Yogini Magic

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Yogini Magic

The Sorcery, Enchantment, And Witchcraft of The Divine Feminine

By Gregory Peters

ISBN: 9781618697257

U.S. Price $24.95

When I heard about the release of Yogini Magic by Gregory Peters, I was filled with excitement and anticipation. As I was already in the process of writing my book Aromagick, I knew that Yogini Magic would provide valuable insights into the Kalas and shed light on the more enigmatic aspect of the Yoginis. My understanding of the Kalas/Yoginis was based on classical texts and Kenneth Grant’s theories on “Lunar Perfume,” as well as my own practical and intuitive experiences through meditation, dreams, and heightened sense of smell. When I finally received a copy of Yogini Magic, I was deeply immersed in my own “Kala Magic” and didn’t want any outside influences to interfere with my experiences. Thus, I decided to postpone reading it until after completing Aromagick. In the meantime, I placed Yogini Magic on my altar alongside my collection of perfumes dedicated to the Kalas I was currently working with. This allowed me to continue writing about my encounters without interruption.

It was only after reaching out to Ugraprabha that I decided to seek Gregory’s thoughts on her. My past encounters with Yoginis have shown that when you are ready, one of them will find a way to connect with you. Nityaklinna, for instance, appeared in my dreams for months before I mustered the courage to engage with her and learn from her wisdom and sorcery. Once I opened the ‘gate’ and reached out to her, other yoginis quickly followed suit (at times, it felt like a flood of them entering through the gate, which can be quite overwhelming…)

Upon meeting Ugra, I was struck by a sense of familiarity. But when I tried to connect with her sister, Ugraprabha, I was disappointed to find that we did not share the same connection. Despite my efforts to gather information about her, I came up empty-handed (perhaps due to searching in the wrong places). At times, it seemed as if she was annoyed with me for reasons unknown and other times, I felt frustrated that there was something right in front of me that I couldn’t see. In light of this, I have decided to turn to Gregory Peters’ Yogini Magic for insights on her.

As I flipped through the book, it was clear that this was a must-read for me as there were countless useful insights within its pages. In the first section, Yogini Magic delves into the origins and development of Yogini worship and lineage. With his simple and approachable writing, Gregory introduces us to The Sahaja Matrikas and explains in easy-to-understand terms the concept of Who are the Yoginis – something I had struggled with for a long time and am still learning. Chapter 4 offers practical meditation techniques and pranayama for daily use, followed by an exploration of sound sorcery in Chapter 5. Then, in Chapter 7, we are introduced to the powerful tools and energies of the Yogini stones and how to utilize them. I was particularly drawn to this concept and have already started collecting some stones myself.

In the second half of the book, we are guided through the practical use of various techniques such as sigils, day magic, and working with dreams. We also learn about opening the Yogini circle and how to approach The Crossroad in our magical practice. Each chapter offers valuable insights and leads us on a personal journey of initiation into the magic of the Yoginis.

Personally, chapter 16 and the author’s depictions of the Yoginis had a profound impact on my understanding and practice. The vivid descriptions and personal gnosis brought about by both left a lasting impression, greatly transforming my relationship with these mystical beings.

Gregory Peters’ portrayal of Ugraprabha provided the final motivation for me to complete Aromagick. In my quest for knowledge on Ugraprabha, I felt as though I was overlooking a crucial element that was right in front of me.

Gregory wrote about her “Sometimes she appears with the head of a fox…” 

For me, an initiate of the Fox Magic cult, this single sentence offers a complex understanding of the intricacies and mysteries surrounding the sorcery of the Fox, Yogini, and Lalita’s never-ending game.

Ugraprabha, an AI image inspired by Gregory Peters’ vision

Ugraprabha, an AI image inspired by Gregory Peters’ vision

Diti J Morgan is the Author of Aromagick: A Scentual Guide to The Kalas And The 8 Colours of Magick  

Aromagick: A scentual guide to the Kalas and the 8 colours of Magick

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Aromagick offers genuine insights into the mysteries of the Tantrik “kalas”, something often referenced by other esoteric authors such as the AMOOKOS mages, Kenneth Grant et al. The fruit of a lot of experimentation and personal insight, this ought to be a welcome addition to the library of any mystoi, magician, or yogin, indeed anyone with an interest in the most direct of our senses and how these may be enlisted in the work of deep magick. The author also offers a second scentual sequence explicating the eight-colour system made famous in chaos magick. It is perhaps no surprise that the UK chaos magick scene grew out of, or developed pari passu with an interest in aromatics, real essential oils and incense. We recommend this for all mind explorers, especially those with a good nose for a mystery. 

 

 

In creating Aromagick,  Diti J. Morgan has crafted a beautiful and inspiring book about the use of botanical essences in magic of many kinds. Her deep knowledge and experience of the properties of plants lays brilliantly combined with her equally deep knowledge and experience of Hindu Tantra, Western Esoterics, Mythology, and Folklore, and contemporary Neo-Paganism and Magic. She provides a rich cornucopia of spells and recipes, poetry, imagery, and lore to guide us through the seasons of the year and the many forms of magic that we can attempt at any time. A great deal of research and creativity has gone into this book, and I found much in it to surprise and delight me. I recommend this substantial and remarkable book for deep and enjoyable study and preservation in one’s reference library. 
Peter J CarrollStokastikos. Southwest England, 2023.
 

“Aromagick: A Scentual Guide to the Kalas and the Eight Colors of Magic”,  is a tantalizing book which wraps Egyptian and Hindu myth, ritual, and magic around a core of expert aromatherapy and plant magic to create a complete system of magic powered by interpenetrating cycles of time.  Just as the cycles of moon and sun weave together to form a calendar, so does this book twist together many strands of magic to form an eternal braid.  In part one, we learn about the kalas, and ritual baths for every phase of the moon.  With each phase, we deep-dive into a ritual bath.  Deep and loving attention is played to the spirits of the plants on which the baths rely; each is a master class in plant and perfume magic.  In my opinion, just the bath rituals alone would easily be worth the “ticket price” for this book, but there is so much more!  Nearly every chapter is bursting with poetry, essays, and juicy magical tidbits.  

In part two, we expand our circle, now focusing on the eight witch’s sabbats of the wheel of the year and their relationship to the eight colours of chaos magic.  Here too, Diti’s depth of knowledge and joy in practice shine through.  Each sabbat has a ritual bath, as well as additional material that extends, contextualizes, and tantalizes.  I received the manuscript shortly before the autumn equinox, so that is where I started.  The chapter opens with the powerful gnostic poem “Thunder, Perfect Mind” from the Nag Hammadi manuscripts, continues with an invocation of the Egyptian fertility goddess Ipet, moves on to a short essay about the magical virtues of the colour blue, and its relation to the season, and then provides an essay by noted scholar of Egyptian magic (and Diti’s husband) Mogg Morgan about Ma’at, the Egyptian deification of Divine Balance.  The chapter concludes, as each does, with an amazing dreamy bath recipe – this one centred on blue lotus, chamomile, jasmine, frankincense, and bergamot.  Just listing the ingredients is enough to make me swoon at their intoxicating fragrance!  All of that is just one chapter of this fascinating book!  I can’t wait to continue working with it throughout the year. 
Sara L Mastros author of The Sorcery of Solomon: A Guide to The 44 Planetary Pentecals of The Magician King

 

Diti is an Aromatherapist, a magician/witch/priestess/dragon
and none of the above. She is an Artisan Perfumer of the Jitterybug kind. When she has time she hangs out at the Apophis Club and studies at the Fox Magic Mystery School. She also makes great apple cakes.

 

Scroll down for the full interview with Diti J Morgan

Can you introduce yourself and say a little about what you do, your aims and objectives with your writing?

I am Diti J Morgan, an aromatherapist with almost 27 years of experience. I learned that when I blend certain essential oils with a meditative and ritualistic mindset, something special and magical happens. Those who walk the magical path will discover that they have this challenge, to share their vision of the mysteries, instead of accepting what is already given. My challenge is to reveal the scentual path of Aromagik.

If you haven’t already, can you say a little more about your family background, ie past and current – ie are you married, have children, work – people like a little bit of personal stuff if you ok to share.

I feel extremely privileged and blessed to be sharing my life with a very special person. We explore together, which is perhaps one of the secrets of a magical life.

Do you call yourself an aromatherapist/witch/magician? –  if so what does this mean to you? And is it important?

I never liked using titles as I feel they are restrictive.

I go by Diti, which is a nickname for Judith or Yehudit in Hebrew. I was given this name (Diti) when I was a baby of three months. In Jewish culture, and more so in Kabbalah, a person’s name has a lot of meaning and influence. Judith was a lovely Jewish widow, who left the city that was under attack by pretending to join the enemy and predicted to Holofernes that he would be victorious. She entered his tent, where she cut off his head while he was in a drunken slumber and took it in a bag to Bethulia. The Jews then overcame the Assyrians who were leaderless. 

The greater the quality of the name, the more positive its influence is believed to be on the person’s life. According to Kabbalah, the letters that form a name connect the physical and spiritual worlds, not only in the way the name is written but also in how it is perceived and recited. As a result, a name acts as a “channel” that transmits energy, whether positive or negative and serves as a bridge between a person’s physical and metaphysical worlds. In Hebrew, the name Yehudit contains within it the letters of God
– י ה ו י

A few years ago, when studying and exploring the path of the Kaula-Naths I was very excited to learn some more about the name Diti. In the excellent book, The Myths and Gods of India, the author Alain Danielou writes a short entry about the legend of the Maruts:

A Legend of the Maruts 

“In the Ramayana (1.46), the Maruts spring forth from an unborn son of Diti, the mother of the antigods. 

The mother of the antigods was in great distress. Vishnu had destroyed her two sons, Golden-Eye (Hiranyaksa) and Golden-Fleece (Hiranya-kasipu). In her desire for revenge, Diti, with womanly patience and cleverness, endeavoured to please her husband Vision (Kasyapa) and obtain from him a son who would destroy Indra, himself a son of Kasyapa.

Vision would not cooperate directly, but he advised Diti to perform the son-giving (pumsavana) penance. As the penance approached its completion, Indra felt anxious. He descended upon the earth and began to serve Diti like a disciple. Should she succumb to pride but for one instant this would give him a chance to frustrate her aim. For a long time, Diti was cautious in her austerities, but one day, at sunset, she fell asleep. Indra took advantage of this. Entering the womb of Diti, he tore the fetus into forty-nine fragments with his thunderbolt. These fragments became the Maruts. Indra made them guardians of the chalice of Soma.”

Judith or Diti, you may call me either, but I know for sure that both of my names are my “paths” that convey energy, good or bad, and connect my material and spiritual realms.

Mandrake has published your book – can you say a little about it?

The book Aromagick merges magical thinking and practice with my love for scents, aromatics, and perfumes. In the opening section, you can explore the fragrances and scents of the lunar journey through the Kalas. 

Kala means part, perhaps also a “lunar perfume or flower”. These mysterious but extremely important principles, derived from esoteric Hinduism, were related to the cosmic tides of the moon, those that ebb and flow during a lunar month. 

Following several years of studying the esoteric cycle of the lunar divinities, the Kalas, I gained a fresh perspective and understanding of these enigmatic deities. Each lunar day is said to have its unique magical quality represented by a Kala and a specific fragrance. In Aromagick, you can explore the lunar-Kala cycle’s two distinct sequences, namely the light and dark cycles, and discover the fragrances and perfumes that correspond to each of them.

In the second part of the book, I deal with the Eight Witches Sabbaths of the Ritual Year and how they resonate with the Eight Magics and the corresponding colours and scented essences.

Is the journey in your book for everyone or only for the expert or indeed aimed at the beginner?

Everyone can benefit from Aromagick. It provides a great introduction to essential oils, the moon cycle, the Kala sequences, and the Eight Sabbaths for beginners. For advanced magicians and witches, Aromagick offers new and deeper insights into familiar subjects. Additionally, advanced Tantrics and Naths can discover a fresh perspective on the Kala system.

 

 

Octarine Magick, Baphomet & Winter Solstice

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Twice a year, on the winter and summer solstice, a very unique portal reveals itself. Through this opening, we are given the opportunity to explore both the chill, yet still spirit of tranquillity and the effervescent radiance of brightness. The deep, indigo night sky of the winter solstice is reminiscent of Saturn, Lord of Time. There is something special about its seemingly timeless journey; almost as though time actually has stopped. The winter solstice marks the occasion when the Earth’s axis reaches its highest angle away from the Sun. In the Northern Hemisphere, this is where we observe the least amount of sunlight, leading to a day that’s shorter than any other of the year and a night that’s longer. This day mirrors the symbolic death and rebirth of the Sun— with daylight hours beginning to grow again afterwards. 

Octarine is the so-called Colour of Magic or King Colour, only perceivable by magicians and cats. According to Discworld texts (see Terry Pratchett’s The Colour of Magic), it is a combination of fluorescent greenish yellow and purple, mixing all primary colours, and serves as a representation of imagination.

The Octarine power lies within us, kindling the spark of the magician self in our inner being. When this flame is lit, we become familiar with various god forms, such as Baphomet, which can be summoned to inspire our magical creativity. 

The essence of Baphomet restores the balance of our universe.

I see Baphomet as a symbol of equilibrium between all living things. This consciousness allows us to recognize and embrace the connection between humans, mammals, reptiles, fish, angels and demons, heaven and earth. It also encourages us to accept the innate cycle of life and death, plus the concept of

eternity. Light and dark, left and right; these are all balanced by Baphomet’s equanimity. I found it easier to identify with Baphomet consciousness when I think of it as a model for a unique and original thought, a primal idea of balance. This concept once initiated, will ignite the flames of a passionate heart and open a clear passage for communication with our higher selves. 

Using Baphomet perfume oil on the Winter Solstice or Kapalini’s nights will help us surrender and let go of old attachments that bind us and prevent us from moving forward.

Check out AROMAGICK  for more information about the magical ingredients of Baphomet perfume oil. The Winter Solstice coincides with Nitya-Nitya night this year, ‘She who is timeless, the immortal goddess’. I will put an additional rare fragrance into the mix, to embody the essence of Nitya-Nitya.

 

 

 

 

 

 

The Hierophant

 

responsibility of embodying Demeter and Persephone respectively in ritual.

From the above, we can understand that the hierophant is a top religious
figure like the Pope, or the chief Rabbi, whose job was to be a conductor,
a channel, funnel, or mediator between the gods and the people. In this
particular card, focusing only on the hidden symbolism, the hierophant
is the representation of the goddess Nuit.
Nuit is the embodiment of infinite space and also the mother of all stars
— for it’s known that “Every man and every woman is a star”(Liber AL,
chapter 1, verse 3). With this in mind, she is where each star returns.
Additionally, she is also the divine law which must be given to those who
follow the hierophant.
“Let the woman be girt with a sword before me” (Liber AL, chapter 3,
verse 11) At the front of the card, before the hierophant, we can see the
woman girt with a sword. The Book of Thoth speaks of the ‘Scarlet Woman’
as an emblem of the new era; she stands for a transformation away from
her traditional image as a housewife or accessory to her male partner,
instead embracing her identity while searching for autonomy and equality.
We can see how all of this manifests in the MeToo movement of our
days.
“The woman is the priestess; in her reposes the mystery. She is
the mother, brooding yet tender; the lover, at once passionate
and aloof; the wife, revered and cherished. She is the witch
woman.” (Freedom is a Two-edged Sword, Jack Parsons)
The deeper we look into the hidden symbolism and meaning of this
mysterious woman, the clearer it becomes that she can be Nuit herself,
guarding the divine law. The law is simple and clear and the hierophant’s
job is to pass it to their congregation:

“Do what thou wilt shall be the whole of the Law”
“Love is the law, love under will”
Or in our words:
“Love and do what you will.”
“The symbolism of the Wand is peculiar” – Solve et Coagula (Aleister
Crowley, The Book of Thoth). Crowley describes the three interlaced rings
of the wand, as a “representative of the three Aeons of Isis, Osiris and
Horus”. However, on a closer look, we see that the hierophant holding
the wand with its three rings aspiring upward, in his right hand (solve).
As a Setian/Typhonian, I couldn’t help the thought that the three
interlaced rings would be much more comfortable in the right hand of
destruction (solve) as a representative of Set, Osiris & Ra.
Set and Osiris are both Ra’s grandsons and make a sacred triad. Both
brothers have to sacrifice themselves for the continuation of Ra — of
life — Osiris being killed by his brother Set, and Set killing his brother
and becoming the ‘outcast’ God.
The demonstration of the cycle of life through destruction and creation
is continued with the symbolism of the hierophant’s left hand. His left
hand (coagula) is pointing downward in the Shamak mudra hand position.
I must admit that this never occurred to me before, but once I became
aware of it, I could not un-see it. The Shamak mudra, also called the
kidney mudra, is the perfect hand position to deliver the message of
Solve et Coagula (destruction and creation). At the start, I had difficulty
understanding how the Shamak mudra was linked with Solve et Coagula
and its role in occult symbology in particular for the hierophant and his
wand.

Shamak mudra

Coagulation means the action or process of a liquid, especially blood,
changing to a solid or semi-solid state. (OED)
The main function of the kidneys is to cleanse the blood of toxins and
transform the waste into urine. The hierophant’s right hand in the Shamak
mudra, suggests that before we can coagulate, we must be cleansed and
purified of all toxins. Only then can we coagulate into our new and
transformed selves.
“The Throne of the Hierophant is surrounded by elephants, which are
of the nature of Taurus; and he is actually seated upon a bull.” (Aleister
Crowley, The Book of Thoth). At first sight, the card seems to resonate
with the symbolism of the zodiac sign Taurus, which is an earth sign.
The element of earth is represented in this card as the Bull/Kerub and
symbolizes the earth element at its most balanced and strong. If we look
at the symbolism of the bull from the Setian perspective, it takes us back
to the prehistoric ‘cattle cult’, which is probably one of the world’s oldest.
Egyptian male deities often have a bull representation. Set is most notably
known for the ‘Bull of Ombos’. It is likely that this bull cult evolved out
of the Cattle cult, which was centered around the Heavenly Cow/Hathor,
who symbolizes the feminine aspect of this tradition.
The bull is associated with male fertility and strength, as seen in energy,
stamina, and endurance. Worshipped in antiquity, it is also linked to the
zodiac sign Taurus, which is associated with spring in the agricultural
calendar as a symbol of renewal, prosperity, and abundance. However,
this powerful creature can be equally connected to hard-headedness,

Cave paintings from the Tassili n’Ajjer mountains (photo courtesy of wiki commons wikimedia.org)

ferocity and brutality — all the qualities of a deity — where it would
accept a sacrificial offering as an act of reverence. It is easy to believe
that religious reverence for the bull’s cult has been forgotten in modern
times, yet our practices today have still taken on a new form – the dairy
and meat industry.
Just to remind you, a hierophant is a person who brings religious
congregants into the presence of that which is deemed holy. As such, a
hierophant interprets sacred mysteries and arcane principles. In this card,
the hierophant symbolizes the link to the secret of the rhythm of time
and the ancient practice of the worship of the bull.
The secrets of the Timelords are encoded in the divine law which is
guarded by Nuit/Nwt and delivered by the hierophant.
– From Aromagick by Diti J Morgan, 2023

Wolfman Denny Sargent reviews Fox Magic

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Fox Magic – Handbook of Chinese Witchcraft and Alchemy in the Fox Tradition

Jason Read

978-1-914153-07-5 (pbk) 168pp

UK £15.00+p&p Order

USA $22.00+p&p Order

Ebook Order

Special “Altar” edition, jacketed case laminate, colour images

978-1-914153-08-2 (Jacketed cased laminate) 172pp

£30 UK Order

$40 USA Order

Fox Magick is both delightful and unusual in that it covers a fascinating and rarely discussed Fox spirit/deity rooted in China and Japan and which is honoured as both. To clarify the Fox goddess began as an animistic spirit which, in various places and forms was later also worshipped as a goddess. I am pleased to review and recommend this fascinating book because I am particularly interested in this entity because I lived in Japan for four years, studied and then wrote a book about Shinto, and became intimately familiar with the Fox spirit Kitsune and her deity form Inari Sama. 

Kitsune was seen there as Inari’s avatar or familiar but sometimes Inari appeared in the form of the nine-tailed Kitsune fox. I knew that this remarkable divine spirit had originally come from China, but knew nothing much about its origins and was delighted to get this book and learn so much more about her and her ancient origins and connections with the Taoist magick of China.

Jason Read has done an expert job walking the reader through the vast kaleidoscopic myths, legends and magical practices of the ‘Fox Magic’ cults and sorcery as well as the beliefs, myths and practices still alive today in China by a variety of sects and lineages. Spirits and deities do evolve in time and his description of this is well done and fascinating for I am a devotee of such things.

The beginning drops us right into the legends of the fox spirit in China and then offers a related segway into the fox spirit in Japan, showing one of the Inari shrines with fox guardians I know so well. As is common in Asia, such spirits and deities are not all good or all bad, and the dark fox spirits are discussed both thoroughly and in-depth as entities that can possess and manipulate people. Mr Read really dives deeply into the subject of many sorts of legends and continually broadens and organizes what is clearly his vast knowledge of the subject in a clear and interesting manner. He weaves this with his knowledge of Taoism, Chinese magic and much more. As a Tantric, I was surprised to discover that the Fox spirit originated with the Dakini which had never occurred to me! This was a fantastic and important intercultural connection and was riveting. I was also amazed by his explanation of the evolution of the fox spirit as it was elevated to being a deity, the fox goddess Hu Xian (later Hu Li Jing). As such evolution is common in Shinto and other spiritual practices. The stories about the Japanese Kitsune and the kitsunebi were familiar to me, but seeing the interconnections between earlier Chinese beliefs and their spread into Japan was particularly fascinating. Mr Read’s writing style is clear, concise, full of information and also easy to follow as he navigates complex myths, legends, practices and histories. A big plus for me were the rites and spells associated with The Fox spirit/deity in both China and Japan, all were completely new to me! This final section of the book is filled with clear, applicable and fascinating glyphs, sigils, rites and clear instructions and explanations of the various magickal systems for the working with Fox deity. I can not recommend this book highly enough and this book should become part of your library.

I am thankful to be given a chance to read and interview this book! I have recently written books on the animistic wolf spirit and its evolution into wide-ranging cults and magick and will admit that this book delighted me to no end as a fellow devotee of feral spirits and entities

Denny Sargent

www.feralmagick.com

Three Hippos

Ipet Month Rite  (2020)

Invocation coincided with kala for Duti ( 5th lunar day)
We prepared a potion of Salvia Divinorum from our garden. This we took after the following Invocation. 

Bowl with hippopotami, Predynastic Period, Naqada I, 3850–-3650 B.C. (pottery)

Ipet Invocation 

Awake and embrace the void 

Your heart strong enough for its joys 

and its worries  

Leave, and when you awake to life 

You will feel young again on a new day  

Rest, lie down assured of long good health.   

“Good night,  

the gods protect you,  

their protection is before you each day 

No bad thing approaches  

The demon (Apep) is repelled from your bed chamber 

Ipet the Great protects you in your long and powerful life.” 

 The day and night illumined,  

You shine forth 

For she guides your steps on the right path,  

And you know what is needed,

The god Ptah provisions you,  

filling your storeroom, 

With food and drink aplenty, 

and in good measure. 

Your diary and records all in order 

and well-composed. 

The mistakes of the past are forgotten,  

The staff in your hand is well-made and sustaining. 

Break bread with the wise, 

Your cares are all behind you. 

The only reason lies before you, 

The best is yet to come. 

 

Praise be to TAWERET, 

Bringing ‘perfection’ in her beautiful name.  

I praise her to the limits of the sky, 

I desire her Ka, calming day by day. 

 Be merciful to me,  

May I behold your mercy, 

You, of perfect mercy! 

Extend your hand to me,  

Giving me life, 

And granting me offspring! 

 Do not reproach me for my errors  

You, in perfect mercy! 

Even if my helpers slip up, 

My peers still reward me. 

I desire your great strength, 

None knows you as I do; 

I will say to the children and children’s children: 

Thee as guardian before her! 

Joy my heart should seize, 

Because on this day TAWERET is merciful,  

My house prospers with her blessings.  

May she give them day after day,  

And I never say ‘Oh I have regrets!’  

May she continue to give me health, 

And my womb bears children safely, 

[Or the future be secure]. 

My heart is glad every day, for sure 

The good ones expel the evil, 

And I am blessed.  

 Behold her people will live forever, 

My enemies are fearful before you TAWARET! 

Since your rage oppresses them 

more than a mountain of iron, 

Her mercy gives us life! 

Soon after drinking the potion a door opened and I crossed over to a different dimension (or was it a different timezone?) I was delivered to a very large cave, I could see patterns in the air (or was it on the walls of the cave?) the patterns were like unfinished paisley shapes in very faint shades of pastels. The vision was clear but the colours and shapes were nothing like I’ve seen before on ayahuasca, mushrooms or LSD, somehow it all looked like a prehistoric type of art.

The vision ended. It didn’t take me long to realise that the Salvia visions are probably short so I took another dose and before I knew it I was surrounded by fireworks.

The next vision was more like a physical experience: 

Something purple was trying to burst out of my head, or maybe a purple something was attaching itself to my head and trying to merge with it. I don’t know how to describe that feeling, or how long it took. Salvia time – if you can call it that, is measured in breaths. So, within a breath, the only ‘thing’ that was left of me, was only consciousness. Or was it the ‘purple something’ consciousness? Weightless and with no body, I was floating in the air above the sounds of music. I could hear the music filling the room but somehow I was high above it. And it was more like I can see it as the sounds vibrated under me and not through and around me as music usually experienced. 

Was I initiated by the Salvia spirit?  Did I become one with Salvia’s spirit for a few short (or long) breaths?  I noticed that with every inhalation, shapes like entities(?) were formed around me but I could only see them on the exhale. they looked like they were made of clouds, mist or fog —  of breath, my breath. The vision ended and I was left thinking that those entities are something to do with the ancient Egyptian god Shu.

Salvia spirit?

In the next vision, I played with the length of the exhalation, trying to see as many entities as I can and tried to touch them. When I put my hands over my eyes and I could see The Flower Of Life in bright electric blue forming in my hands. 

 

The last vision:  I went and sat by the altar, after all, tonight is all about IPET, the hippo goddess of ancient Egypt. So I knelt by the altar and meditate for a while. I don’t know how many breaths have passed, but it felt that I’d been sitting there for a while.

The vision came as I was looking at the flame of the candle.  A gate has opened and turned into a 3D tunnel, from which glowing breath-like entities, went through back and forth. The vision was fading away but I felt like dancing to the beautiful Kali mantra that music was playing in the background, vibrating softly in the nearly dark room while the three of us danced around the fire, the wild dance of the fire goddess. 

Three hippos dancing around the fire the wild dance of the beast.

The vision has gone, but the hippos were still dancing around the fire

Three Fire-Hippos dancing

.

Was Ipet / Tawaret a fire goddess?

Well yes, “Hathor of the West” is sometimes depicted as a hippo. The four torch goddesses who light the way for the deceased & keep enemies away are connected with her. (See Naos of decades & Gutbub 1965: 45)

Hathor Hippos is indeed a name of personifications of four crucibles of fire, shown in the Naos (the inner chamber or sanctuary of an ancient temple, a tabernacle), a dynamic act of protection, in which one’s enemies are thrown back and burned in the fires. In the end, what remains is submerged in cow’s milk.

 

 

 

Purple Magick – Mayday/Beltane

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These sea snail shells were excavated from Roman sites near Tyre in Lebanon. The creatures inside were crushed and boiled in a salt solution to produce the famous ‘Tyrian Purple’. It took 10,000 snails to produce just 1.4 grams of dye, making it very valuable and it became the preserve of Emperors, hence its alternative name, ‘imperial purple’. (Pitt Rivers Museum, Various collections)

Mayday/Beltane falls midway between the spring equinox and the summer solstice in the northern hemisphere. The rite of spring has probably been celebrated since time immemorial. In the Western world, in Europe in particular, May 1st will be celebrated by dancing around the Maypole which symbolizes phallic energy. The Maypole is decorated with flowers that represent the buds of fertility and sexual energy. 

Beltane is a significant festival in Gaelic culture, alongside Samhain, Imbolc, and Lughnasadh. It was traditionally celebrated throughout Ireland, Scotland, and the Isle of Man. The festival featured special bonfires that were believed to have protective powers. People and their livestock would walk around or between these bonfires and sometimes leap over the flames or embers. All household fires were extinguished and then re-lit from the Bealtaine bonfire. 

So what has the colour purple got to do with Beltane and Mayday?

I’ve always loved the colour purple. It’s a unique colour that combines the stability of blue and the passion of red. It’s inspiring to me because it encourages me to reveal my innermost thoughts and feelings. When I think of purple, I’m reminded of how it stimulates my imagination and encourages my creativity. It’s a colour that promotes spiritual growth and intuition, which is something that’s important to me. At the same time, purple also promotes understanding and acceptance. It reminds me that there are so many great unknowns in the world that are waiting to be explored. But even as I explore those unknowns, purple keeps me grounded and reminds me to stay focused on what’s truly important in life.

“4. The deep violet is episcopal. It combines 2 and 3, a bishop being the manifested through the principle of blood or animal life.” (Column XV, King’s Ladder, The Qabalah of Aleister Crowley)

In other words, the colour purple is the bishop of colours, it combines the red of blood and the blue of the sky. Red symbolises blood, fire, love, passion, warmth, lust and sexuality. Blue represents the sky, freedom, intuition, imagination, inspiration, depth, sensitivity and the infinite horizon of the open spaces. And most of all, abundance and balance. When blending the two, purple is created, which allows us to explore and experiment with a range of complicated emotions at once and gives us the freedom to be inspired by sexuality, passion, lust and imagination.

“The colour violet, generally speaking, signifies a vibration which is at the same time spiritual and erotic; i.e. it is the most intense of the vibrations alike on the planes of Nephesch and Neschamah…” (Column XV, The Zodical Attributions: The Qabalah of Aleister Crowley) 

The wickedest man in the world, the Beast 666, Count von Zonaref and Alastair McGregor were some of the aliases Crowley used to go by, but every now and then he used the title “The Purple Priest”. The colour purple is used to designate a specific position in the church, such as Bishop or senior Bishop, and by using the title The Purple Priest, Crowley is hinting at his specific position in his church (of Thelema). 

Crowley uses the colour purple as an erotic-spiritual motif to convey the esoteric message in the rituals and worship of Thelema. 

For example, in Liber Al – The Book of the Law, paragraph 61, we can see how Crowley uses the colour purple in his writings:

“But to love me is better than all things: if under the night stars in the desert thou presently burnest mine incense before me, invoking me with a pure heart, and the Serpent flame therein, thou shalt come a little to lie in my bosom. For one kiss wilt thou then be willing to give all, but whoso gives one particle of dust shall lose all in that hour. Ye shall gather goods and store of women and spices; ye shall wear rich jewels; ye shall exceed the nations of the earth in splendour & pride; but always in the love of me, and so shall ye come to my joy. I charge you earnestly to come before me in a single robe and covered with a rich headdress. I love you! I yearn to you! Pale or purple, veiled or voluptuous, I who am all pleasure and purple, and drunkenness of the innermost sense, desire you. Put on the wings, and arouse the coiled splendour within you: come unto me!”

By using metaphors such as pale or purple, the author might be hinting at the physiology of the lingam. “Pale” suggests a flaccid lingam, and “veiled” could be the stage just before the lingam is fully erect, also it might suggest an uncircumcised lingam. “Purple” suggests its “voluptuous” erection. There are several veins and arteries that carry blood to and from the spongy erectile tissue in the penis. Veins may look larger than usual during and immediately following an erection. The appearance of prominent veins indicates healthy blood flow and gives the lingam a “purple hue. 

Next, the colour purple is used to describe “she” who is “all pleasure and purple,” and here the purple is used as a metaphor for the yoni —  the purple pleasure…  

By using those metaphors, the purple priest emphasises the intensity and depth of the spiritual and erotic vibration in religious-like practices of carnal pleasures. The second half of the sentence – “and drunkenness of the innermost sense,” hints at the ecstatic heights of the orgasm that awaits in the palace (Liber Al 1:51). The Palace is another metaphor for the yoni – see Mogg Morgan’s Aleister Crowley & Thelemic Magick page 39.

In his Hymn to Pan we can see the “purple motif” again:

“…Dip the purple of passionate prayer

In the crimson shrine, the scarlet snare,

The soul that startles in eyes of blue

To watch thy wantonness weeping through…”

There is something very special at this time of the year, the ancient earth dragon, Kundalini, is now fully awakened. The air is fragrant with the sweet heady aromas of many colourful blossoms. Insects, animals and humans alike walk or crawl out of their burrows, rub their eyes, stretch their limbs and start dancing a sensual mating dance. It’s the season to celebrate desire, lust, fertility, or in other words, nature’s tantric celebration. 

This is the season of Pan, the “All-devourer, all-begetter”. There is something very salacious about dancing around a Maypole. And by leaping over the Beltane fires, we awaken the most ancient magick of all, the passion for the union of body and spirit — “a vibration which is at the same time spiritual and erotic”.

This is the perfect time to wear the K-23 perfume oil which will connect you to the spirit of Pan and his passionate lust for earth and life. Then, go outside and do the Jitterbug. 

The term jitterbug is used to refer to different swing dances, such as the jive and the lindy hop. It comes from slang used in the early twentieth century to describe alcoholics. The term became associated with swing dancers because, like the jitters of alcoholics, they were seen to be out of control.

K-23 perfume oil

As discussed earlier in the book, the properties of water allow us spiritual cleansing, where immersion in a ritual bath is always desirable and recommended before magical activity. To connect with the purple magic frequency and awaken the energies of the Kundalini serpent I recommend my special purple bath ritual which is specifically designed to raise our sexual and magnetic powers and to synchronise ourselves with potential or existing partners. Partners can share their bath in the spirit of a purple magick ritual for play, however, here at the Morgan Witches’ headquarters, we prefer to have our ritual baths separately (usually one after the other) and by doing so, each of us has the time to relax and meditate. It takes 15 minutes for our body to reach a general relaxation that allows the blend of oils to work its magick on our consciousness.

Prepare your bathroom as you would any other ritual space, you can have a ‘purple altar’ if you have the room for it, but remember that the altar is the bath, and the water is the vessel which conducts the transformation of the offering which in this case is in the oils and you. 

When using the Purple Magick Perfume Oil you can add about 10-15 drops to a tablespoon of sea salt, Himalaya salt or Epsom salts and add it to the bath water. Each of the essential oils suggested here can be used on its own or in combination with one of the other essential oils which are recommended in this chapter. However, mixing and blending essential oils is a form of art and technique that need to be learned and mastered. You can use the recipe at the end of the chapter as a guideline for making your own bath blends.

Make sure that the water is hot enough for you to relax in them for 15 minutes.

Get in the water and lie comfortably, close your eyes, take a few deep breaths and listen to the mantra or music of your choice.

I find that the Kirtan Kriya (Sa Ta Na Ma) mantra is most suitable to listen to in the purple bath ritual. 

You can find it here.

If you want to experience the purple magick in its full power I recommend the Great Purple Hoo-Ha meditation while in the bath. The Kirtan Kriya mantra will amplify the experience. 

The Great Purple Hoo-Ha Meditation

This meditation is based on a technique described in Phillip H. Farber’s book The Great Purple Hoo-Ha. Philip H. Farber is a writer, hypnotist, NLP trainer, ritualist, and consciousness explorer. He is best known for his book on ritual magick, Future Ritual: Magick for the 21st Century and as the creator of Meta-Magick, a system of practice combining elements of magick, NLP, hypnosis, and more.

Sit in a comfortable position with your spine upright (if you are in the bath, just make yourself comfortable and relax in the water).

Close your eyes.

Imagine a circle around you, with a diameter just slightly greater than your outstretched arms, with you at the exact centre.

Inhale, filling your lungs completely, from bottom to top. 

As you inhale, allow your attention to expand and fill the circle around you with purple. 

Exhale, and as you do so place your attention to a tiny spot within the centre of your chest.

Continue to practice like this, filling the circle with every inhalation, contracting down to a single point in the middle of your chest.

When your circle is full of purple, inhale and expand your attention to fill the entire room with purple. 

Then, when you exhale, contract it down to a single point in the centre of your chest. 

Once the room is full of purple, on the next inhalation expand your attention to fill the largest area you can conceive: the city, the county, the state, the world or even the solar system and the whole universe, with the colour purple. As large as you can manage. 

And again, when you exhale, contract your attention down to a single point in the middle of your chest. 

When you are ready, open your eyes and return to your regular breathing.

Thank yourself, the water and the oils, climb out of the bath, dry yourself and get dressed (or not) and carry on with your Purple Magick celebrations.

Purple Magick Perfume Oil

Image created with the collaboration of the Craiyon AI and Photoshop.

The first essential oil that comes to mind concerning Purple Magick, as Scott Cunningham put it “downtrodden Patchouli”.

Even now, most people still associate its sweet musky and earthy aroma with the ‘Hippy’ culture of the 60s & 70s. 

So what has Patchouli got to do with Purple Magick?

Patchouli Pogostemon cablin

Patchouli is a bushy herb about a metre high with a sturdy, hairy stem and large, fragrant, furry leaves and white-purple flowers.  It is native to Southeast Asia. Once harvested, the patchouli leaves are left to ferment in the shade and then dried for three days. The fermentation process apparently improves the quality of the oil, which is extracted using steam distillation.

In the 19th century, cashmere shawls and bed linen were imported from India to Europe. To keep the delicate fabrics free of moths, they were packed with patchouli leaves, which were used throughout the East as an insect repellent. These Patchouli-scented shawls and linen became a must-have item for well-to-do and fashionable women of the time. It didn’t take long for the Patchouli fragrance to be associated with wealth and indulgence.

The earthy sweet aroma of the plant soon became a trend with many European manufacturers of fabrics and furniture which started to infuse their goods with the scent of Patchouli. It is almost unavoidable to thus visualise and smell the luxurious, heady, musky, scented bedrooms of 19th-century ladies. The richness of the scent has been associated as an aphrodisiac for centuries, the earthy-musky notes make us feel secure, relaxed and open up to our own sexuality. The smell of the bed linen and the furniture infused with Patchouli oil was evocative and sensuous, and the link between Patchouli and sensuality has never been forgotten from our collective memories of those 19th-century bedrooms.

So next time you watch a period drama or read a novel about this period, and you want to intensify your experience of the novel/drama, make sure you have a bottle of Patchouli at hand so you can smell it during the bedrooms scenes or whenever a cashmere shawl appears.

The sweet and heady scent of the Patchouli blends perfectly with the exotic fragrance of  Ylang-Ylang. On its own, I find Ylang-Ylang a bit overpowering and far too sweet, but the earthiness of Patchouli seems to anchor the sweetness of the Cananaga odorata and turn it into a somewhat lighter and mysterious exotic fragrance. 

Ylang-Ylang Cananaga odorata

Ylang-Ylang is a tall tropical tree with large, tender, sweet fragrant yellow flowers. It is native to Southeast Asia. Its essential oil is extracted by water or steam distillation from freshly picked flowers. There are 5 grades of distilled essential oil, with Ylang-Ylang extra as the top grade.

The sweet, exotic-balsamic scent of Ylang-Ylang will balance and calm an overactive mind or any over-emotional state or feelings. In Indonesia, its fragrant flowers have long been associated with aphrodisiacs. To promote a relaxed and sensual atmosphere, fresh Ylang-Ylang flowers are harvested and spread on the newly wedded couple’s bed. 

Both Ylang-Ylang and Vetiver are under the planetary influence of Venus, the goddess of love, beauty and sensuality. Together they combine two of her most precious elements, the stability of the earth represented by Vetiver and the fluidity of water represented by Ylang-Ylang. On the emotional, physiological and magical level, these two oils blended together act as the psychic lubricant of body and mind. Once the harmony between these two Venusian oils has been established we can introduce Jasmine, the “King of flowers” to the formula (Cunningham: 1997). Jasmine is known for its qualities as a sexual tonic and aphrodisiac. The intensely rich, warm and sensual, sweet floral scent, has a direct effect on our emotions and can produce a feeling of optimism, confidence and euphoria. Its association with the moon will add a silvery reflection to a sensuous magical rite, where there is a union of lovers. Its elemental characteristics of both fire and water will intensify the sacred sexual union with a magical oomph of flowing passion.

To balance out the richness of the sweet and heady aroma of the blend I added a few drops of Bergamot. The fresh and fruity, citrusy scent of the oil, is just sharp enough to break the nearly overwhelming sweetness of the heady blend. 

Bergamot Citrus bergamia

This small tree, about 4.5 metres high with smooth oval leaves, and small round fruit,  ripens from green to yellow, similar to orange in appearance but smaller. Native to tropical Asia. Extensively cultivated in southern Italy, Sicily and the Ivory Coast. Essential oil extraction is by cold expression of the fruit’s rind.

Safety data: Certain furocoumarins, notably bergapten, have been found to be phototoxic on human skin; that is, they cause sensitisation and skin pigmentation when exposed to direct sunlight. 

The scent of Bergamot resembles that of orange but with more floral and zesty underlying characteristics that add a spicy edge to it. Bergamot possesses magical qualities that can alleviate nervous tension and physical stress, acting like a wand by lifting, shifting, releasing, and dispersing these feelings. Bringing peace and happiness and creating a space allows both body and mind to rest and relax. The lightness and uplifting touch that Bergamot adds to the blend, accentuates each of the other fragrances and mixes them together into a bewitching sensual perfume which will work both ways on its wearer and their partner.

Purple Magick bath recipe: 

In a small bowl, mix 1 tablespoon of sea salt, Himalaya salt or Epsom salt,

1 drop of Patchouli

1 drop Ylang Ylang

2 drops of Jasmine

3 drops of Bergamot

For your safety, I recommend using the following recipe for a night-time bath due to the sensual nature of purple magick and the potential risks associated with Bergamot essential oil. 

It’s important to note that the Purple Magic Perfume Oil is safe to use as it contains bergapten-free essential oil.

***

Purple Magick – Mayday/Beltane is an extract from my soon-to-be-published book Aromagick – A Scentual Journey Through The Ritual Year.

For any inquiries about the Aromagick perfume oils series, please contact Mandrake at https://mandrake.uk.net/contact/

Have a fabulous Purple Magick season

Diti J Morgan

 

 

 

 

The God posture and the sound of music

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The most important tool in the magician’s toolbox is his/her ability to create stillness within and without, listening and observation skills. One of the ways to achieve these skills is through a series of exercises and meditations. My favourite exercise was and still, is a meditation I learned at The Apophis Club as part of the First Head of The Dragon curriculum – The God Posture.

I love the God posture.

It seems to come naturally to me, I can sit in this posture and breath for ages. Maybe it’s because of my affinity to the Egyptian pantheon, trying Unveiling Isis all those years…   Or maybe it’s just that I like sitting on a chair and imagining I’m a goddess on a throne.  

Meditating in the god posture, made me think of sounds and music.

I think that a lot of people on this path (LHP), love to listen to metal (heavy, death, black etc) music, and I understand the psychology behind that; Metal music vibrates on an earthly frequency which is low and magnetic which affects us in the “here and now” and also have a strong effect on the Blood. Its vibration makes you excited and gives you an adrenalin and blood rush, the feeling of your heart pumping blood in your veins — a good and satisfying feeling… 

But can you meditate with this kind of sound in the background? And how will it affect our breathing rhythm?

It is always amazed me how the “high clerks” of all religions found out in very early stages of history the use of fine sounds, harmonics and higher notes to reach “the light” or God. Think of the beautiful sounds of Medieval chants and the angelic chants of Hildegard von Bingen, Gregorian chants, or the repetitive rhythm of the Hindu mantras.

The Shamans use in their rituals very specific sounds that vibrate with the higher frequencies, the sounds of overtones, feathers, leaves, and hypnotic drum beats, to awaken the higher consciousness/gods.

I’ve been very fortunate to be part of a community with some very gifted musicians.

We use lots of music and sounds in our rituals to guide us into the darkness and through it.

Can you imagine what darkness sounds like?

For me, it sounds like a big deep forest at night. Imagine the creepy crawlies, the night birds, the sounds of the trees and the wind and all the creatures of the night. These sounds will guide us through the darkness of the forest till we get to the darkest shores of the void. Where there are no sounds, and everything is quiet and still.

In the void, it feels like you are floating in the cool dark nothing of blackness. There is no day/night, and you don’t know if you are dead/alive. A feeling of being consumed by a big giant serpent. Only then do you start hearing again, the most beautiful sounds and it feels like it is the first time you ever used your ears. 

The inner knowing and understanding, that those harmonics vibrations you are hearing are the very first sounds of creation, leads to the realisation that to be able to create you need to listen…

Once you learn how to listen and you can really hear, you start to SEE beyond the illusions.

Imagine that.  

Invocation of The 7th Head of the Dragon

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The Seven Heads of the Dragon are the foundational system of philosophy and practice of Apophis Club Initiates. Each head symbolises and embodies a layer of the primordial power of the Serpent.

The 7th head invocation was inspired by the book Apophis by Michael Kelly and the work curriculum of The Apophis club which was and still is a big influence on my way of thinking and being. 

Xepher!

APOPHIS By Michael Kelly

A practical handbook of Draconian Left-Hand Path Initiation. The Primordial Serpent lurks in the deepest, darkest roots of human consciousness. Each of its seven heads embodies a power which may be awakened within the psyche. ‘Apophis’ outlines the transformative process whereby the human Initiate becomes something much more than human. It provides the weapons necessary to win the war of consciousness against conformity. It openly teaches the means of immortalising the Self.

Invocation of the Typhon (2018)

The head of the Typhon or the ‘7th head’ represents the future self, the guardian angel, or the demon, your personal demon if you like.  

The head of Typhon was something I thought nobody would ever go through with, that is to say, I never imagine that anyone I know, let alone me, will ever go through with the invocation of all of the 7 heads. 

A few days before I set for the invocation I prepared my space by cleaning and sorting out everything I might need for the ritual. Music always helped me to focus when I need to plan a ceremony or an invocation, something about the rhythms of the tune I chose that afternoon is that before invoking one of the heads it is recommended to do the ritual of ‘opening the eye’ and then invoke myfutureself… 

Just to make it clear, by the time I felt ready to approach Typhon in a ritualistic way and invoke the 7th head, a few years have passed by, and the intense days of study and practice of the Apophis Club curriculum, were long behind me, and I was no more an active member of the club.

 Once you ‘open the eye’ and invoked your futureself it is the time to call upon one of the heads. There is no point leaving the eye open with no one to guide you through it – and by having your futureself about, the sense of security and reassurance to cross the abyss and reach out to the final head. I was a little nervous I must admit.

Am I really going to invoke the 7th head? 

It’s a myth, isn’t it? 

Deep breath, and here I am, getting ready to call upon Seth, the lord of darkness, the principle of ​Isolated intelligence, god of the Unknown future. 

Before midnight I started with banishing and soon realised I needed to repeat it a couple of times. Before I noticed I got carried away, and end up doing three different kinds of banishing — just to be on the safe side…  

You can take the girl out of the chaos, but you can’t take the chaos out of the girl… 

I went out to the garden altar and lit a candle and burned some incense and made a small offering of beer and bread. I put a little ​cake of light on the incense burner and looked up to the sky for the Ursa Major constellation. As soon as I saw Him, I stood in the Apophis and Typhon posture and chanted IAO for a little while. Satisfied, I went back inside and started singing and dancing, Open Up by P.I.L. Leftfield’s remix is always a favourite in raising the energies.  

 Earlier in the day I drew the sigil of the 7th head and mixed Dragon’s Blood powder into some red wine, I never tried it before, but what can be more symbolic than drinking actual dragon’s blood, especially when part of the invocation reads:  

‘Here I stand, initiate of the Dragon Mysteries…  And I am as you are, a void dweller.  The blood of the Dragon pulses through my veins;  My bones and flesh are of your substance’   

So I call upon my futureself, charge the dragon blood wine and drank it. 

It is stronger than I thought, the tingling sensation rushing through my veins. It’s time to invoke the Typhon.

I stare at the sigil and start chanting the words of the invocation. 

Everything becomes quiet for a few seconds, minutes, dead quiet. I’m not sure for how long I stood there until I felt something behind me.  It didn’t spook me, which is surprising.  

Seth is present in the room, I felt Him immediately, strong, stable and daring. Everything I say, he’s daring me to question and think it over. I find myself saying laud what needs to be done, speaking in such a confident way, using some hands and arms mudras like I was casting a spell. This led to a very bizarre conversation, between me, myfutureself and the Typhon. I started by saying all I needed to say to the Mighty Seth, and for one second, a thought crossed my mind — what are you doing woman? 

It was like staring into a mirror, into the void. I was staring into the eye, and I knew that now is the best time to say things as they are, that there is no god, apart from that I am a god/ess. We are partners in this journey, I do my bit, and you do yours. 

 I was trying to think about how I’m going to end this conversation when He just says; ‘Drink, Partner!’ and I’m thinking to myself, yes, ‘Partner’ sounds so much better than ‘My Lord’ or ‘Prince of Darkness’!  

 This might sound weird to you, but I’ve let you into my head now, and that’s the way things are in there.  

 Everything around me is slowing and quietening down, like I’m watching it all in slow motion, at times the sound of silence is quite alarming, my heart racing and then Typhon says, ‘I need some beer, so drink!’ 

​I knew I just did something incredible, but not sure what it was. We had some beer by the altar, then He said go, go and feel what it is like… 

 My blood is tingling and the music sends me far, far away. I lie on the sofa, I’m flying high with the music. The room is pretty dark but new thoughts and ideas keep bubbling up in my mind. I write them in my journal, like little messages, some private, some to share later.

I wait for the playlist to finish, before getting up and consigning the 7th head back to whence it came from. The circle is closed with as many banishings as I could remember and do. It is 4 am, and the sun is just coming up. I wind my whistle to the four corners, welcoming the new dawn. 

It is done!

***

That was a year ago, and what a year it was!

Soon after the invocation, I decided to leave my old job and at the same time, I got an offer for a much better one ( a dream job in a way at the time ). Before starting the new job I took a little holiday and went to Stonehenge for the Summer solstice, and what an amazing experience that was! A beautiful golden dawn, a good omen I would say. I found love, a soulmate and a magical partner and all in the same person! 

I went on the most fantastic holiday to Cairo, where we were very lucky to have the Red Pyramid at Dahshur to ourselves. We were the only people inside, so we took our chances and did a little ritual (our version of the open-the-mouth ritual) in the King’s chamber, at the heart of the pyramid!

We have been experimenting with crazy dream work, which gave us some very interesting results. And oh yes, there’s a book nearly finished,  in which you will find much more of my magical adventures in hyperspace reality…

So, it Is Done!

Xepher!

About Altars

Babalon the Scarlet woman

The altar is raised structure or place that is used for sacrifice, worship, or prayer. 

A working altar could be a table or anything similar to it. 

The height of the Altar is equal to the height above the ground of the navel of the Magician. (Liber ABA, chapter III).

The altar is the place in which we focus our magical work and consecrate and keep our ritual tools. There are all sorts of altars, which usually correspond to different types of magical work and deities. 

When we start working with a new deity, or one that we never worked with before, it is advisable to dedicate an altar just for it. In this way, we can fine-tune ourselves into the subtle energies of the deity. Only when we learn enough and get familiar with the deity, we might want to try and add another deity to the same altar. 

Some deities even though belong to the same pantheons, would not approve of sharing the same space with one another. I realize that this might sound a bit nonsensical to the neophyte, but it is easy to detect, as soon enough you will notice the disharmony flowing around your house and affecting everything you do. Some traditionalists would even go as far as separating certain deities completely from the rest and dedicating a whole room to them.

But we are Chaos Magicians, I hear you say, how does this apply to us?

To master the art of Chaos magic, we need to learn first the order of things and how they work, only then we will know how to turn chaos into magic. To live in chaos does not make you a chaos magician…

I have many altars around the house, each one of them is like a PowerPoint of certain energy and information that I can stop by whenever I need or want to, and charge myself with. The main altar in the house is like an ongoing creation of itself, always changing according to the seasons and the sabbats or the main magical work of a specific time. 

***

The Altar should delight

A personal magical altar should be a delight to behold. Keep things simple and aesthetically pleasing. For starting out, you need only a very few things. A basic altar usually has on it symbols of the five elements. Candles or lamps for fire, a cup for water, incense and burner for smell, a plate or pentacle for earth, a bell for spirit. Try to put aside any doubts you have about the need to have these things actually there. You will come to see these doubts as just another kind of conditioning that you need to work through. 

Optional things for your altar are perhaps a special knife or wand to point with when doing an invocation. At this stage a finger does just as well. A wand you make now may not please you in a years time but you will nevertheless have great difficulty abandoning it. To avoid this problem, why not do without a wand until you really feel the need for one – perhaps you never will. Other useful things include a robe or cloak (black cotton is the most widely used variety). Robes and cloaks work well for standing up rituals, but for sitting down, of which there is a fair amount in Magick, they can be a bit restrictive. If your room is well heated then going naked might be an option, otherwise comfortable leggings, sarong or yoga trousers might be better. 

One last recommendation, try using real incense, which is burnt on self lighting charcoal. Clouds of incense have long been used by magicians as an alternative to the ancient animal sacrifice. Real incense is more expensive, but can be more potent than joss sticks. But even the later vary a lot in quality, so investigate the best. Ask about reputable magical incense suppliers or details about how you can make your own – as with anything there are good and bad suppliers of such things. 

(From Thelemic Magick: Mogg Morgan 2022)

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From Liber ABA

CHAPTER III

THE ALTAR

THE Altar represents the solid basis of the work, the fixed Will

footnote: It represents the extension of Will. Will is the Dyad (see section on the Wand); 2 x 2 = 4. So the altar is foursquare, and also its ten squares show 4. 10 = 1 + 2 + 3 + 4.

of the Magician; and the law under which he works. Within this altar everything is kept, since everything is subject to law. Except the lamp.

According to some authorities the Altar should be made of oak to represent the stubbornness and rigidity of law; others would make it of Acacia, for Acacia is the symbol of resurrection.

The Altar is a double cube, which is a rough way of symbolizing the Great Work; for the doubling of the cube, like the squaring of the circle, was one of the great problems of antiquity. The surface of this Altar is composed of ten squares. The top is Kether, and the bottom Malkuth. The height of the Altar is equal to the height above the ground of the navel of the Magician. The Altar is connected with the Ark of the Covenant, Noah’s Ark, the nave (“navis,” a ship) of the Church, and many other symbols of antiquity, whose symbolism has been well worked out in an anonymous book called “The Cannon,”

WEH footnote: written by William Stirling

(Elkin Mathews), which should be studied carefully before constructing the Altar.

For this Altar must embody the Magician’s knowledge of the laws of Nature, which are the laws through which he works.

He should endeavour to make geometrical constructions to symbolize cosmic measurements. For example, he may take the two diagonals as (say) the diameter of the sun. Then the side of the altar will be found to have a length equal to some other cosmic measure, a vesica drawn on the side some other, a “rood cross” within the vesica yet another. Each Magician should work out his own system of symbolism — and he need not confine himself to cosmic measurements. He might, for example, find some relation to express the law of inverse squares.

The top of the Altar shall be covered with gold, and on this gold should be engraved some such figure as the Holy Oblation, or the New Jerusalem, or, if he have the skill, the Microcosm of Vitruvius, of which we give illustrations.

On the sides of the Altar are also sometimes drawn the great tablets of the elements, and the sigils of the holy elemental kings, as shown in The Equinox, No. VII; for these are syntheses of the forces of Nature. Yet these are rather special than general symbols, and this book purports to treat only of the grand principles of working.

{diagrams on this page, at top the microcosm of Vitruvius from the title page decoration (not frontispiece as is sometimes said) to Robert Fludd’s “Utriusque Cosmi Maioris scilicet et Minoris Metaphysica, Physica, Atque Technica Historia”, based on a Renaissance copy of Vitruvius’ 1st century “De Architectura” as interpreted by Cesariano in 1521, minus Fludd’s rope, clouds and winged fawn+hourglass, with the caption beneath “DESIGN SUITABLE FOR TOP OF ALTAR”, and below that a geometrical figure of the planets and stars from “The Cannon” fig. 3, p. 30, chap. II. with the under caption “THE HOLY OBLATION”}

{diagram on this page: Inside a dashed equilateral triangle are a scourge, chain, dagger and a wide, low perfume bottle shaped like a woman’s breast with nipple, below this is a scale in inches and below that the caption “THE SCOURGE, THE DAGGER, AND THE CHAIN; ENCLOSING THE PHIAL FOR THE HOLY OIL.”}