The Osiris Scroll

After much arm twisting I am releasing the Osiris Scrolls as a strictly limited book on lulu.  It is a small hardback book and will be limited to 50 copies so it will be a collector’s item.  It can be bought here

From the blurb:

The Osiris Scroll is a  modern magical technique based on the bedrock of the Ancient Egyptian Book of the Dead.  This work was compiled by the Chief Adept of the Magical Order of the Aurora Aurea Nick Farrell.

This is cutting edge modern magic which works and is based on a manuscript which was only available to the adepts of his order.

Using vision techniques, this book takes the reader though a through a series of magical ordeals before finally uniting them with their Divine Self.

This book is a practical handbook and not for the beginner as it offers Self Initiation into the Mysteries of Osiris.

NOTE:  These all sold out.  I might do some similar projects.  If those who got the copies want to tell me if they survived I will be interested.


Working with spirits

 Yesterday a wonderful Jupiter talisman was sent to me from the American magician Rufus Opus who makes them for people here .  Rufus, along with JakeStratton Kentare one of the few people I know who actually make magical material according to the rules. 

My talisman was made at the hour of Jupiter when it was particularly comfy in Cancer.  It was blessed by Rufus in the expectation that it would be initiated by me when it arrives  (that is a reference to the Z2 documents).  You just have to hold it to know that this is a serious talisman which positively oozes Jupiter energy.   However, the owner’s manual that Rufus provided with the talisman got me thinking.

The new cover for the next revised edition of Making Talismans
which will be out early next year
Those who have read my book Making Talismans, which is about to get a new incarnation, will know that I see talismans as living beings — thought forms to which the physical object is like a physical anchor on the this plane. But Rufus has taken this stage further and suggested that you spend time with your talisman spirit and make it offerings.  This tallies with some other work I have been doing with underworld spirits and this idea of offerings and interacting with them while they do the work for you.
In that situation, you ask a spirit to appear and do you a favour and you pay them afterwards, usually with an offering. Alternatively, you make a thought form which is ensouled and you can contact while it does the job. Offerings and communication are all part of the relationship that you are supposed to have with these spirits.  Soon after we formed the Magical Order of the Aurora Aurea, I experimented with making a black handled dagger to assist me creating magical circles and for general defence.  It occurred to me before hand that it would also be a living creature and I should treat it as such.  So I visited the Elemental Kingdom appropriate to me and asked the Elemental King for a volunteer to work with me in this role.  One came forward and I gave it a name and it agreed to show up for the Z2 consecration, which I did on another occasion. Whenever I use the knife I invoke the elemental to help.  His name is on the knife  along with his element. What is strange though is that I have developed an attachment to the knife/spirit and he sometimes shows up if I am holding the knife or not. Crossing magical circles made with this knife is a tricky business even for physical beings. It takes some days for us to get pizza delivery people to the flat because they keep getting lost in the building.   I don’t yet make offerings to him, but I would have thought it was a good idea.
But the concept of using it for talismans  flies in the face of modern magic in which you are supposed to do the ritual and promptly forget you ever did it. The reason you were supposed to forget about it is was because you would “jinx” the ritual with negative thoughts.  Then it occurred to me that working with something you invoked makes a lot more sense than fire of jinxing your ritual.  For example the spirit can tell you why something is not working, or what you need to do to help something happen. It has always bugged me about rituals or talismans is that you never really knew if it had not worked, or it was time to give up.
For example, if you made a love talisman to assist you get a date you would want to interact with the spirit who might warn you not to use your favourite pick-up lines if you wanted a girlfriend (or leave an establishment with your family assets unbruised). 

Obviously interacting with a spirit of a ritual will not always be a good idea.  For example some rituals where you cut ties with those who caused you pain are best worked and then forgot about.  But it might be interesting for people to stop seeing those things they invoked as beings best forgotten.

The reversed pentagram; the key to the liberation of matter

The  Golden Dawn Temple Deck  by Harry Wendrich
The modern Golden Dawn has a bit of a problem with using the reversed pentagram due to some very mixed messages about its use by its founder Samuel Mathers.
Mathers firstly tells students that it is an evil symbol and you should not use it, however later on he tells you that it has a use for controlling evil spirits. It is possible that Mathers changed his mind, but it is equally possible that he expected people to work out what the reversed pentagram actually meant.
In Mathers Last Secret I printed the only version seen of the original GD portal ritual. In it Mathers describes the Devil card which shows the Devil with an upright pentagram above his head and a face which is shaped like an inverted one.

Thus he represents the gross and materialized Elemental Forces of Nature, and the whole would be an evil symbol, were it not for the pentagram of light above his head which guides and regulates his movements. He is the eternal renewer of all the changing forces of creation in conformity with the laws of the All Powerful One, Blessed be He, which controlling laws are typified by the Pentagram of Light surmounting the whole.

In other words, the reversed pentagram represents lowest elemental force, but it is redeemed by the message of the upright pentagram.

How not to do it… very naughty Mr Case
The upright pentagram means that spirit rules the elemental nature, however the reversed pentagram appears to show that spirit is under the control of the elements. However, in fact the pentagram means a little more than that. It actually shows that spirit is latent within all matter. Moreover, if you use a reversed pentagram to banish or invoke you end up revealing that latent spiritual force.
The reversed pentagram is about finding the divine in everything around you. This is a mystery and a heresy to those who find matter evil and something which needs to be escaped. This might be the reason why it does not get a mention or developed in much of the GD paperwork.
The formula of the Devil card hints that it is possible to do a supreme inverted pentagram ritual which is intended to liberate and use the divine force which is around you.  If you look at the card it would suggest you would do a normal upright active or passive pentagram and then an inverted pentagram of the element.  You are, using Mathers’ words working with the “eternal renewer of all the changing forces of creation in conformity with the laws of the All Powerful One.
A lesser ritual of the pentagram ritual has nothing to do with the elements and Mathers suggests that were you to draw an inverted pentagram you would be drawing symbol of the “gross and materialised Elemental Forces of Nature.”What I think he is suggesting is that spirit is latent in everything but slumbers. You cannot draw it out naturally but need the extra energy of a spirit pentagram to awaken it.
Mathers suggests using this reversed pentagram when you are dealing with evil spirits so that you do not harm them. This too is probably a blind. When you open the quarters using any supreme pentagrams you are working with the elementals through the power of spirit. Inverted pentagrams take you much lower into matter. This is a point often represented by the depths of the underworld. It is hard for us to get to that point naturally because it is bound up with our own rational fears. We are trying to conceive of a point where matter slows down to the point where it triggers unconscious fears of demonic forces, death, plague and extinction.
The reversed pentagram acts as a divers weight drawing us down, but before we can do so we need to be sure that we can handle that pressure.
It takes a balanced soul not to journey to that level and not project their own devils into the dark, but rather see the divine manifesting there.  It takes an adept to see those forces as Gods working slowly at those levels.
It is probably for this reason that Mathers warned his students off, while at the same time gave hints of what they needed to do.  

On the nature of Gods, Spirits and Demons

 What follows is cryptic writing but inside it are Ideas which should give the reader concepts which I am playing with now.  
These are the realms and natures of spirits.
The One Thing is like light, in which darkness and shadow are one. To understand itself it created a mirror and divided itself into seven aspects and these formed the jewels of a crown for creation.  
From these jewels were born the seven proto-gods, the Elohim, who contained in themselves the seeds for the reflection of the One Thing. These proto-gods created matter so that it could reflect the Face of the One Thing.
They divided the reflection into two; the light and its shadow became separated. Thus, the colours of the Elohim where reflected through-out creation, from the lightest to the shadow.
Then these proto-gods made the astral form of themselves and called it Adam Kadmon and they sat on his head as a nameless crown of reflected light. 
This child of the Elohim partook of two different natures, and contained within itself the rainbow of creation from light to shadow. Adam Kadmon existed in a twilight world of light and shadow for in matter were the full range of the colours of the Elohim expressed.
Adam Kadmon saw the Elohim in all aspects of himself and he named them. The highest Crown it called them the Seven Celestial Gods and declared all the colours pure inside them. Then it proceeded to name all the gods between the light and the shadow. At the top Adam Kadmon declared, was a trinity of male, female and union.
Adam Kadmon noted that there were those Gods which were closer to his nature than others were. Colours, and beings which were similar to him. These he related to strongly, but they changed with his mood and development. Sometimes they were overthrown by a vision of the Celestial, sometimes they were dragged down deeper into his own shadow.  
Some gods were bound to this shadow by their rivals and their true meaning became lost to all but those who sought them in the Shadowlands. They were called demons, but they were no more evil than that aspect of Adam Kadmon. They were ruled by King, a Queen and a Prince.
Then there were gods who Adam Kadmon feared so completely. They were part of himself and part of his not-self. For he knew that there was an infinity of being above the crown of light and below the shadow crown which were above his understanding — beings which could only be defined by what they were not. They were nameless shadows beyond Erebus whose darkness ebbed and flowed like a black ocean between the subjective and the objective. When the waters rose, the shadows darkened and when they retreated, the shadows lightened. Likewise, when the nameless crown did brighten, so the light became dazzling.
There were also those spirits who were born of the Kingdoms of matter in which Adam Kadmon lived and these he called elementals and he was their manipulator using them to change his universe until it suited him.  Sometimes he would call upon the powers of his Gods to help him and other times he would bind them with his own power.
There were the fragments that Adam Kadmon had cast off; aspects of itself had fulfilled their destiny. Some, which partook of its highest aspects, merged their fates with the God which corresponded to it, others became Gods, and fewer managed to raise themselves beyond the trinity of light and darkness. Others became one with their family line and existed at their own level within the mind of Adam Kadmon.
And it shall be so until Adam Kadmon has truly reflected the Elohim and shall merge with them and he shall then merge with the One Thing, which will have understood itself.

Triangle of the Art

The Triangle of the Art comes from the Grimoire tradition of magic.  Its function was to concentrate the spirit being invoked into one space so that it could be seen visibly.   It first appeared in the Lesser Key of Solomon the Goetia where its function was to constrain and force evil spirits to manifest.

We have very few accounts of Golden Dawn evocation magic and the most famous is the account published by Pat Zalewski in his Talismans and Evocations of the Golden Dawn.  That was a ritual which was written by Alan Bennett (Frater Iehi Aour “Let there be light”) and was designed to get the nearly unpronounceable spirit of Mercury TAPHTHARTHARATH to physical manifestation.
 What was telling about this ritual was that it used a triangle of the art to manifest the spirit outside the circle. Bennett’s triangle of the art was not that used in the Goetia, in fact it was a simple triangle enclosed in a circle. The circle outside the triangle would help to constrain and concentrate the spirit by effectively placing it in another reality.  In the triangle, Bennett placed a sigil of TAPHTHARTHARATH to aid its manifestation. This is a key part of understanding the Golden Dawn Z2 instructions for evocation .
One of the areas that Bennett suggested that followed the Z documents, was that the triangle was placed in the point where Mercury was in the sky at the time of the ritual.  However, in the case of evil spirits he suggested it should be placed in the West because this was where the Qlippothic spirits should be.  This is pretty daft because it implies that spirits such as  TAPHTHARTHARATH were evil and needed to be treated as unbalanced demons.  It is fair to say that the last thing you want to do in an evocation is bring anything out of the lands of the West.  Then there is the small problem about what the magician does when you are invoking an Angelic force.  These are only some of the sorts of problems that the early Golden Dawn adepts had trying to fit the Z documents into the Key of Solomon texts.

Mathers’ Goetia translation was released unfinished by Aleister Crowley, who had financed it and wanted his money’s worth (he more or less claimed to have written it).  Since this happened a long time after the collapse of the Golden Dawn,  it took some time for the Golden Dawn community to realise that it was not a work of the Great Beast, but potentially a Mathers paper.  Copies of the “Crowley” Goetia ended up on the shelves of some Whare Ra members and it was this triangle of the art which was adopted in their private rituals.
This classical triangle of the art was the one I have used for many years without questioning it.  Then I started to wonder why the Goetia’s author used Greek names as these did not strike me as having the necessary cabbalistic power to do the job required.  In addition with the exception of Tetragrammaton the names did not make much sense – what was an Anaphaxeton?   It is fairly clear that the three are supposed to be names of God, but it was not clear which ones.
Tetragrammaton just means “four lettered name of God” and we know that is YHVH יהוה.   so it was possible that the other names were also Greek instructions for Hebrew names.
Primeumaton means literally “the first name”.  Indeed the Goetia says that the name means: “Thou who are the first and the last, let all spirits be subject to us and let the spirit be bound to this triangle which disturbs this place. In the first verse of Genesis the name of God mentioned was Elohim אלהים.  “In the beginning Elohim created the heavens and earth.”

Traditional Triangle of the Art 

So far I was happy as the divine name of Binah was YHVH Elohim and this connection made sense given the function of the triangle was to bring something into manifestation.   But that still left the name Anaphaxeton to find meaning and ritual function.
Mathers’ translation of the Goetia in the chapter on the Magical Triangle of Solomon said that “Anaphaxeton” is sometimes written “Anepheneton” but this is not much help either.
Mathers had written in the Key of Solomon Chapter VI that the name ARPHETON, and in the name ARPHETON, “by which the angels who are destined to that end will summon the Universe, in visible body and form, and will assemble (all people) together by the sound of the Trumpet at that terrible and awful Day of Judgment, when the memory of the wicked and ungodly shall perish”.   Then Mathers had written a footnote saying that this name was sometimes replaced by Anapheneton, or Anaphaxeton.
The name was connected with the more martial aspects of God, but its use is not complete until you consider the Goetic prayer that Anaphaxeton was supposed to represent:  “Thou great god of the entire heavenly host.”  The great god of the heavenly hosts was Tzabaoth ,  Tzabaoth  is the plural form of “host” or “army” and used as a divine name in its own right.  In the Golden Dawn it was part of the divine name of Hod and Netzach.
This would mean our triangle would be bounded by the divine name YHVH ELOHIM TSABOATH or the Lord the God of Hosts.
Using the name Elohim beginning with the letter Aleph and Tsaboath beginning with the letter Tsaboath you could read the meaning of the divine name around the triangle as:
YHVH the beginning and the end,
Lord for eternity
The Lord, the first and the last
Eternal God
God the Alpha and the Omega

Suggested Triangle of the Art 

As is typical, in researching this article, I found someone on the internet who came up with similar conclusions, and gave me the breakthrough I needed.  Writing in his blog  Enoch Bowen pointed out that YHVH was often replaced in the Key of Solomon by the name Adonai. For example in Isaiah 6:3 in a description of the  Kerubim, the prophet wrote:
“And one cried unto another, and said, Holy, holy, holy, is the LORD (YHVH) of hosts (Tsaboath): the whole earth is full of his glory.”
But the Key of Solomon the King  Book 1, Chapter 5 there is a conjuration based on the same verse which says “… by the troops of Angels who cease not to cry day and night, QADOSCH, QADOSCH, QADOSCH, ADONAI ELOHIM TZABAOTH”
This means that the Key of Solomon used ADONAI as a replacement for YHVH.  This is fairly common as YHVH was considered unpronounceable and was often replaced by Adonai.  Adonai is still a four lettered name of God.   Replacing Tetragrammaton with Adonai makes more sense when you realise that the triangle of the art is closely connected to Isaiah 6:3.
It does not change my translations of the names around the triangle because YHVH was often interpreted as Lord.
The effect of this would be to turn the circle and its triangle of the art into a symbolic representation of the vision of Isaiah, which is exactly the sort of thing you want from an evocation.  But there is another clue here within the Bible text itself.
There were two important visionaries in the bible which were the inspiration for Ceremonial Magicians and mystics – Ezekiel and Isaiah.  Both of them had similar visions of the throne of God.
The difference was that Isaiah’s vision was of a static temple with God and his angels not moving.  This was because in Isaiah’s time the Jews were not in exile, whereas in Ezekiel’s time they were.  Using imagery of Isaiah’s vision is ideal if you want the spirits you summon to be connected to the divine and yet stay still.
In the middle of the triangle is the name of the Archangel Michael whose name means “like unto God.” Michael could be a method of bringing down the power of Almighty God so that it might protect the people of God.  Michael often appears as an advocate and protector of humanity.  His function is important when summoning demons.  Michael is often seen as killing the dragon of Evil.  The use of Michael at the centre of the triangle protects the operator while at the same time helping to provide a suitable medium of communication.
Mathers’ Goetia also gave colours for the Triangle of the Art.  He said that the triangle should be outlined in black with the three names written on the outside of the triangle in red.  The name of Michael should be written in black on a white background.  In the centre there should be a circle which is of dark green.
While the triangle is a symbol of Binah and creation, the circle within it is more problematic.  Traditionally a circle was seen as being the divine and spiritual, particularly compared to the geometric figure of the square, which represented matter. In the Golden Dawn green was the colour that represented the seventh path of the tree of life, Netzach in the Queen scale).  Given that the   Goetia was not written for the Golden Dawn, it is more sensible for the green to be seen as representing nature. A green circle would mean the spiritual side of matter, which is where you want the spirit to manifest.
Given that a triangle of the art was supposed to assist and constrain the spirit or angel, painting the circle green would be giving it a target to manifest within.  In  other words you do not want it to be solid, which would be pure nature, but the spiritual side of matter — Nature.
According to Goetia the triangle of the art was three feet across, which is a curiously specific number.  Having used triangles of that size they create manifestation that are somewhat stretched and the triangle could be happier being bigger.  If you look the diagram that Mathers provided it would suggest that the triangle should be bigger than three feet.
The number three is attributed to Binah, but it had other meanings which were connected to the triangle’s function. According to Agrippa three was connected to the name  Shaddai שדי  which was the name of God with three letters. It means “Mighty” so the symbol that the triangle is a mighty force that holds everything together.
In the Golden Dawn Z documents the triangle of the art was placed outside the circle where ever the physical planet was in the sky at the time.  Since the Z documents create a temple, this means that the triangle is outside.  But the temple which is created in the Z2 documents is a 0=0 temple of Malkuth.  This symbolically means that anything which is evokes is not expected to appear in Malkuth and is supposed to be viewed on the astral nebulous matter which surrounds a magically empowered temple
At the same time it was expected amongst some Golden Dawn magicians that a “physical appearance” meant just that so the Z2 insistence that such an appearance was possible would appear to be a contradiction.  It might have been for this reason that the Bennett ritual was written using the Z2 formula, but ignored the rule which demanded that the temple had to be set up for a 0=0.
It could have been that Bennett wanted to get a physical manifestation and was removing everything that would have stood in his way. Given the ritual map of the Bennett ritual it is fairly clear he did not bother with the 0=0 godforms or set up his ritual within a 0=0 temple. What would be interesting is that if someone attempted the same ritual but more closer to Z2 and see if they repeated Bennett’s results.

[1]There is no room in this article to explain this in detail. Generally, what happens in a GD evocation is that the adept initiates a pentacle which gives him control over the being. With a sigil in the triangle of the art, it means that what happens within the circle also has a resonance with what is happening in the triangle. As the ritual purifies and consecrates, and creates a simulacrum of the spirit within the “subjective” circle, it is having a direct effect on the “objective” spirit being evoked in the triangle. If the sigil was not there, it would make it difficult to get a physical manifestation because the triangle would be in a “different world” from the circle with no point of magical connection.