confessions was also written during the heroin period and that has never gotten in the way of my appreciation of it. He did eventually conquer his addictions and only returned to heroin in later life for medicinal reasons.

7.Could you tell us about your magical journey to Glastonbury, Paul? Through your book The Occult battle of Britain.

I’ve given over nearly a thousand pages to my journey to Glastonbury in my books Avalonian Aeon and Atargatis. It is a comprehensive story concerning all sides of the place, its history and multi-levelled mythos. The Dion Fortune aspect is one part of it but an extremely important one in both of those books and the occult war required a book to itself that did not feature my personal story.

I’d been fascinated by the subject of Nazi occultism from the early eighties and was fortunate to be able to write a dissertation on it towards my Degree in Comparative Religion in 1983. I discovered the Glastonbury-centred British side of the story, the Tor visualisations when I read Alan Richardson’s Dion Fortune biography in 1988. The selection of her wartime letters, published as The Magical Battle of Britain followed in 1993.

Monday, May 8th 1995 was a national holiday to accommodate the climax of large-scale commemorations of the fiftieth anniversary of VE (Victory in Europe) Day that were happening across Europe. It was my habit in those days to shuffle my tarot cards shortly after breakfast and ask for a one-card key to the day ahead. I drew the Lightning Struck Tower. This is considered to be a powerful card, indicative of tumultuous processes. I wondered what on earth the day might deliver that could be considered a definite result?

BBC TV broadcast lives from London from early in the afternoon as all manner of events played out to a crowd estimated at 250,000 in front of Buckingham Palace and down the adjacent Mall. The climax of the celebrations was going to be a huge event in Hyde Park. At sunset, there would be a nationwide two-minute silence after which the Queen would preside over the lighting of the first of a thousand beacon fires across the country.

I felt a desire to more fully emotionally engage in the day. I was very conscious that the generation who had actually participated in these events, my parents included, were not getting any younger. This might be the last time they could be out in large numbers for such a huge event. It was, on one level, a massive acknowledgement that was also a farewell.

I had a copy of Avalon of the Heart out from the local library at that time. It was an edition that had a photograph of Glastonbury Tor on the cover. I had been glancing through it over the previous few days and it was resting on the floor. The afternoon had been slightly overcast. Briefly, the sun came out from behind clouds and a shaft of light shone through a side window down onto the book, stopping just beyond it. My attention was thereby suddenly focused on the cover and I instantly knew what I was going to do to fulfil my intention of connecting with the day’s events.

I realised that the coming evening’s two-minute silence and subsequent beacon lighting, including one on Glastonbury Tor, was really quite a unique event. In terms of what was going on in the mass mind at that time, the solemnity and silence and a sense of the past with veneration for it would all be present at that moment and the potential channelling of that through the landscape and into people’s consciousness through the means of the beacon fires was something you’re not going to get very often in any circumstance. I remembered what I knew about Dion Fortune’s 1940 visualisations. She had believed that they were as much about the future as the drama of the time. Surely now was as good a time to recreate them as one could ever hope for?

I contacted as many people by phone as I could who I thought might be interested and about a dozen agreed to try the basic visualisation of being inside Glastonbury Tor with Arthur and Merlin during the two-minute silence. About a dozen people participated.

As twilight approached, I began my preparations, lighting lots of candles in my living room. The phone was unplugged. I performed the same modest ritual preparations engaged in by the London Centre of the 1940 workings. The Lesser Banishing Ritual of the Pentagram consists of drawing pentagrams at the cardinal points, imagining the appearance of angels beyond them and the recitation of their names. I tried to visualise a rapid approach to Glastonbury Tor and entry to a large cavern within. Within moments of starting to contemplate the Arthurian archetypes and the idea of them still potentially inspiring the nation, I found extraordinary emotions arose and overwhelmed me. In combination with the idea of the last parade of the golden generation, I started crying my eyes out. This state of emotional extremes was sustained for a number of minutes. I had never felt anything quite like it in the whole of my life.

When I recovered I turned the TV back on to check out what was happening in Hyde Park. I knew about the beacon fire lighting but nothing about the way in which it would commence. It happened within barely a minute of my turning on the TV. The Queen was standing at ground level, in front of a control panel. She pressed a button and a green laser beam shot out from it and hit the Post Office Tower, which I realised had lights wound around it all the way to the top. When the beam hit, the lights went on and fireworks erupted from the summit. I immediately knew that this was the Lightning Struck Tower par excellence.

The day had been extraordinary for me but I was obviously curious to hear how things had gone for the others who had tried the visualisation as well. Within a week I had received all the feedback. Everyone reported powerful experiences. My favourite involved a female friend who lived in Somerset and was very familiar with the Arthurian corpus and in particular Marion Zimmer Bradley’s hugely successful novel Mists of Avalon. She often went into visionary spaces inspired by the book involving journeying into the Tor to meet groups of priestesses. On this occasion she found herself confronting a naked Arthur Pendragon with an impressively erect phallus which she promptly grabbed hold of and immediately felt as if some kind of circuit was completed and enormous dragon current serpent power energy was pumping out of Glastonbury Tor and going all over the landscape. This was not the staid Victorian gentleman portrayed by Tennyson and such details were certainly not reported by Dion Fortune and her associates. I was totally convinced that the workings were carrying some voltage and relevancy for the modern world.

This event was undoubtedly a huge catalyst in my move to Glastonbury. I was already hoping to live there and the way was made clear. Within a month I had arrived. Inspired by the potency of the Tor visualisation, I fully familiarised myself with the wartime letters and the Qabalistic foundation of the imagery. By 1996 I had created an enhanced version of the 1940 imagery, a full Glastonbury Qabalah, and began putting on some public events using it.

Many years later, in 2010, saw the 70th anniversary of the Battle of Britain. I convened a group visualisation again on September 15th, considered to be Battle of Britain Day, and the feedback was so strong that it catalysed me into starting to write the book.

What I found really striking, and it seemed to me that nobody had fully noticed this before, was that Glastonbury, with its Arthurian associations, represented a remarkable polarity with Himmler’s Grail Castle at Wewelsburg, a location that Dion Fortune would not have been familiar with. I realised that what she brought into the 1940 visualisations was the climax of a long story of the rebirth of Glastonbury, involving many other interesting people and ideas. Wewelsburg likewise represented the climax of the development of so-called Ariosophical ideas.

My lightbulb moment was to contemplate putting the two long-term timelines against each other and seeing if anything interesting might be revealed. I created an excel spreadsheet with vertical columns for Glastonbury and Germany set against horizontal year lines from 1875 to 1939. I set myself up to read The Avalonians by Patrick Benham, a superb account of the rebirth of Glastonbury, featuring Dion Fortune, Frederick Bligh Bond, Wellesley Tudor Pole, and others. I followed it up with The Occult Roots of Nazism by Nicholas Goodrich Clarke, a ground-breaking academically credible study of the subject. I entered anything I felt was important from both books on the spreadsheet. Once I’d finished, I started looking across the lines and immediately felt that I was seeing a clear convergence towards 1940 that began even before the Great War. The richness of comparisons and synchronisations astonished me. I added Rudolf Steiner to the mix. Having written Aleister Crowley and the Aeon of Horus, I originally intended to create Dion Fortune and the Age of Michael as a complementary work in the spirit of a Robert Anton Wilson meta-programming experiment. The project outgrew that conception.

It was an immensely intense process to immerse myself for months at a time in Nazi occultism. I kept stepping back and other book projects appeared. Eventually, in 2018, I resolved to finish it in time to launch at the Glastonbury Occult Conference in February the following year.

8.What will your next book be about, Paul?

I am currently writing The Colin Wilson Work. This project began shortly after he died in 2013. I conceived it with the sense of it being like one of the many introductions he wrote to important thinkers like Gurdjieff, Jung, Steiner, and Crowley. 100-150 pages in length maybe. I made a good start but other projects intervened. With the onset of the first lockdown in March 2020, I felt it was an ideal time to return to it. As I did so, my conception of it massively expanded so that I now see it as likely to be of a size similar to one of the titles in Wilson’s Occult Trilogy. I’m approaching it in the spirit of what Wilson called ‘existential literary criticism’. I have often seen people praising his books for having expanded their minds, even changed their lives. What I want to see in cases like that are detailed accounts of what that really means. As a long-term Wilsonian with a rich inner life, I’m able to weave into the text a lot of varied personal examples of how his ideas have been alive for me. The title is a reference to Gurdjieff and the ‘work’ associated with him. Gurdjieff and Ouspensky were immense influences on Wilson so I’m examining at some length how that becomes part of a broader conception of Wilson’s new existentialism. I’ve undoubtedly set myself a major challenge but that is exciting and in keeping with the Wilson outlook.

 

Author Paul Weston was interviewed by John Wisniewski

ראפ לפאן

בתאוות אור קסומה 

!הו גבר

!איש שלי

בוא וצא בסערה מהלילה 

!של פאן! יו פאן 

! יו פאן! יו פאן

בוא וצא 

!משאמבלה וגן עדן 

משוטט כמו בכחוס 

עם שומרים ובנות לוויה 

זכרות נוקשה על אתון לבנה 

בוא וצא מהים 

!ובוא אלי, אליי

בוא עם כוהנת בשמלת כלה (פיתונית ורועה) 

בוא עם ארטמיס

בנעלי משי

ששטפה את ירכך הלבנה 

אל יפיפה  

בקרחת היער 

על הלוטוס דרכת 

בלשונך המוזהבת 

אותי ברכת 

סגול התפילה הנלהבת

הוטבל במקדש ארגמן

חשוף ונחשק

נשמתך יוקדת 

עין כחולה צופה

באקסטזה שלך 

מחלחלת

בסבך החורש העתיק

העץ והחי 

עם רוח ונפש, גוף ושכל 

בוא מעל הים 

!יו פאן! יו פאן

שטן או אל 

אליי, אליי 

!שלי! שלי

!האיש שלי! האיש שלי 

בוא עם חצוצרות 

!מעל הגבעה

בוא עם תופים רועמים 

!מהאביב 

! בוא עם חליל ובוא עם מקטרת

?האם אני כבר בשל 

אני, שמחכה רועד ונאבק 

עם נשימה מפרפרת

שלא מוצאת את הדרך 

ליישב את גופי 

עייפה מחיבוק ריק 

חזקה כמו אריה 

חלקה כנחש 

!בואי, בוא 

אני קהה 

מתאוות השטן 

הבודדת 

דחוף את החרב דרך כבלי הברזל 

זולל-כל, בורא כל 

תן לי את אות 

העין הפקוחה 

ואת הסימן שעוררה 

ירך התשוקה

ואת מילת הטירוף והמסתורין 

!הו פאן! יו פאן 

!יו פאן! יו פאן פאן! פאן פאן! פאן 

אני האהבה 

עשה בי כרצונך, כפי שהאל

הגדול יכול

!הו פאן! יו פאן 

!יו פאן! יו פאן פאן

אני מתעורר באחיזת הנחש 

במקור ובטופר הנשרים חותכים 

האלים נסוגים 

החיות הגדולות באות 

!יו פאן 

נולדתי לבוא ולמות על הקרן 

 של חד הקרן

!אני פאן! יו פאן 

!יו פאן פאן! פאן 

אני בן זוגך, אני האחד שלך 

עז מצאנך 

אני זהב 

אני אלוהיך 

בשר לעצמותיך 

פרח למטיך 

עם פרסות פלדה אני מקפץ

על סלעים 

מזריחת השמש  ביום המפנה

ועד ליום השוויון 

ואני משתולל; ואני מיילל ואני קורע 

ואני הנצח, עולם ללא סוף 

אחוז דיבוק מלא בסודות 

אישה, גבר, בעוצמתו של פאן 

!יו פאן! יו פאן פאן! פאן! יו פאן

מוקדש באהבה למאסטר ט’ריון, עשיתי כרצוני