Monday, December 27, 2010

The Hermetic Museum



Translated by Arthur Edward Waite
Containing Twenty-two most celebrated Chemical Tracts.
London: J. Elliot and Co.

Scanned at, May 2007. Proofed and Formatted by John Bruno Hare. This text is in the public domain in the United States because it was originally published prior to January 1st, 1923. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact in all copies.

Read Full Text:

Endnote: In addition, you may read passages at Google Books - The Hermetic Museum.

Sunday, December 26, 2010

The Craft: Spells & Magick

Witchcraft - Wicca, Spells, And Magick

Author: Tasha Palladino

A Brief overview of Wicca:

When witchcraft is practiced as a religion, it is called by the Old English term for witch, Wicca. This term is used to counter all the negative stereotypes that society has given witchcraft. Wicca is primarily a religion that worships nature, and sees all creation as sacred. In fact, all Wiccan holy days follow the cycles of nature and the changes in the seasons. Wicca also worships both a male and female deity, a female Goddess and a male God, who had together created the world and everything in it.

Witchcraft is neither black nor white. Witchcraft is a religion that respects Mother Nature and She is neither completely positive or completely negative, this is the same for witches.

Spells are used by Wiccans, and are a series of rituals and prayers that are conducted in witchcraft to ask for divine help in a certain aspect of life. All spells must adhere to the witchcraft code of conduct, meaning that any spells used to harm another person is forbidden. In witchcraft, spells may also be changed or adapted to suit a Wiccan's personality or specific wishes in casting the spell.

What exactly is witchcraft, spells, and magick?

Twenty years ago, I asked myself those same questions, and I'm still learning the answers. My journey started at 15 years of age, with a very understanding mother and a visit to New Age Shop. I remember entering the shop with a sense of awe, and instantly being put at ease by a wonderfully sweet aroma that hung over the bookcases. Yet, out of all the potions, oils, and books that filled the place, the one thing that stood out to me the most was the man behind the counter. He looked more like George Clooney than something out of Halloween Fairytales, and that was my first lesson. Witches look just like everyone else. Of course you may run into the occasional witch who looks more fiction than fact but other than those, most are just your average Joe, the majority tend to choose to blend in as much as possible. Why? Not everyone is armed with 21st century thinking, and in some cases, witches are put into the same category as Satanists, heathens, and just generally bad people.

I eventually took more interest in magick, oh and not my spelling of magick. Witches refer to spells and divine help as magick, not to be confused with magic, which we consider to be what you would see at a show, a magician sawing a woman in half, card tricks, etc.. Magick, however, is sacred to all Wiccans. Ah yes, back to my story, I eventually took more interest in magic and at the age of 35 purchased an old building in New Jersey and turned into one of the state's only Wiccan Temples. I currently live at home with my two wonderful children and my familiar (husband as most people call it) enjoying life and being at one with nature. I currently make a living supporting my family by offering services at my temple and through my website

Article Source:

About the Author

My name is Tasha and I have been a witch for 20 years. I hope this article helps anyone who is curious about Wicca. Currently, I own Ill-Alli Temple in Northeastern USA and own a witchcraft spells site,

Saturday, December 25, 2010

Black Orpheus

Marcel Camus' Black Orpheus (a.k.a. "Orfeu Negro") took the art-house film world by storm, in 1959, with its stunning color photography of the Brazilian Carnival celebration and sultry bossa nova beats, winning both an Academy Award and the Palme d'or at Cannes.

Transplanting the tale of Orpheus and Eurydice to the slums of Rio de Janeiro, Black Orpheus brings Greek mythology to vivid, frenetic life.

Tuesday, December 21, 2010

Merry Yule

Yule Sabbat by Dr. Kheti A. Sahure

"Yule or the Winter Solstice is scientifically based on the standing still position of the Sun; this has been practiced for over 10,000 years by many cultures (especially Native Americans, Spanish and Mexican Indians) around the globe with ceremonies and festivals over 12 days). Yule is a kind of spiritual, psychic, and physiological renewal of mind, body, and soul involving the 4 elements (Earth or North, Air or East, Fire or South, and Water or West) and the 5th element being the Spirit Guide at the top of a right side up pentacle and pentagram (which are mathematically based on geometry)..."

Source: - Oct 31, 2009

Sunday, December 19, 2010

CEO Peter Apatow's Supple® Success Story

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Thursday, December 16, 2010

Wicca Spellcraft for Men


Wicca Spellcraft for Men explains the workings of Wiccan spellcraft from a male point of view with special attention to the concerns men face in their day to day life. It provides the scientific principles of spellcraft and sensibly explains both the theory and practice of modern spellcraft.

The book offers examples of spells that can be found in lore. Recipes for incense, oils, and other creations are given with clear instructions on recording how well these recipes work for the individual and amending the recipes to improve function.

Internet Book Watch

Wicca Spellcraft For Men presents spellcraft from a male Wiccan perspective, explaining the difference between male and female energy results in spells and exploring how projective energy qualities have almost been ignored in female-dominated Wiccan texts. Wicca Spellcraft For Men is an excellently presented and uniquely informative treatise on male spell differences.

ILMJ Editorial Endnote:

There is also the aspect of the "Triple God" or Son, Father, Grandfather relative to the Triple Goddess or "Maiden, Mother, Crone".

Wednesday, December 15, 2010

Life Coaching & Empowerment Resources

Life Coaching & Empowerment Resources


Brighter Self-Improvement

Articles include:

Goal Setting: The Fundamental Information

Self Esteem & Self-Confidence

Self-Esteem, African Americans and Racial Discrimination

The Law of Attraction and the Science of Getting Rich

Start reading for free here!

Self Dedication

Self Dedication explained
Article by David Rankine & Sorita

For more information on the authors please visit - or if you wish to contact them
please write to: BM Avalonia, London, WC1N 3XX, United
Kingdom. (Please include a SAE)
© David Rankine & Sorita 2000

Initiation is a process of "death and rebirth" - the
old self dies, and the new and magickal self is born.
A rite of self-dedication marks a serious commitment
and dedication to the path, and should not be taken

Having followed your path this far, you will have
noticed subtle (or not so subtle) changes in your
self, and you may wish to mark this, and affirm your
commitment to the path with a self-dedication ritual.
Initiation is a process which happens over time, and
the rite itself will benefit from being preceded by a
daily practice, building up in intensity as you
approach the day of the rite, with the dedication rite
being the culmination of this ritual practice.

As the rite marks a rebirth, into your witch self or
magickal self, you may wish to obtain a new magickal
item or items for it. This could be a piece of ritual
jewellery, such as a pentagram pendant, or amber and
jet necklace (the traditional witches necklace), or a
cord you wear around your waist. Some people choose to
mark their dedications by having a tattoo in a
magickal design, personal to themselves.

It is also good to have a magickal weapon which you
will consecrate at the end of the dedication rite. A
ritual dagger, or athame is the general tool chosen.
Self-dedication can be very empowering, and can
produce a feeling of "walking on clouds", and it is
very important to earth oneself afterwards, and then
to have a rest from magickal work for a period of
between a week and a month.

Simple daily meditation may be practised during this
period, but avoid intense magickal work. Time is
needed to assimilate the experience, and the
dedication process should be undertaken at a time when
you do not have too much outside stress, and are able
to take time for yourself.

It should be stressed that self-dedication is not the
same as initiation into a coven, and should you wish
to join a coven at a later date, you would still have
to go through a probationary period and coven
initiation, if accepted.


Post Scriptum: An example of a Self-Dedication Ritual can be found here:

Monday, December 13, 2010

History of Wicca in England

HISTORY OF WICCA IN ENGLAND: 1939 - present day

This talk was given by Julia Phillips at the Wiccan Conference
in Canberra, 1991. It is mainly about the early days of the
Wicca in England; specifically what we now call Gardnerian and
Alexandrian traditions. The text remains "as given", so please remember
when you read it that it was never intended to be "read", but "heard"
and debated.

Text begins:

There are three main strands I intend to examine: one,
Gardner's claim of traditional initiation, and its subsequent
development; two, magical traditions to which Gardner would
have had access; and three, literary sources.

As we look at these three main threads, it is important to
bear in mind that Gardner was 55 years old at the time of his
claimed initiation; that he had spent many years in Malaya,
and had an enormous interest in magic, Folklore and Mythology.
By the time he published High Magic's Aid, he was 65, and 75
when "The Meaning of Witchcraft" appeared. He died in 1964, at
the age of 80.

Gardner was born in 1884, and spent most of his working adult
life in Malaya. He retired, and returned to the UK in 1936. He
joined the Folklore Society, and in June 1938, also joined the
newly opened Rosicrucian Theatre at Christchurch where it is
said he met Old Dorothy Clutterbuck.

I chose 1939 as my arbitrary starting point as that was the
year that Gerald Gardner claims he was initiated by Old
Dorothy into a practising coven of the Old Religion, that met
in the New Forest area of Britain. In his own words,

"I realised that I had stumbled upon something interesting;
but I was half-initiated before the word, "Wica" which they
used hit me like a thunderbolt, and I knew where I was, and
that the Old Religion still existed. And so I found myself in
the Circle, and there took the usual oath of secrecy, which
bound me not to reveal certain things." This quote is taken
from The Meaning of Witchcraft, which was published in 1959.

It is interesting that in this quote, Gardner spells Wicca
with only one "c"; in the earlier "Witchcraft Today" (1954)
and "High Magic's Aid" (1949), the word Wicca is not even
used. His own derivation for the word, given in "The Meaning
of Witchcraft", is as follows:

"As they (the Dane and Saxon invaders of England) had no
witches of their own they had no special name for them;
however, they made one up from "wig" an idol, and "laer",
learning, "wiglaer" which they shortened into "Wicca".

"It is a curious fact that when the witches became English-
speaking they adopted their Saxon name, "Wica"."

Source & Full Text:

Sunday, December 12, 2010

Easy Bonsai Care and Gardening Tips

A step by step guide to creating your very own instant bonsai. From starter tree to bonsai masterpiece, this book guides the enthusiast through shaping, wiring and potting of a tree, while explaining the history and philosophy of Japanese Bonsai!

Training bonsai is not as hard as most people think and this bonsai course is a step by step program for creating beautiful Japanese bonsai trees from common household pot plants.

Follow easy to understand instructions that explain how to choose the best material for a bonsai beginner to work with, and which trees you can easily train as bonsai.

Learn pruning, styling and wiring techniques that will transform a regular tree into an amazing living artwork and allow you to make bonsai trees from almost any plant material!

Complete information can be found here.

My Sol Day Holy Water, Revisited...

A Holy Water Ritual (Part I)
By Dr. Kheti A. Sahure

I. Ingredients Needed:
1-1/2 cups of spring, well, river, creek, tap or distilled (both as a last resort) water

1 sterilized glass measuring cup (for dispensing the completed Holy Water later)

1 or more small sterilized glass storage bottles

3 tbsp. Kosher rock salt or sea salt

1 sterilized earthenware vessel (bowl)

1 sterilized earthenware pot

1 sterilized tablespoon

1 sterilized teaspoon

2 tsp. of Rose Water

1 small moon mirror (for reflecting the moonlight upon the water if the Full Moon is not in an optimal position especially if working indoors or for scrying)

Note A:
Holy Water can be prepared by anyone but it does need to be blessed. Traditionally in many religions and spiritual practices, Holy Water has been and can be blessed by a Witch, Clergy, Priest, Priestess, Shaman, or someone with spiritual wherewithal and then energized by the light of the Full Moon and the Moon Goddess. The ritual part of this endeavor varies. Making Rose Water can be a bit tedious as well as time consuming; so it is suggested or optional that you obtain some from someone you know, temple or church, or purchase some from a metaphysical shoppe that actually makes its own Rose Water from natural, organic ingredients starting with white roses.

For the best results, it is preferable to get spring water from a "clean" moving body of water such as a river, stream, ocean, or creek; lake or natural well water will do just fine also. Since many natural bodies of water are so polluted, it is suggested that the water is boiled at first.

Note B:
The storage bottle or bottles you use should be dark in color--blue, brown, green, purple, or clear (as a last resort) to maintain the Holy Water's magical properties. The bottled Holy Water can be stored at room temperature or refrigerated for later use.

Note C:
If you are unable to perform the consecration of the water outdoors, then improvise and perform this indoors at your altar or someplace you deem sacred; place the vessel of or decanted bottled water in a window where the midnight moonlight will shine upon and energize it.

II. Time & Place of Day:
Preferably, outdoors at Midnight during a Full Moon or indoors at your altar if you are unable to be out of doors.

III. Preparation:
1. Cleanse and sterilize the vessel, glass measuring cup, and storage bottles with boiling water or in a dishwasher.
2. Add 3 tbsp. sea salt or Kosher rock salt to the pot of 1-1/2 cups of spring water; bring to a boil while stirring the salt until it dissolves in the water.
3. ALLOW THE LIQUID TO COOL DOWN TO ROOM TEMPERATURE then add 2 tsp. of Rose Water, stirring it into the salted water.
4. Decant the Holy Water into the vessel then perform your ritual.

About the Author:
Dr. Sahure is a practicing Alternative Spiritualist, ordained Kemetic Wiccan minister and Spiritual Counselor, traditional herbalist, senior researcher with the Antiquus Research Group and the author of many noteworthy essays and articles about a variety of topics and subjects, including herbalism, ancient history and mythology, ancient Egyptian religion (Kemeticism), metaphysical sciences, ancient religions and theology, astrology, tarot, and other divination systems. Dr. Sahure holds doctorate degrees in Metaphysical Science (Msc.D., D.Met.), Theology (Th.D.), and Divinity (D.D.). Visit his Applied Occult Metaphysics eGroup at and his online Mystic Owl Curio shoppe at

Article Source: 

Sahure, K. A. (2010, February 8). A Holy Water Ritual (Part I). Retrieved December 12, 2010, from­Holy-­Water-­Ritual-­(Part-­I)&id=3723739

Post Scriptum:
Part II (The Ritual) is available upon request...and as a warning, not for the squeamish or faint of heart! ~ Dok Kheti

Friday, December 10, 2010

Ascending Sign Secrets

Ascending Sign Secrets
This book, Ascending Sign Secrets, will teach you for the first time specific information on Horoscope and Zodiac signs!

Ascending Sign SecretsYou're here because you want to learn all there is to know about the Ascending Sign. YOU'RE IN THE RIGHT PLACE!

New or seasoned – with this single resource you’ll have answers right at your fingertips – anytime you need them.

This most important detail of the Horoscope is seldom given the attention it really deserves. Hundreds of books have been written on the Sun Signs but, so far as I know, not a single volume on the Ascending Sign. For those who are not acquainted with this astrological term we should explain that the Ascending Sign is that part of the Zodiac on the Eastern Horizon at time of birth. If we know your time, date and place of birth we can erect a horoscope which will show us the sign (and even the exact degree of that sign) on your ascendant.

Ascending Sign Secrets

Thursday, December 9, 2010

Feelings Of An Indigo's Heart

Buy Now!

This positive and uplifting poetry book is about inspiring others to reach their higher self from within in the hope of caring for each other.

The Indigo Woman

The Indigo woman Needs love from others

She will feel better

The Indigo woman feels different She knows it 

The Indigo woman needs to be understood She feels lonely

The Indigo woman wants to share some secrets She is scared to share them

The Indigo woman feels suffocated She needs to be listened to
The Indigo woman wants the world to be a better place She needs you to be a part of it

The Indigo woman wants to tell you how precious you are She needs to tell you
The Indigo woman doesn't want any more segregation For a better world

The Indigo woman wants peace in the world For a better world

The Indigo woman wants justice for those who Can't express themselves For a better world

The Indigo woman wants you to share some love with others For a better world

The Indigo woman wants you to be happy She cares about you Care for yourself Care for others you don't know Know that they care about you You are a part of the world The world needs you 

Excerpted from Feelings Of An Indigo's Heart by Annick Nouatin Copyright © 2010 by Annick Nouatin. 

Wednesday, December 8, 2010

The Warning

The Warning

Keep this book in your own hand of write. Let brothers and Sisters copy what they will, but never let this book out of your hands, and never keep the writings of another, for if it be found in their hand of write, they may well be taken and tortured. Each should guard his own writings and destroy them whenever danger threatens. Learn as much as you may by heart, and when the danger is past, rewrite your book. For this reason, if any die, destroy their book if they have not been able to, for, if it be found nd, 'tis clear proof against them. "Ye may not be a Witch alone"; so all their friends be in danger of the torture. So destroy everything not necessary. If your book be found on you, 'tis clear proof against you. You may be tortured. Keep all thought of the cult from your mind. Say you had bad dreams, that a Devil caused you to write this without your knowledge. Think to yourself, "I Know Nothing. I Remember nothing. I have forgotten all." Drive this into your mind. If the torture be too great to bear, say, "I will confess. I cannot bear this torment. What do you want me to say? Tell me and I will say it." If they try to make you talk of the broth , do not, but if they try to make you speak of impossibilities, such as flying through the air, consorting with the Devil, sacrificing children, or eating men's flesh, say, "I had an evil dream. I was not myself. I was crazed." Not all Magistrates are bad. If there be an excuse, they may show you mercy. If you have confessed aught, deny it afterwards. Say you babbled under the torture; you knew not what you did or said. If you be condemned, fear not. The Brotherhood is powerful. They may help you to escape if you are steadfast. If you betray aught, there is no hope for you, in this life, or in that which is to come. But, 'tis sure, that if steadfast you go to the pyre, drugs will reach you. You will feel naught, and you go but to Death and what lies beyond, the ecstasy of the Goddess. The same with the working Tools. Let them be as ordinary things that anyone may have in their homes. The Pentacles shall be of wax that they may be melted or broken at once. Have no sword unless your rank allows you one. Have no names or signs on anything. Write them on in ink before consecrating them and wash it off at once when finished. Never boast, never threaten, never say you wish ill to anyone. If any speak of the craft, say, "Speak not to me of such, it frightens me, 'tis evil luck to speak of it."

Source: The Garnerian Book of Shadows by Dr. Gerald Brousseau Gardner, pp. 34-35

Sunday, November 28, 2010

A Brief Gematria of the Numbers 616 and 666

Gematria is the study of the numeric equivalents and relationships (Numerology) of the Hebrew language and Hebrew alphabet (and Greek) along with their spiritual associations. There are no numeric characters in Hebrew, just alpha characters; when someone wants to write a number, he or she would use the corresponding Hebrew letter associated with that number. Gematria is also used in divinatory practices. The Gematria of the number 616 equals (6+1+6 = 13 = 1+3 = 4) 4 and representative of the number and (spiritual) symbolic for Creation. This also relates to the pentagram along with the four quarters / corners / elementals or elements / watchtowers / gateways / portals of the Earth being North (earth, autumn), East (air, spring), South (fire, summer), and West (water, winter) and their correspondences. Further, these four gateways are the symbolic elements within the metaphysical universe or ethereal cosmos.

The alpha associations of 4 are the letters D, Delta (Greek, D), and Daleth (Hebrew, D). As for the number 666 = 9 and is the symbolic for Judgment. Regardless of the true fact that neither number represent any mythic beast, most New Testament manuscripts, the Book of Revelation of the Christian bible, and other religious texts still erroneously equate the number 666 with the Christian figurative machination of "The Beast". The alpha associations of 9 are the letters Th and T, Theta (Greek, Th), and Teth (Hebrew, T). In some modern critical interpretations, such as the Novum Testamentum Graece (i.e., the Latin name for the Greek language version of the New Testament, namely the Nestle-Aland editions), the number 616 is denoted as a variant of 666.

Moreover, there are the biblical associations between the Hebrew and Greek bibles as well as the many versions of the Old and New Testaments. For example, the “Book of Revelation” (also known as “The Apocalypse of John”) is generally considered to have been written by John the Apostle; Christians identify 666 as the mark of the Antichrist or the Beast and refer to the number 616 to be the Ancient Roman Emperor Caligula. From here, one can examine and analyze the information about the recent discovery of the fragment from the "oldest New Testament manuscript" found to allude in Revelation 13:18 that the number of the beast is supposedly 616 instead of 666.

In closing, there are the theomatic and isopsephic approaches that can be examined as well; according to the definitions: “Isopsephy (iso meaning ‘equal’ and psephos meaning ‘pebble’) is the Greek word for the practice of adding up the number values of the letters in a word to form a single number. The early Greeks used pebbles arranged in patterns to learn arithmetic and geometry. A Latin word for ‘pebbles’ is ‘calculi’, the origin of the word ‘calculate.’[1] Theomatics is a numerological study of the Greek and Hebrew text of the Christian Bible, based upon gematria and isopsephy, that its proponents assert demonstrates the direct intervention of God in the writing of Christian scripture. It was invented by Del Washburn in 1975, who coined the name ‘theomatics’ as a combination of ‘Θεός’ (‘God’) and ‘mathematics’, and wrote several books and web sites espousing the hypothesis.[2]”

Endnote: Theomatics concerns the scientific study and investigation, statistical evidence, and examples of the numerical structure within the text of the bible and bible codex (bible code). There are two types of codices (codes)--ELS (Equi-distant Letter Sequences, also known as Torah Codes) and Theomatics (often referred to as Gematria). Recommended resources for the study of Theomatics are the Institute of Theomatic Research and Theomatics Proven Solidly.
Rev. Dr. K.A. Sahure
Elder HP & Arch Hierophant
Temple of Kemetic Wicca
Denver Metro, CO
[1] "Isopsephy." Wikipedia, The Free Encyclopedia. 21 Mar 2006, 14:50 UTC. Wikimedia Foundation, Inc. 25 Jun 2006.

[2] "Theomatics." Wikipedia, The Free Encyclopedia. 14 Jun 2006, 03:22 UTC. Wikimedia Foundation, Inc. 25 Jun 2006.

Friday, November 19, 2010

Yoruba Days of the Week Names

"THE Yorubas reckon time by moons and weeks. A moon, or month, is the period of time between one new moon and the next, and, as is the case with all peoples who count by lunar months, the day commences at sunset, that is at the hour at which a new moon would ordinarily be first perceived.

The custom of measuring time by lunar months appears to be common to all uncivilised peoples, the regular recurrence of the moon at fixed intervals of time affording a natural and easy mode of computing its lapse. The measurement of time by weeks, that is, by sub-divisions of the lunar month, seems, in the present state of our knowledge of the modes of measuring time amongst the lower races, to be rather exceptional; but the subject is one that has been much neglected by travellers, and there is but little information from which a conclusion may be drawn.

The Tshi-tribes of the Gold Coast have (as was stated in the first volume of this series) a seven-day week, or, to be more correct, they have divided the lunar month, which is approximately twenty-nine and a-half days long, into four parts, each of seven days and about nine hours. Hence, as before said,[1] each week commences at a different hour of the day, the reason of this arrangement being that twenty-nine and a-half will not divide exactly into halves and quarters. The first day of the first week of the lunar month commences when the new moon is first seen; the first day of the second week commences some nine hours later, and so on.

The Gã-tribes have an exactly similar mode of measuring time, but their names for the days of the week are not the same as those used by the Tshi-tribes.

They are-

1st. Dsu.
2nd. Dsu-fo.
3rd. Fso.
4th. So.
5th. So-ha.
6th. Ho.
7th. Ho-gba.

which, it will be seen, seem to consist of three pairs and an odd one, the third day.

The Yoruba week consists of five days, and six of them are supposed to make a lunar month; bnt, as a matter of fact, since the first day of the first week always commences with the appearance of the now moon, the month really contains five weeks of five days' duration, and one of four day-, and a-half, approximately. The Benin-tribes to the cast are said to have a similar method, and the Yoruba-tribes have perhaps borrowed the five-day week from them.

The Tsbi and Gã-tribes thus add a few hours to each seven-day week in order to make four of these periods coincident with a lunar month, and the Yorubatribes deduct about twelve hours from the last five

[1. "Tshi-speaking Peoples of the Gold Coast" pp. 215, 216.]

day week in order to make six of these periods agree with a lunar month. The reason is obvious. Twenty-nine and a-half will not divide, and the nearest numbers that will are twenty-eight and thirty. The Tshi and Gã-tribes have adopted the former as the integer to be divided, and consequently have had to add some hours, while the Yorubas have adopted the latter and have had to deduct.
We have said that to divide the lunar month into weeks appears to be exceptional among the lower races, but we have some examples. The Ahantas, who inhabit the western portion of the Gold Coast, divide the lunar month into three periods, two of ten days' duration, and the third lasting till the next new moon appears, that is, for about nine days and a-half. The Sofalese of East Africa must have had the same system, for De Faria says that they divided the month into three weeks of ten days each, and that the first day of the first week was the festival of the new moon.[1]

When a people has progressed sufficiently far in astronomical knowledge to have adopted the solar year as a measurement of time, the month, for the reason that an exact number of lunar months will not make up a solar year, becomes a civil period or calendar month, and is arbitrarily fixed at a certain number of days, or some months are made of one length and some of another. When this occurs, and the month is disconnected from the moon and its phases, it seems that the week-which was properly a sub-division of the lunar month, and was no doubt

[1. Astley's Collection, vol. iii., p. 397.]

designed to mark the chief phases of the moon-also becomes a civil period, and is a sub-division of the civil month. The ancient Greeks had a civil month of thirty days, divided into three weeks, each of ten days; and the Javanese, before the seven-day week was adopted from the Mohammedans, had a civil week of five days.[1] The former thus resembled the Ahantas, and the latter the Yorabas, and no doubt when the Greeks and Javanese reckoned time by lunar months instead of by civil, they, like the Ahantas and Yorubas, struck off the superfluous hours from the last sub-division of the month.

The names of the days of the Yoruba week are as follows:--

1. Ako-ojo. First day.
2. Ojo-awo. Day of the Secret (sacred to Ifa).
3. Ojo-Ogun. Ogun's Day.
4. Ojo-Shango. Shango's Day.
5. Ojo-Obatala. Obatala's Day.

Ako-ojo is a Sabbath, or day of general rest. It is considered unlucky, and no business of importance is ever undertaken on it. On this day all the temples are swept out, and water, for the use of the gods, is brought in procession. Each of the other days is a day of rest for the followers of the god to which it is dedicated, and for them only, Ojo-Shango being the Sabbath of the worshippers of the thunder-god, and Ojo-Ogun for those of the god of iron, but Ako-Ojo is a day of rest for all. A holy day is called Ose (se, to disallow), and because each holy day recurs weekly,

[1. Raffles' 'History of Java,' vol. i. p. 475.]

Ose has come also to mean the week of five days, or the period intervening between two holy days."

► Source:
Chapter VIII, “Measurements of Time”, Yoruba-Speaking Peoples of The Slave Coast of West Africa [1894] by A. B. ELLIS

Thursday, November 11, 2010

Cosmic Planetary Spheres

Cosmic Planetary Spheres

Below are just some of the components which make up the Cosmic Planetary Spheres according to the spiritualistic and ritualistic workings of the Temple of Kemetic Wicca:

Avenging Angels & Spirits
Avenging & Warlike Divinities
God/dess-forms (which are present in each of the planets)
Great Mother Goddesses & Great Father Gods
Healing Deities, Spirits & Angels
Holy (Indigo Rainbow Spirited) Children
Illuminous, Illuminator, Illuminati Deities & Spirits
Love Deities
Lunar Deities - The Moon
Messengers & Minions of the Spirit Realm
Sacrificial Deities & Sacrificed Divinities
Solar Deities - The Sun
Underworld God/desses

Monday, November 1, 2010

Mysticum - Et id genus omne

“The hymns of the Atharva Veda contain among other things descriptions of charms for curing diseases, prayers for long life and health, imprecations against demons, sorcerers and enemies, charms pertaining to women--to secure their love or arouse jealousy, and the like--charms for securing harmony and influence in an assembly, charms for securing the prosperity of household, fields, cattle, business, gambling, etc., charms in expiation of sins and defilement. The hymns of the Rig Veda, on the other hand, are often praises of various deities, who are frequently mere personifications of the different powers of nature, such as the rain-god, the wind-god, the fire-god, and the like. The prayers in these hymns are praises of the greatness and power, the mysterious nature, and the exploits of these deities, as well as prayers for various favors. Often the favors sought are of the nature of material blessings, such as long life, vigorous offspring, cattle and horses, gold, etc. Prayers for the advancement of the inner spiritual achievements of man, for righteousness or moral greatness, prayers expressing a passionate longing for the divine or a humble submission of the mind to the divine will are not so frequent. Most of these prayers were recited in the performance of certain prescribed rituals. Though from the praises of the gods one might infer that it was the gods who were supposed to bestow the benefits, it was in fact the complete set of ritualistic performances that was considered to be the cause of the showering of the benefits. It was supposed that these ritualistic performances when carried out in all their details, precisely and accurately, could by their joint and mysterious effect produce a mysterious something whereby the prayers were fulfilled.” Excerpted from – “Lecture I, Sacrificial Mysticism” of Hindu Mysticism [1927] by Dr. S.N. Dasgupta

Friday, October 22, 2010

Paganism: Suggested Reading

A Short List of Wicca - Witchcraft Suggested Reading: 1. Wicca: A Guide for the Solitary Practitioner by Scott Cunningham (November 1990) 2. Buckland's Complete Book of Witchcraft by Raymond Buckland (December 1986) 3. The Book of Spells II: Over 40 Charms and Magic Spells to Increase You Physical, Mental, and Spiritual Well-Being by Marian Green (September 2001) 4. Wicca: The Old Religion in the New Millennium by Vivianne Crowley (January 1996) 5. Solitary Witch: The Ultimate Book of Shadows for the New Generation by Silver Ravenwolf (February 2003).

A Brief List of Authors: Aleister Crowley, Alfred Métraux, Amber K, Anna Riva, Chief FAMA, DJ Conway, Doktor Snake, Doreen Valiente, Gavin and Yvonne Frost, Gerald Gardner, Heike Owusu, Irete Lazo, Isaac Bonewits, Israel Regardie, Janet and Stewart Farrar, Jeanine De Oya, K.A. Sahure, Laënnec Hurbon, Margaret Murray, Marie Laveau, Margot Adler, Migene Gonzalez Wippler, Milo Riguard, Moustafa Gadalla, Muata Ashby, Ra Un Nefer Amen, Raven Grimassi, Robert Tallant, Scott Cunningham, Silver Ravenwolf, Starhawk, Sybil Leek, and Vivianne Crowley. There are many writers and contributors to all aspects of African Traditional Religions, Wicca, Witchcraft, Paganism, Pagan Theology, and Ancient Egyptian Religion (Kemeticism).

The literary works of these authors can be found at Barnes and Noble.

Thursday, October 14, 2010

Principles of Ceremonial Magick

"Principles of Ceremonial" by Melita Denning & Osborne Phillips

Magical ceremonial can be built up and elaborated to forms of great subtlety and complexity, but the initial principles which cause its creation are simple in the extreme. In the first place, ceremonial is a different thing from meditation, and it is a different thing from merely wishing or praying that a certain result should come about: the magician sets himself to move the Astral Light in an especial way, and for that purpose certain acts, certain movements and gestures, sometimes an entire dramatic presentation, have to be co-ordinated appro priately. If they are not only chosen for their correspondence to this or that aspect of the Light but also to evoke an inner response in the psyche of the operator, they will have twice the potency which they might otherwise have had.

Magical principle is in this sense "artificial," and owes its effectiveness to that artifice. Once again it can be pointed out that it is not the operator’s natural emotion or aspiration, fraught with fears of failure or involvement with other considerations, which carries him to success. This is replaced, for the nonce, with the play of the ritual. The purpose of the magician is not sealed within him, to be subjected to all the forces of negation, but, directed into the performance and the experience of the rite, it moves the currents of the Astral which in turn place him in contact with the cosmic forces of his seeking.

Before considering any assemblage of ritual acts in detail, we find that such acts in general can be grouped under the following heads:

I a) Acts directly imitative of an intended project, including the desired outcome.
I b) Acts imitative of cosmic and meteorological processes.
II a) Acts meant indirectly to induce or to avert influences by allusive or symbolic association.
II b) Mythic presentments and acts of propitiation or of worship, intended to link the rite with a specific divine force.

Any or all of these types of action may be present in a particular ritual, depending upon its complexity and upon the magician’s assessment of the situation. The classification of magical works according to method, which is more usually given by various authorities, will be found to furnish sub-groupings within the above tabulation. Thus I a) contains the simpler aspects of substitution-rites such as those found (apparently) in Neolithic hunting-magick, and in the Egyptian use of images representing enemies for the purpose of their subjugation: in doll-sorcery generally, and in Mesopotamian rites utilising not only images, but animals or human beings (slaves, prisoners) to represent the person who will benefit or otherwise from the rite. Also included in this category, fundamentally, is the method prescribed by Sir Kenelm Digby for the use of his curative "Powder of Sympathy."

I b) comprises not only some very primitive works--the type of rain-magick which directly imitates thunder or involves libation as a main feature--but also some imagery of refined mysticism. Of the many examples which can be given of turmng about in imitation of celestial revolution, at present it will suffice to refer to the literature of the Dervishes, which seems in places to imply that thus to revolve fulfills the obligation of the microcosm to continue the work of the macrocosm:

The right hand of the Dervish dancer having the palm upward to receive the celestial influences, the left hand having the palm downward to transmit those influences to lower planes of being. A number of writers give other and more elaborate traditions as to the significance of the mystical whirling dance:

the one just given is probably the best-known, and shows something of the Pythagorean heritage which has in various particulars been as faithfully handed down by the Arabic tongue as by the Hellenic.

However, it is not only in such notable developments that we find actions which directly imitate phenomena in order to participate in their movement or to induce it. To this category also relates the spontaneous feeling that rites of Fire for instance should be performed with swift quiet movements and aspiring gestures, rites of Water in a slow and undulating mode, rites of Earth with periods of complete stillness and silence, rites of Air with vigour, expansive gestures and musical sound. These characteristics can be varied according to particular circumstances and individual requirements--the clash of cymbals can evoke Fire, while taurine bellowings and stampings belong to some aspects of Earth--the important consideration is not that a particular Element or Power should be represented according to any fixed rule, but that the participants in the rite should feel their actions to be in harmony with the force to be evoked, and above all with the aspects thereof which are related to the working. Real charact erization can be drawn from the attributes of any power within the range of magical working. Besides personal experience and meditation, the student should encourage imagination by searching in his literary heritage. If a study were being made of the cardinal points or of their Winds (as an example), such a passage as this on the North Wind, from the Sixth Book of Ovid’s Metamorphoses, would merit attention:--"Force is my nature: with force I urge the dark clouds, with force I stir the seas and uproot knotty oaks: I harden the snow and scourge with hail the lands. Thus too when I meet my brothers in open sky (that sky my plain) so mightily do I contend with them that the mid-air rings, and from hollow clouds there leap broken fires. Or when tameless I have descended into vaulted pits of the earth, and have put my shoulders beneath the deepest caverns, with quakings I affright the shades of the dead, and all the world."

This passage can be compared with the vivid description of the North Wind, "the fierce Kabibonokka," in Longfellow’s Hiawatha: the second canto, The Four Winds, has passages of considerable interest and beauty regarding each quarter. Essential to a study of the West Wind, again, would be Keats’ superb Ode; considerable work might be put in on the characters of the Four Winds, and it is one of the subjects which has always fascinated mankind. Of great antiquity in Egypt, the "Song of the Four Winds" appears by the time of the Twelfth Dynasty to have developed a dramatised form, a dance-game apparently in which four performers at the quarters of a circle presented each the character of a wind, and another whose base was at the centre tried in some manner to "steal the treasure" of the Winds. It may have been an entertainment simply: or its performance may have been a "wind-stealing" rite, having the purpose of raising a wind by means of an allusive drama.

This latter possibility would impinge upon the subject-matter of our next classification, II a), the attraction of forces by indirect, sometimes symbolic means. To the subject of characterisation we shall return presently. Symbolism, as the language of the Unconscious, becomes hallowed as a means of communicating with the spiritual world: but an element of personal insecurity can also in some instances be suspected, a degree of caution against making too plain a declaration of one’s desire: perhaps also too simple a sequence of cause and effect is avoided, in order to strengthen both the power of the operation and the resolve of the operator by introducing mystifications. The transition from direct enactment to symbolism is sometimes so slight and so natural as to need no especial reason. Thus in the Fasti with regard to the Roman celebrations of New Year’s Day, we are told that this day was not made a public holiday for fear such an omen might lead to a workless year: and then that dates and figs, honey and gold were offered to Janus, that their sweetness might bring a year of joy and abundance. A similarly simple transference of ideas is indicated by the shrine and emblems of the fertility cult which were found in a pit of the flint-mines at Grime’s Graves, Norfolk: since the nature of the site precludes for the shrine’s purpose any ordinary connotations of fertility, it is deduced that the intent here was to render the earth prolific in flints.

In other instances, however, the indirectness of the ritual approach is more developed and conspicuous. A notable example is the Hopi Snake-dance, of which the final purpose is to bring not serpents but rain. The serpentine movements of the dance are intended to attract the fiery Lightning-snakes, who in similar manner will begin to play in the heavens: and it is their play which causes the rain. At a more sophisticated level, to the same category belong rites intended to induce a planetary influence, so as to correct an astrological imbalance and thus avert misfortune, for instance.

II b). With a union of mythic themes and magical concepts, both the possible formulae and the actual power of workings are tremendously enriched. This other dimension, the link with a specific spiritual force, not only brings its own formulae into being, but adds significance and power to rites of the foregoing types. It was early realised that to enact a desired project with its successful outcome, or to represent either directly or symbolically a cosmic occurrence over which the performer has ordinarily no control, became transformed from a primitive attempt to a truly magical work when a myth of similar connotations was enacted, declaring or implying such a Magical Link as, "As the Son of Isis thus triumphed over his enemies, so shall my cause be victorious!" Myth from one source or another has everywhere provided the major dramatic bases for rites of many kinds, and magical ritual has thereby taken on a special dignity. Predominant in showing forth this influence are the great rites both initiatory and sacrificial of the various solar cults. There are also, however, rites of sheer adoration or of the celebration of some cosmic or mythic fact, rites which from an exoteric viewpoint belong, not to magick, but to religon: these, when considered with occult understanding, are truly magical in their operation of building up an egregore, and of maintaining a channel thereto from the Divine Mind.

From the least to the greatest of magical rites, then, a high degree of dramatic presentation can be recognised throughout. It is dramatic presentation of a particular kind, intended both to stir the Light and to attune the operator to whatever powers are to be associated with the working.

The degree of preparation for a rite will largely depend upon the importance of the occasion. To utilise the more convenient correspondences to which reference is made in these volumes, is a normal standard of working: the magician will on occasion do well with less, according to need or judgment, but it is sometimes desirable to do considerably more. He, and also the other participants if great and specialised force is required, should in such cases devote pre-arranged periods to meditation or reading which centres upon aspects of the sphere in question: for these periods they need not meet, but the times arranged should be as harmonious to the sphere as is possible. Some authorities, particularly in older writings, would have those concerned, and particularly the leader of the working, to keep during the preparatory phase to a diet specially devised to be in harmony with the intended sphere of working, and it evidently is their intention in prescribing solitude also that the magician should be able at that time, and not merely during the working itself, to attune his psychic and physical organization to the sphere. A remark able example of this counsel is to be found in the Picatrix, a medieval Latin translation of an eleventh-century Arabic text attributed to Maslama b. Ahmad al-Majriti, which makes reference to much Greek as well as Arabian lore: a general life of retirement in desert places, and fasting, is recommended to the magician, but then for evocation of the Planetary Spirits he is bidden to choose his food according to the correspondences of the planet whose Spirit he will after due preparation evoke. The rite itself is eventually performed with conformably coloured raiment, appropriate perfume and incense, and images suited to the reason for the work. A modern example, no less thorough in operation, is presented in Crowley’s "Moonchild." In all counsel concerning the correspondences, however, no matter how simple or how elaborate the means employed, it is a main objective that when the working itself takes place, the principal person in the group, preferably with any other participants, should be able without difficulty to enter into the temper of the sphere.

In the type of magical rite which we are chiefly con sidering, the need for long and elaborate preparation is almost completely replaced by development of the mythic element, which means that in the psyche an affinity with the character of the working does not need to be created, so much as contacted where it already exists. This brings out a further important aspect of the relationship of myth to magick. The problem which it helps to resolve is one which has been considered from different viewpoints elsewhere in these volumes: the need for involvement, in the sense of conviction of the necessity for one’s work, and at the same time for non-involvement, in the sense of freedom from anxiety as to the outcome of the work. While anything approaching psychodrama (that is to say, in context, an exact presentation of an individual’s inner personal situation requiring a specific outcome) must be banished from enactment in any rite of High Magick and could only ruin the work, it can cogently be pointed out here that the great myths of mankind are such as to awaken a response, conscious or otherwise, in any human psyche to which they are adequately presented, so that each participant can have a true sense of "belonging" in the work at a deeper than personal level. For this reason, a magical rite can never be placed on the level of a formal theatre-piece: it is a part of the life-force flowing through the participants. Further, the student is adjured that when he is privately using a ritual, no matter how exactly it may have been prepared by himself or by another, if when performing the actual working he feels that another gesture or ritual movement would be "right" he is to introduce it without hesitation.

From the nature of ritual working a number of further principles can be deduced, which have to be considered with a view to practical usage. The first of these concerns the place of working itself.

Here we are concerned with the containing limits of the magical action, the limits which must obtain for the conditions created by the magician. Even supposing that he purposed to influence the whole world by a single magical working (we might in any given case question the wisdom of this, but we cannot deny its possibility as a general hypothesis): still his course of action should be to build up his force within a limited space and to send it thence, rather than to allow it from its beginning to disseminate among the myriad other influences in the world, changing both in context and in potency as the Hegelian processes of transformation affected it. These processes must inevitably come into play: but the Work should first be completed in security. In other words, the Circle of Working is for true ceremonial magick a necessity: whether for the protection of the magician and his work, or for the simple conservation of energy, or for both purposes. According to its use is the circle constructed and fortified: in different rites we find the circumference traced with the sword-point for instance, or measured by "treading," while the working area may be fortified by Names of Power uttered or inscribed, and signs inscribed, or traced in the air, or framed within the visual imagination and thence projected forth.

Many magical operations involve one or more circumam bulations of the area of working, within the limits of the circle. While purposeless circumambulation is to be avoided, it is suitable to introduce such a movement for the following reasons.

(1) To create a simple vortex of energy. It may be desired to perform a circumambulation, or a number as suitable for the rite, simply to stir the Light and to emphasise an intention of invoking or of banishing, of setting a current in motion or of inhibiting it. The operator may begin circum ambulating from whatever quarter is most appropriate.

Where a "positive" intention has been implemented with the aid of a deosil circumambulation in the early part of a rite, it is very usual to balance this by an "unwinding" or widdershins circumambulation in the later part. This however is not a custom which should be observed except in cases where it has real purpose. In many instances it would be foolishness to "balance" the circlings in this manner and would simply annul the effect of the working: rather, the desired effect obtained, the forces involved in its production should be allowed to sink into quiescence.

There is among occultists a frequent reluctance to employ widdershins movements--that is, anti-clockwise movements--because of a popular belief that these are wholly or predominantly associated with the "Left-hand Path." This whole subject is very confused in the thoughts of many: for the peace of mind of our students we must state here that for purposes of invoking in rites of Luna or of the Chthonic Powers, or for banishing in any other rites, the left-hand turn or the widdershins circumambulation are altogether in order.

Those who would shun the Left-hand Path should avoid works for a selfish and debased end, including works which border upon that description if the planetary association thereof be Saturn, Mars or Luna; likewise avoiding any form of blood sacrifice. The direction in which one turns in the course of a rite cannot decide the matter.

(2) Circumambulation may validly be employed to represent a cosmic orbit, on such principles as have already been indicated.

(3) It may represent a systematic progress or pilgrimage, particularly when the quarters or half-quarters, or some of those points, can be used symbolically to represent stages in the journey. The correspondences of the compass are for the magician to employ and to bring out in his working if they are appropriate thereto: any which are irrelevant may simply be ignored, since they are not potent unless activated.

(4) Aral or "closed" circumambulations to create a simple vortex of energy. These occur in group-workings, and are performed not in a processional manner, but with linked hands, right hand palm downwards, left hand palm upwards: the number of revolutions being suited to the working, or as many as the circle leader feels to be right. Aral circumambu lation is performed deosil: it is always positive and must in no circumstances be countered.

(5) Orthrochoros: a triple circumambulation deosil, betokening the Triune Light, begun in the East, the arms raised in the '*’ position. This circumambulation is only used following high spiritual invocations. It is invariably to be countered at the conclusion of the rite by:

Dyseochoros: a triple circumambulation widder shins, betokening the withdrawal of the Triune Light: begun in the East, arms crossed on the bread left overright, head bowed.

Whenever possible, the operator should in his own mind assume a definite character, even where this is not specified in the rite. If he is simply "himself," it should be his magical personality of which he is aware: if the theme provides a specific enactment, then to assume for the time being a distinctive role will be far more satisfactory both from his own viewpoint and for the effectiveness of the rite. If the rite calls for one’s taking on the character of the East Wind, it is better to be Eurus or Wabun or another manifestation of that wind, with whatever local identity is most apt to the working, than to remain faceless. If there is a lack of mythic material, one’s ritual character should be built up from the imagination, as appositely as possible. This is not intended to imply the assumption of form, in the manner associated with god-forms: all that is intended here is a distinct characterization. These characters can be as vivid as the types of the Commedia dell’Arte, the "feel" of a particular role being the essence of the matter. For a group working, characterizations should be co-ordinated.

As to the actual movements and gestures which make up a rite, these should never lack in significance. If a rite is being constructed, long speeches should as a general rule be avoided, action should be interpreted by speech but should only minimally be replaced thereby; likewise it should be remembered that an action has besides its intrinsic significance, a significance deriving from the part of the circle in which it takes place, and the instrument (if any) with which it is performed. For example: the East is the place of light’s origin. To carry a lighted lamp to the East, therefore, is to offer it for identification with the Source of Light: thus to dedicate it and spiritualise its significance. To carry a lighted lamp to the West, however, is to carry light into darkness, to illumine the shadowed places, to carry enlightenment. In works involving aspiration to an Element or to the qualities signified thereby (as distinct from works involving invocation of Elemental forces) the natural zodiacal positions for the Elements are appropriate:

East--Fire, South--Earth, West--Air, and North--Water.

To stamp the foot is an emphatic assertion of dominion over the lower powers, inner and outer. By implication, it is especially suited to the Adept in his aspect as the Grand Hermetic Androgyne, proclaiming victory over the lower elements. So the winged white steed Pegasus, Poseidon’s emissary, stamped with his hoof upon the summit of Helicon to subdue that rebellious mountain: furthermore, from the apical hoofprint flowed Hippocrene, the sacred fount of the Muses. Thus the magician, whether in his magical personality simply, or in the character of Mithras, Heracles or other Heroic victor over the chthonic powers, may stamp his foot, either to signal his will to command them, or to indicate his freedom from their bondage and his right to drink of the nectar of inspiration.

To raise something upward is, generally, to bring it into operation as well as into manifestation. For example: in the A.S. Consecration of the Sword, before the act of consecration, the Sword ishorizontal ;afterbeing consecrateditisraised up, the blade vertical, while the triumphant Song of lubar is chanted.

The magical student should practice making broad, distinct gestures. Unless he is very young or else has some experience in costume drama, he may find difficulty in this; but these gestures are to belong to his magical personality, and self-consciousness must be put aside as it has been in develop ing the magical voice. The Astral Light is to be moved by the physical presence of the magician as well asby his expressed will. When once gesture has thus been made significant, it will be found that the direction and mode of every movement is as expressive as the glance of the eyes. Nor must the two-way action of expressive movement be forgotten. Quite apart from magical effects proper, to express a psychic state is to induce that psychic state, and care should be taken not unwittingly to induce a state liable to inhibit the effect of one’s own ritual. For this reason, movements which express or suggest such inhibitive qualities as submission, inertia or dejection are generally to be avoided in magical working. The predominant tone of magical work is one of courage, generosity, and resolu-tion. whether active or passive, and the major forces which the magician has to interpret are those of divine expansiveness and abundance. These are reflected in rite and gesture.

Thus when the goddess Ishtar (as an example) descends through the Underworld to reclaim Tammuz, and when at each portal of the seven adverse spheres she divests herself of a garment, her gesture in so doing is not one of abjection, or of submission to the demons of the sphere: she raises her arms upward and outward. Then she proceeds upon her way in divinity victorious. So when she reaches the seventh and deepest level, and renounces her final garment, entering to find Tammuz and to lead him thence to life renewed, she is her supernal and all-luminous self, the Star in effulgent nudity.

So also, to consider a different manifestation of the Goddess in a totally other region, cultural settingand emotional tone: when the gaiety and love and exquisiteness of Maitresse Erzulie are at last swept into a paroxysm of grief, the arms of the possessed in the Voudoun cult are flung wide and her trance passes into comatose sleep: the fact and the gesture have many witnesses. Here too the gesture is upward and outward. This is a grief neither selfish nor ephemeral: it is cosmic.

Our gesture when as the preliminary to a ritual it is necessary to bring power down from the Sacred Flame to sweep through the conscious personality, is the Calyx. In some measure, it may be said that the Calyx foreshadows the Formula of the Grail.

That the Holy Grail is associated in a manner with the Cauldron of Regeneration of Celtic lore, is a frequent statement among specialists in medieval legend. It is a statement whose profound truth goes far beyond any literary evidence, seeing into the very nature of Adepthood itself. The "Quest of the Grail" is indeed a distinct and recondite image of the task which lies before the risen Adept, the Knight, the Professed. Here, "that which he is to seek, he is to become": the sacred vessel which is to receive the Wine of Inspiration. Nevertheless, this is but one level of the Grail’s significance. It is also the specific and sacred symbol of the Goddess in her Binah Aspect, as receptacle of the power of the Supernal Father. The Grail thus represents a high spiritual reality: one of its co-symbols is the Universe. To raise up a magical instrument, as has been said, is to bring it into manifestation and into operation. He who elevates the Grail in solemn ritual, therefore, is making offering so far as he is able, of the universe itself as a receptacle and instrument of Divine Power. Not only that: he is also whether explicitly or implicitly offering himself as an instrument of that Power.

When the Great Wand or Spear is ritually conjoined with the Grail, there is celebrated the supernal union of the Father with the Mother, the implanting of a seed of mighty significance. This is a theme of high import in the mysticism of the Stella Gloriosa; for when the new Fiat is uttered, and Adonis is conceived in the womb of Myrrha the King’s Daughter, all has been prepared for the new equal-armed cross to come in due time to manifestation in the octagonal shrine of the centre. The Great Work is completed in one octave to recommence in another.

* * * * *

Keep in mind that the ingredients of any ceremony vary from tradition to tradition and can become quite complex when the HP and HPS blend in Ancient Egyptian ceremonial principles; this essay should be used as a guideline if you're new to what goes into a High Magick ceremony. Blended high ceremonies really need to be well planned out.

Wa'eb Kheti A. Sahure, Elder HP
Temple of Kemetic Wicca

Sunday, October 3, 2010

Musing: Sun Tzu - "Laying Plans"



Translated from the Chinese




"26. Now the general who wins a battle makes many calculations in his temple ere the battle is fought.

The general who loses a battle makes but few calculations beforehand. Thus do many calculations lead to victory, and few calculations to defeat: how much more no calculation at all!

It is by attention to this point that I can foresee who is likely to win or lose."

Monday, September 20, 2010

Developing Your Natural Psychic Abilities

Thousands of years ago our ancient ancestors routinely used their own psychic abilities for survival.

The ancient cave people had no elaborate equipment which we take for granted now. All they had were primitive weapons, their strength and their natural powers upon which their survival depended.

Our ancient ancestors might have seemed "primitive" in terms of technology and other modern conveniences taken for granted today, but they sure were not primitive when it came to making maximum use of the psychic and other powers they knew they had and why they had them.

Before they embarked on a hunting trip they would paint a picture of their quarry on the wall of the cave, and by using trance techniques would reach out to their intended prey, which was often many times their size, then by using psychic attraction would cause the prey to be ready and waiting. They always knew beyond doubt they would feed and they did feed - which is why they were able to survive such harsh ice-age conditions, with no real shelter or warmth, and in turn why we are here today.

Had our ancient ancestors not used their natural powers, which is all they had or needed, to the greatest extent, they would likely not have survived and neither therefore would the human race.

Even today there are cultures hidden away from "modern civilization" who still use their psychic powers of all types, including telepathy in order to survive quite happily.

In one remote part of the world remote tribes communicate telepathically just as modern humans use the telephone, sending advanced messages, new and information purely by psychic means. To them this is natural, and they would likely be shocked to discover that "modern humans" do not use this ability or even realize it exists.

You might well even have heard of the "psychic leaders" of many tribes - known as "shamans".

The truth is - Everyone has the potential to develop Shamanic Powers - and even greater!

Psychomancy Power Secrets

Here are some of the very valuable abilities you will learn in this powerful book:
  • The Nature of Psychomancy
  • How to Develop Yourself
  • Simple Psychomancy
  • The Astral Tube
  • Psychometry
  • Crystal Gazing
  • Space Psychomancy
  • Past Time Psychomancy
  • Future Time Psychomancy
  • Dream Psychomancy
  • And much more....
Learn more about the exciting "Developing Psychic Powers" series HERE.


Dr. Kheti A. Sahure, DD, MscD, ThD
Metaphysician & Alternative Spiritualist

Friday, September 3, 2010

The Black Pullet - Secret Science of Magickal Talismans

"Comprising the Science of Magical Talismans and Rings; the art of Necromancy and the Kabbalah, for conjuring the aerial and infernal spirits, sylphs, undines, and gnomes; for acquiring knowledge of the secret sciences; for discovering treasures, for the gaining of power to command all beings, and for unmasking all evil spells and sorceries...."

Read more here...

Our very close friends at the Temple of Kemetic Wicca may assist and teach you about working with this potent magickal gremoire of the Tenebrae Artes.

Wednesday, September 1, 2010

Pythagoras and the Delphic Mysteries

FIRST DEGREE—PREPARATION The novitiate and the Pythagorean life
Then only began the novitiate called the preparation (paraskeia), which lasted at least two years, and might be prolonged to five. The novices, or listeners (akousikoi), during the lessons they received, were subjected to the rule of absolute silence. They had no right either to offer any objection to their masters or to discuss the teaching they were absorbing. This latter they were to receive with respect and to meditate upon at length. To impress this rule in the mind of the new listener, he was shown the statue of a woman, enveloped in a long veil, her finger raised to her mouth, The Muse of Silence. Pythagoras did not regard youth as being capable of understanding the origin and the end of things. He thought that exercising them in logic and reasoning, before inculcating in them the meaning of truth, made them ignorant and assuming sophists. His idea was to develop in his pupils, before everything else, intuition, that primordial and superior faculty of mankind. To do this, he did not teach anything mysterious or difficult. Starting from natural sentiments, the first duties of man on entering life, he showed their relations with the laws of the universe. Whilst first of all inculcating in youth parental love, he magnified this sentiment by assimilating the idea of father to that of God, the mighty creator of the universe. "Nothing is more venerable," he said, "than the quality of fatherhood. Homer named Jupiter king of the gods, but in order to show forth all his greatness, he called him the Father of gods and men." He compared the mother to generous and beneficent Nature; as heavenly Cybele produces the stars and Demeter gives birth to the fruits and flowers of the earth, so does the mother feed the child with every joy. Accordingly the son ought to honour in his father and mother the representatives, the earthly images, of these mighty divinities. He also showed that the love of fatherland comes from the affection one feels in childhood for one's mother. Parents are given to us, not by chance, as is commonly believed, but in accordance with a previous, a superior order, called Fortune or Necessity. To honour them is an obligation; but a friend must be chosen. The novices were invited to form themselves into couples, according to their several affinities. The younger should seek in the elder the virtues he is himself aiming after, and the two companions should encourage each other towards a better life. "A friend is another self; he must be honoured as a god," said the master. Though the Pythagorean rules imposed on the "listener" novice absolute submission to his masters, it gave him full liberty in enjoying the charms of friendship, it even made of this latter the stimulus of every virtue, the poetry of life, the path leading to the ideal. Individual energy was thus roused, morality became poetical and instinct with life, a rule lovingly accepted ceased to be a constraint, it became the very affirmation of an individuality. It was the wish of Pythagoras that obedience should be an assent and an approval. Besides this, the moral prepared the way for the philosophical teaching. The relations set up between social duties and the harmonies of the kosmos gave one a glimpse into the law of universal agreement and analogy. In this law dwells the principle of the Mysteries, of occult teaching and of the whole of philosophy. The mind of the pupil thus grew accustomed to find the impress of an invisible order on visible realities. General maxims and concise prescriptions opened out perspectives of this superior world. Morning and evening the Golden Verses rang in the pupil's ear: "First worship the immortal Gods, as they are established and ordained by the Law. Reverence the Oath, and next the Heroes, full of goodness and light." In commenting on this maxim, it was shown that the gods, though apparently different, were really the same among all people, since they corresponded with the same intellectual and soul forces active throughout the universe. The sage could consequently honour the gods of his own country, whilst forming of their very essence a different idea from that generally held. Tolerance for every cult; unity of people in one humanity; unity of religions in esoteric science: these new ideas became vaguely outlined in the mind of the novice like glorious divinities one might catch a glimpse of in the splendour of the setting sun. And the golden lyre continued its lofty teachings: "Honour likewise the terrestrial Dæmons by rendering them the worship lawfully due to them." Besides these lines the novice saw beaming as through a veil the divine Psyche, the human soul. The heavenly pathway shone like a stream of light, for in the worship of heroes and demi-gods, the initiate saw the doctrine of the future life and the mystery of universal evolution. This secret was not revealed to the novice, but he was made ready for its understanding by being told of a hierarchy of beings superior to humanity, its guides and protectors, called heroes and demi-gods. It was also stated that they served as intermediaries between man and divinity, that by their help he might step by step succeed in drawing nearer to them if he practised heroic and divine virtues. "But how could communication be obtained with these invisible spirits? Whence comes the soul? Whither does it proceed? Wherefore the sombre mystery of death?" The novice dared not formulate these questions in words, but his looks revealed them, and the only reply his masters gave him was to point to the strugglers on earth, the statues in the temple, and the glorified souls in heaven, "in the fiery citadel of the god" to which Hercules had attained. At the foundation of the ancient mysteries, all the gods were included in the only supreme God. This revelation, including all its consequences, became the key of the Kosmos. This was the reason it was entirely reserved for initiation, properly so called. The novice knew nothing of this, he was only permitted to catch a faint glimpse of this truth from what he was told of the powers of Music and Number. "Numbers," said the master, "contain the secret of things, and God is universal harmony." The seven sacred modes, built up on the seven notes of the heptachord, correspond to the seven colours of light, to the seven planets, and to the seven modes of existence reproduced in all the spheres of material and spiritual life from the smallest to the greatest. The melodies of these modes when skilfully fused should tune the soul and make it sufficiently harmonious to vibrate in accord with the accents of truth. With this purification of the soul corresponded of necessity that of the body, which was obtained by means of hygiene and strict moral discipline. The first duty of initiation was to overcome one's passions. He who has not harmonized his own being cannot reflect divine harmony. And yet the ideal of the Pythagorean life contained nothing of asceticism in it, for marriage was looked upon as sacred. Chastity, however, was recommended to the novices, and moderation to the initiates, as being a source of strength and perfection: "Only yield to voluptuousness when you consent to be less than yourself," said the master. He added that voluptuousness exists only in itself, comparing it "to the song of the Sirens who disappear when one approaches them, to find in their place nothing but broken bones and bleeding flesh on a wave-beaten rock, whilst true joy is like the concert of the Muses, leaving celestial harmony behind in the soul." Pythagoras believed in the virtues of the woman initiate, he greatly mistrusted the untrained woman. On a disciple asking him when he might be permitted to approach a woman he replied in ironical accents: "When you are tired of your peace of mind." The Pythagorean day was spent in the following manner. As soon as the sun's glorious orb rose above the blue waves of the Ionian sea, gilding the columns of the Temple of the Muses, above the abode of the initiates, the young Pythagoreans chanted a hymn to Apollo, the while performing a sacred, dignified dance. After the obligatory ablutions, they proceeded in silence to the temple. Each awakening is a resurrection possessed of its flower of innocence. The soul must retire within itself at the beginning of the day and remain unsullied for the morning lesson. In the sacred wood, groups were formed round the master or his interpreters and the lesson was given beneath the fragrance of the mighty trees or the shade of the porticoes. At noon, prayer was offered to the heroes and benevolent spirits. Esoteric tradition affirmed that good spirits preferred to approach the earth with the radiance of the sun, whilst evil spirits haunted the shades and filled the air when night came on. The frugal midday meal generally consisted of bread, honey, and olives. The afternoon was devoted to gymnastic exercises, then to study and meditation, afterwards to some mental work on the morning's lesson. After the sun had set, prayer was offered in common, a hymn sung to the gods of the Kosmos, to heavenly Jupiter, to Minerva, Providence, and to Diana, guardian of the dead. Meanwhile storax, manna, or incense were burning on the altar in the open air, and the hymn, mingling with the perfume, rose gently in the twilight, whilst the early stars pierced the pale azure sky. The day ended with the evening meal, after which the youngest member read aloud, comments being made thereon by the eldest. Thus the day passed like a limpid spring, clear as a cloudless morn. The year was divided according to the great astronomical events. Thus the return of hyperborean Apollo and the celebration of the Mysteries of Ceres saw novices and initiates of every degree, both men and women, assembled together. Young girls played on ivory lyres, married women, in purple and saffron-coloured cloaks, performed alternate choruses, accompanied by songs, along with the harmonious movements of strophe and antistrophe, imitated later on in tragedy. In the midst of these great fêtes, at which a divine presence was manifested in grace of form and movement and the penetrating melody of the choruses, the novice was conscious of a kind of presentiment of occult forces, the all-powerful laws of the animated universe, the deep, transparent heavens. Marriages and funeral rites were of a more intimate, but none the less solemn, character. There was one original ceremony, calculated to strike the imagination. When a novice, of his own accord, left the institute to take up once more the ordinary every-day life, or when a disciple had betrayed a secret of the doctrine, an occurrence which happened only once, the initiates raised a tomb for him in the consecrated precincts, as though he were dead. The master said: "He is more dead than the dead, for he has returned to an evil life; his body appears among men, but his soul is dead; let us weep for it!" This tomb erected to a living man, persecuted him like his own phantom, like an evil omen.
Excerpted from Pythagoras and the Delphic Mysteries, by Edouard Shuré, [1906], pp. 74-83,