Jensaarai Codes

 The Official Jensaarai Code

    I am the protector of justice.
    I know no emotions,
    I know the truth of the force.
    I am the Protector of worlds.
    I know the power of the true Force.
    I am the defender of the true way.
    The Universe knows not of my existence.
    I pledge myself to the Jensaarai.
    For I have found true life,
    In the protection of the people I care.

    The Jensaarai code made by the first dark side Jensaarai.

    There is no light there is no dark there is only the Jensaarai
    There is no love there is no hate there is the truth
    There is no contempt there is honor
    There are no limits, there are the true believers the Jensaarai

For further explorations of the Jensaarai tradition, I recommend The Order of the Jensaarai at:

The Octave of Energy by Robert Anton Wilson

The Octave of Energy
by Robert Anton Wilson

The Law of Octaves was first suggested by Pythagoras in ancient Greece. Having observed that the eight notes of the conventional Occidental musical scale were governed by definite mathematical relationships, Pythagoras proceeded to create a whole cosmology based on 8s. In this octagonal model Pythagoras made numerous mistakes, because he was generalizing from insufficient data. However, his work was the first attempt in history to unify science, mathematics, art and mysticism into one comprehensible system and as such is still influential. Leary, Crowley and Buckminster Fuller have all described themselves as modern Pythagoreans.      In China, roughly contemporary with Pythagoras, the Taoists built up a cosmology based on the interplay of yang (positive) and yin (negative), which produced the eight trigrams of the I Ching, out of which are generated the 64 hexagrams.

      In India, Buddha announced, after his illumination under the Bodhi tree, the Noble Eightfold Path. Patanjali subsequently reduced the science of yoga to eight “limbs” or, as we might say, eight “steps.”

      The game of chess appeared, somewhere in the East, with a grid based on 8×8 (64) squares.

      Kepler discovered the laws of planetary motion serendipitously, while trying to make the planets fit into the Pythagorean octave.

      In the 1860s, English chemist John Newland showed that all the chemical elements fall into eight families. Since Pythagorean mysticism was unfashionable at that time, Newland was literally laughed at and rejected by the Royal Chemical Society. In the 1870s, with much more detail than Newland, the Russian chemist Mendeleyev proved once and for all that the elements do, indeed, fall into eight families. His Periodic Table of the Elements, an octave of hauntingly Pythagorean harmony, hangs in every high-school chemistry class today. (The Royal Society later apologized to Newland and gave him a Gold Medal.)

      Nikolai Tesla invented the alternating current generator which unleashed the modern technological revolution after a series of visions in which, among other things, Tesla “saw” that everything in the universe obeys a law of Octaves.

      Modern geneticists have found that the DNA-RNA “dialogue”—the molecular information system governing life and evolution—is transmitted by 64 (8×8) codons.

      R. Buckminster Fuller, in his Synergetic-Energetic Geometry, which he claims is the “co-ordinate system of the Universe,” reduces all phenomena to geometric-energetic constructs based on the tetrahedron (4-sided), the octet truss (8-sided) and the coupler (8-faceted with 24 phases). Fuller argues specifically that the 8-face, 24-phase coupler underlies the 8-fold division of the chemical elements on the Mendeleyev Periodic Table.

      In 1973, unaware of Fuller’s coupler—which I called to his attention later—Dr. Leary began to divide his 8 circuits into a 24-stage Periodic Table of Evolution (see diagram). Leary also began attempting to correlate this with the Periodic Table of Elements in chemistry.

The eight families of elements are:

  1. Alkalis
  2. Alkalines
  3. Borons
  4. Carbons
  5. Nitrogens
  6. Oxygens
  7. Halogens
  8. Noble Gases

The first four families, Leary argues, are terrestrial; that is, they are heavy and tend to fall to Earth. The second four familes are extraterrestrial; that is, they tend to float off into space. Similarly, he says, the first four circuits of the nervous system are terrestrial; their function is to control survival and reproduction at the bottom of the 4,000-mile gravity well in which we presently live. The second four circuits, then, are extraterrestrial; they will come into full play only when we live normally in zero-gravity—in free space.

Read from the bottom up. Every infant begins at “The Newborn”; every adult arrives at least at “Centralized Socialism” (although the Control Center or major input may be back at “The Toddler” or “The Fighting Child” or in any slot). So-called geniuses, mystics or weird people with wild (psionic) talents are post-larval and may reach any slot from “Centralized Socialism” to “Cosmic Fusion.”      If the higher circuits have been appearing (partially and in rare mutants) for a few thousand years this is because the DNA blueprint is gradually modifying us for future evolution. If higher circuit functions are increasing at an accelerating rate, as many parapsychologists think, it is because we are now mutating rapidly toward extraterrestrial migration.

      Mathematically, the first four circuits are Euclidean-Newtonian, orienting us to the 3-dimensional space and 1-dimensional time of planetary life. The second four circuits are Fullerian-Einsteinian, orienting us to interstellar zero-gravity.

It is possible to see the development of an individual (if s/he evolves all the way to the 8th circuit) and the development of life itself as the working out of this Octave of Evolution. Thus:
  Individual Life
Circuit I infant bio-survival
uni-cellular life
Circuit II “toddler” emotional
politics (ego)
vertebrate life,
territoriality, hierarchy
Circuit III student Mind hominid languages and
Circuit IV post-pubescent
urbanized civilization
Circuit V neurosomatic rapture free-fall (extraterrestrial migration)
Circuit VI neuroelectric
Intelligence squared
Circuit VII neurogenetic consciousness immortality
Circuit VIII satori Cosmic Union
But this is strikingly similar to the teachings of Gurdjieff (which may be, according to many, the secret inner teachings of Sufism). The Gurdjieff vibration numbers and the levels of consciousness, as named by Gurdjieff, fit the table as follows:
384 Movement center Circuit I Invertebrate reality
Leary began to divide the 8 circuits into 24 phases when he became convinced each circuit has an input phase, a decision-making phase, and an output phase. (On the synaptic level, this appears as dendrites, receiving signals; cell-bodies, making decisions; and axions, transmitting signals.) This 24-stage chart can be correlated with the hebrew alphabet, thereby casting new light on the Cabala; with the Tarot cards (a Sufi invention, it is claimed); and with the Zodiac (if we allow 12 extraterrestrial types to complete the 12 terrestrial types of traditional astrology). These correlations are not indicated on the diagram; a full explaination will be found in two later books.      Working independently of Leary and myself, Prof. Peter Flessel of the University of San Francisco has begun developing correlations between the 8×8 codons of the genetic code and the 8×8 hexagrams of the I Ching, which he will be publishing soon. It is to be hoped that in further work on the Leary Periodic Table, Flessel’s correlations and Fuller’s 24-phase geometric coupler, science will eventually find a “Rosetta Stone” by which the traditional symbols of occultism can be decoded in modern, operational, scientific categories.

      It will be seen by the thoughtful reader that this emerging synthesis evades entirely the usual dichotomy of “spiritual” versus “material,” being purely geometric-energetic. It is thus in the same philosophical category as the unitary systems of the East (Zen, Taoism, Vedanta, etc.) and outside the dualisms of Greek logic and Christian theology. Any attempt to describe this octave as “mystical” or as “materialistic” misses the real point of Leary’s work.

By Robert Anton Wilson
The Eightfold Model of Human Consciousness

Four Sages of Dwartii

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Four Sages of Dwartii


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Statues of two of the Four Sages of Dwartii from the Chancellor's office

Statues of two of the Four Sages of Dwartii from the Chancellor’s office

The Four Sages of Dwartii were controversial philosophers and lawgivers from the early days of the Galactic Republic. The Four Sages were Sistros, Faya, Yanjon, and Braata.

Supreme Chancellor Palpatine had bronzium statues of the Four Sages in his office suite in the Republic Executive Building on Coruscant. The statue of Sistros, one of the two flanking the doorway to Palpatine’s private antechamber, had a lining of neuranium underneath its bronzium surface. Hidden deep within this statue lay Palpatine’s lightsaber, dormant for decades until finally used against four “traitorous” Jedi Masters on Empire Day.

[edit] Behind the scenes

One of these figures appears in Mas Amedda‘s staff, included in Amedda’s action figure.

[edit] Appearances

[edit] Sources

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hear it, feel it

Wikia Spotlight


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Stained Hands

Stained Hands

Twisted cartoon
in a pool of doubt,
young grunt soldiers
carried out,
from the Grand Vizier’s
private stables-
run if you are able,
eyes bleeding,
& souls beveled,
leveled up to the dust-
rust & photos
of freedom’s days,
the little ways, we lost,
poor girl,
never saw it coming-
let us be-bop
to the cathedral,
we’ll try to remember when,
over gin & cards,
we laugh back to school days,
& pray for rain,
to wash,
Capote blood,
wash it all
from our
stained hands.

                     -Seti I Shadim

OOB Projection Training

Projection Training ~
To trigger the projection of the Astral body, while fully conscious, there are four major requirements:

  1. Relaxing your body 100% while staying awake.
  2. Concentrating 100% on what you are doing.
  3. Having enough energy available.
  4. Pressuring the astral body to separate.

Together, these four things will trigger an OOBE. Below are exercises that will teach how to relax the body, concentrate, clear the mind, raise energy, stimulate the chakras and enter the trance state.
Calming The Mind

You must learn and master, a full body relaxation exercise. If you know one already it can be adapted to suit. Here is a very simple one:

Sit, or lie down, and relax. Starting with the feet, tense and relax them. Continue this with calves, thighs, hips, stomach, chest, arms, neck and face until your whole body is deeply relaxed. Go over this a few times, making sure your muscles stay relaxed. Note: Deep physical relaxation is the key to bringing on the trance state, i.e., deep relaxation CAUSES the trance state. Once you are in the trance state, projection on the astral body is relatively easy. Contemplation
When you begin meditation, you will be plagued with thoughts from your surface mind, which acts like a huge Memo pad. It carries messages, reminders, pressing thoughts, problems to solve, unresolved issues etc. It is constantly busy, it NEVER rests, thoughts, thoughts, thoughts, one after the other, all clamouring for attention.

Before you attempt to clear your mind, with the breath awareness exercise below, it is wise to deal with these surface thoughts by the act of contemplating them. Sit comfortably, do the relaxation exercise and think, nothing more, just think. Search out the strongest thoughts in your mind and examine them, try to resolve and understand them. Note the word: THINKING. Contemplation does not involve clearing the mind, or visualisation. It requires you to THINK, deeply and thoroughly, about something, to gain a deeper understanding of its nature and how it relates to you, an insight. Breath Awareness Meditation
This is a simple form of meditation. It will clear your mind and focus your awareness.

Sit or lie down, close your eyes, do the relaxation exercise and clear your mind. Breathe deeply and slowly and focus on the breath entering and leaving your body. Feel it coming in and feel it going out. Focus your whole attention on your lungs and the breathing process. This simple action is enough to occupy your surface mind. Firmly push intruding thoughts away, as they begin, before they can gather strength and distract you. Breath awareness occupies the surface mind and allows you to think on a much deeper level. Surface Thoughts
Sounds are very distracting, they generate surface thoughts. A car horn will generate: “Who’s that, what’s happening?” A door opening will generate: “Who’s coming in or going out?” The surface mind is always very curious about what is happening around you. It wants to know all, and it wants to inform you of every little thing going on around you. It will pressure you to open your eyes, get up and go find out what’s happening.

Don’t allow this to happen. USE these annoying, attention getting thoughts as a training aide. By learning to quash and ignore them, your powers of concentration will grow. Stop these annoying little thoughts as they begin, before they can take root and grow into something stronger. For example: Who’s that, what’s happening? becomes: “Who’s th…………” Who’s coming in, or going out? becomes: “Who’s co…………” With practise the start of these distracting thoughts will get shorter and shorter until you get: Wh….?……..?………. and ” W…?………………. ” And finally: …….?……..?………………………?………………. Many people say they can’t clear their mind as they are too easily distracted by all the small noises that surround them, in normal day to day activity. DON’T use music or other sounds to blanket these out, USE them for training. It’s like weight lifting, if you train with feather dusters your strength will not increase. You need to master this, the hard way, if you want to give your mind real muscle. Slowly but surely you will master the ability to clear your mind. Once accomplished, you will have gained a valuable mental tool. You will be able to concentrate 100% of your attention, on one task, to the TOTAL exclusion of everything else. I sometimes meditate, in the trance state, successfully, in a noisy, crowded room with little children crawling all over me. NOTHING breaks my concentration.

You must be able to concentrate and focus completely on what you are doing. Lack of concentration is the single, biggest cause of projection failure. It affects every aspect of projection, from the relaxation exercise, to the trance state and actual projection.

To test your ability to concentrate: Sit and relax. Close your eyes and clear your mind of ALL thought. Breath slowly and deeply and count each breath, at the end of each exhale. Hold it totally BLANK, apart from the counting, for as long as you can. See how long you can hold it like this. Be honest with yourself, every time a thought intrudes start counting from the beginning again. You are doing well if can do this for longer than ten breaths. Ten breaths is, however, not long enough. Don’t worry though, this can be improved on with the exercises below. Concentration Exercise (1)
After image retention: Relax, calm your mind, and look at a candle or a light bulb. Place this light in front of you, a couple of feet away, and stare fixedly at it for a minute or two. Close your eyes and concentrate on the after image this will generate behind your closed eyelids. Try and keep sight of it for as long as possible. Use breath awareness to keep the mind clear, while you are doing this. Try and make the after image grow, instead of fading away.

Concentration Exercise (2)
One point stare: Pick a spot on a wall and gaze at it. Don’t focus on it, just gaze at it gently. Clear your mind of ALL thoughts and forcibly hold it blank. Concentrate HARD, on breath awareness while you are doing this. When you feel a thought beginning, push it away, don’t let it finish! Hold this for as long as you can. Do this several times a day, or more if you can.

Concentration Exercise (3)
Energy breathing: Sit and relax. Close your eyes and clear your mind. Do the breath awareness exercise and imagine the air you are breathing IN is brightly coloured energy of your favourite colour. Imagine the air you are breathing OUT is a murky Grey, full of toxic waste. This is a purification exercise. It stimulates your chakras into absorbing energy on the inhale and getting rid of negative energy on the exhale.

Note: Try your best not to tense up while you are doing these concentration exercises, it is ALL mental. In the beginning, it may feel as if you have to tense your mind into a tight ball to stop it thinking, but in time you will find the opposite to be true. When you get used to it, clearing the mind is VERY relaxing.
The Trance State

When you have attained a deep level of relaxation and mental calmness, you will feel your body begin to get very, very heavy. This heaviness is the main symptom of your brain waves changing from the Beta to the Alpha level as you enter a trance. The trance state is caused by deep physical and mental relaxation. There is nothing weird or supernatural about it. It simply means your body has entered the sleep state while your conscious mind is fully awake.

How To Enter A Trance

Do the relaxation exercise and calm your mind through breath awareness. Imagine you are climbing down a ladder in the dark. Don’t visualise a ladder, just imagine you can feel yourself doing it. On the exhale, feel yourself climbing a step or two down the ladder with your imaginary Hands (outlined below). On the inhale, feel yourself holding still on the ladder. What is needed is a mental falling effect inside your mind. This changes the level of brain wave activity from the awake level (Beta) to the asleep level (Alpha) or the deep sleep level (Theta). Once your level of brain wave activity reaches Alpha you will enter a trance. Keep doing this for as long as it takes. The time it takes to enter trance will vary, depending on your experience with deep relaxation and mental calmness.

Note: Once you get the heavy feeling, stop the mental falling exercise. If you don’t like the ladder, imagine you are in a lift, feel yourself falling on the exhale and holding on the inhale. Or, Imagine you are a feather, feel yourself floating down on the exhale and holding still on the inhale. As I stated above, you need a mental falling effect to lower your level of brain wave activity. This mental falling effect, when combined with deep relaxation and mental calmness, will cause you to enter the trance state. Feel free to use any scenario you are familiar with to bring about this going deeper feeling. A trance feels like: Everything gets quieter and you feel like you are in a much bigger place. There is a very slight humming feeling in your body. Everything feels different. It feels a bit like putting a cardboard box over your head in the dark, you can feel the atmosphere change. It’s like everything goes fuzzy or slightly blurred. Any sharp noises, while in trance, feel like a physical blow to the Solar Plexus.
Deep Trance

The level of trance you achieve depends greatly on your relaxation, concentration skills and will power. To enter a deeper trance, i.e., Theta level and beyond, you have to concentrate much more and for much longer, on the mental falling sensation aided by breath awareness. The first level of trance, i.e., when you get very heavy, is quite deep enough for projection. I strongly advise against forcing yourself deeper than a light trance, until you have plenty of experience with the trance state.

How can you tell if you are entering a deep trance? There are four very noticeable symptoms:

  1. An uncomfortable feeling of cold that doesn’t make you shiver, coupled with a steady loss of body heat.
  2. Mentally, you will feel very odd and everything will feel extremely slooooow. Your thought processes will slow down as if you had been given a strong pain killing injection.
  3. You will feel disassociated from your body, i.e., a strong floating sensation and everything will seem far away.
  4. Total physical Paralysis.

Note: These four things, ALL TOGETHER, signify you are entering a deep trance. Do not mistake the mild floating sensation you sometimes get with light trance, i.e., as you astral body comes loose. Or the slight loss of body heat from sitting still for a long time and the mild paralysis, i.e., the heaviness, for a deep trance. The sensation of deep trance is quite uncomfortable and unmistakable for what it is. It is very difficult to get into the deep trance state, as you need highly developed relaxation, concentration and trance state skills plus lots and lots of will power and mental energy. You will not accidentally fall into it. If you are worried you are going too deep, remember this: You CAN pull yourself out of it at any time. Concentrate ALL your will on moving your fingers or toes. Once you can move a finger or toe, flex your hands, move your arms, shake your head, i.e., reanimate your body; and get up and walk around for a few minutes. Falling into a deep trance should not be a problem with these exercises. I have seen many people in meditation groups etc, enter a light trance and not be able to pull themselves out of it, i.e., they float away with the faeries. Usually some kind person will talk them out of it or massage their wrists etc to get them to come back to reality. This is unnecessary and is the result of lop- sided training, i.e., no concentration or will power training. The person only THINKS they cannot come back and therefore does not try very hard. It is also a good way of getting attention from the group. Note: Your mind is extremely powerful and has vast untapped resources. It can do ANYTHING, no limits, if it is trained, conditioned and properly motivated.
Energy Body Expansion

At some point after entering the trance state, you will feel a mild paralysis come over you. This will soon be accompanied by a deepening vibration and a buzzing feeling all over. You may also feel like you are huge and swollen. The paralysis, vibrations and the huge feeling are symptoms of the energy body expanding and the astral body loosening. This is part of the normal sleep process. The energy body expands and opens in order to accumulate and store energy. During this, the astral body drifts free, slightly out phase with the physical body.

Trance Familiarity

Many people blow their projection simply because they are not used to the trance state. They think it is a briefly opened window into the Astral dimension. This is simply NOT true. If you stay mentally and physically calm when you enter the trance state, you can maintain it for hours. I regularly spend several hours at a time in the trance state, during meditation.

If, when you enter trance, you think: “Yes! I’ve done it!…I’m in a trance! Gotta hurry and get out quick…before it stops!” You’ll blow it for sure! The trance will be ended by the simple act of getting over excited, i.e., breaking relaxation and mental calmness. It’s a good idea to spend time in the trance state, just getting used to it, before you try and project. Just relax, stay calm, focus on breath awareness, and hold the trance. It won’t end until you want it to. Get used to how it feels. When you are comfortable doing this, do the energy raising and chakra stimulation exercises, below, in trance. Note:

  1. You do not HAVE to be in a trance to learn energy and chakra work, it just works better in trance.
  2. Trance practise can be done lying down, but is best done in a comfortable arm chair.

Your astral body will be loose in the trance state, so try lifting your astral arms and legs out, one at a time. Use your HANDS to do this, as shown in the next section. Focus and FEEL your awareness in an arm and slowly lift it free of your body. You may feel a slight tickling or localised dizziness inside your arm or leg, as you do this. Lift your astral arm up and look at it, with your eyes closed, but DON’T move a muscle. In this state you should be able to see it through your closed eyelids, but don’t worry if you can’t, this will come later. Lifting your astral arms free is good practise for projection. Later, you will use these astral arms to pull your astral body free of the physical.
Tactile Imaging

Tactile imaging is a perception or FEELING of localised bodily awareness.

Your hands are very closely linked to your bodily awareness. They are intimately aware of every part of your body. Imaginary HANDS, outlined below, is only an extension of this (hand to body) awareness. When you are asked to feel your awareness, in any part of your body, PRETEND your hands, your real hands, are going to touch that area of your body. Then use the awareness this generates in that area to imagine your imaginary HANDS are there. Keep your eyes closed and hold your hands out a foot or so in front of your face. Concentrate, FEEL where they are and try and SEE them through the blackness behind your closed eyes. Cross your wrists, slowly move them about, turn your hands over, open and close your fingers. Look hard, concentrate, as if you were trying to see in the dark, and you will see a faint moving shadow in your minds eye, where your hands and arms are. Close your eyes and touch the tip of your nose with the index finger of your right hand. You’ll find you can accurately put that finger on any part of your body with your eyes closed. Try it, put your hand, your real hand, on different parts of your body like this. You know exactly where your hands are at all times, you can sense and feel where they are. If you observe what is happening in your mind, while you are doing this, you will notice you become aware of the part of your body you are going to touch, the instant you make the decision to touch it. Go over your whole body like this, getting used to the sensation of awareness it generates in different areas of your body. What is happening is this: Part of your mind is shifting into, and HIGHLIGHTING, the area you are going to touch, in order to guide your hand to the exact spot. Your mind shifts part of its awareness to this spot and acts like a homing beacon for your hand. The ability to shift your awareness into different parts of your body like this is VITAL to energy work and this projection method. Note: You do not have to actually visualise these HANDS, i.e., see or imagine you can see them. It is ALL tactile, NOT visual. You just have to be able to pretend to FEEL them doing something, like you are rehearsing some simple action in your mind. I originally developed this technique for blind people. Blind people cannot visualise AT ALL, if they have been blind since birth, but they do have a very keen sense of bodily awareness. The majority of sighted people also have great trouble with visualisation of any kind, and all projection techniques depend heavily on visualisation. This being the case, I developed a projection technique that does NOT depend on visualisation to exert pressure on the astral body to separate. It turned out to be so much easier, and more successful, than the other visualisation based techniques, that I discarded them in favour of this simple tactile method. Note: Blind people are not blind in astral form. The astral body does not have any organs as such, it is a point of consciousness only. The astral body you are aware of while projecting is provided courtesy of the subconscious minds creative ability.

Astral Rope ~

A key ingredient to the new projection techniques is an invisible, imaginary ROPE hanging from your ceiling. This ROPE will be used to exert dynamic pressure at a single point on your astral body to force its separation from the physical.

The ROPE technique is similar, but more direct and hence more effective than other more passive and indirect methods, such as reaching out and pulling vibrations into you, or visualizing yourself in front of yourself. The idea of pulling vibrations into you is vaguely illogical, if you understand the mechanics of projection. The vibrations are an effect and NOT a cause of projection. When enough pressure is exerted on the astral body to loosen it sufficiently, the energy body expands and energy flows through the chakra system to be stored in the energy body. This flow of energy through the hundreds of chakras and their connecting web, or meridians, CAUSES these vibrations. This normally happens, unnoticed, during sleep.
Putting The Pressure On

The more passive, indirect methods of projection do exert some pressure on the astral body to separate, but over a wide area. They still shift the point of consciousness out of the body, albeit obtusely. Any mental action that exteriorizes the point of consciousness will exert some pressure on the astral body.

The action of pulling yourself hand over hand up a rope is a strong, one pointed, natural action that is easy to imagine yourself doing. The ROPE technique concentrates ALL your mental resources into one strong, DYNAMIC action which exerts a high level of pressure directly on a single point of the astral body. There are many other, more subtle, ways that exert pressure on the astral body as well. Many of these are unsuspected for what they are. Most meditation exercises, for example, exert PASSIVE pressure on the astral body. You may imagine you are going down in a lift, falling, climbing down a ladder, or just floating downwards. Whatever the technique, it is designed to reduce brain activity. Any self induced, inward falling sensation places passive pressure on the astral body, which will cause brain activity to lower and bring on the trance state where a deeper level of the mind is revealed. The action of inward falling obtusely shifts the consciousness out of the body, exerting passive pressure on the astral body over a wide area, but in the reverse to that needed for projection, i.e., general downwards pressure. This, in a way, is like trying to get your astral body to FALL out of your physical body on its own, i.e., your point of consciousness tries to FALL, downwards, out of the physical body. What most people do to project is to either exert forward, passive pressure on the astral body, by visualizing themselves floating out of themselves, and HOPE, they can make it happen, i.e., trigger the projection reflex. Or, they try a more direct method, such as visualizing themselves out of their body, which is very, very, difficult. Lets face it, 99% of people can’t visualize for peanuts and the act of mentally visualizing yourself OUT of your body, AND shifting your consciousness INTO this visualization is almost impossible for most people. The other popular method is to try to pull vibrations into you. This method is slightly more effective than most as it exerts some pressure at a single point, but it is still an indirect mental action and, therefore, obtuse. All the above, and the general lack of information about the mechanics of projection, i.e., HOW it happens, accounts for the extremely high failure rate amongst people learning to project. Holding passive pressure, over a wide area, on the astral body, for long enough, WILL activate the projection reflex, eventually. But this can take a long time and can be mentally exhausting. I have developed, through recent research, a better, faster and more dynamic method of projection that is very effective. I call this technique simply ROPE. It is not that using an imaginary rope for projection is such a new idea, it’s not, but the understanding of the mechanics of it and the application of this knowledge to ROPE is. If you fully understand how a thing works, you can use that thing more efficiently and, therefore, get better results. The new ROPE method overcomes the general misdirection of mental resources and the chronic waste of mental energy caused by the usual lengthy procedures needed for projection. ROPE shortens the time needed to cause a projection and optimizes the use of available energy. One of the most important ingredients for a successful projection is to be properly motivated. Without this motivation you will not have enough mental energy to succeed and will either fall asleep or forget the projection afterwards. It is, therefore, important to keep preparation time as short as possible so it is not such a daunting and mentally exhausting task. One thing a new projector has in abundance is enthusiasm. Enthusiasm is pure mental energy. ROPE, plus the understanding of HOW it works, harnesses and makes better use of this energy resource and vastly improves the success rate.
Getting The Feel Of Rope

Pin a length of ribbon, string or rope to the ceiling above you. Have it hanging within arms reach so you can easily reach up and touch it. Reach out and touch it frequently, until you are used to where it is in your mind. This ribbon is only a tactile aide. By being able to reach out and touch the ribbon, you used to the spatial coordinates of where the invisible, imaginary ROPE is. This grows both in your mind and hence as a thought form, making it easier to imagine yourself reaching out and climbing the ROPE with your imaginary HANDS.

Note: You do NOT have to actually visualize, or see, the ROPE at any time, just know where it is supposed to be. This method uses NO visualization at all. Reaching out and pulling on this invisible, imaginary ROPE with your imaginary HANDS shifts the bodily awareness induced point of consciousness, out of the body, with a strong natural action that puts direct pressure on one point of the astral body.
Active Chakra

One important point, if you happen to have more activity in your Brow Chakra, rather than in your Heart Chakra, which is sometimes the case. Move the position of your imaginary ROPE so your arms would be at a 45 degree angle above your head. If you use the visual aide, ribbon, move this so it is hanging down over your head, rather than over your chest.

Changing the angle of the ROPE shifts the point of pressure you are exerting on your astral body to the most active chakra area and gives better results. In any case, position the angle of the ROPE at the most natural, and easy to imagine attitude for you. It is important that the angle and position of the imaginary ROPE feels natural. Experiment with this angle until it feels right for you.
Are You Ready To Project?

All the exercises in the previous parts of this series ARE necessary training for projection. They are, however, not all needed, in themselves, for the projection process. If you do all the relaxation, mental calming, mental falling, chakra opening and energy raising exercises during the actual projection, you can use up your supply of mental energy. This can cause mental exhaustion and you may find yourself short of energy and willpower for the all important exit.

All the exercises should be done separately from the projection itself. They are training and development exercises, designed to improve control over body and mind and to increase the flow of energy through the chakras. This is like working out in a gym as a part of football training. You don’t actually use these exercises to play football, they just improve your fitness and strength so you are able to play football effectively. Do the training exercises separately UNLESS you are trying for an advanced, real time projection. It is, then, still necessary to go through the full procedure, and activate all the chakras, prior to the actual projection. The whole point of learning to project is to get your astral body to separate from the physical while fully conscious. The earlier you get a fully conscious projection the better. Otherwise, you may eventually give it all up as just too difficult. Therefore, I strongly suggest all beginners concentrate on the simplest, most effective way of getting a conscious projection. Once you have some projection experiences under your belt you can try for some of the more advanced, and hence, more difficult, types of projection. By doing the training exercises you have learned to relax your body, to clear your mind and to concentrate. You have begun to develop (MBA) (mobile bodily awareness) and how to use MBA, i.e., using your imaginary HANDS to preform certain tasks both inside and outside of your body. You have also begun to awaken and develop your chakras so your energy flow is stronger and you have, hopefully, spent time getting used to being in trance. These skills have prepared your body and mind for projection.
When To Do The Exercises

Even though the exercises, in themselves, are not all used during the projection sequence, they still need to be done regularly in order to develop the necessary skills and energy levels for conscious projection.

I suggest the relaxation, concentration and mental calming exercises are done daily. Use your imaginary HANDS with these exercises. The energy, chakra work and other exercises should be done at least once a week to be effective. If you wish to do them more often, fine, just don’t tire yourself out too much.
Your Projection Sequence

It is difficult to give one, universal projection sequence as everybody has different levels of skill and natural ability. For this reason I give a more flexible sequence and I suggest you tailor a projection method to fit your own needs and level of skill. Keep in mind the old saying “What works, works!” Play around with your sequence until you find what is right for you, what is easiest and most effective.

First, here is the full sequence for advanced, real time projection.
Full Sequence

Do relaxation exercises thoroughly.

  1. Clear your mind through breath awareness.
  2. *Enter trance using mental falling method.
  3. *Raise energy and open all chakras.
  4. Pull yourself out with the imaginary rope.


  • Steps 3* and 4* can be swapped to suit, i.e., do the energy work before, or after, entering trance. Energy and chakra work is more effective done in trance, but some people have trouble getting into that state. Doing the energy work first will usually help bring about the trance state.
  • IF you still have trouble getting into trance, use the ROPE climbing method at step 3* instead of the mental falling exercise, until you are in trance. Then stop the ROPE climbing and do the energy work before continuing with the projection, i.e., using the ROPE at step 3* will help force your body into the trance state.

How To Use ROPE

This is a complete projection method in itself, if you have good powers of concentration. I suggest beginners concentrate solely on this method until they have more experience. This projection method will give you a normal Astral projection. The duration of this projection, in real time, will depend on the level of chakra development and energy flow you have attained.

  1. Do the relaxation exercise thoroughly, until you are completely settled. This should only take a few minutes, don’t overdo it.
  1. Reach out with your imaginary HANDS and pull yourself, hand over hand, up the strong, invisible, imaginary ROPE hanging above you. Try and imagine the feel of a strong, thick, coarse rope in your HANDS.

    Don’t try and visualize this ROPE! I want you to imagine you are reaching out and climbing this ROPE in the pitch dark, so you can’t see it at all, you just know where it is and can imagine the feel of it. Visualization wastes valuable mental energy that can be better put to use exerting direct pressure on your astral body. You will feel a slight dizzy sensation inside you as you do this, specifically in your upper torso. This is caused by exerting dynamic pressure on the astral body. The dizzy sensation comes from the astral body loosening. This feeling of vertigo will intensify the more you pull on the rope.

    Very Important Note:

    1. This dizzy feeling and any feelings of pressure or vertigo, etc, caused by your mental action of pulling on the ROPE MUST be carefully noted by you. Learn the EXACT mental action you are doing to cause this vertigo. You will have to train your mental climbing action to cause this feeling. So, the first few times you try this ROPE method, concentrate on finding the right mental action to do this. Once you learn what it is you are doing to cause this, and can recreate it at will, you are really starting to get somewhere.
    1. IGNORE *ALL* SENSATION YOU FEEL DURING PROJECTION or it will distract you, break your concentration, and ruin your chances for projection. Concentrate on the single act of climbing your ROPE to the TOTAL exclusion of everything else. Put everything you have into this one action, but don’t tense up, it must be all mental.

  2. Keep climbing, hand over hand, ever upwards, and you will feel the heavy sensation come over you. The pressure you are exerting on your astral body will force you into the trance state. Ignore this when it happens and concentrate on what you are doing.

  3. Keep climbing and you will feel your chakras open in response to the pressure, don’t stop.

  4. Next you will feel the vibrations start, your whole body will seem to be vibrating and you will feel paralysed. Concentrate, single minded, on climbing your rope, don’t stop.

  5. Next you will feel yourself coming free of your body. You will buzz slightly as you pull yourself out of your body. You will exit your body in the direction of your imaginary ROPE and will be hovering above your body. You’re free at last!


  1. Do *NOT* allow yourself to break concentration when the vibrations start. They are a natural EFFECT caused by energy coursing through all the hundreds of major and minor chakras in your body. If you do find yourself being distracted by this, spend more time and effort doing the concentration exercises until you overcome this problem.
  1. If you have not mastered using your imaginary HANDS for relaxation, raising energy and chakra work, you may have difficulty using them for climbing the ROPE. This does not mean you have to be able to open your chakras successfully to project using this method, you don’t, it just helps if you can.

This method is very direct. It shortens the time needed to project dramatically! Once you start pulling in earnest on your ROPE you WILL enter trance, your chakras WILL open, the vibrations WILL start and you WILL project, very quickly! The speed of this method may frighten you, the first time you try it. Everything will seem to happen TOO fast. You will get used to this, though, and will appreciate having plenty of mental energy to use during your projection. If your powers of concentration are good, you have a better chance of getting out with this method than any other, even if you haven’t mastered deep relaxation and trance skills. What is needed, apart from the ability to concentrate, is the ability to carry out strong mental actions, without any corresponding muscular action, i.e., you have to be able to separate mental and physical actions. If you have trouble with any part of the ROPE method, analyse it, find the problem area, then go back and concentrate on the related training exercises until you overcome the problem.
A ROPE Variation

Note: One good variation for the simple ROPE technique, is to do the full sequence of exercises and energy, chakra work first, but separate from, the actual projection. Do the full sequence, but `don’t’ close your chakras. Get up and have a break, make yourself comfortable, have a drink etc. Then return to your bed /chair fresh, spend a couple of minutes relaxing and go straight to your ROPE. This will increase the amount of chakra energy available during the projection.

The Mechanics OF How ROPE Works

ROPE is the most dynamic projection method to date and can override the need to do just about anything else, once it is learned. Let me explain a little more of the mechanics of what actually happens when you use ROPE, by breaking it down:

Clearing The Mind:
The mental act of climbing the ROPE fully occupies and clears the mind.

Brain Wave Activity:
Clearing the mind and exerting, one pointed, dynamic pressure on the astral body, forces the reduction of brain wave activity.
Deep Relaxation:
Reducing brain wave activity forces the body into a deep level of relaxation.
Trance State:
Exerting dynamic pressure on the astral body, while the physical body is deeply relaxed, and brain wave activity is at a low level, FORCES the mind and body into the trance state.
The Chakras:
Exerting dynamic pressure on the astral body, while in trance, FORCES the energy body to expand and the chakras to open.
Exerting dynamic pressure on the astral body while the energy body is in its expanded state and the chakras are open causes energy to flow through the 300 odd chakras in the body and causes the vibrational state.
Exerting dynamic pressure on the astral body while the energy body is in its expanded, vibrational state forces the astral body to separate from the physical.
Note: If you exert enough pressure on the astral body, during the final phase of the projection sequence, the exit, it will override the projection reflex completely. This forces a manual separation of the physical / astral bodies. This means: Instead of involuntarily buzzing out of your body via the projection reflex, at the climax of the projection, and ending standing at the foot of your bed etc, you will exit your body in the direction you are pulling on the ROPE.
How Long Does It All Take?

The whole projection process can be done in less than fifteen minutes, I can do it in under five minutes. The speed of the method allows you to use ALL your available energy in one burst. If you don’t get out in the first fifteen minutes I doubt if you will during that attempt. IF this is the case, either get up and have a break and come back to it later, or get some sleep.

Using the ROPE method, literally, amazed me with it’s ease and simplicity the first time I used it. It shortened my usual projection time (20-30 minutes, from a cold start) to about 5 minutes, for a normal astral projection. I still, though, use the full sequence when I do a real time projection. My analysis of the mechanics of this process comes from using the ROPE method myself and carefully observing what was happening to my body during the separation.
My First ROPE Projection

Here is an account of the first time I tried ROPE, while I was developing it as a viable theory:

I laid down on my bed, I was thinking of my new theory. I had been working out a projection technique that blind people could do. A technique that did not require ANY optical visualization. I had come up with the idea of using the sense of touch to exert pressure on the astral body, tactile imaging, as this sense is strongly developed in blind people. I lay there for a few minutes, mulling it over in my mind, while I generally relaxed and settled myself, ready for sleep. Then I decided to try it out, to see if it was practical. Note: I did not do any of the usual relaxation, mental calming or chakra energy exercises. I just wanted to see if I could exert pressure on my astral body with this method. I reached out my imaginary hands and began climbing the ROPE, hand over hand. I immediately felt a sensation of vertigo in my stomach and upper torso and a dizzy feeling inside my bones, like a tickling inside my arms and legs. I snapped my mind shut, stopped all thought, and focussed my will on the climbing action. I could feel the enormous pressure it was exerting on my astral body, my astral head and upper torso was starting to lift free, trying to go up the ROPE following the line of pressure I was creating. Still pulling, I felt my brain waves drop into the alpha state and the heavy sensation came over me as I entered trance. I kept pulling and the trance deepened, my body was now paralysed. Still pulling, my chakras opened and the vibrations started. I was amazed, I had only been doing this for a couple of minutes! I kept pulling and my astral body soon buzzed free of the physical. This was completely different from any other projection I had ever done. The projection reflex did not seem to have time to cut in and project me out of my body. I had, literally, pulled myself free on my own. I floated above my physical body, still aware of myself on the bed. I went to go through the wall into the lounge, where there was more light, as it was pretty dark in my room. Suddenly I was in a strange world. “Where the hell am I” I thought. There was very dim light and there was a damp fog all around me. There was a large building in front of me with an old fashioned thatched roof. To the side of me was an old rail fence made of massive, rough hewn timbers. I leaned against the fence and thought about it all. I looked past the house and saw the reflection of water. There was a lake on the other side of the house. This didn’t make any sense to me and I was getting bored, so I tried to move to another realm in the dream pool. I looked at my hand, this usually works. It was white and pale and unreal looking, it began to melt quickly, like white ice under a blowtorch. My fingers were soon stumps and then my hand melted and my arm began to follow. I tried remaking it. It grew back as I concentrated on visualizing what it should look like, but started to melt again as soon as I stopped concentrating. Then it hit me, why this scene was so familiar to me, I was in a picture! I have a large picture hanging on the wall in my room, in the exact position where I had tried to pass through the wall. This picture has an old house with a thatched roof and a rough hewn fence around it. There is a lake behind it and it is early dawn, when the sun is just starting to illuminate things. There was no doubt about it, I was in my picture. I’d had enough of this, it was too dim to enjoy the projection, or to do anything. I focussed on my physical body, which I could still feel. I concentrated on moving my mouth and eyes and this soon brought me back to my physical body. I sat up in bed and thought about it while I recorded the results of my experiment. Settling back down again I tried climbing the ROPE again. Within a couple of minutes I was back out of my body again. “This is great,” I thought! I hovered above my body and looked about the room. There in the gloom was the picture on the wall, the one I had entered by accident. I went towards it again, just to see if it would happen again. As I got closer it got bigger and bigger and I seemed to shrink into it. As I got right up to it, instead of passing through it, I seemed to move into it and there I was again in this dimly lit, damp world with the old house and the fence. Everything felt real about it, the fence felt like wood and even the air smelled different, it had a farm like, swampish smell about it. Leaving the picture again and returning to my body, I again wrote everything down in my notebook. I lay there for most of the night, thinking about what had happened, mulling over the implications of it all, what it all meant…. This is how I discovered `Virtual Reality Projection’ or (VRP) This technique is, at the moment, in its infancy and only a rough method for creating a custom made world. I plan to do some more experiments with it in the near future, though, to get the bugs out of it.
Remembering It All

One of the biggest problems with any kind of conscious OOBE is remembering it all when you wake up.

Here’s what you can do about this not remembering. As soon as you wake up, sit up in bed and pull those memories back. Sit up and think hard. Put aside a few minutes quiet time each morning to do this. It will train your dream memory. During this quiet time, run key phrases through your mind until you hit on something. Say things like: I looked at my watch and… I looked at my hands and… I was walking… I was talking to… I was just going to… I was over at… I was flying over… I was having a… I was inside a… I was with… These are examples of phrases that can lead you to a fragment of dream memory you can lock on to. Make up some more phrases to suit yourself. It may feel like there is nothing in your mind to remember, but try hard and put some REAL effort into it. They are there, you just have to reach in and locate them. Once you lock onto a fragment of memory, more can be located and more and more. You will be surprised how much you can remember this way. It is important to write these down as soon as you remember them. Even if you have to do this several times during the night. They may seem vivid and unforgettable at the time but dream, or astral, memories will usually vanish in a few seconds if you don’t record them. Just write down a few key words and you can fill in the blanks later. With practise, this writing down can be dispensed with as your astral recall develops.
Stuck ?

Some people may find they are stuck in part of their body during projection. They may come free of their body but be stuck at their head or stomach area. If this happens, exerting too much pressure by pulling on the rope may cause some physical pain and discomfort. There are two possible reasons for this: If you are stuck in the middle, stomach area, it may be diet related, i.e., a heavy protein or meat meal before projection can cause this.

Remedy: Eat a light meal, eat plenty but have fish or white meat instead of red meat and avoid fats, oils, nuts and cheese. If you are stuck at the head, or some other part, this is a sign of an inactive chakra, possibly caused by an energy blockage. Remedy: Concentrate on opening this stuck chakra during the energy exercises. If this happens during your projection sequence, stop everything and open that chakra, you will be in trance so it will be easier. Once you have done some work on it, try pulling on the ROPE again.

OBE – Astral Sex ~

Once the exit out-of-body has been mastered and projectors begin tentatively exploring their new environment, another natural barrier will soon raise its ugly head. As projectors begin expanding their horizons they will soon begin encountering other projectors. Out-of-body sex (more commonly called astral sex) is a human-nature complication of consciousness and bioenergetic incarnation. It forms a strong natural barrier in the way it can hinder serious out-of-body operations. It severely limits projectors’ time out, and hence what can be accomplished, in the control they have over sexual thoughts and urges. Sexual thoughts are veritable time bombs waiting to go off in the minds of projectors.

In real life, sexual thoughts and fantasy type sexual imagery pop into peoples minds all the time, privately and harmlessly. These are perfectly natural and do no harm whatsoever. In the sensitive out-of-body environment though, where projectors really are what they think, thoughts are not quite so private and harmless. Sexual thoughts not only affect the sensitive environment, but are also inflicted upon other projectors, often against their will. The quality of projectors’ thoughts have a strong influence on OBE operations, as well as on any other projector or being they happen to come across. If sexual thoughts are not well controlled, projectors will not get very far or last very long in the OBE environment.

The telepathic, energetic and empathic linkage provided by the Silver Cord, between the physical/etheric body and its projected double(s), transmits energies and emotions back and forth between them. This includes sexual urges and energies generated by erotic thoughts. The sex instinct is one of the most powerful primal urges and, like all strong emotions, can cause serious energetic problems if allowed to flourish unchecked in the sensitive out-of-body environment. Unchecked sexual thoughts and urges can cause powerful energies to compound back and forth between the physical/etheric body and its projected double. This can cause a type of sexual energy feedback to occur which can have a powerful effect on projectors.

Real Time Sex:

Out of body sex is much more intense during a real time projection. The closer to real time a projector is, the more sensitive and vulnerable he/she is to sexual energies. There is a more direct energetic connection between the physical/etheric body and its real time projected double, than there is with its astral double; this being dimensionally more remote. Because of this, primary energy centers can become heavily involved when triggered by real time sexual encounters, especially the genital and base centers. These are the underlying causes of the intensity and speed of real time sexual encounters. Real-time sex can be almost instantaneous, as compared with an astral or lucid dream types of sexual encounters.

A real time sexual encounter, accidental or deliberate, always has the same outcome. It results in almost instantaneous orgasm for the physical body of the initiator. The same thing can also often happen to the initiator’s passive or unwary sexual partner as well, when another projector is involved.

With real time sex between two living projectors, there is more at work than just emotional and sensory feedback between the physical and projected bodies of a single projector. The genital centers of both projector’s can connect in a powerful way. This causes a flooding exchange of male and female sexual energies to occur between the physical bodies of both projectors, via their connecting Silver Cords, regardless of the genders of the projectors involved.

Once real time sex is triggered between two projectors, a strong two-way energetic connection forms. This can cause them both to experience uncontrollable sexual arousal which may be completely out of character for either of them. The sexual urge compounds back and forth, causing a shared real-time sexual experience and energy exchange. Each projector contributes to the intensity of the real time sex act, albeit often unwittingly. In most cases there is no deliberate intent on the part of the initiator of the real-time sex act; only a few stray sexual thoughts gone awry. Both projectors are victims of their own built-in sensitivity to sexual urges and energies, with these being greatly intensified in the sensitive out-of-body environment.

Real-time sex does not require physical close contact as it does in the physical dimension. Sex can be initiated and consummated from a distance of several meters or more, with the two projectors involved never getting any closer. But some attempt to enact a semblance of physical copulation will normally occur once the real-time sex process is triggered.

Enhanced Genital Sensitivity:

When a genital center connection (genital chakras) is made during the real-time sex act, both projectors become intimately aware of the sensation of their genitals interacting with each other; as if their physical bodies were actually copulating. But as with all other senses of the projected double, the sensation of touch is enhanced, thereby greatly magnifying OBE genital contact sensations. I would say genital sensitivity is multiplied by a factor of at least ten. It can be so sensitive that orgasm can occur in the physical bodies of both projectors within only a few seconds. This will normally end both projections, for obvious reasons.

Because of this enhanced sensitivity, genital sensations experienced during real-time sex encounters are highly abnormal and feel nothing at all like they do in the physical dimension. The nearest I can describe this abnormal sensation is that both projectors feel themselves expanding into and becoming their oversensitive genitals. They become their genitals and then feel they are copulating with another set of whole-body genitalia, those of their real time sex partner.

Male Initiator:

A male real time sex initiator (his projected double) perceives the rapid extrusion of a giant penis-like limb as extending from his genital area. He then flows into and becomes this penis-like limb. This extends rapidly and deeply penetrates the body of his real-time sex partner in the genital area, even from several meters distance. It rises up through and fills his partner’s whole body. The initiator has the sensation that the inside of his partner’s body is made of dense, warm, energetically tingling and throbbing, ultra-erotic jelly.

Female Initiator:

A female real time sex initiator (projected double) feels a similar sensation to the above. But her genital limb is usually perceived by her as more of a vagina-like tube extension. This tube grows from her genital area and she flows into it, becoming it. This then extends and deeply penetrates her real-time sex partner’s body in the genital area. It then rises up through her partner’s body. Her sensation is more of an engulfing of the inside of her partner’s body rather than one of simply penetrating. This variation in female genital sensations has also been described to me as an engulfing of the spine of her real-time sex partner.

Real Time Sex Process:

There are as many possible variations of the real-time sex act as there are variations with physical body sex acts, including gay and lesbian varieties. Also the type of genital-like extension sensations that can be experienced, male or female, are not limited by gender. However, the genital and base centers are always involved somewhere in the sexual energy feedback equation. The coming break-down of a real-time OBE sexual encounter is therefore best considered as being the basic real-time sex process only.

1. Some variation of boy meets girl happens between two real-time projectors. Sexual thoughts and imagery cause desire to be felt by the initiator. This desire reflects back and causes immediate sexual arousal to occur in the initiator’s own physical body.

2. Physical sensations of sexual arousal now rebound back into the initiator’s own projected double, from their own sexually aroused physical body.

3. Sexual thoughts, imagery and erotic sensations flood back and forth, compounding swiftly on telepathic, emotional and bioenergetic levels. This rapidly intensifies sexual arousal in both the initiator’s projected double and physical body.

4. Now fully aroused, the initiator’s physical body floods its projected double with sexual energy from its now highly active genital center, via the Silver Cord, as his/her physical body rapidly approaches orgasm. This sexual energy flooding momentarily strengthens the initiator’s projected double, but sexual urgency now consumes the initiator and results in a total loss of control. Once this stage is reached there is no way to avoid the inevitable consummation of the real-time sex act.

5. The initiator’s own projected double will now usually attempt some form of rapid and urgent copulation with his/her ensnared passive partner. This forms a remote energetic connection between the physical bodies of both projectors, via both their projected double’s Silver Cords. This connection is much stronger if the passive projector becomes sexually active at this stage.

6. Erotic thoughts and sensations, emotional and sexual energies feed back and forth between the initiator’s physical body and its projected double, resulting in a type of erotic sexual energy feedback, swiftly compounding and increasing. This will usually involve the passive partner as well, especially if he/she has become aroused and more or less involved. This creates something like a four sided sexual energy feedback loop, greatly increasing its intensity.

7. Orgasm now occurs in the physical body of the initiator, and very often in his/her passive partner’s physical body as well. Physical body orgasm usually ends the projection immediately.

Depending upon the speed and intensity of this type of real-time sexual encounter, the passive partner may or may not become actively involved in the real time sex act. Therefore his/her physical body may or may not experience orgasm. This depends greatly upon the timing of the encounter: on whether or not there is enough time before the energy connection is broken by the initiator, when he/she consummates their side of the real-time sex act. The entire real-time sex process can take place, from the first stray sexual thought to orgasm, in under ten seconds; with either male or female initiator.

The above real-time sex process can have many variations and subtle nuances. Orgasm will almost always occur in the initiator, and more often than not in his/her passive partner as well. The above process can happen so fast that the initiator will often be unaware he/she has initiated sex. That is, until a rapidly approaching physical body orgasm signals the end of his/her projection.

Age, physical condition, sexual orientation and inclination do not have any effect on out-of-body sex. Many people, although they may be old and think they have outgrown the sex urge, find they feel young and sexually active again during OBE. In the out-of-body environment everyone is young and vital and therefore has an inherently sexual nature. And you will never see an old, fat, skinny, crippled or ugly projector. The innate sense of whole-body self-awareness that everyone has sets when a person is in their prime, usually around the age of thirty-five. This sense of whole-body self-awareness shapes the image of the projected double, which is not limited by the true appearance and condition of the actual physical body.

Because of the above, sexual identity can also affect perceptions of the physical body during OBE. For example, a male with female sexual identity can appear as having a female body during OBE. In the fluid OBE environment you are what you think and can become what you feel. (See ‘Shape Shifting’ — Astral Dynamics)
Astral Sex:

Astral sex (and even lucid dream sex) is dimensionally more remote and thus causes far less sexual energy and sensory feedback than real-time sex; although this will still occur to some degree. Astral sex is therefore slower and more like normal physical body sex. The enhanced genital sensitivity and abnormal genital sensations, as discussed above, are also greatly reduced during astral sex. Because of this, astral sex can provide extremely realistic sensations: much more like normal physical body sex. Astral sex can also sometimes be orgasm-less due to this reduction in sensitivity, and because of the lengthier time it takes to achieve orgasm and hence consummate the astral sex act.

Apart from other living projectors, many of the characters encountered during astral projections do not appear to be real; although some are what could be called native inhabitants of astral realms. Also, as I mentioned earlier, most of the characters encountered during lucid dreams do not appear to be real. Many seem to be something like created shells, whose sole purpose is to form a temporary part of the scenery.

It is possible to have sex with a created or unreal character, although the genital contact sensations resulting from this type of sexual encounter are greatly reduced; seemingly more distant than sex with other projectors. The sensations of sex, in this case, appear to be provided by the subconscious mind of the projector/dreamer; probably based on memories of past real-life sexual encounters. The erotic mental imagery and sexual sensations are, however, just as real to the physical/etheric body and energetic feedback will still occur, albeit less strongly and in a kind of solo sexual energy feedback loop.

In my experience, other people encountered during real-time OBE’s are usually other living projectors. However, this does not hold true once a projector shifts out of the real-time zone and into the lower astral; which will often happen unnoticed. There is one main way to tell real projectors and sentient astral beings from unreal created characters. Real and unreal beings behave and react quite differently to interference, including sexual advances. An unreal character will simply stand there and let anything be done to them, be it sex or murder. They will not resist or complain in the slightest, no matter what is done to them. However, real astral beings and other projectors, even unaware sleep projectors, will be found to object, resist, fight, verbally abuse and even attack interfering projectors; although they will usually just leave the area.

In the crowded areas of the lower astral (the lower astral is heavily populated, mainly with unaware sleep projectors) projectors may find themselves occasionally passing through the bodies of other projectors. This often cannot be avoided, given the usual directional control problems. If they are not careful, this in itself can often trigger the astral sex process, especially when passing through the projected doubles of the opposite sex. Even if a projector keeps his/her mind clear they will still feel a sexual stirring; although this can be controlled and overcome if his/her stays focused and keeps moving. This type of accidental astral sex will only snare projectors if they are careless.

As I said, the majority of OBE sexual encounters are unintentional and/or accidental affairs; although there most definitely are exceptions. Sex just happens when sexual thoughts, fantasy imagery and sexual energies get out of control. Either male or female can initiate the out-of-body sex process with the same end result. This can also happen between two projectors of the same gender.

Only one projector is needed to initiate out-of-body sex, which in most cases is usually enough to involve and consummate sex for both projectors. If projectors do not wish to have out-of-body sex, they have to be aware of what can happen and act quickly. If they meet another projector and think or sense a sexual encounter may be likely, they must move away very quickly to avoid it, especially in real time. But this is easier said than done. It can happen very quickly and the initiator may not even intend to have or cause a sexual encounter. He/she will often be just as shocked by what transpires as their unwitting partner may be.

One comforting thought here is that no one can get seriously hurt through chance out-of-body sexual encounters; no matter what or how it happens. It is not only very quick, but there is no actual physical contact. It is also rarely remembered by either party; and if remembered then only as a dream. And as there is no actual physical contact, it really is the ultimate safe sex. In my opinion, OBE sex can cause no more psychological scarring than a bad dream might.

An important aspect of the natural barrier which out-of-body sex forms, which deserves consideration, is just what this can do to the energetic value of a projector. In the out-of-body environment like attracts like in a very big way. If projectors deliberately seek out and engage in disreputable sexual behavior during a projection, they will find the dimensional level they are capable of operating on will begin to lower significantly. Repeated deliberate sexual encounters (one could call this astral rape, with all this implies) could well mean projectors will begin sliding down the dimensional scale until they find themselves frequenting the very low astral sub-planes. This new level will have a more predatory sexual nature and theme to it; better suited to this type of projector.

For all the above, occasional chance or unintentional out-of-body sexual encounters do not appear to cause any significant or lasting drop in projector’s natural dimensional level of operations. And this does not apply to out-of-body love and romance: where there are shared feelings of love, intimacy and desire. The energetic values involved with love and sex are, I believe, quite different from those generated by lust and sex merely for the sake of release. Consummation of the out-of-body sex act will, however, still be found to cut OBE short, especially real-time OBE sex.
Privacy, Ethics & Projection:

There is a widespread belief stemming from early this century that has not only remained unchanged but has been continually propagated ever since. This belief is that if a projector deliberately invades the privacy of another person for immoral purposes or unethical gain, or engages in any disreputable or sexual behavior during OBE, they will be banned or stopped from further projecting — grounded by a higher authority. It is even believed by some that there is a kind of astral police force watching out for ethical, moral and astral rights transgressors.

According to my experience this belief is a total myth. There are many natural barriers associated with OBE, but there are no ethical nor moral limitations. No higher authority is interested in the activities of projectors. No astral police force will appear and punish bad or naughty projectors.

The ethical and moral correctness of any out-of-body action depends entirely upon the judgment and conscience of the projector concerned. With out-of-body sex especially, strong natural barriers are encountered and there are natural repercussions for repeated disreputable behavior. If projectors cannot control their behavior they will not last very long nor travel very far while out of body. Their experiences will tend to be quickly curtailed whenever they meet any potential sex partners, real or unreal. This cuts their OBE’s very short indeed and keeps them off the astral streets, so to speak.

If projectors go actively seeking sex, they will come across an ever increasing number of potential sex partners. The lower astral planes teem with these. Like attracts like in a big way in the sensitive out-of-body environment. The only repercussions stemming from habitual bad behavior, as far as I am aware, are a lowering of energetic values and of the levels of operation possible. In this case the attraction of other like-minded projectors and beings is, I consider, natural consequence enough. This has the effect of keeping sexually overactive projectors away from more serious-minded projectors. This has, I feel, a certain poetic justice to it.

As to invading the privacy of people in the real world, or other projectors in the out-of-body environment, even for deliberate unethical gain or immoral purposes, there are no restrictions. In my experience there is no astral police force or astral overseer who will suddenly blow a whistle and say: “OK mate…I saw what you just did! Get straight back into your body and stay there…Right Now!” Imagine the enormous number of astral police that would be required just to keep tabs on several billion people day and night?

The intentions involved with privacy issues are important. Continual deliberate breaches of privacy will cause a serious alteration in a projector’s energy values. This will attract other like-minded projectors and negative-type beings into their OBE’s as well as into their real life; which is consequence enough methinks.

It seems the whole idea that out-of-body behavior is policed was started by early researchers and authors on OBE and related subjects, early last century and late in the century before this. Most would have realized the real truth of this matter, of this I am quite sure. However they seem to have worried that if the public knew the whole shocking truth about the sheer freedom of OBE, they might use OBE for what they considered to be immoral purposes. In a way, these researchers and authors tried to impose their own set of moral judgments and values upon the public with a “Stop it or you’ll all go blind!” kind of attitude and blanket warning. They hoped by this, I am sure, to influence people into using OBE for good and noble purposes only.

Stemming from this, these early writers and researchers have unwittingly imposed this same set of values upon the present day. Consider the early written works in OBE and related fields, and how these have been used as reference and source material by all researchers, authors and teachers ever since. All of these early works have had some influence on present day thought, concerning behavioral limitations of OBE. As a result of this we now have many versions of ‘The Astral Overseer’ and ‘The Astral Police’ types of beliefs to deal with; all stemming from the original morally inflicted Victorian fallacy.

Book of Wamphyri and Shadows

Book of Wamphyri and Shadows

by Coven Nachttoter



The Black Dragon Arises


Vampyrism, Through the archetypical symbols which have existed since the Sumerian period, such as one of the first known cult of Vampyrism, HEKAL TIAMAT, to Vampyrism in Transylvania as in the reality of the original Order of the Dragon, in which European hero Vlad Draculae was a member of, to current Vampyric covens through the centuries, to current period covens have always, intentionally, blinded the masses.


It must first be known that vampyrism is NOT at all a simple, or relatively quick path for everyone. Vampyres are more or less born dark, those who have been in touch with their darkside or shadowside since their childhood.


Vampyres do not view themselves as humans do, because we are NOT human in all tearms. Humans are sheep to our kind, we do not hold any place for compassion, tolerance or love for sheep. They are our prey, and lifeforce. Vampyres look upon their personal being as GODS, the humanistic concepts of mortals do not guide us in anyway either. To become vampyre, the individual must tear away all strains and weaknesses they have picked up since their first birth.


Do take note, this is not any easy thing to do, however, observe, this is only the beginning. The individual proceeding down this path must push his/her physical body to the limits, as well as testing mental and developing psychic strength. Psychic strength is highly important for developing the Vampyric will. Through a period of several years, the individual will slowly build the character needed for the individual to immolate his/her essence with the crimson of the dragon.


For most involved with BOTD, a parallel with traditional Satanism should be observed. If traditional Satanism defines pushing limits, going beyond what is morally “right” and “wrong”, “good” and “evil”, as well as implementing Aeonic, acasual and casual transference (ie. the Nine Angles), building a superior, elite occult fascist character then Vampyrism can be seen as an extension of the path of traditional Satanism.


That which does not progress, perishes! This is very true and realistic. Any initiate interested in the BOTD will be introduced into a very harsh will training and Alchemical change process. Most of this is done in Hermetic rituals, seperated from all comrades, friends, and lovers. This the ONLY way which will build material for a GOD or GODDESS.


While actual human blood (not animal) holds psychic energies obtained in advanced vampyric rituals, BLOOD ESSENCE (Astral lifeforce) holds the highest significance for such, incorporated through many different levels, is the path or partial key for immortality. The initiate vampyre will learn to set his/her mind from the individual human and realize ALL progressive change and evolution is caused by him/her ALONE! The Vampyre IS god itself. The Vampyre realizes that ALL other humans who are not amoung his/her rank or kin are prey and pawns.


Lifeforce is drained from humans through astral contact, as well as clairvoyance amoung others. The powers of astral hunting through dream and drinking the purest lifeforce is ONLY best described through the experience itself. The symbol of the vampyre who drinks blood from sleeping humans (Opfers) is not far removed from the astral vampyre predator – Known as Varcolaci – who drains lifeforce from the sleeping humans astral body.


Through the nightside, the vampyre through will and practice, can shiftshape, to hunt amoung the shadows. The forms can be several, Varcolaci (a form of demonic bat-wolf and dragon resemblance), to wolf and bat. This is all based on general and simple scientific law.


Vampyric communion is an essential part of vampyric survival and renewal. Secrets of Vampyric communion are first described in “ART OF WAMPHYRI” and further in “CTHULU”.


BOTD is currently guided by Clan Nachttoter, of Germanic blood, under guidance of acasual Vampyres, our goals are quite the numerous. Time will tell the significance. Our sigils to invoke the essence are two : The Wamphyri Pentagram, through the sphere, lifeforce is transfered, godhead is achieved. Nefarious shadows haunt any human uninitiated. The other symbol is the Nachttoter seal, the symbol of the Nachttoter Vampyre Family, descended from Germanic and Celtic blood. Members of Clan Nachttoter currently offer guidance concerning BLACK ORDER OF THE DRAGON trials and paths.



Circle of the Red Dragon

– Transcend the flesh in the form of Varcolaci –



This is the rite of dying and being reborn. The sigil is of our coven, our family – The Red Dragon, Tiamat. Of Nachttoter….

Those of royal vampyric blood. The altar should be located on the west wall if at all possible. Upon the altar should rest a human skull or well crafted model. The human skull represents the death of the human condition and rebirth. If the skull is authentic then some essence of the individual may be connected already – thus representing the risen essence – Beyond Godhead towards the black cloak of Azrael. A crystal should be implemented as well as soil from a graveyard enclosed within a cloth pouch. A virgin dagger.

Above the altar should be a large plate of the Wamphyri-Varcolaci Pentagram, as well as the seal of Nachttoter – The Red Dragon who is TIAMAT – Vampyre Mother of Chaos and Evolution, 77. Incense should be Frankincense or Jasmine. Candles should be red and black. Enter to die and be reborn.


With the Sword of the chamber, shape the inverted pentagram, focus upon the fire which be arise from each point as a result chant: ALL THAT IS BORN OF FIRE LIVES IN FIRE.


Through shaping the pentagram the sphere of Satan is opened – the true self is revealed. The Triangle of LAYLAH is to be drawn upon the wind, to inaugurate the symbol of night and death – equaling 77, the tract of rising-GODHEAD. An inverted Triangle should be inverted, focus upon the blood red eye which will glow as much as your desire allows.

Point the Sword to the Sigil of Nachttoter and then to the Wamphyri- Varcolaci Pentagram – Call the Undead gods upon the astral plane – FROM THE FOUR WINDS, WEST, NORTH, EAST AND SOUTH – UNDEAD GODS OF THE NIGHT, ARISE FROM THY CRYPT IN THE REALMS OF THE DEAD, SHADOWDEMONS, THOSE WHO VEINS HOLD THE BLOOD OF TIAMAT COME FORTH!


Hold the Virgin Dagger and the pouch of grave soil, focus upon the sigils of the Vampyre and repeat: I have lived as Moroii, transfering the lifeforce into the jaws of the undead gods, I now seek to ascend into the condition of Vampyre-Varcolaci, to die a mortal death and be reborn to the blood of the dragon! I spill my blood into the grave soil and transfer a part of my essence and being into this – My life-immortal-My WILL STRONG!!! TO BE REBORN INTO THE NIGHT! – Cut yourself deeply enough to stream blood into the soil-while doing so chant and visualize TIAMAT – A burning sphere with a blood red dragon – UNDEAD GODS – Witness the deication of the burning spheres, within I have absorbed the WILL of Nachttoter, those shadows demons of TIAMAT – I have died and been reborn into the WILL of the Red Dragon.


-Hold the crystal and focus upon the Chaos that your WILL has evoked and invoked upon the casual realm – Focus and inject your new being, VARCOLACI.


-Begin a sacrifice of Life force into the Wamphyri-Varcolaci Pentagram, once your astral eyes are opened you can see strains of lifeforce entering the pentagram. After the sacrifice, you may feel a stronger Life Force known as the Blood of Tiamat given back to your being – The Undead Gods give such a sacrifice to you.






Night Shadows and Varcolaci



Astral travel and the rising of the Varcolaci is an important step within the awakening of the Vampyric condition. In recent years there have been many books and articles by the so-called “Magick/occult society” who claim to have the secrets and system of astral travel. they call astral vampyrism “wrong” and unnatural. Is it unnatural for the wolf to devour its prey? Is it unnatural for man to kill cattle and other animals for food? An absurd notion for an individual to deny her/his true nature.


The Vampyre looks upon astral travel as a time of meeting with other Varcolaci who have taken to ascending the human condition. Varcolaci will roam the night and brain lifefore from sleeping (i.e.. unaware) humans.


It is, during these times that the Vampyre may shape shift into any form according to Will. The Varcolaci form is always usually different from vampyre to vampyre. Some often resemble the demonic shadows of the Varcolaci – Wamphyri pentagram, while some are more wolf-like. The form is according to will and can change when desired. Some will travel and feed from prey in desired beautiful forms, as white and flowing beings or as ghastly wraiths.


Astral projection is a several step system of meditation and control. To properly meditate and enter the mindset of astral projections, one must prepare the home or place of this practice in a quiet manner. Take the phone off the hook, turn the TV off, and make sure distractions will be to a minimum.


You will need to find a comfortable place to lay – a bed or couch. Incense should be burnt, either Frankincense of Jasmine will do. A red and black candle may be burnt, of course totally optional and rather unimportant.


Once you lay yourself down to begin, you will want and need to clear All worries and thoughts in general from your mind. Be relaxed and slow your breathing and heart rate.


From your feet up, tell yourself as you relax each part of your body. do this until your entire body is relaxed. Once this is done, concentrate on causing your astral to extend and take the form of your desire – it is All according to your will. Once finished, focus your mind’s eye toward extending and rising from your body. You will feel a strike of excitement but you will need to control this emotion and remain calm, nay very calm. The result if not followed will be failure.


Once you rise as Varcolaci observe your chamber and surroundings, look upon your sleeping body and absorb the feeling of pride of watching the sleeping human form in which you walk the earth in.


It is now time to rise and fly the night sky.


The Black Wraiths Ascend



Now that you have risen, you may pass through doors and windows. Float beyond your chamber through a door or window into the night. As you float through you will feel the power that is within the self and only begin to realize your possibilities of being Vampyr.


Once you enter the night, take some time to observe the surroundings, remember your astral eyes are now open and only now can you truly see. things may be a bit different now and you might see things you normally do not ever notice.


A word of caution however, once you have risen as Varcolaci it should be aware that you have practiced a path of inner strength and will to power. The reason is once you enter the state of dream and rise as varcolaci then are you open to the spirits and outer beings and energies within the nightside as well. You are only as safe as you will it. If you travel and float with fear, the predators, others as you may take scent of it… Wolves Smell Fear… a lovely scent for hunting the spirit.


Fly with joy into the night sky and travel where ever you wish to go. You will want to feed upon a sleeping human, for the life force in this state is so pure. Enter their home, float to their sleeping chambers ad watch them with your astral eyes… notice the life force, the astral body which lays with the sleeping opfer.


Float beside them and smell the life force flow through their veins. It is now time to feast and taste the blood which is the life. With your will, send forth a vampyric tendril and make contact with the life force. Once you do so, begin to draw it in deeply, enjoy each slow drain until you are satisfied.


Once you finish draining the opfer, detach yourself and once again enter the night. you will feel much stronger, more invigorated than before. Fly as the bat within the night and enjoy all that is being Vampyr. You are predator and it is your natural duty to feed from humans.


For those advanced into the black arts of wamphyri, there are certain keys to entering other dimensions… however this is only for the inner circle of Coven Nachttoter and is a mystery of the coven. When this is obtained, many strange things will be seen and be sure it is mystery for a good reason. One must be prepared when entering a predatory state… or else he/she becomes prey.


Once you have haunted the night and you are ready to return to your human form let your instincts guide you back to your dwelling… you metaphoric tomb/grave. once you have entered your body then open thy eyes! Behold, you are as god itself. Now open the gates to further realms of Darkness.




The Wake of the Red Death

A Ritual of Destruction



“The Masque of the Red Death” is a very powerful tale by Edgar Allen Poe, the late poet and writer who raised the level of literature during his time which has changed the field of writing and those interested in the macabre for all time. Poe used a great deal of symbolism in his works, a manifestation of death incarnated into the archetypical Red Death, the tall and gaunt figure of blood reds cloaked in the shrouds of the dead. The Red Death is implemented in this destruction rite as the plague bearer, an extention of Azrael – the Angel of Death as a messanger of Will.


This ritual is to be done during the night, past midnight for then the powers of the astral waves are yours to manipulte and man is vunerable at night, more of a chance o success if they are not of strong mind and spirit. If they are as an equal, then there are several secrets in the destruction not listed in these pages. this is either a hermetic rite or could be ceremonial as well.


The Sorceror is to be clothed in a blood red cloak and/or robe. The Sorceror should also be clothed in a white grave shroud which would be placed under the robe or cloak. The face should be streaked in blood red paint or blood, same with any bare skin shown. A personal item of the inteded opfer must be present, be it either a cloth, photograph, paper, etc. A crystal should also be present as well as bones, dagger, above the altar the Wamphyri – Varcolaci Pentagram and the Sigil of Nachttoter – The Red Dragon.


This night you shall become vengence and anger – The law of Abraxas is implemented – The spirit of Kali is invoked. Love love and love causing destruction to those who have crossed you.


The Red Death Awakes


Shrouded in the habliments of the grave, take in your hands the grave soil in which you have blessed as your own, in the other the crystal which you store within your acausal energy.


Face the sigil of the Red Dragon and the Wampyre – Varcolaci Pentagram and visualize fire and blood entering yuour being, filling you with violent and destructive energy – Demonic shapes for within your mind, shaping according to your desire. The Red Death you become this night – Chant:

Tiamat – Mother of Vampyres and mother of immortality – I seek thy energy – thy life – This Dark night I invoke the powers of destruction to spread destruction to my enemy! I will remain un-harmed from this calling and it is my Will that the joy of causing death to my enemies is one of the ultimate pleaures of existence! I am Vampyre – All humans shall bow before my might and strength – For under the bloodied kiss of LADLAH I have risen!


I invoke the Vampyre Earth Goddess KALI, Mother hear calling and enter my sanctuary and my being – I am GOD! Blood drenched mother of nightmares, My enemy is to be devoured this night through MY WILL! MY DESIRE! MY LAW! Just as I cause Joy and Love to myself and others i can and also do DESTROY those who break my law – Hail Death! I now become the RED DEATH, fill me with the spirit – I am of Nachttoter – Blood of the Dragon fills my veins! The fire of Satan envelopes me, enpowering my being through my desire. the svastika of EA spins fast, causing life, love and destruction according to the strong and clever.




Take hold of the opfer’s personal item, feel the astral energy of the opfer.

Raise the dagger and repeat:


Through the sigil of the Red Dragon and the Varcolaci Pentagram I condemn thee to Death – – NAME – – My astral talons are reaching to your dormant body and spirit, I am the Plague Bearer, Vampyre. I cast 1,000 diseases towards they life breathe, infecting you with torment and black death… This is my Will.. This is my Law! I drain from your body thy precious life force and install the breath of the Plague – the RED DEATH now upon thy spirit to suffer and writhe in agonizing pain. – – name – -, your life orce is mine to feast upon. The Red Death is above thee…


In hale deeply the life force from the object. Visualize plague and death infecting the intended opfer and the slow death which affects them.. rejoyce in the death and blood.

Mother KALI, I give thee honor as I give myself joy! Victory is mine! Joy to a burning planet which ABRAXAS RULES! SATAN I AM THEE AS 77 – This is my Law – the Joy of the world and the beauty of Night and LADLAH!! I stalk the nightmares of thy enemies – I AM THE RED DEATH!!!! I AM VAMPYRE!!!!





“The Moon Drips of Blood:

The Wolf (Varcolaci)”

(A Raven and Serpent Masquerade excerpt by Peter Nachtgeist and Michael Nachttoter)



The wolf represents the moon and the strength which flows from it’s light. The feelings and emotions awakened in the heart of the predator by the glowing and enveloping fullmoon, are in nature similar to the dark, mysterious moods that the sound of howling wolves inspires.


We, Vampyres, predators of humans – visualize ourselves as the darkness of nature, nature unveiled. Strong, pure and beautiful. – When the night cloaks my thoughts, and by darkness I’m embraced, when the mist is colored red, and the moon drips of blood, when the chill bites my skin, and I ride the winds of Death, when the shadows haunt the night I lust for my nightly sip.. (Moonthirst)


Nocturnals do not fear death, as death only means returning to the infinite darkness, the Dragon’s Womb – as well as for the risen ones – Varcolaci – Vampyres who have achieved Immortality.


Vampyrieth 77


The scorpion symbolizes the starts and the drape of cold and dark infinity in which they lay in wait. The scorpion is strength and honor – love and life – It is also the harvester of Death.


The Raven represents the darkness that cloaks out spirits.

The Raven seems to paint pictures of plague, death and misery.

The Raven or us is our nature and being. We are of the night.


From the Flesh to Spirit



From the lands of Transylvania and what is now Romania and Hungary comes the Astral vampire known as Varcolaci. The Varcolaci is said to during the night hours, rise from their physical form and under the cover of shadows, ascend towards the nocturnal sky and drink blood from the moon.


Varcolaci is known to appear as a wolf with many mouths, a small dragon or a blackened shape of a demonic winged ghost, filled with an aura of death and lust. In the folklore of Transylvania Varcolaci can travel in several ways: When a woman spins thread alone in the darkness, she may create an astral thread in which the Varcolaci may rise into the sky to devour the moon. Often, the thread would be spun from the accumulated dust and dirt towards the sun and moon, the woman would be covered in blood and continue to spin. She would then have completed the bridge for Varcolaci, therein to wander the dark portals of the cosmos to attack the heavenly bodies.


The reality of Varcolaci is so very true. A Vampire is also in fact Varcolaci, once the discipline of Astral Traveling is Achieved, then Varcolaci is able to develop and rise as a demon of great power. This is the path of immortality, of predator and prey.


While our kind does not exercise just the rising of Varcolaci as it’s primary discipline of vampyrism, the condition and exercise of Astral hunting is very important towards the developing of the Vampyric Godhead, in which under the control of 77 all is possible within Will.


Varcolaci is usually soil based, during the waking hours the Vampyr will walk the earth. When the time for physical rest comes, the Vampyr will then leave his physical body. During this the vampyr is able to shape shift at will.


The Varcolaci will rise especially when the moon turns a blood red or copper color. The dark spirits will then drink astral blood from either the moon, stars, or the sleeping opfer. Remember, the dream is reality and all is formed within the dream.


It is to be known the astral wars are not yet over, that there is to be two rivers of human blood and astral blood poured from the cosmos, that our harvest will come and we shall take heed of the powers in which we sustain as being the Vammpyric Godhead.


Folklore and Reality of the Germanic Vampire Races


In this section we will investigate the folklore and reality of the German Vampire races. Each differs in some way or another depending on the location. Common in folklore is that vampires eat from their own corpse before they rise from their coffins to prey upon human opfers. They would often lure opfers to their graves and by fog and funeral dust they rise to drink the blood which is the life. German vampires are often viewed as spreading plagues, like a cold wave their will calls upon rats and the army of the night to do their bidding. Below is the truth and lie of the vampire.



A german Vampirelike spirit associated with the Incubus and the Succubus, tormenting the nights and dreams of man and woman, driving them toward sexual extasy and then terror. The physical manifestation can be quite dangerous, long connected with the nightmare, the alp is aid to dwell as a demon within a tomb. Some forms include the werewolf or a demonic man-bat-wolf manifestation. (All of which is quite true and accurate as all is possible to those who have utilized magick and the dream. )


During some periods and times, the Alp, in the form of Varcolaci, may enter it’s opfer to command the body. The ghost would enter through the opfer’s mouth in the form of smoke and a serpent.


The alp will often drink blood from the breast of a woman (or any other place in which major vessels are.). The incubus/succubus are in most cases astral vampires, probably in 90% of all encounters. Although it is said that some demonic spirits who are not vampires can haunt sleeping humans.


It is this race in which one of ours is marked from, the Nachzehrer is long known in Germany and surrounding places in Germany. The Nachzehrer is said to be distinguishable in it’s coffin by odd custom of holding the thumb of one hand and keeping it’s left eye open. The Vampyr is said to chew upon his own limbs within it’s tomb. The coffin in which the Vampyr sleeps is said to be filled with blood and soil of it’s grave and or/ homeland. The Nachzehrer can also eat flesh of the dead and is quite active with Necromancy, the art of the Vampyr.



A blood line from Saxony, traditionally the great carrier of plagues, usually seen during grim and severe epidemics. The Neuntoter (Nine Killer) comes from the belief that it takes nine full days for the vampire to develop in it’s coffin.


This German race of Vampires is currently active in the United States, primarily in Indiana and Houston, a coven which is the control base behind the Black Order of the Dragon. Nachttoter translates “Night Killer – or Killer in the Night” being the power of this vampire as a predator within the casual realm, Varcolaci obtained. Members of this race may be summoned in Varcolaci forms on some nights, beware through, what is obtained comes with a price.



From the seed of Belial

– The Inauguration of the Devil –


Before one seeks to master the shadows of his/her astral one must reach a state of completion and strength within the flesh itself. One must never deny the pleasures of the flesh but one must always be aware to practice self-control and inner strength. This is the law of our kind.


Vampyres are masters of the flesh, we indulge fully in that fact. However, we understand that the flesh is not forever and that even though some of us are fully capable of floating from body to body, that eventually the flesh dies.


We are essentially to be as ghosts, vampyre spirits who have achieved immortality through the Blood of the Red Dragon. We do not fear death, as the spirit is immortal according to our will. However, we enjoy the pleasures of life. The devil is lord of the earth.


Vampyres do now bow to any anthropomorphic being, in fact we only view the archetypal “Satan” as a power… the power within the cosmos and earth, the power within us. Those who embrace this power and all that it is and utilize it in fact become the devil itself – Satan Ascend, Lucifer Rising. This is the law of Satan. Bow before no other gods but yourself.


Belial is viewed as a master of the earth. This is the key of understanding the mastery of the earth – Satan incarnate. The following rite is for those who seek the path of Vampyr, those who would stand strong in the face of a world for their own taking.


This rite can be used either as a hermetic rite or as a ceremonial rite. the primary design was for a hermetic rite.


Awaken the archetype of Pan, balance and joy is the key to rising.

The Inauguration of the Devil

To take place within the chosen ritual chamber. The Wamphyri – Varcolaci Pentagram to be above the altar as well as a Baphomet and the Sabbatic Goat aka the Goat of Mendes. The candles should be black and red. Upon the altar should be an inverted pentagram with some human bones or if possible a human and/or animal skull, to represent the power and lust of the flesh. Clad in black or crimson robes with dagger and chalice. A sword should be used as well.

This is the night you shall become as Satan…..



Invocating Belial


Face the Altar and point the sword first to the image of the Varcolaci/Wamphyri Pentagram, visualize what you are and what you shall become… lust upon these symbols for they are to be representations of your essence.

“In nomini dei nostri Satanas Luciferi excelsi, I call forth the dark lord of the earth… Belial, I am of your seed, a demon of the flesh to shape the world as I see fit. This is the law of the Strong. My will incarnate.”

With the Sword, face the South, point the sword towards the baphomet pentagram:

“From the South, I invoke the essence of Satan… upon the wings of darkness you shall come unto me!!!”

Face now the East:

“From the East I invoke the essence of Lucifer, the bearer of light and insight… come unto me!”

Face now the North:

“From the North I invoke the essence of belial… lord of the earth, come forth unto me”

Face now the West:

“From the West, I invoke the essence of Leviathan… come forth serpent of the Depths.. come unto me!”

Take now the Dagger and recite:

“By the sigil of the Infernal Dragon, the Red Dragon of ALL I call unto the forces of Nature and align myself further with the natural powers of the earth! I will and do partake of the pleasures of the flesh and recognize myself as a god of the Earth. No one is before me as I am the Devil incarnate!


I call with the sigils before the spirits within… enter and grow within for I am Vampyr, of Dragon’s blood. From the four pillars of Satan my law is sounded and the beast is unleashed. My flesh is iron and the werewolf is awakened! My voice and desires enter as will to incarnate in FLESH! This is as PAN and the love of the Earth and Cosmos. LADLAH is witness and love unto me, all is a mirror of sight and vision. Heil Shaitan!”

Take the chalice and recite:

“Within is the elixir of Life and Love, of strength and hate, destruction and creation. Renewal and completion. I recognize there is no god before the self and that self preservation is the highest law. This I say with my voice, which casts deep into the abyss and carries with it a law forever spoken! Heil Tiamat! I drink and am now reborn from the seed of Belial! So it is done! The gates are aligned!”

Meditate now upon the sigils and all that you have recited. Become as Satan. stand proud and push the self towards the heaven of ecstasy.





“Heil! Heil! Heil! O, great Wolf Spirit Heil! Mighty shadow within the circle enter the space of time – Make unto me a werewolf, strong and brave as my Will”



The connection of Werewolves and Vampires are quite parallel, in fact in the reality of the Vampire, it is indeed possible for a Living Vampyr to be a Werewolf. Transformation can be in two possible ways, a mental transformation, Lycanthropy as well as astral shape shifting.


When alone in a forest or secluded area is a prime location for a lycanthropic ritual. A skin of the wolf may be worn, a mask or other articles representing the transformation from the human shape into a 7 – 8 foot demonic gray man-wolf, burning blood red eyes of yellow gleams from large, sharp and cruel teeth. Those who seek to master shadows and sorcery may become a lord of Werewolves, in command of the shadow demons which may become as one with the WILL and the SELF.


When in a forest practice a Werewolf rite and feel the transformation, revel in the pleasure, in the hunger, in the burning glow which permeates the senses. When astral traveling, your human shape may shape shift to any desirable form, take pleasure in becoming the Demonic wolf. hunt your sleeping prey with stealth, feasting on astral blood as they sleep.


Below is some teachings of the Werewolf, ending with a rite of Lycanthropic power. Remember, no spell nor word can alter change which has not lit within the WILL. The misanthrope has risen and the age of the wolf is upon us! Feast!


Lord of the Woods



In the year 1502 there was a peasant named Pierre Burgot who was tending sheep while a large and fierce storm broke out. From seemingly out of nowhere rode three men dressed in black riding upon three black horses. One of the men called himself Moyset, tall and pale, sunken eyes with long black hair. Moyset told Pierre he would let his hands watch over his herd and give him great fortune if he would obey him, Pierre agreed. In the next meeting, Moyset stated his commands, to reject a so called “god”, the false virgin, the baptism and confirmation. Burgot accepted the demands and swore loyalty by kissing the hand of the Moyset, which was as cold as the hand of the dead.


The years past and the black rider returned. Moyset demanded that he should grease himself in an ointment he gave him. Verdun, another villager did so as well. soon after as their hearts and will was as Sinister, they turned into werewolves.


These wolves of Magick attacked a seven year old boy, tearing him to shreds, killing a woman and a four year old child and they only left an arm to be found intact. In time they were caught and killed by villagers.


One hundred years ago a fourteen year old boy named Jean Grenier was in a deep forest where they met a man upon a black horse who called himself Herren or Lord of the Forest. With his cold dead lips he kissed Grenier and with his long and sharp nails he cut a mark in their thighs. Herren gave Jean a wolfskin and an ointment. after donning the wolfskin and rubbing the ointment, Jean killed in his werewolf form over fifty opfers.



The Wolfcharmer



In france they are called by the humankind the “Meneurs de Loup” which were said to lead wolves by the use of a bonepipe, creating the orchestra of the night. The Wolfcharmer is a total misanthrope who in his heart hates the human race. The wolfcharmer is the leader of the wolfpack, and can by the use of the bones pipe, command the wolves to attack human prey.



The Wolfgirdle



The Wolfgirdle is commonly made from the skin of the wolf, mixed and sewn together with the skin of a dead witch or an executed murderer. Don the wolf girdle before the lycanthropic ritual.



The Rite of the Werewolf

– Mental Lycanthropy and the summoning of Shadows –



The altar can be either within a home or in the woods. Upon the altar should rest bones of the dead and two black candles and two red candles, above the Wamphyri – Varcolaci Pentagram (A Sigil of the Black Order of the Dragon).

With your mind draw one circle anti-clockwise that it might fit a man within.


“From the will of that which is Satan I call the Demonic powers of the Wolf – Shadows demons I call to thee! One spirit shall rise through this circle – One chosen of the Demonic hordes I evocate thee to bring forth the Gray Beast which makes all tremble, by my will and will to power I will become WEREWOLF! Phantoms of Darkness I now invocate thee – they likeness is to be within and through my Vampyric Will I implement the power of SATAN!


With your mind focus upon the transformation. Feel each muscle as it stretches, grows stronger, more beastlike. Rough gray hair grows through the skin as the flesh itself turns ghost white and the face blackens. The bones stretch and begin to form a beast between a man and wolf. The face warps into a long snout which holds many razor sharp fangs. The fingers stretch and fold into Talons, cruel to the flesh they Shred..


Feel now the pleasure of the Werewolf, go out into the night and taste the pleasures of the Will.



(c) Church of Vampiria


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Aleister Crowley’s Use of Ritual and Drama

The Art of the Law: Aleister Crowley’s Use of Ritual and Drama


Justin Scott Van Kleeck


            Although Aleister Crowley  (1875-1947) has been the subject of numerous biographies, criticisms, and works of homage, his legacy has largely been defined by his personality.  This fact is, of course, no surprise.  Calling himself the “Beast 666” and labeled the “Wickedest Man in the World,” Crowley vociferously proclaimed a “new Law” of liberation and human empowerment (Thelema, Gk. “will”; Crowley’s “Do what thou wilt”) that required throwing most social and moral conventions to the wind. Those writers who try to “explain” the Beast and his Law often feel compelled to defend or to deride his lifestyle and his magical system based on their own acceptance of occult doctrines.  Kenneth Grant and Hymenaeus Beta, both occult practitioners and Crowley editors, exemplify the sympathetic camp, while John Symonds, also a Crowley editor, speaks for the critical camp.  Caught in the shadow of the Beast, these writers and the wide body of Crowley readers have greatly overlooked the other side of his career: his prolific work as a poet, playwright, artist, and essayist.  J. F. C. Fuller’s The Star in the West, Charles R. Cammell’s Aleister Crowley: The Man, the Mage, the Poet, and J. F. Brown’s “Aleister Crowley’s Rites of Eleusis” are notable exceptions in their treatment of Crowley’s writings.  However, they often tend toward panegyric (Fuller, later a disciple of Crowley’s) or negative judgment (Cammell, his friend late in life) of Crowley the man as well.  As a result of Crowley’s cultic status and, admittedly, his almost nugatory influence on later literature, his artistic techniques have gone mostly uninvestigated, both on their own and in relation to his magical/prophetic efforts. 

When Crowley states that “All Art is Magick,” he essentially defines the aesthetic sentiments lying at the core of his system of magic.1  Thus, the body of Crowley’s writings provides an equal wealth of material for those interested in esoteric traditions, cultural studies, and literary criticism—not to mention psychology.  A particularly important development in Crowley’s overall work is his marriage of “traditional” ritual and drama; by drama, I refer to plays blending scripted action with poetry, music, dances, and so forth, usually intended for performance.  After taking part in magic rituals as a member of the Hermetic Order of the Golden Dawn and writing occult-influenced dramas, Crowley eventually came to see the usefulness of integrating the two genres or forms more explicitly as a means of personal work and of communicating his message—of preaching the Law and teaching magical wisdom.  Although The Rites of Eleusis is the only theatrical production of what he came to call “dramatic ritual” aimed at the general public, this mixed method permeates much of his subsequent theory and practice.  By combining the two genres into a single “dramatic ritual,” Crowley sought to create the enthusiasm necessary for magic—which drama did most effectively for nearly all personality types—and, through that liberated ecstasy, to prove the validity of Thelemic principles.




The relationship between ritual, myth, and drama was not a new topic in the Victorian England of Crowley’s adolescence, even in the banal circles of scholarship and literature not attached to occult groups like H. P. Blavatsky’s Theosophical Society and the Golden Dawn.  The most significant work of this time is J. G. Frazer’s The Golden Bough, which first appeared in two volumes in1890 and, over the course of more than twenty years, grew to twelve in its third edition (1911-5).  Frazer’s work on magic, myth, and ritual is a watershed in the study of mythology and society, filled with countless examples of ritual actions, taboos, and cultural practices from around the world.  He specifically articulated the importance of seasonal and vegetative cycles, which diverse cultures had “celebrated with dramatic rites” since the origins of society.2  Frazer is well aware of the sympathy that myth and magic have with drama, for he continues, “But if the celebration was in form dramatic, it was in substance [and desired effect] magical.”3  The Golden Bough brought to the fore such prominent mythological concepts as the “Dying God” (used by Eliot in The Waste Land) and the “Corn-Spirit.”  Crowley certainly knew Frazer’s work intimately: not only does he quote Frazer in the opening of Magick part III and persistently use the dying-god myth, but he also launched an attack on Christian orthodoxy based on Frazer in The Gospel According to Bernard Shaw (collected for The Equinox III.2 in 1919 but unpublished until 1974 in Francis King’s Crowley on Christ4).  Crowley also wrote a collection of short stories based on The Golden Bough entitled Golden Twigs (several of which were published in 1917-8; the entire collection was first published in 1988).  Further, his play “The God-Eater” (1903) may be a nod toward Frazer’s chapter on “Eating the God,” and he may have drawn partly on Frazer when promising to “choose” and “test” and “instruct” the world in “the Mysteries of Eleusis” in his scathing essay “Eleusis.”5 

The Golden Bough also influenced the Cambridge Ritualists—Jane Harrison, Gilbert Murray, Francis Cornford, and Arthur Cook.  This group of scholars further developed the study of ancient ritual and its intimate tie to drama (specifically in Greece) in the first two decades of the twentieth century.  Jane Harrison’s Ancient Art and Ritual, in which she claims that art and ritual “have a common root, and that neither can be understood without the other,” is a good example of the group’s interests.6  Harrison also states, “It is at the outset one and the same principle that sends a man to church and to the theatre.”  As we shall see, Crowley expressed and developed nearly the same view and during the same time, the first two decades of the twentieth century, though he does not specifically cite any of the Cambridge Ritualists.  The social context of Crowley’s early years, then, was one in which ritual and drama were by no means occult, hidden subjects of debate.




Despite this rich scholarly context, the roots of Crowley’s approach to dramatic ritual ultimately lie in his experience with the Golden Dawn, into which he was initiated on 18 November 1898.  Briefly stated, the Golden Dawn was (and is) an occult group with ties to Freemasonry, H. P. Blavatsky’s Theosophical Society, and other similar groups active in the mid nineteenth-century.  Unlike Blavatsky’s group, the Golden Dawn was largely western in its magical inclinations: Christianity, Rosicrucianism, Freemasonry, and alchemy shaped much of its teachings, though blended with Egyptian and (originally) Jewish Qabalistic elements.  The group initiation rituals that the Golden Dawn employed were particularly crucial to shaping the principles of its members.  Besides Crowley, W. B. Yeats drew heavily on Golden Dawn knowledge in his poetry and plays, though with far-different goals than the Beast came to do.7  Also, interestingly enough, Samuel Lidell MacGregor Mathers, long-time head of the Order, put on his own “drama” in March 1899 called the Rite of Isis.  The show involved recitations from the Egyptian Book of the Dead and a dance to invoke the goddess.8  Thanks to Crowley breaking his oath and publishing the Golden Dawn rituals in his journal The Equinox (Vol. I, Nos. 2 and 3), as I will discuss further below, we can see just how theatrical the Golden Dawn initiation ceremonies were.9  For instance, the initiation ritual for the first grade of Neophyte, one of if not the most important of the rituals, incorporates props and scenery (banners, scepters, lighting, etc.), characters (various officers like Hierophant and Kerux), and scripted dialogue and actions that instruct, purify, and initiate the candidate.10  Some essential elements of this ritual that later appear in Crowley’s own works—ritualistic and dramatic—include the initial purification of the temple, officers/actors explaining the symbolic meanings of their roles, and a “rebirth” of the candidate as he/she is given a new magical name and brought closer to the “Light” of the “Higher Self.”11  Missing from these rites, however, were poetry (the speeches were prose of the headiest “occult wisdom”), music, and a general exploitation of more familiar dramatic conventions.  Still, it is clear that Crowley felt the impact that these rituals had, for he would venture on in his way to “search for the Quintessence; the Stone of the Philosophers; the true Wisdom and Perfect Happiness, and the Summum Bonum” alluded to at the closing of the Neophyte ritual.12 

But for Crowley, that search would also take on a public dimension that both flew in the face of occult rules of secrecy and made him the simultaneously famous and infamous representative of modern magic.  The event: Crowley’s “reception” of The Book of the Law; the result: Crowley turning from lone magician to prophet of Thelema, the Beast 666.13  The details surrounding this event are too complex to discuss fully here, but the basic information can be summed up as follows.14  According to Crowley, The Book of the Law was delivered to him by a being named Aiwass or Aiwaz on 8, 9, and 10 April 1904 in Cairo.  The three chapters of the work are the dictated speeches of three (symbolic?) Egyptian deities: Nuit (infinite space), Hadit (the central point of each individual self), and Ra-Hoor-Khuit (or Horus, their “Crowned and Conquering Child” who is the lord of the New Aeon, a sort of “spirit of the age” symbolizing creative energy).15 




While questions of authorship, validity, and so forth inevitably come up with regards to The Book of the Law, I want to focus on the role Crowley believed he had been given and the central doctrines that he was compelled to teach.  Nuit names the chief officer of Thelema “the chosen priest & apostle of infinite space […] the prince-priest the Beast,” who is accompanied by his consort “the Scarlet Woman”; later, in verse 32 and subsequent chapters, the Beast is specifically called “prophet.”16  Like any good prophet, the Beast (Crowley) needs a message to prophesy.  Thus, Nuit gives him “The word of the Law,” Thelema, and explains that it means liberation under the aegis of true Will: “Do what thou wilt shall be the whole of the Law,” for “The word of Sin is Restriction.”17  Moral, sexual, and social freedom to be what you truly are is humanity’s new raison d’etre, though with a maintained respect of others as equally independent and free beings.  Also like any good prophet, the Beast has a task set upon him by the god(s) for whom he speaks: “He must teach” the new arts of magic in accord with the new Law, which are laid out in each chapter by the particular god.18  But Nuit gives one crucial statement about those rituals, the Law, and the Beast’s task: “the rituals shall be half known and half concealed: the Law is for all.”19  That is, Crowley was not chosen to hide the Law of Thelema within a tiny group of initiates only; he was, by express order of the gods, to promulgate the Law to all of humanity in “half concealed” rituals, to free them from “Sin” in accordance with the rule of the liberated child ruling the world.  The only stipulation was that each individual had to pass through the various “ordeals” that would prove their rejection of the old law and bring them to know their true will.20  This is an important point, especially when we see the shocking amoral and violent content of chapters II and III—“Therefore strike hard & low, and to hell with them, master!”21  To find freedom, to come into the realm of the gods (i.e., humans become gods), each individual had to actually work through the difficult process of finding his/her true will through the necessary ordeals.  These ordeals (of initiation) were the responsibility of the Beast.

Fulfilling this prophetic task eventually became, for Crowley, a twofold endeavor.  First, as he had been told in the days leading up to The Book of the Law, the Golden Dawn was “to be destroyed, i.e., publish its history & its papers.”22  But as an initiated member of the Order, he knew that “The slightest breach of my oath meant that I should incur ‘a deadly and hostile current of will, set in motion by the Greatly Honoured Chiefs of the Second Order, by which I should fall slain or paralysed, as if blasted by the lightning flash.’”23  Luckily for Crowley, the Secret Chiefs “released me from my obligation of secrecy” and, partly because of his “literary ability,” made his “chief duty […] to publish the Secret Wisdom of the Ages.”24  Crowley thus set about publishing the grade rituals and other important papers in The Equinox in 1909, though he had to first undergo and ultimately win a lawsuit by Mathers to halt publication.  Added to the earlier schism in the Golden Dawn, the publication of its secrets was a serious blow to its operations at the time. 




The second part of Crowley’s task was to teach.  But what, exactly, would the Beast teach to humanity?  Asking himself this question in a series of meditation/visionary exercises in early 1906, Crowley discovered the answer: “THE KNOWLEDGE AND CONVERSATION OF THE HOLY GUARDIAN ANGEL.”25  The “Holy Guardian Angel,” a term for the higher self used by the Golden Dawn (and taken from The Sacred Book of Abramelin the Mage as translated by Mathers c. 1898), is essentially the true self of every individual.  It is only by “conversing” with that self that a person can know his/her true will.  Thus, in order for a person to “Do what thou wilt” in accordance with the Law of Thelema, he/she had to first discover his/her true will by conversing with his/her Holy Guardian Angel—which was an act of magic, an ordeal.  However odd Crowley’s occult and spiritual terminology may be to skeptics and laypersons, his system of first finding the true will and then doing it is consistent.  And, lest we forget, it is a system open to all who are willing to embrace it and to work within it: “Every man and every woman is a star.”26

Having received the Law and its concomitant demands on him as the Beast, Crowley at first struggled with the shocking ethics that Ra-Hoor-Khuit brought with him.  In Confessions, Crowley recounts his difficult years of coming to terms with The Book of the Law and how he “tried to forget the whole business.”27  Besides the harshness of Thelemic ethics to stubborn “non-believers,” Crowley could not accept the idea of opening up the secret wisdom to the world at large: “I was still obsessed by the idea that secrecy was necessary to a magical document, that publication would destroy its importance.”28  Thus, he determined to publish it out of pure spite—except that “the manuscript had been lost!”29  Crowley’s complete conversion, his acceptance of the Law and of his role as prophet, came in 1909 with the “miraculous” (as he recounts it) rediscovery of the manuscript at his home in Scotland, after which point he dutifully began preaching the word in every way that he could.30  “I further resolved uphold the dignity of Magick by pressing into its service science and philosophy, as well as the noblest English that I could command, and to present it in such a form as would itself command respect and attention.”31  In September of that year, number one of The Equinox (1909-1913)—a variorum of occult poetry, plays, fiction, essays, teachings, etc.—came out to serve as his major vehicle for this endeavor.  The diversity of the contents, as Lawrence Sutin comments, reflected “Crowley’s view of magic [that] held that artistic expression was one measure—a fitting one—of true attainment.”32  However, Crowley also recognized that actual work, not just publishing on his end and reading/studying on the public’s end, was required for individuals to thus attain in their own ways.  Consequently, he co-founded and oversaw a new magical order, the Argenteum Astrum (“Silver Star” or A.A.), to initiate and instruct those who desired to “seek the light” of true freedom and true will.  But Crowley’s task was also a public one, we must remember, and closed-door societies were not enough for the prophet of the New Aeon.




It was during a ritual with other A.A. members to evoke the spirit Bartzabel on 9 May 1910 that Crowley realized firsthand the power and efficacy of looking beyond the conventions of traditional magic rituals.  Although the form of the ritual (published later in The Equinox I.9, pp. 117-36) is ostensibly conventional in its actions, symbolism, speeches, and multiple participants—following the pattern of Golden Dawn rituals—the content is unique.  Besides being updated to reflect the new Thelemic context for magic (now that he was the willing Beast, that is), Crowley remarks:

Here [in the use of a person as a “material basis” to evoke the spirit] was a startling innovation in tradition.  I wrote, moreover, a ritual on entirely new principles.  I retained the Cabbalistic names and formulae, but wrote most of the invocation in poetry.  The idea was to work up the magical enthusiasm through the exhilaration induced by music.33

The success of this ritual in manifesting the spirit and “conversing” with it for divinatory purposes proved to Crowley that turning to other artistic forms could add to a magical working by stirring the “magical enthusiasm” necessary to success.  As he would later write, “There is no more potent means than Art of calling forth true Gods to visible appearance.34 

Crowley’s insight coming from the Bartzabel ritual and his resulting innovation led to further technical development—and thoughts of actually staging, as a sort of play, a ritual in order to create a group “enthusiasm” later in 1910.  Indeed, he wrote a ritual for public performance to invoke the moon that involved a violinist—Leila Waddell, a member of the A.A. and Crowley’s lover—and poetry written for the occasion.  The event, with tickets and all, took place in August.  As Francis King describes (paraphrasing the account by Ethel Archer, an attendant and friend of Crowley’s), Crowley used tried-and-true staging techniques like lighting effects, curtains/veils, and costumes along with the music, poetry, and dancing.35  Further, in a shrewd move to help include the audience, the attendants “sat on cushions scattered around the circumference of the room, all its usual furniture having been removed.”36  Apparently, Crowley’s new methods were not based on unsound opinions, as an attendant from the Sketch testifies: “We were thrilled to our very bones. […] in very deed most of us experienced that ecstasy which Crowley so earnestly seeks.”37  The writer may not “understand the ritual that runs like a thread through these meetings of the A.·. A.·.,” but he admits “that the whole ceremony was impressive” and “artistic.”  We should note, of course, that the audience and performers partook of a “Cup of Libation” containing alcohol, fruit juice, and likely peyote beforehand—all in accord with Thelemic principles.38  Regardless, and as the Sketch review supports, it was apparent that magic rituals, presented in particular ways, in theatrical ways, could affect more than just the participants within the circle.  They could initiate the audience, as it were.  For Crowley, toiling to spread the Law and to liberate humanity from self-imposed restrictions, the ability to create such an extended effect was obviously astounding.




            In the wake of these experiences and their apparent public and private success, Crowley seems to have been struck in his magical, artistic, and prophetic senses, for he soon began to marry ritual and drama very deliberately.  He created “new methods of Magick.”39  The culmination of Crowley’s theatrical approach to magic, in terms of staged dramatic rituals for the general public, is The Rites of Eleusis.  The Rites consist of seven rituals—six original and the seventh derived from the ritual put on in August—following Crowley’s new method of ritual composition.  This method, he explains, was based on the ancient custom of invoking gods “by a dramatic presentation or commemoration of their legends” that he had “brought up to date” and supplemented with passages “whose sublimity would help to arouse the necessary enthusiasm.”40  And, brimming with optimism after the August staging, Crowley put the on the Rites for a general audience in Caxton Hall over the course of seven Wednesdays in October-November 1910.  First, in respect to their formal techniques, Crowley again blended conventional ritual with other artistic forms for effect.  Thus, hearkening back to Golden Dawn standards, in each ritual there is an opening “Banishing Ritual” to purify the workspace; speeches of (rather banal and even melodramatic) explanation and setting by the officers; props such as shrines and altars; and symbolic movements such as circumambulations.41  But there are also violin pieces by Waddell and composers such as Beethoven; dances by Victor Neuberg to “dance down” the gods; and a great deal of poetry by Crowley and a few passages from Swinburne.  Crowley seems to have placed a great emphasis on the aesthetic quality of the Rites, for he includes some of his most powerful and affective verse, such as this passage in “The Rite of Jupiter” taken from the song of Dionysus in his epic poem Orpheus:

For I am of force to shatter

   The cast that hideth—Pan!


I lead you, lord of the maze,

   In the darkness free of the sun;

In spite of the spite that is day’s

   We are wed, we are wild, we are one!42

Along with these artistic elements, the Rites also involve the audience as “the officers circumambulate the temple [in “The Rite of Saturn”] and the audience are [sic] picked at random, one by one, to join the procession, the last to do so being reminded, ‘Thou also must die!’”43  (Notably absent from the performance at Caxton Hall, for the audience at least, is the “Cup of Libation.”)  That is, they are—in content, if not in quality—much like a play.  Shakespeare’s Much Ado About Nothing, for instance, incorporates prose, verse, and a dance at the end, and may have thus used music as well; T. S. Eliot’s Sweeney Agonistes, a more modern example, includes verse and songs usually accompanied with music when staged.




J. F. Brown is one of the few critics to make a close examination of the Rites in dramatic terms, including the relationship between art and ritual, how Crowley approached “a theatre of altered consciousness,” and in the similarity between Crowley’s staging and that of Symbolist drama.44  When he remarks, “Crowley felt his drama also must have a myth, to serve as the vehicle of initiation,” he points out the second element of the Rites: their instructional intent and content.45  Crowley gives a useful summary of the cognitive framework—not particularly lucid in the rituals themselves—behind what Crowley calls “seven acts of one play”:

Man, unable to solve the Riddle of Existence, takes counsel of Saturn, extreme old age.  Such answers as he can get is the one word “Despair”.

Is there more hope in the dignity and wisdom of Jupiter?  No; for the noble senior lacks the vigour of Mars the warrior.  Counsel is in vain without determination to carry it out.

Mars, thus invoked, is indeed capable of victory: but he has already lost the controlled wisdom of age; in a moment of conquest he wastes the fruits of it, in the arms of luxury.

It is through this weakness that the perfected man, the Sun, is of dual nature, and his evil twin slays him in his glory. […] and who shall mourn him but his Mother Nature, Venus, the lady of love and sorrow[?] […]

But even Venus owes all her charm to the swift messenger of the gods, Mercury, the joyous and ambiguous boy whose tricks first scandalize and then delight Olympus.

But Mercury, too, is found wanting.  Now in him alone is the secret cure for all the woe of the human race.  Swift as ever, he passes, and gives place to the youngest of the gods, to the Virginal Moon.


But Artemis is still barren of hope until the spirit of the Infinite All, great Pan, tears asunder the veil and displays the hope of humanity, the Crowned Child of the Future.46

When we read Crowley’s summary and the Rites themselves, it is at first obvious that these rituals have virtually nothing to do with accounts of the Greek Rites of Eleusis based on the myth of Demeter and Persephone.47  Still, Crowley’s modern version is not completely disconnected from its classical namesake.  The original Mysteries were rites of initiation, and they answered a “riddle” (in the revelation of vegetative cycles as symbolic of personal rebirth), like Crowley’s Rites.  Also, we should recall Crowley’s reference to the Mysteries as part of his teaching and instructing in his essay “Eleusis,” which shows that he (like virtually every occultist) connected initiation with a tradition of which the Eleusinian Mysteries were a part.  And he likely expected his audience to do the same.  This fact speaks to the importance of the underlying “myth” of Crowley’s Thelemic system as they appear in his Rites.  What we have is a revelation/initiation progressing from a god of death (the “Dying God” and empty shrine of the previous aeon) to a “death” of the lower self (the crucifixion) to a descent of “occult” wisdom (Mercury) and at last to the enthronement of a “Crowned Child” (cp. Ra-Hoor-Khuit).48  And, in the ultimate Thelemic move, that child is barren and virginal until the earthly, lusty, libidinous Pan asks, “Of what worth is the gold in the mine?” and finally tears down the veil—removing the hiding “restriction” of the old law to show forth the naked, available youthful energy of the new Law.49  The importance of this act to the “initiation” of humanity into its new (rightful) place of “divinity” is particularly clear in Pan’s song to Luna at the conclusion of the Rite just before he tears down the veil:




            O virgin in armour

                 Thine arrows unsling

            In the brilliant resilient

                 First rays of the spring!

            No Godhead could charm her,

                 But manhood awoke—

            O fiery Valkyrie,

                 I invoke, I invoke!50

The final vision of the Rites is of powerless gods replaced by empowered “manhood,” with Pan bridging the gap between the virginal goddess and the earthly participants in the Rite by his song and his removal of the obscuring veil.

Unfortunately for Crowley, the Rites, as a prophetic and artistic event, were almost a complete flop.  Even Crowley, not known for his humility, admits that they failed, but for telling reasons: “I diminished the importance of the dramatic elements; the dialogue and action were little more than a setting for the soloists.”51  Although he goes on to blame the surroundings and his refusal to “condescend to theatricalism,” it is interesting that he locates the problems in the ineffective artistry, not the basic method and message of the work.52  Indeed, despite a slew of biting reviews in papers like The Looking Glass (which also made innuendoes of sexual misconduct), Crowley deems the dramatic-ritual technique “a stupendous idea.”53  Thus, when Brown says that “Crowley the playwright came into conflict with Crowley the magician,” he is not far off the mark.54  As the Rites show, and as Sutin intelligently articulates, Crowley avoided overt Thelemic language and “conveyed the teachings of Thelema without expressly announcing the Book [of the Law] or his vocation as its prophet.  In this sense, Crowley was most cautious in his approach to his intended public.”55  Again, initiation and ordeals are important here: Crowley certainly dramatized the teachings in a veiled manner in the hope that the effect would serve as ecstatic propaganda to bring more “uninitiated” candidates to him for initiation and further teaching.  With their bones still thrilling, the audience might surely desire to know and experience more.  Whatever their theatricality, or lack thereof, the Rites were certainly intended to be a part of Crowley’s task as the prophet of Thelema.

Despite Crowley’s caution with the Rites and his failed proselytizing via the theatre, when critics treat the Rites as a mere episode in a beastly life or, like Brown, leave them as an embarrassing exhibition by “a bad 19th-century romantic poet,” they impose a sense of utter failure on Crowley’s work with dramatic rituals.56  In fact, Crowley clearly took the “stupendous idea” of the mixed-genre method he used in the dramatic-ritualistic Rites and made it a fundamental principle in his subsequent work as a poet/playwright and a magician—though generally aimed at a more sympathetic and initiated audience.57  With respect to his plays published after 1910, there is a striking new integration of ritual form, best exemplified by Adonis: An Allegory and The Ship: A Mystery Play (a Mystery!). 




Crowley identifies Adonis (published in The Equinox I.7, March 1912) as “a dramatic ritual in the modern style,” which is interesting for tying drama and ritual together with contemporary movements in art.58  The play hearkens back to Frazer and his extended treatment of the myth and rituals of Adonis as a dying vegetation god.  It also incorporates some important thematic elements of Crowley’s Rites, though the ritual aspect is not as overt in this more traditional play.  The plot of Adonis involves Adonis (at first named Esarhaddon) having forgotten his “divinity” and his true wife Psyche because of the seduction of Astarte.  That is, as Crowley explains in the later Argument, “Esharaddon is a man ignorant of his high destiny, lost in love of the body (Astarte) […].  The soul (Psyche) appeals to him in vain, but awakes his dread of the King of Babylon (the material plane), who is Death.”59  This part of the storyline seems to be very close to the “Riddle of Existence” and “Despair” of Saturn in the Rites, the wasted vigor of Mars in the arms of Venus, and to the subjection/death of the perfected man because of his dual nature respectively.  Further, just as in the Rites, Hermes (Mercury) plays an integral role in Adonis as a Greek physician and magician who, as “the wisdom of God, leads the man to recollection of his true nature.”60  As Hermes promises in the play, “as from eclipse the sun’s / Supernal splendour springs, [Adonis’s] sight / Shall leap to light” if Psyche follows his instructions.61  And, when at last Adonis awakens from his amnesiac state, he is aware of his spiritual power—but far from chaste or otherworldly!  He sings to Psyche, “I am myself, knowing I am thou,” and this “Truth […] / […] / Sets the God within the shrine / And my mouth on thine, on thine.”62  And much like Crowley has the earthly Pan tear down the veil of chaste Artemis/Luna in the Rites, Adonis and Psyche embrace rather than reject Astarte at Psyche’s insistence: “We need thee / To serve us.”63  Adonis, then, incorporates a cyclic “death” and rebirth, as in ancient rituals explained by Frazer, as its dramatic vehicle, though Crowley focuses much more on the triumphant rebirth and creative-life elements of that cycle.  But it is also very close in plot and theme—liberated, spiritual, and initiated love that regenerates the material nature of humanity—to Crowley’s Rites and his essential Thelemic message.

The Ship (published in The Equinox I.10, September 1913) is a second example of Crowley’s dramatic-ritual technique as applied to plays rather than magic rituals.  The Ship, “a magical ritual in dramatic form, commemorating the return of Spring,” is almost stunningly ritualistic in form; when reading it, one actually gets the sense of a magical working rather than a play.64  It is clearly a dramatic rendering of traditional ritual, using all of the Golden Dawn standards.  To point out some of the most noticeable instances, the characters are all robed; the set includes symbolic scenery and veils; and the characters all use secret signs and words.65  Even closer to the form of the Rites, The Ship is in rhymed couplets and includes dances and music played by the character Julia.66  Also like the Rites, the crux of The Ship is the “crucifixion” of the key male character John, the ritual death from which he is reborn as “the youth John […] dressed in the crown and robes of his father.”67  Further, this child, reinvigorating the trappings of his father as “the author of the aeon,” is reborn after being carried in the ark of the “Moon of our love, most wondrous womb.”68  With the emergence of the child, as with the return of spring, a lifeless shrine becomes fruitful with “corn” and “wine.”69




It is surprising and important that the plot of The Ship, written by the Beast 666, is disturbingly Christian in its finale, with loaded references to “I am that I am” and “the Father” and “Son” and “Holy Spirit.”70  But Crowley’s use of this language is appropriate in two ways.  First, The Ship is his expression “in dramatic form” “of the central mystery of freemasonry,” and freemasonry is essentially a Christian movement.71  Second, Crowley often adopts Christian language in an ironic fashion, as is surely the case here in his drama of the return of spring.  By tying the Christ myth to the ancient vegetation-god myth, Crowley seeks to expose the former as a version of the latter (much like Frazer’s evidence tacitly does).  And, truth be told, Crowley never escaped the Christianity of his youth, no matter how hard he tried to rebel against it; it appears constantly in his artistic and other writings.  Combining all of these elements, The Ship is a strikingly ritualistic drama—or dramatic ritual—that exemplifies Crowley’s post-Rites approach to magic.  At the same time, like Adonis, it also exemplifies how this approach was harmonious with his prophetic task, for it expresses some of the key principles of Thelema: passing through an initiating ordeal or ritual “death” to be reborn as the perfected child of creative energy. 

Alongside these more artistic endeavors after 1910, Crowley also continued to follow the technique he used in the Rites by marrying ritual and drama in his strictly (in intention) magical rituals, both for individual and group work.  Liber XLIV: The Mass of the Phoenix, first published in 1913 as part of Crowley’s The Book of Lies, is a Thelemic ritual again celebrating the renewal of the perfected individual after consuming his/her own material nature—the mythical phoenix rising from its own ashes.72  What is worth noting in this ritual is that, along with the use of signs, magical instruments, and even a bell, Crowley sets the speech in rhymed couplets.  “There is no grace: there is no guilt: / This is the Law: Do What Thou Wilt!” the magician states; then, after striking the bell eleven times for emphasis, he/she cries “I entered in with woe; with mirth / I now go forth, and with thanksgiving, / To do my pleasure on the earth.”73  Liber V vel Reguli, written c. 1921, uses other, more dramatic forms in a different way.74  This ritual, an interesting Thelemic adaptation of older Golden Dawn rituals, includes a “Spiral Dance” to arouse the enthusiasm of the magician, though it “may be omitted” depending on the aim of the working.75  Liber V is also significant because Crowley originally used it for group working at his Abbey of Thelema in Cefàlu, Sicily, later applying it to individual work as well.76  In The Mass of the Phoenix and Liber V, then, we see Crowley continuing to mix genres/forms in his magic—ritual and poetry in the former, ritual and dancing in the latter—in accordance with his belief in the efficacy of that approach and its usefulness in a Thelemic system of magic.




Probably the most outstanding dramatic ritual that Crowley ever composed is Liber XV. O.T.O. Ecclesiæ Gnosticæ Catholicæ Canon Missæ or the “Gnostic Catholic Mass,” written in 1913 and first published in 1918.  Crowley wrote the Gnostic Catholic Mass after he became involved with (and later headed) the Ordo Templi Orientis (O.T.O.), a magical Order that is much more communal in its workings than was Crowley’s A.A.  Further, Crowley directed the majority of his energies to the O.T.O. after 1912 as he grew more convinced of the powers of sexual magic, which the O.T.O. practiced.77 

This new shift in Crowley’s magical direction is crucial to his later work and reputation (as a drug-crazed sexomaniac), so a little background for the Gnostic Catholic Mass may be helpful here.  As Crowley recounts in his Confessions, he was put in charge of rewriting the rituals of the O.T.O., which he calls “dramatically worthless” when naming their faults.78  But, to Crowley, the heart of the Order’s teachings was of great value, and (with a little revision) harmonious with Thelema.  The Gnostic Catholic Mass is just one of the many O.T.O. rituals that Crowley wrote in the years after he took over the order (under the name Baphomet), and it is still performed by various O.T.O. offshoots.  Crowley speaks to the communal nature of the Gnostic Catholic Mass, a ceremony to satisfy “the religious instinct,” and explains that in it he aimed “to construct a ritual through which people might enter into ecstasy as they have always done under the influence of appropriate ritual.”79  Much like its orthodox Catholic counterpart, even including a sacrament of wine and “Cakes of Light,” the Gnostic Catholic Mass is truly remarkable even on paper with the elaborate decorations of the temple, the rich attire of the participants, the accompanying music, and the multi-lingual speeches and aves punctuating the ceremony.80  However, Crowley incorporates verse at key points in the ritual, such as during the “Consecration of the Elements” (section VI) when the priest makes the blessing/transubstantiation of the Cakes (“By the virtue of the Rod / Be this bread the Body of God!”) and the wine (“By the virtue of the Rod / Be this wine the Blood of God!”).81  And for the poetic “Anthem” that closes the ceremony in a flourish of poetic exaltation, Crowley used the final lines of his play The Ship, that dramatic ritual celebrating the return of spring and the creative rebirth of life.  The Gnostic Catholic Mass thus seems to serve as the success that Crowley sought but failed to find in The Rites of Eleusis.  It is his grandest work of dramatic ritual, a ceremony of community in which the officiating “actors” lead the audience through a musical and poetic experience to equally induce and celebrate the ecstasy of liberated life—of life under the Law of Thelema, whose yoke, Crowley proclaims, is hard won but light.




One final example of Crowley’s use of ritual and drama in terms of magical work worth looking at is his Magick, an encyclopedia of occultism that is impressive in its scope and depth.  The book consists of four parts: “Mysticism,” “Magick (Elementary Theory),” “Magick in Theory and Practice,” and “ΘΕΛΗΜΑ: The Law” (which includes the text of The Book of the Law).  Part III is of particular interest here, for in it Crowley first lays out his definition of “MAGICK” as “the Science and Art of causing Change to occur in conformity with Will” and then gives its theoretical and practical principles.82  Now, Crowley began writing part III with Leila Waddell (the violinist in the Rites) as amanuensis c. 1912, he advertised it in 1913 in The Equinox, he made the first typescript of it in 1921 while at his Abbey, and he finally published it in 1929-30.83  As we can see, Crowley’s work on this part of Magick began shortly after his staging of the Rites and coincided with his involvement with the O.T.O.  Thus, in writing his Thelemic-magical “textbook” for the world of interested students of the Mysteries, Crowley codifies the theories of dramatic ritual that he had been practicing since 1910.  In chapter 1, “The Principles of Ritual,” he defines “the object of all magical ritual” as “the uniting of the Microcosm with the Macrocosm.  The Supreme and Complete Ritual is therefore the Invocation of the Holy Guardian Angel.84  That is, the ultimate aim of all proper rituals is the very thing that he made it his task to teach in the wake of The Book of the Law.  Also in this chapter, he gives the “Third Method” of invoking a deity as “the dramatic, perhaps the most attractive of all” in its ability to create “sympathy” (i.e., identity) with the deity.85  Besides his equation of art with magic quoted above (from chapter 10, “Of the Gestures”), Crowley devotes chapter 19 to “Dramatic Rituals.”  Here, he again speaks to the force obtained from harmonious group work (which dramatic rituals best provide), the necessity of a “well-skilled poet” to compose the “story,” a ritual climax, and then a final “impromptu” that has as its “most satisfactory form” a dance.86  Although this chapter is only two pages long, it is a virtual summary of the principles that Crowley had developed, practiced, and found successful since 1910.  Clearly, if he feels confident enough to make the married dramatic-ritual technique that we have been examining part of his most scientific, delineated, and serious treatment of magic, then he must have been convinced that the singular failure of the Rites did not nullify his “stupendous idea.”  Indeed, he seems to have been otherwise convinced of its efficacy for the remainder of his life: he continued to write, act, and publish as poet, magician, prophet, and Beast.




 Whether or not one accepts Crowley’s system of Thelemic Magick, with its gods and doctrines of liberated ecstasy, or Crowley himself as the self-convinced prophet of a new Law, it is irrefutable that he was prolific in his efforts to operate in accordance with that system.  Moreover, he continued to work in the public’s often-critical eye as the Beast 666, engaging his talents as writer, magician, and eccentric in order to make the Law available to all.  Crowley was convinced that human perfection requires liberating the self from restriction and entering a state of child-like energy, and that such perfected energy was in its essence ecstatic and artistic.  Consequently, he developed and applied a technique of dramatic ritual, almost a genre in itself, which married all the conventions of magic and all the conventions of drama in order to unite the microcosm and the macrocosm, the higher and the lower self, through an experience engaging all of the faculties.  Through his early success with his dramatic-ritual form, his failure with the public Rites of Eleusis, and his continued reworking of his “new methods of Magick,” Crowley enacts his basic prophetic creed that “All Art is Magick,” that all magic is liberating, and that liberation is the right of all humankind.


1 Aleister Crowley, with Mary Desti and Leila Waddell, Magick: Liber ABA.  Book Four.  Parts I-IV, ed. Hymanaeus Beta, rev. ed. (York Beach, Maine: Samuel Weiser, Inc., 1997) 197; Crowley’s boldface. 

2 James George Frazer, The Golden Bough, abridged ed. (New York: Collier Books-Macmillan Publishing Company, 1963) 448.


3 Ibid.  In addition to this mythical-magical relationship, Frazer also recognized the development and succession of science out of the “superstitions” of the past (see the final chapter of The Golden Bough, “Farewell to Nemi”).  Crowley presents a similar view with his system of “Scientific Illuminism,” mysticism practiced along scientific lines.




4 See Crowley, Magick 793 and 795. 

5 Aleister Crowley, “Eleusis,” The Collected Works of Aleister Crowley, vol. 3 (Foyers, UK: Society for the Propagation of Religious Truth, 1907; Des Plaines, Ill.: Yogi Publication Society, n.d.) 230. 

6 Qtd. in Robert Ackerman, The Myth and Ritual School: J. G. Frazer and the Cambridge Ritualists, Theorists of Myth, ed. Robert A. Segal (New York and London: Garland Publishing, Inc., 1991) 153. 

7 For instance, Yeats’s Rosa Alchemica contains a ritual climax relying heavily on the Golden Dawn.  However, Yeats’s works are not meant to be rituals themselves, nor do they support a system and cosmology, as Crowley’s do. 

8 See J. F. Brown, “Aleister Crowley’s Rites of Eleusis,” Drama Review 22.2 (1978): 11-2. 

9 See also Israel Regardie’s The Golden Dawn for a more complete edition of Golden Dawn rituals and teachings. 

10 See J. F. C. Fuller, with Allen Bennett, “The Temple of Solomon the King.  Part II,” The Equinox 1.2 (Sept. 1909), in vol. 1 (York Beach, Maine: Samuel Weiser, Inc., 1998) 244-61. 

11 Fuller 257 and passim. 

12 Ibid. 261. 

13 Originally titled Liber L. vel Legis, the title changed to Liber AL vel Legis c. 1919.  It is conventionally referred to by its English title, The Book of the Law.




14 See Aleister Crowley, The Confessions of Aleister Crowley, eds. John Symonds and Kenneth Grant, 2nd ed., (1929; London and New York: Arkana-Penguin Books, 1989), and Magick part IV, passim, for detailed discussions of the reception of The Book of the Law, the gods and beings it describes, and the principles of Thelema it contains. 

15 Crowley’s remark on the progression of human civilization underlying this cosmology evidences the importance of the Golden Dawn to his later work: “The Neophyte ceremony of the Golden Dawn prepared me for the New Aeon [of Ra-Hoor-Khuit]; for, at the Equinox, the officer who represented Horus in the West took the throne of Osiris [the “Dying God” of the previous aeon ending with The Book of the Law] in the East” (Crowley, Confessions 399). 

16 Aleister Crowley, “Liber L. vel Legis svb figura CCXX as delivered by LXXVIII vnto DCLXVI” [The Book of the Law], The Equinox 1.10 (Sept. 1913), in vol. 2 (York Beach, Maine: Samuel Weiser, Inc., 1998) I:15, p.12. 

17 Ibid. I:39, I:40, I:41, p.14. 

18 Ibid. I:38, p.14. 

19 Ibid. I.34, p. 14; emphasis added. 

20 Ibid. I:38, p.14 and passim. 

21 Ibid., II:60, p.23.  As I will discuss further below, Crowley was so troubled by this part of The Book of the Law that he shirked and even rejected his office as its prophet for many years; his final acceptance of it in 1909 is both significant and timely. 

22 Qtd. in Crowley, Magick xxxviii.




23 Crowley, Confessions 177. 

24 Ibid. 404. 

25 Qtd. in Crowley, Confessions 516. 

26 Crowley, The Book of the Law I:3, p.11. 

27 Crowley, Confessions 451. 

28 Ibid. 541. 

29 Ibid. 541-42. 

30 See ibid. 595-96. 

31 Ibid. 582. 

32 Lawrence Sutin, Do What Thou Wilt: A Life of Aleister Crowley, (New York: St. Martin’s Press, 2000) 193. 

33 Crowley, Confessions 630; emphasis added.





34 Crowley, Magick 197; Crowley’s boldface. 

35 Francis King, The Magical World of Aleister Crowley (London: Wedenfield and Nicolson, 1977) 62-4. 

36 Ibid. 63. 

37 Qtd. in Crowley, Confessions 32.  The writer, Raymond Radclyffe, was “an admirer of Crowley’s poetry” (Sutin 210) but apparently not Crowley’s disciple. 

38 See Sutin 210 and King 63. 

39 Crowley, Confessions 632.




40 Ibid. 633.  Although Crowley bases this claim on the content of the “masonic rituals” he was using at the time, his opinion of ancient customs virtually echoes the entirety of Frazer’s The Golden Bough.  Jane Harrison’s works (Themis and Ancient Art and Ritual) and those of the other Cambridge Ritualists, published after the Rites were performed, also lend credence to Crowley’s statement. 

41 See Aleister Crowley, et al., “The Rites of Eleusis,” The Equinox I.6 (Sept. 1911), Special Supplement, in vol. 2 (York Beach, Maine: Samuel Weiser, Inc., 1998) p.5 and passim.  (My future references to poetry and plays from The Equinox will indicate page numbers, “p.,” as line numbers are not given.) 

42 Ibid. p.42. 

43 Crowley, Confessions 636-37. 

44 Brown 26, 12-3. 


45 Ibid. 12. 

46 Crowley, Confessions 635-36. 

47 See Frazer 456ff. for a discussion of the Greek Rites. 

48 See Crowley et al., The Rites of Eleusis pp.14 and passim. 

49 Ibid. p.120. 

50 Ibid. p. 124. 

51 Crowley, Confessions 636. 


52 Ibid. 637. 

53 Ibid. 638.  Crowley’s friend George Cecil Jones sued The Looking Glass for libel, as Crowley’s other acquaintances urged him to do, but lost the case (see ibid. 635 et al.). 

54 Brown 12. 

55 Sutin 210.  Some of the most direct references to Thelemic principles come in “The Rite of Mars,” with lines such as, “Crowned child and conquering Lord! / Horus, avenger!” (p.51); though not overt, the Thelemic system is still pervasive. 

56 Brown 26. 

57 For purely “secular” theatre, Crowley took Waddell and other women performers on tour in England and Russia as “The Ragged Ragtime Girls.”  See Crowley, Confessions 690 and 711, and Will Ryan, “The Great Beast in Russia: Aleister Crowley’s Theatrical Tour in 1913 and his Beastly Writings in Russia,” Symbolism and After: Essays on Russian Poetry in Honour of Georgette Donchin, ed. Arnold McMillin (London: Bristol Classical Press-Gerald Duckworth & Co. Ltd., 1992), passim. 


58 Crowley, Magick 450. 

59 Aleister Crowley, “Notes and Corrections,” The Equinox 1.10 (Sept. 1913), in vol. 2 (York Beach, Maine: Samuel Weiser, Inc., 1998) 30. 

60 Ibid. 

61 Aleister Crowley, “Adonis: An Allegory,” The Equinox I.7 (March 1912), in vol. 2 (York Beach, Maine: Samuel Weiser, Inc., 1998) p.147. 

62 Ibid. p.155. 

63 Ibid. p.156. 

64 Crowley, Magick 450.




65 Aleister Crowley, “The Ship: A Mystery Play,” The Equinox I.10 (Sept. 1913), in vol. 2 (York Beach, Maine: Samuel Weiser, Inc., 1998) pp.59-60, 61-3. 

66 See ibid. pp.70, 73-4. 

67 Ibid. pp.63, 75. 

68 Ibid. pp.76, 73. 

69 Ibid. p.77. 

70 Ibid. pp.76, 78. 


71 Crowley, Confessions 714. 

72 E.g., its “Cakes of Light” follow the recipe given in The Book of the Law III:24: “meal & honey & thick leavings of red wine: then oil of Abramelin and olive oil, and afterward soften & smooth down with rich fresh blood” (Crowley, The Book of the Law p.27). 

73 Aleister Crowley, “Liber XLIV: The Mass of the Phoenix,” in Magick (op. cit.) 572. 

74 See Crowley, Magick 772-73. 

75 Aleister Crowley, “Liber V vel Reguli,” in Magick (op. cit.) 575. 

76 See Crowley, Magick lxi. 

77 Although Crowley began announcing the O.T.O. as early as 1912 in The Equinox I.8 and again in I.9, he was reticent to reveal the “wisdom,” sexual in nature, which the Order taught and practiced.  Crowley offers tantalizing hints of the secrets in Confessions.  He states, “I am always ready to communicate them to inquiring Brothers” (706), and he admits that he could give them and appropriate rules “without doing much harm” (709), but he never does so.  Perhaps the efficacy of sexual magic, having impressed Crowley so deeply, and combined with the attacks on his character growing out of his staging of The Rites of Eleusis, led him to focus more on the “ordeals” and “half concealed” rituals of The Book of the Law as necessary preparations.  Whatever his motivations for this secrecy, Crowley continued to publish his magical works and to remain in the public sphere as the prophet of Thelema, preaching the Law to all, up until his death in 1947. 


78 Crowley, Confessions 701. 

79 Ibid. 714. 

80 See Aleister Crowley, “Liber XV: O.T. O. Ecclesiæ Gnosticæ Catholicæ Canon Missæ” [The Gnostic Catholic Mass], in Magick (op. cit.) 584, 593-94). 

81 Ibid. p.593; admittedly, these couplets are less than “ecstatic” poetry. 

82 Crowley, Magick 126; Crowley’s boldface hereafter unless otherwise noted. 


83 See ibid. 725-26. 

84 Ibid. 144. 

85 Ibid. 145, 147. 

86 Ibid. 265.