2. Creating a magickal space
foundation of all magickal work is the imagination. The part of the
mind that creates images serves as a meeting ground between the
conscious mind, the unconscious parts of our being, and the magickal
universe at large. Visual symbols are the primary means by which
meaning is communicated in the magickal worlds. The more flexible you
make your imagination, the more effective your magickal work can be.
best exercise I know of for developing the imagination is called
"creating a refuge" or "creating a magickal space". The Vietnam veteran
from whom I first learned it said that the U.S. Army Special Forces
taught it to him as a means of maintaining a sense of privacy, personal
integrity, and personal space under conditions -- as in Viet Cong POW
camps -- where these things would be deliberately denied to him by his
enemies. When I encountered the Fellowship of the Inner Light a few
years later, I found that they were teaching essentially the same
technique for purposes of self-mastery and spiritual development.
you become practiced in the method it requires no special physical
place; it is completely "portable" and can be done anywhere you can sit
and relax for a moment. I have used it effectively in many
"un-magickal" environments; e.g., a crowded government office, a busy
commercial hotel, and in the middle of the Las Vegas COMDEX show.
basic idea is very simple. You make up an imaginary world that you
would enjoy being in, and then you imagine yourself walking around in
this world. Not much different, in principle, than what people do in
any ordinary daydream. But here the idea is to work for consistency, so
that it appears the same every time you enter it, and to continually
add details to it. With practice and familiarity, this imaginary world
will begin to take on a sense of being a "real" place; not real in the
same way as the physical world, but having a permanence about it
purposes of illustration, I am going to describe one of my own magickal
spaces, one which I no longer use. It is important to understand that
at every step, the images you use should be those that feel right to
_you_; this is to be your own private space and its contents should
always come out of yourself and be meaningful to you. Your space may
resemble mine in some aspects; if so, that is all right. More likely it
will not, and that too is perfectly appropriate.
steps described here should be done sequentially, but you do not have
to be perfect at any step before going on to the next. Right from the
beginning, you can work on several steps in a single session. However,
in any given session most of your attention should be given to the
earliest steps in whatever group you are working on. As each step
becomes more familiar it will take less practice to reach a
satisfactory level and you can naturally give more attention to the
A. Establish the boundaries
your magickal space is well-established, you should begin every session
by affirming its invulnerability. Imagine that your space is invisible
to any being but yourself, and is impenetrable by any force or person
without your express, conscious permission. Think up an image of your
space's boundaries that reflects these ideas. I imagine my magickal
spaces as "pocket universes" that, seen from the outside, are so tiny
as to be lost in the immensity of our own universe; seen from inside,
they are as big as I want or need them to be. Other people I know of
imagine theirs as surrounded by an adamantine shell, or by a
science-fiction force field that "bends" all forces so that they bypass
you have the boundary of your space established, imagine yourself
inside it. As you enter into it, feel all the pressures and demands of
your daily life being locked out behind you, unable to follow you in.
Imagine that they became completely disconnected from you at the moment
you entered your space. They are not trying to force their way in; they
can not even sense your space or yourself inside it and are drifting
away without anything to attach themselves to. Feel yourself to be
totally safe, totally free of any connection to the mundane world.
matter of feeling safe is very important. As in the relaxation
exercises, the feelings you generate are the way you tell the
unconscious parts of yourself, the "sub-minds", what to believe and how
to act. As far as they are concerned, what you feel is what is real;
tell them something often enough, and they will begin to cooperate in
making it so, to an extent you could not manage with your conscious
resources. If you feel safe and free from pressure in your magickal
space, then in a short time you will actually _be_ safe and free there.
B. Create the landscape.
you have established a secure space, take some time to think about the
general layout of your world. Decide on the major features of the
landscape, what sorts of buildings or other structures you want. Make a
mental "map" of the areas in your world that you will want to visit
most often. Once you decide on these major features, they should not
A few ground rules for inventing your world:
You should keep the contents of your world absolutely private. Do not
speak of them to anyone, and do not write them down anywhere. This
first world is going to be your secret refuge and workplace, and much
of its protection comes from no one knowing what it is like. Once you
have the technique down, you can build other magickal spaces for public
Make your world much bigger than you could maintain by conscious use of
your imagination. Create as many detailed areas as you want, but
surround these with regions whose landscape is only known in a general
way, and whose specific content is unknown. These allow room for
expansion, and for the "surprise me" exercises later on in this paper.
Make the world a place where you feel comfortable and safe, so that it
reinforces the impressions established in the previous step, and make
it a place where you can have fun.
You can populate your world if you wish, but DO NOT, under any
circumstances, use images of living people in your world. For some
time, all of the contents of your world will be a reflection of
yourself in one way or another. There is a possibility that images of
people will be "taken over" by some unconscious part of your mind as a
vehicle of expression. If you use images of real people, the behavior
of the image may carry over into your relationships with the real
person, with ill effect.
to build your world by picking one location within your "map" of it,
and imagine yourself standing at that spot. Fix the relationships
between various landmarks in your mind, and see them surrounding you at
the proper angles and distances. Fill in the details to the degree that
you would actually be able to see if you were standing at a similar
spot in the real world.
example, one of my magickal spaces has a landscape of hills and ravines
covered by a thick forest like pre-colonial America. The central area
contains a rather utilitarian castle on a low bluff overlooking a large
river meadow. A small tame river meanders along one edge of the meadow.
Various outbuildings and special-purpose areas are dispersed in
clearings in the nearby forest.
began to build this world by imagining myself standing in the meadow,
looking north. I can see the green grasses, small colorful wildflowers,
and an occasional cowpie nearby. Animal paths wander about, and a more
direct human-made path goes from the bluff to the river. The bluff
appears to be made of a flaky granite, and the castle is right on the
brink of it; a couple of winters' worth of erosion to the bluff might
undermine the nearest wall. I can only see all of one castle wall from
this position, and part of another; I can just barely see the top of a
tower above the wall. All of the walls are made of dressed gray stone
without mortar. Below the castle a tunnel or gate is cut into the bluff
at the meadow level.
to the east, I see that the bluff gradually reduces in height towards
the south, coming down to the meadow somewhat south of my current
position. I can see the end of a dirt road where it curves off the
bluff and into the meadow. More forest rising behind the road implies
that the ground beyond is higher. I know from my "map" that there is an
area of grassland a mile or two in that direction.
south I see that the river continues in that direction, and passes
through a cut in the hills several miles away. Sunlight glares off the
entire length of the river in that direction, and a haze prevents me
from seeing anything beyond the gap.
west, I see that the river is fairly shallow at this point; small
ripples cover its surface as if it were flowing over a gravel bar. The
forest beyond it is edged with undergrowth, mostly honeysuckle bushes,
which has been tramped down in places as if by animals coming for
water. Paths leading into the forest quickly disappear into the shadows
of the trees.
do not need to fill in all the details of the scene consciously; in
fact, it is better to encourage your imagination fill in many of the
details by itself. Give it the general outline and let it show you what
you should see in such a location. E.g., instead of trying to imagine
each blade of grass and wildflower in the meadow, I would let my
unconscious do so. If I liked what it did, I would send it a feeling of
approval; if I didn't like it, I would tell it to try again, and turn
away for a moment to let it change things.
you have the view from a particular location fixed fairly well, move to
other nearby locations -- twenty to thirty yards away, for outdoor
locations -- and imagine what things would look like from this new
position. What does the changed perspective reveal that was hidden
before? What was unseen from the previous location that can be seen
now? (Note that perspective in magickal space is never quite the same
as it is in the physical world, though the difference is hard to
quantify; you will not be able to make things appear in precisely the
way you see natural objects.)
moving to new locations and build up an image of the scene as it would
be seen at each one, until you have a good sense of the place as an
actual "space". In the example space, I spent some time going to
various positions in the meadow, noting that less of the castle was
visible close to the bluff, more of it from farther away; noting the
colored gravel in the riverbed, and how it made a ford across the
river, etc. Then I went up to the castle and looked outward from
positions on every side of it, seeing the wider landscape, filling in
the positions of various known places in the forest, deciding how far
the grasslands extended behind the castle, and so on. Do this for your
you have established the perspective from several locations, try moving
smoothly between them, with the parallax of the surroundings changing
continuously, as it does when you move about in the physical world.
first you will find that your vision of your world has a tendency to
"withdraw" from the scene; your imagination will try to view it as if
seen through a window, or on a movie screen, or like a tableau in a
museum. Whenever you notice this has happened, firmly place your
viewpoint back inside the scene, and fix it there by turning and
looking at what is in every direction around you.
at first, your world will tend to be still and tableau-like, a frozen
image. Once you have the appearance of things fairly well established,
try bringing some action into the scenes. Let grass and tree limbs be
blown by breezes, and hear the sounds the wind makes. Watch water move
and hear the sounds it makes. Add some living creatures to the
landscape and let them move around in ways appropriate to their
is also important that you stay relaxed throughout the exercise; doing
this work should be like a relaxing daydream, not requiring fixed
concentration and alertness. Do the relaxation exercise before starting
each session, and do it again if you find yourself getting tense at any
time during the session. Let your mind do as much of the work as it can
without conscious decisions on your part, and encourage it to do more.
should spend at least several weeks on this exercise, and as much more
as you want. Take your time, relax, and give as much work as you need
to filling in the details in all the important locations in your world.
Indoor locations should be given as much time as the general landscape.
The more thoroughly you do the work in these early stages, the more
effective your scrying will be later.
C. Establish a body in the magickal space
final step in the basic process of creating a magickal space is to
create a body for yourself within that space. Up to this point in the
exercises, you have been pretty much a naked viewpoint, seeing the
world but not interacting with it to any great extent. Now you need to
build up an image of your body within the space, and learn to use it.
To do this, you need to develop a conscious awareness of the sensory
surface of your body and of its kinesthetics, and duplicate these in an
"astral" body. Judging from accounts by students at the Fellowship of
the Inner Light, this part of the work gives people the most
difficulty, and people will have widely varying degrees of success in
entering your magickal space, stand up and relax, preferably without
any clothes or jewelry. Close your eyes and put your attention onto
your skin. Even without anything touching you, you should be able to
feel a sense of activity or sensitivity in your skin, a "readiness to
feel". Note the way your body's shape is outlined by the skin
plan out some series of movements that will move every part of your
body in turn, through most of its range of movement. Tai Chi or Yoga
exercises are good for this if you know them. Still keeping your eyes
closed, go through the movements and note how each part of your body
feels in different positions, and note what your kinesthetic sense
tells you about the positioning of your limbs as you move.
do the same sequence again with your eyes open. This time pay attention
to the way what you see of your body changes as you go through the
movements. Pay particular attention to your hands and arms. Try to
consciously associate the image of your body with the sensations you
get as you move.
of these three steps focuses on one of the major aspects of your body
image: your sense of the body's boundaries, its internal sensations,
and its appearance to your eyes as you interact with your surroundings.
Under normal conditions, these sensations are half-unconscious, and are
always secondary to whatever activity you are engaged in. You need to
be aware of them consciously in order to build yourself a second body
inside your magickal space. If you wish, you can do these exercises
separately from your practice in your space, until you are ready to
make your magickal body.
you are ready, sit down and go through the relaxation exercises, and
enter your magickal space. Once there try to feel as if you have a body
in the magickal space that feels exactly like your physical body, but
is completely separate from the physical. Go through the three steps in
your imagination, and try to duplicate all the sensations you had while
doing them physically. By doing this you will, over time, gradually
build up a perception of your "astral body" as a distinct entity,
within and a part of your magickal space.
finishing this exercise in each session in your magickal space, spend
some time just moving around your world, touching and manipulating
things as if they were physical objects. Things you touch should give
sensations appropriate to their nature; bricks and stone should feel
hard and rough; metals should feel cool, with textures appropriate to
their shape; wood should feel warm and grainy, etc.
you have rituals that you do on a daily basis (and haven't already
started doing them in your magickal space) create a dedicated place in
your magickal space for ritual work and begin doing them there as part
of this practice. The regular, repetitive movements of ritual work will
serve to reinforce your body image, and doing the rituals will begin to
turn your space from a mere refuge into something useful for your
magickal work. In particular, I would recommend practicing the Golden
Dawn's pentagram and hexagram rituals; these will be important later,
as a means of testing the visions you obtain when you start scrying.
most common problem people encounter in this part of the work is
maintaining a consistent shape for their body. They find that even
after long practice their head and arms will remain reasonably
well-defined, but the rest of their imaginary body has a tendency to
blur into amorphousness. This is a reflection of the relative density
of nerves in the physical body. Eighty percent of our sensory and
kinesthetic nerves are in the head and hands; half of the remainder are
in the upper chest, shoulders and arms. Our perception of the rest of
the body is substantially more vague, and depends as much on sight as
on direct sensory connections. When one tries to build an astral body,
the mind tends give each part of it a size proportional to the relative
is really not so bad. You don't need legs in the magickal space, since
you are moving yourself around by your volition rather than by pushing
yourself with muscles. You _do_ need arms and hands to do the gestures
of magickal rituals, and lips and jaws to speak the words. If you find
that after some practice you can't maintain a full body image, don't
worry about it; just get by with what you do have, and imagine the rest
of your body concealed by a robe or other loose garment.
second problem people have is that their physical body twitches or
moves when they try to move their magickal body. They unconsciously
tense up the physical body, trying to "lock" it so that it won't follow
along with the magickal body. This is a matter of lifelong habit, of
associating the sensations of movement with the volitional act of
moving your muscles. One has to disassociate the sensations from the
volition, and another simple exercise will help.
your magickal space, imagine you are standing with your arms held out
in front of you, palms facing downwards. Now imagine that you are
turning them so that the palms face upwards, but that you are turning
them _entirely with your eyes_. That is, you see them turning over, and
feel the sensations of the changed position, but you don't involve the
part of your mind that moves the muscles. You should _see_ your arms
move without willing them to move. (In fact, you are directing your
will through your visual centers instead of your muscles, but it should
not seem like you are willing it, at first.)
first few times you do this, your physical arms are almost certain to
tense up into rigidity. When you notice this happening, stop and do the
relaxation exercises until your body is loose again, and then go back
to trying to move your magickal hands again.
you succeed in turning your astral hands over without tensing your
physical hands, you should try moving the fingers individually. Curl
each one over onto the palm, and straighten it out again. Again, do the
relaxation exercise whenever your physical body tenses up. When you
succeed in moving the individual fingers without tensing up, try
various coordinated movements: clenching your fists, grasping objects,
karate chops, Vulcan greeting-gestures, and so on.
hands are the hardest part of the magickal body to separate from the
physical, because a major portion of our nervous systems go into
controlling their movement. Once you have managed to dissociate
movement of your magickal and physical hands, the rest of your body
will be very easy, and can be done with similar exercises, if necessary.
3. Putting your magickal space to work
the time you have worked the exercises in the previous sections for a
few months, you will have established a solid foundation for all your
future magickal work. Practically every magickal and meditation
technique you will ever encounter is a variation or extension of the
skills you have learned in building your magickal space.
person will have a different level of "peak performance" with these
techniques. Only a rare few are able to enter wholly into the magickal
space, and become entirely unconscious of their physical body; for
these people, the end result of this work is indistinguishable from the
classical descriptions of astral projection. Most people will find that
a certain portion of their awareness remains "outside", and that the
intensity of the sensations they have never attains the brightness and
clarity of normal perception. I fall at the low end of this latter
category myself; in my visions, colors are more implied than they are
perceived directly, and most of the time I need to focus intently to
perceive fine details.
able to put all of your awareness into the magickal space is not
necessarily an advantage. What matters more is that you make the best
use of the level of skill you do have. It is the meaning you can
extract from your experiences, the insights you gain into yourself and
the world, and the uses to which you can put them, that count the most.
Bright and glorious visions are nothing, if they have no useful content
or if your awareness and understanding are not (gradually but
permanently) expanded thereby.
established the basics, in the following sections we are going to look
at various exercises, all of which are forms of "scrying". Before going
into the details, we need to consider -- in a general way -- the nature
of the things a person experiences while scrying.
it is often said, are the realm of symbols; the same is true of
scrying. But while the symbols of dreams are usually expressions of
processes happening below the conscious level of awareness, the symbols
seen in scrying are often (in an ideal world, always) the expression of
processes and events occurring _above_ the level at which consciousness
resides. They are the lowest and most readily apprehended aspect of
processes that the consciousness can not yet completely encompass. In a
sense, the symbols you see are no more than anchor points; a convenient
means by which your awareness is given a connection to something coming
from outside its current scope.
form of the symbol does not necessarily bear any direct relation to the
nature of that to which you are being connected. Some symbols -- such
as the Greek gods or the cabalist's Tree of Life -- have forms that
directly reflect some aspect of the inner reality. Others have
connections that are largely a matter of convention; they relate to
particular aspects of the inner reality only because we habitually use
them in such a way. The cabalistic color attributes are in this
category. And others yet are seized upon to serve the needs of the
moment, and have no particular meaning outside the context of the
vision in which they occur.
in all these cases, when a symbol is seen in a vision it has a direct
connection to some magickal power, archetype, thought-form or entity.
In order to get the greatest benefit out of your scrying, you must
continually attempt to sense _beyond_ the symbol, to extend your
awareness along the path it provides and apprehend that which it
this is a delicate task. The relaxation exercises described previously
again become important, this time the portion of them dealing with
quieting the mind. This is important in two ways: first, because the
mind's internal chatter will tend to overshadow and conceal that which
is being communicated through the symbol, and second, because active
parts of the mind will attempt to twist the meaning of the symbol to
fit with their own preconceptions.
is especially the case where the practitioner has personal desires that
relate to the information being conveyed, or where the person's
self-image feels threatened. If your conception of yourself is
dependent on a particular world-view and the information does not
accord with that view, it will be almost impossible for you to see it
reduce the possibility of this happening, you should also work
consciously to develop a mental state of unattachment towards the
content of your visions, a deliberate disregard for any personal
significance they contain, and a deliberate refusal to evaluate the
contents for truth or falsity. Critical evaluation of the results of a
scrying session is definitely necessary, but the time for that
evaluation is _after_ the session is completed. While the work is
proceeding, you should seek to be in a perfect state of suspended
judgment; neither believing nor disbelieving anything that you see or
sense, simply seeking to receive the symbols and their attached
meanings precisely as they present themselves.
using scrying techniques in magickal work, you are always trying to
penetrate unknown "territory". Any work that can result in a spiritual
advance will be, by definition, at least partly outside the scope of
your current perspective and understanding. Like anything truly new, it
takes the mind a while to adjust and be able to see it clearly.
Further, the meanings behind any symbol can have many different levels;
it may take a long time for these to "soak in" to your awareness, and
the final significance may be very different from the first,
superficial appearances. In my own work, it has sometimes taken up to a
year and a half, with repeated exposures, before I fully comprehended
what I was being shown. Thus, no evaluation you make should ever be so
definite that you cannot change it; all meanings should be tentative
until they have been repeatedly reinforced by additional experiences.
cannot give any assurance as to the manner in which the meanings
attached to a symbol will appear to a particular person. I do not have
enough information from other people to characterize any particular way
as "typical". In my own case, they come in two or three ways, depending
on the amount of power I have managed to invoke and how high above my
normal level of consciousness I have managed to raise my awareness.
they appear as groups of thoughts or associations that appear
simultaneously in my mind with the words spoken by some entity,
providing a detailed context for the words; it is as if the thoughts
out of which the entity produced the words were being transmitted along
with the words. If I am looking at a visual symbol rather than hearing
words, then they appear as sudden detailed "realizations" of what the
symbol is intended to represent, which appear instantly in my
frequently, the hidden meaning of symbols appears as an entire
storyline, a long series of events that appear in the mind as if some
part of myself had been taken away, taken on a long tour through
magickal spaces, and was then returned to the exact moment in time from
which it had left. The complete tour is instantly "remembered" as it
happened, even though for my conscious awareness, no time at all has
the rarest case, the meaning appears to my awareness as a tightly-bound
packet of mystical energy, which sits in my mind and gradually
"unravels" itself into words, images, and meanings over a period
ranging from minutes to weeks. These "packets" seem to be some magickal
equivalent of books. Their content usually does not seem to be directed
at the particular person receiving them, but rather at some general
audience; and the content is often radically different from the
perspectives and ideas the seer would normally be interested in.
should not take these as being the only ways in which the meanings
behind symbols can present themselves to you; you may find that some
other means is more typical for you. But if you do happen to receive
information in any of these ways, you can feel confident that you have
had some success in this matter.
The Magickal Mystery Tour
first scrying technique is very simple, and can be very entertaining.
The results you get with this method can range from silly to sublime,
from inconsequential to important, depending on the conditions of the
moment. This method lets you acquire a feel for the ways in which your
unconscious mind symbolizes things, and gives it some practice in doing
so in a non-critical situation.
your magickal space and re-affirm your safety there, using the method
previously described. Then go to some familiar outdoor location in your
space, and look around to establish your bearings and the relative
positions of the other familiar regions.
done this, imagine that these familiar territories are surrounded by
vast areas about which you know nothing as yet, in which anything at
all might be happening at any given moment. Decide that you are going
to take a walk and look around some part of those areas. Then look
around you again, pick a direction, and start walking. As you move out
of your familiar areas, don't try to imagine that you will find any
particular features in the landscape, and don't try to look for any
particular thing. Let the your imagination fill in the features of the
areas you pass through without interference.
around in the wilderness until you find some interesting item. It might
be an interesting natural feature, an object, a building, a person or
animal. Examine the object or explore the building, remembering that
everything unusual has some sort of meaning in a magickal space. If
nothing clear comes to you, move along in the direction you were going.
Sometimes it happens that several locations in sequence tell a story
that isn't clear until you have been to all of them; other times, the
first locations you come to simply aren't very important.
to a person or animal as if they existed independently of yourself;
treat them with the respect and politeness you would give to any
stranger you encounter in an isolated place; try to maintain a friendly
and unthreatening attitude no matter what the being does, and remember
that since all this is taking place in your private world, you are
perfectly safe. Don't try to script their actions, just let them speak
and act spontaneously. Asking a person you meet to tell you about
himself and what he is doing will nearly always get a positive
the person does not acknowledge your presence, or does not respond to
your queries, then watch what they are doing for a time, until you
don't see any point in continuing to do so. Then move on to another
location. If they do respond, when you have run out of questions then
ask them if there is anything else interesting to see in the
neighborhood, and follow any directions they might give you.
such explorations will tell you something about yourself, your
life-situation, or your current magickal environment. It will all be in
symbolic form, of course; the obvious meaning of the events won't
always be their deepest significance. But once you understand the
symbolism, the results usually turn out to be something useful or
interesting, though not always important.
method is particularly good for those times when you know something
important is going on in the magickal side of your life, but you can't
tell what it is. It is also very good for any situation where you
aren't certain what questions you should be asking. To use the method
in such a way, hold the idea that you need information or answers in
your mind while you are picking the direction for your tour, and try to
sense the direction in which the answers lie; there will always be such
a direction. Then go in that direction and continue finding interesting
things until you feel like you have received all of the answer; this
will usually manifest as a sense of relief or a reduction in some
vaguely-sensed pressure. Then consider the things you have seen in
relation to your current situation; the meanings they contain will
usually provide essential clues you need.
The Magick Mirror
next method is very close to a "classical" scrying method, save that
the appurtenances are astral rather than physical. The method is
capable of endless variations, of which only a few will be described.
a convenient location within your magickal space. If you intend to scry
in conjunction with invocations of magickal forces, a temple or
magickal workroom would be the best place; otherwise, any place where
you feel most comfortable and secure.
that place, imagine a frame, as for a large mirror. This should be at
least your own height, and of a width such that all of it can be in
your field of vision at the same time. Now imagine that this frame
contains a sheet of glass. But rather than being a silvered mirror the
glass appears to contain a deep, transparent blackness; as if behind
the glass were a void of indefinite extent.
can get an idea of the correct appearance -- and construct a physical
magick mirror at the same time -- by taking a piece of half-silvered or
quarter-silvered glass (from a scientific supply house) and laying it
on a piece of good-quality black velvet. Look into this under very low
illumination and it will seem to have an indefinite depth; that is, it
will seem to have depth, but you will be unable to tell exactly how
deep it is.
should at the same time imagine, and _feel_ a total confidence, that
the answer to anything you look for will appear to you in this mirror.
Don't get bogged down in _how_ the mirror does this, simply generate an
emotional confidence that it works.
basic use of this mirror is fairly simple. You hold the thought of what
you want to know about in your mind, and then you imagine that the
mirror is "tuning in" to that thought, using the thought to make a
connection to some place where the answer can be found. Once you feel
that the mirror is tuned, release the thought and wait in mental
silence for images to arise out of the darkness of the mirror. And as
with the "mystery tour" technique, the images will be accompanied by
meanings that you will be able to "hear" or sense in your mind.
are several variations on the basic method for different purposes. Once
you get accustomed to the basic method, you can make use of those
described or invent your own. As you come to be familiar with the
method, your own intuition will become a better guide to its use than
any "official" technique; do not be afraid to experiment.
psychometry, hold an object in your (physical) hand, and imagine that
there is a link between it and the mirror. Then look to the mirror to
reflect the "impressions" contained in the object. If it is an object
that is connected by use to some person, you must specify that it is
impressions of the person that you want, not impressions of the object
itself; otherwise you may get some odd results. For example, I once
tried to psychometrize a flint knife-blade, and got a geological
history of the stratum from which the flint had come. It's connections
to its rocky origins were stronger than its connections to the persons
who had made and used it, and these came across most intensely.
can also "psychometrize" a person -- give them a "life reading" or
answer specific questions -- by holding their hands and looking to your
magickal mirror to reflect impressions you get from their spirit. This
is more difficult, takes more practice, and works best when you have no
personal relationship with the person in question. It should _never_ be
done with people with whom you have an emotional entanglement of any
get basic ideas and meanings related to visual symbols, imagine the
symbol drawn on the face of the mirror in glowing lines. Then imagine
that you are pushing the symbol into the mirror, so that it recedes in
the distance and eventually vanishes from sight. Sending the symbol
into the mirror "tunes it in"; wait in mental silence for images to
arise, and these will bear in some way on the symbol.
invocations can be used to enhance the power of the mirror. As an
example, you might want to explore the nature of the element of Fire.
You could begin by performing the Lesser Pentagram ritual to banish
extraneous influences, directing that the banishing include the mirror.
Then you could use the Greater Pentagram ritual to invoke the element
of Fire. When you have a strong sense of the element's force being
present, direct that force into the mirror, simultaneously imagining
that the force is not only tuning the mirror to the element, but is
also charging it up and clearing the channels so that the mirror works
with its best effect. Or alternately, you could request that the
archangel or angel of the element appear to you in the mirror and
answer your questions.
any of these methods, the images you get will at first be vague and
static. But with practice the images will sharpen, expand and become
active, presenting whole landscapes and long storylines that
dramatically present the answers you are seeking. The mirror will seem
to become a window opening on the part of the astral plane that relates
to your search.
you achieve this, the mirror can be used as a "gate", an opening
through which you can travel directly to the plane being viewed, to
experience events there first-hand. From the standpoint of initiatory
magick, this is the preferred mode of operation, since it immerses your
consciousness in the power you are exploring. Immersion increases the
potential for real and lasting changes in awareness and enhances your
power to achieve insights and realizations from the power.
convert the mirror to a gate, imagine that the image in the mirror
becomes three-dimensional, as if you were actually looking through a
window at a real place instead of just seeing a picture of it. Then
imagine that the glass of the mirror dissolves and vanishes while the
image in the mirror remains in place. Or if it is easier for your mind,
imagine that the glass is in fact a hinged window in a frame, and open
will usually find that unless your being is totally in tune with the
force you have invoked, you will have some difficulty passing through
the frame and into the world on the other side. The Golden Dawn's "Sign
of the Enterer" will help to overcome the resistance. Stand just short
of arm's length from the gate; raise your arms directly above your
head, and then bring them down and forward with the fingers straight,
while at the same time taking a step forward. Alternately, pull your
hands back so that they are close to your body at shoulder level, and
then extend your arms sharply forward while taking the step. Imagine
that these gestures are punching a hole in whatever is resisting your
entry, and that the momentum of your forward movement is carrying you
through the gate and into the world beyond. If you still feel
resistance once you are through the gate, repeat the gestures again.
you are though the gate, look around and make note of everything you
see. Start with the major features of the landscape, then focus in on
the details. If you have invoked the power correctly, you should see
objects and events that reflect parts of the power's nature.
is good practice to test the world you enter, and any beings you
encounter, to ensure that they are in fact related to the power you
invoked, and are of a good nature. The means of testing will be
discussed in detail in the next installment of this series.
you find that you have difficulty turning the mirror into a gate, or
that the mirror won't give you images of complete landscapes and
storylines, a variation on the magickal practice of "pathworking" will
help. The practice as described below is halfway between scrying a
simple symbol and doing a freeform exploration of an invoked force, and
will thus assist in the transition between them.
term "pathworking" is used for several different practices, ranging
from simple meditations through programmed visualizations to visions
and astral travel. What they all have in common is the use of symbols
traditionally associated with the "paths" of the Tree of Life, e.g.,
the Tarot trumps. These symbols have been in use for long enough that
stable regions reflecting their power have been established in the
inner planes. By using the symbols in these practices the person
connects to those regions and can learn something of the realities
behind the symbols.
Pick a visual symbol for the path you want to explore. Tarot cards are
good starting points. The cartoon-like images of the Rider or Wang
decks are preferable to detailed images like Crowley's deck; the
bright, flat colors of these cards encourage your imagination to fill
in the blanks. We'll use the Rider deck's "Fool" card as an example.
Review what you know about the correspondences of the card. Read what
your available sources have to say about the card. Then go on to some
unconnected activity for a while and let your unconscious absorb the
information; let it make its own connections and conclusions without
any effort by your conscious self.
the example card, what comes immediately to my mind: The Fool is
generally attributed to the element of Air and the path of Aleph. In
the Golden Dawn version of the Tree, the path of Aleph connects Kether
with Chokmah. In Achad's version of the Tree, it connects Malkuth with
Yesod. The Fool is a primal form of Air, more cosmic and less "earthy"
than the Tarot suit of Swords. In the cabala, it represents both the
"mind" or "intellect" aspect of being, and the Yetziratic, "formative",
or "Son" aspect of the IHVH sequence. In the Enochian elemental
sequence it represents the creative Ideal manifested by the divine,
which is the basis for further development and full manifestation
through the other elements. In the structure of the planet Earth, it is
the atmosphere which lies between the spirit-aspect of the planet's
magnetosphere and the water-aspect of the oceans. And so on.
Study the card and note the details, and also note any connections that
come to mind. Consider the figure in the card; what does his/her
posture, gestures, expression, etc. say about his attitude and
emotional state? Where does his attention seem focused? Try to get some
idea of the type of personality being expressed.
The cliff on which the Fools stands seems to be colored using three of
the Malkuth colors: black, olive, and russet. The Fool's boots are
citrine, completing the foursome. The mountains in the background are
in a Yesodic violet, with snowy tops reflecting the light of the Sun,
which is colored in Kether's white. The sky, dominant in the picture,
is an Airy yellow, slightly darker than the citrine of his boots.
Fool's outer garment is green with ivy patterns, reminding me of the
Green Man of Celtic mythology and Malkuth again. The lining is red,
reminiscent of both Fire and the sexual energy of Mars. There are
wheels embroidered on the garment, which brings to mind another card,
The Wheel of Fortune, attributed to Jupiter, who is Lord of the Air.
There are also Fleur-de-Lys on the garment, which are either Lilies
(Malkuth, according to Crowley) or Irises (Yesodic by color and shape).
inner garment is white, again suggesting Kether. A feather is mounted
at the front of his hat, and its shape suggests the Uraeus serpent of
Egyptian costume, or the feather of Maat. He carries a rose in his left
hand and a staff with a bag at the end (rather phallic) in his right.
Fool's head is bent back, his eyes focused on something in the distance
that only he can see. His posture is somewhat pretentiously
"sensitive", the sort that you would see the French Sun-King use in one
of his dances. Overall he reminds me of a Galliard poet of the 13th
century, a noble's over-educated younger son, wandering and pretending
to be a minstrel while eschewing mundane tasks. He is about to walk
over a cliff. The dog at his heels seems either playful or trying to
call his attention to his immediate danger.
don't have to go into such detail as in the example; if you are just
starting out in magick, you probably won't have the resources to do it.
The important thing is to note the details, and try and interpret the
figure's expression and posture, and the acts in which he seems to be
first three steps are preparatory, and should be done before beginning
the main part of the practices. Once you have done them, let the
information float in your unconscious for a few hours or a day while
you do other things. The idea is to gently focus the unconscious on the
subject matter, and to let it absorb the information and ideas without
your conscious interference. This makes it more willing to participate
in the practices, and enhances its ability to make connections with the
magickal region behind the card.
4. Sit down and do the relaxation exercises, as described in the earlier section.
Place the card in front of you so that you can look at it without
straining your eyes or changing your relaxed position. Look at the card
without deliberately focusing on any one point; let your eyes move from
point to point within the picture in their normal scanning motion.
Now enter your magickal space and get your awareness firmly established
there. Go to the place where your magick mirror is located and stand
where you can view it head-on. Imagine the image from the Tarot card in
the mirror, so that it completely fills the frame. Then look at the
landscape in the picture; think of what it would look like if it were
real and not just a cartoon image. Try to see the image as a
three-dimensional world behind the glass of the mirror. Think about the
parts of the landscape that are hidden beyond the window frame and fill
them in. Keep the colors more or less the same, but fill in the
details; build up a picture as if that world were a real place that you
can see. Feel free to incorporate details of real places you have seen
in your life. (But DON'T use real people as models for the figures.)
The mountains in the Fool card remind me of the Swiss Alps,
violet-tinted rock with permanent snow-cover at their summits. I fill
in the picture with the appropriate details of ravines, rockslides,
etc. The cliff on which the fool stands looks to me as if it is some
sort of moss-covered granite, and the sharpness of the drop suggests
that it was carved out by a glacier. The same glacier would have carved
a deep, rounded valley below, and I imagine it being there, with fields
of grass and copses of pine and fir trees, perhaps with the rooftops of
a village small in the distance.
Fool is walking towards the window, so there must be a trail down into
the valley hidden behind the outcrop. I imagine a trail following a
curve upwards around the end of the valley to end at the outcrop. I
imagine this outcrop is on the side of a mountain the summit of which
is somewhere to the right of the visible area.
Next, imagine that you have jumped through the window frame and are
standing in the world you have been looking at, but at some moment in
time just before the living figures of the card appeared on the scene.
Don't try to move through the mirror, just make an instant transition
to the place you just imagined. If you have to, build the landscape up
again from scratch, but with you inside it.
around and look at the surroundings from your new viewpoint; get a
360-degree view, and fill in the parts of the landscape that were
behind your original view through the window. (The window,
incidentally, should not be visible.) Imagine what your other senses
would tell you if you were in a similar physical location, and add
those in to your impressions of this place.
Looking back towards the window's position I note that the mountains
get lower in that direction, and gradually fall off into rolling
farmlands in the far distance. A large lake (like Lake Lucern or
Geneva) can be seen just at the edge of visibility. I can see the
mountain on whose side I stand, and can see directly the path I had
previously imagined behind the outcrop. This path comes up to my
current position, then curves around the mountain and up to a pass in
the middle distance. Looking down into the valley below, I see that
there are light clouds between me and the village, giving the
impression that I am in a world above the normal world. I can feel and
hear the wind blowing around me, and there are faint scents of pine,
grass, and flinty rock in the air, as well as an ozone freshness. Faint
sounds of human activity come from the village.
Spend some time getting the scene and your viewpoint firmly in your
imagination. Don't worry if details change or shift, and don't expend
any effort trying to change them back. Just get the major outlines and
positions firm and let the small detail change as it will. Think of how
places look in your regular daydreams; often there is very little
detail, and what detail there is is more often understood to be there
rather than actually seen. As you continue the practice over weeks or
months, your unconscious will gradually learn to fill them in and keep
them steady without conscious effort.
The next step is in some ways the most difficult, and in some ways the
easiest. We have all had daydreams in which we invented face-saving
dialogs for some embarrassing past occurrence in our life, and others
in which we imagined the events and interactions we would like to see
happen in some future meeting, or in some situation we would like to be
in but cannot attain in the mundane world. What you do in this step is
basically the same. The only difference is that you shouldn't have any
particular desire to control what the other characters say, but instead
want to see what they say of themselves.
you want to do is imagine a scenario by which the Tarot card's person
arrives at the location where you are standing, and begins to converse
with you. Using our example, you could think that you hear someone
singing in the distance behind you. You turn and look down the trail,
and see the fool climbing it, followed by his dog. He sings a cheery
tune as he walks. As he comes close enough to hear you, you call out
and wave to him; he looks up and waves back. He comes closer and steps
onto the escarpment where you stand. He smiles and walks to the edge of
the cliff, looking outwards. He stretches his arms and takes a deep
breath of the fresh mountain air, and for a moment he is posed in
exactly the way he is shown on the Tarot card. Then he turns to you and
asks, "Where away, traveller?"
idea behind this is to give your unconscious mind a credible reason for
believing you to be in a situation where you can talk to the card's
character. The part of your unconscious that touches the imagination
doesn't believe in hypothetical situations; to it, things are either
real or they aren't, but anything that is reasonably consistent will be
accepted as real. This part of your unconscious mind plays the
character's part while your conscious mind plays yourself. This same
part reaches out into other parts of your minds and into the magickal
realms and pulls in information to use in building it's
Now that the character is present, you can ask him questions about
himself, the various symbols of his clothing and appurtenances, and
about the environment in which you find yourselves. Always act as if
the character were a real person, independent of yourself. Treat him
with the respect of equals; never act superior to him, and never, ever
threaten. If he doesn't want to answer a particular question, don't
press. Answer any questions he poses honestly, to the best of your
ability. But at the same time don't allow yourself to be threatened or
cowed; demand that your interactions be on a basis of equality and
thing to remember is that in this phase of the exercise there are no
wrong results, only results you don't understand. If something seems
out of place with the nature of the card, don't reject it. Simply admit
that you don't understand and file it away for later consideration.
Generally you should follow along with whatever happens; there is no
way you can be hurt, so there is no reason not to do so.
When you start to tire, or the character indicates he has had enough,
it is time to end the exercise. Say goodbye to the character, turn and
walk away until he is out of sight. Then "jump" back through your
magick mirror and turn around; see the point you just jumped from
through the mirror, even if this is not the same point that was there
at the start. Then imagine closing the mirror so that it only shows its
usual deep blackness.
leaving your magickal space again, spend a few moments focusing your
attention on various objects in your physical environment. Get up and
walk around, stretch yourself, get a drink or go to the bathroom, or
some other mundane task. Then sit down again and write down what
happened during the exercise, in as much detail as you can. Note what
was said, any ideas that happened to pop into your mind, any changes in
the scenery or movements into other scenes.
sometimes happens that unexpected things occur during this exercise.
For instance, the character might come up behind you and say hello
while you are still working on the landscape. Usually it's best to go
along with these happenings rather than insist on following the various
stages in order.
the character appears, then the rule is to allow whatever wants to
happen, as in the "mystery tour" exercise. You should not worry much
about keeping the environs steady. The character might change the
landscape to make a point, or introduce creatures or objects. Other
things might appear and disappear spontaneously. You sometimes find
yourself and the character transported to an entirely different scene.
All these things are acceptable, and should be taken in a spirit of
non-judgmental interest. Remember that the logic of visions is the
logic of dreams, where such events are not at all unusual.
you have worked with this method for a week or two using various Tarot
images, try again to invoke a force using a ceremony and getting a
response through your mirror. The practice of creating landscapes in
the mirror should have overcome any difficulty in that regard. If you
still have trouble, try combining the invocation with an appropriate
4. Testing your visions
is usually a good idea to apply tests to the images you get in scrying,
and to the various beings you might encounter. The ultimate test is, of
course, a critical appraisal of the quality, consistency, and value of
the results you get from your work; but that test can only be applied
after the work is done. Other methods allow you to get some sense of
whether there is something wrong at an early point in the session. You
can then take appropriate efforts to correct the problem, or if
necessary end the session and save your energy for another time.
most reliable testing method makes use of the symbols in the Golden
Dawn's Greater Pentagram and Greater Hexagram rituals. But the
effectiveness of the method requires that you have some experience in
performing those rituals, and in getting a good response from them. If
you are not already experienced in their use, you should practice using
them in your magickal space for a while before implementing this
limitation of this method is that it only works where the powers being
scryed are among the traditional, conventional powers used in magick.
That is, the powers are elemental, planetary, or zodiacal in nature.
Where the nature of a power is unknown, or it is of an inherently mixed
nature, other methods must be applied.
attaining a steady image of some magickal region in your mirror, you
draw the invoking pentagram or hexagram appropriate to the power you
invoked, using white lines in the air in front of you. Vibrate the
god-names of the power a couple of times, then cast the symbol into the
mirror. If the mirror is correctly "tuned" to the power, the pentagram
or hexagram will be absorbed and will either have no effect, or will
cause the image to become sharper and brighter. If the image becomes
darker, becomes distorted, or breaks up entirely, then you know that
something is wrong; you should banish and start over.
if you have used the mirror as a gate and entered into some region, you
should cast the appropriate symbol against any object that appears
prominent in the area, and always against any being who appears to
serve as your guide. In either of these cases, the being or object
should show no effect, or should grow brighter, larger, or more solid
as a result of the contact. A false or deceptive being will shrink, or
its appearance will become distorted, or it will disappear.
magickal being worth speaking to will ever object to being tested in
this way. There is no reason that it should, since by doing the test
you are, effectively, blessing and feeding it; few beings will pass up
a free lunch. If a being attempts to convince you to not do the tests,
that in itself is a sign that something is wrong.
that you should always use the _invoking_ pentagram or hexagram for
tests, never the banishing versions. Using a banishing figure is the
same as commanding the forces you invoked to disperse again, nullifying
secondary types of testing seem to depend in some way on the magician
having an _intent_ that they will work correctly; there is no obvious
reason why they should work, but they usually do, just the same. The
first of these is the use of the G.D. grade signs; the second is the
use of the Hebrew letters of the planets.
idea behind the use of the Grade Signs in scrying is the same as their
use in Masonic rituals and greetings. By displaying a sign to a spirit
you encounter, you claim a right to the "secrets" of that grade and its
corresponding element. The spirit should answer back by repeating the
sign, thus showing that it is also qualified to deal with the secrets
of that grade. (Illustrations of the Grade Signs can be found in most
published versions of Crowley's Liber O, and in Regardie's The Golden Dawn.)
a spirit can perform the appropriate sign for the invoked element, this
indicates that your vision is on-track. If the spirit cannot perform
it, performs it improperly, or its form becomes distorted, this is an
indication that something is wrong. However, it is not necessarily
proof that you are dealing with a deceiving spirit, particularly if the
same spirit has already passed the pentagram/hexagram test. Rather, it
is more likely that there is insufficient magickal power present for
your communication to be clear. The best course is to vibrate the
divine names for the power you are invoking several times, and then
repeat the signs again. Only if the spirit is still unable to perform
the signs correctly should you end the session.
exchanging of signs also contains an implicit agreement between you and
the spirit being tested. That is, by doing this you are agreeing to
deal with the spirit on a basis of equality and brotherhood, neither
dominating that spirit nor being subject to it. You are also
acknowledging that both of you are "members of the same fraternity",
operating within the general community of workers seeking to align
themselves with "god" (or with divinity in whatever form you conceive
of it). You should never try to exchange signs with a being you know is
not within that community, or with which you must maintain a position
of dominance -- e.g., a demon or a true "elemental". Conversely, you
should never try to dominate a spirit with whom you have exchanged
signs; assume instead that it will assist you willingly and without
coercion, and treat it with the same respect that you would wish it to
sometimes happens that in answering your sign, the spirit will add
other signs after repeating the one you used. This is an indication
that the spirit is of a mixed elemental nature, or is intrinsically of
a higher "grade" than that at which you are working. As an example of
the first case, if you were invoking an angel from one of the Lesser
Angles of the Enochian Tablet of Earth, you would perform the sign of
Set. The angel would be expected to respond with the same sign, but if
it were an angel of the Lesser Angle of Fire, it might add the sign of
Fire (the goddess Thoum-aesch-Neith) as well. As an example of the
latter case, a Senior from the Earth Tablet might add the LVX signs
after the sign of Set.
LVX signs are a special case. Their use indicates that the spirit is
aligned with the divinity, is of a "good" character; but does not test
for any particular elemental or planetary nature. They should be used
in conjunction with the appropriate hexagrams for testing spirits
related to the planets or zodiac, or in any case where the benevolence
of the spirit is in doubt. All of the Enochian angels will be able to
perform these signs, as will any Hebrew-system archangel.
are no Grade Signs specifically associated with the planets in the
Golden Dawn system; one must make do with the LVX signs, and these are
usually sufficient. However, those who wish to assemble a set of
elegant and effective planetary gestures for testing spirits should
consult Planetary Magick by Melitta Denning and Osborn Phillips.
final form of testing is, in my opinion, the least reliable. I do not
use it myself, preferring to trust my own judgment. But I note it for
those who might wish to experiment with it.
Golden Dawn adepts acknowledged that in this sort of work there is
always a danger that the visions one sees will not be a true reflection
of the forces invoked, but may rather be constructions or projections
of the seer's own mind and emotions. They classified these projections
according to an association with the planets:
|Type ||Planet ||Hebrew letter ||Tarot Trump|
|Memory ||Saturn (as Time) ||Tav ||The World|
|Construction ||Jupiter ||Kaph ||Wheel of Fortune|
|Anger ||Mars ||Peh ||Tower|
|Vanity or ego ||Sun ||Resh ||The Sun|
|Pleasure ||Venus ||Daleth ||The Empress|
|Imagination ||Mercury ||Beth ||The Magician|
|Luna ||Gimel ||The Priestess|
theory is that if you suspect that one of these factors may be
influencing your vision, you can project an image of the corresponding
Hebrew letter or Tarot Trump into the scene. It will cause the scene to
darken, diminish, or disappear if the scene is in fact the sort of
projection you suspect it to be.
personal feeling is that introducing extraneous powers into a vision in
this way will cause more problems than they will solve. As well, it
seems to me that invocation of a force related to a type of projection
would tend to enhance the projection rather than eliminating it.
However, this may not be the case for you; try it if you wish and see
if it works.
5. Scrying with the Enochian Magick
There are several considerations for Enochian magick work that do not apply to scrying using other systems.
first of these is the unquestionable power of the Calls and the divine
and angelic names. As Crowley once said, other systems require effort;
Enochian magick requires caution. While the power built up in any one
session is almost never of an unmanageable level, some effects of the
magick tend to accumulate across sessions; it is easy for an overeager
beginner to get in deeper than he expects. Added to this, the powers
invoked through the Calls seem to enter into the magician's field of
awareness along some spiritual dimension that is outside those we
consider "normal"; it seems to operate through some sort of meta-space
with qualities different from those that compose the magickal worlds to
which we are accustomed.
consequence of these factors is that any work with the magick places a
certain amount of stress on the magician's mind and body, and over-use
can lead to various stress-related forms of illness. Anyone working
regularly with the magick should keep an eye out for signs of this
stress in himself. The typical symptoms are similar to those that come
from abusing methedrine or "speed": nervous exhaustion, severely
lowered immune response, inability to concentrate, hypersensitivity,
hyper-reactivity, reduced judgment, flights of ideas, and paranoia.
time in my own career, the stress of overusing this magick combined
with an equally stressful mundane occupation to give me the worst of
both the physical and mental consequences. On the physical side, I
contracted mononucleosis, effectively stopping all my magickal work for
six months or so. On the mental side, the changed viewpoint and loss of
judgment caused me to make seditious remarks to a class of Federal
employees I was training, resulting in the loss of my livelihood.
So caution is well-justified. But with a few easy, obvious precautions, these problems can be avoided.
using the magick at times when other parts of your life are unusually
stressful. Try to arrange your affairs so as to reduce the social and
economic pressures to the minimum level compatible with your needs.
- Get regular exercise; a healthy body handles stress better.
use recreational drugs while working with the magick. Aside from being
illegal (jail is a poor place for magickal work), all of them add to
the stress on your body. Most stimulants and sedatives also reduce your
magickal sensitivity and ability to focus in your magickal space.
Hallucinogens make you _too_ sensitive, and reduce your level of
- Learn to pace yourself. When first starting out,
allow a day or two between Enochian invocations to absorb the results
and "cool off". Later, when you get to the point where you need to
accumulate power over several day's worth of invocations, allow at
least as many days off after the series as you spent in doing the work.
Take longer vacations from the work every few months to keep yourself
importance of pacing yourself cannot be overemphasized. When you begin
getting significant results from your Enochian work, it is very
tempting to keep going; the anticipation of even more amazing results
drives you on. But the extra-dimensional or meta-dimensional character
of these forces allows them to influence all levels of your being
simultaneously, including many levels of which you are not consciously
aware. The cumulative effects of this influence can cascade into a
dangerous level of stress before you become aware of it. Regular
intervals of rest and relaxation, and of immersion in the everyday
world, are the only sure way to avoid the problems.
difficulty, which bears more directly on scrying, is that the Calls
allow you to invoke a force without having any knowledge of its nature.
In normal methods of invocation, one begins with a symbol or set of
symbols, and seeks by their use to bring about the manifestation of the
corresponding powers. The symbols you use define the power to be
invoked. In contrast, the Calls produce a manifestation of power
regardless of whether you comprehend their symbolic content.
to the confusion is the fact that, from a perspective accustomed to the
traditional magickal powers (i.e., the elements, planets, and zodiac)
the nature of the invoked powers seems to change depending on the depth
of one's penetration into their realms. Or from another angle, the
Calls and Names open up different realms, depending on the level of
existence at which you are operating. On the most superficial level,
they appear to be more or less "elemental" in nature, with an overlay
related to the functions of the angels' specific offices; but at
"deeper" or "higher" levels, this elemental aspect fades, to be
replaced by a succession of increasingly complex and inclusive
expressions that may bear little or no relation to the most superficial
the magician supplies an explicit set of symbols to which the invoked
powers can be anchored, the powers will tend to remain in an
indeterminate state; a sort of "fuzzy cloud" of energy which contains
all the power's potential expressions, but which manifests none of them
explicitly. A visual symbol used as an anchor causes this indeterminacy
to "collapse" into that aspect of the power which is most nearly
similar to the symbol's innate associations. The congruency between the
symbol and the invoked power does not have to be very great. It is
sufficient that some small aspect of the symbol's associations be
similar to the power's; the major associations of the symbol can be
entirely inappropriate, and this collapse will still occur.
the symbol the scryer uses will determine, in part, the initial
manifestation of an invoked Enochian power; the scryer's expectations
or preconceptions of the power's nature will also be partially
determining. This accounts for the documented fact that different
magicians have produced widely varying -- sometimes even contradictory
-- results using the system. However, it is my observation that with
repeated invocations and scryings, the true nature of the invoked power
will break through these initial, superficial expressions. The longer
you work with a particular Enochian power, the more closely your
results will accord with that nature, and the deeper you will penetrate
into the realms to which the power connects.
penetration past the sometimes-deceiving surface manifestations takes
time, orderly, methodical work habits are necessary to get the most
value of your Enochian work. The fact that invocations have a
cumulative effect can be used to advantage if you plan out your course
ahead of time, and stick to it. The following suggestions will all
enhance the effectiveness of your Enochian scryings:
every angel or other power that you invoke, do several scrying
sessions. Allow time for a connection to be built up between you and
the angel, and for your mind to become accustomed to its power.
for an extended period solely with powers from a single Tablet. Or if
you are working with the Aethyrs or the 91 Parts of the Earth, pick a
set of contiguous Aethyrs or Parts and do them sequentially.
- If you are invoking single squares of some angelic or divine name, plan to do all the squares of that name in sequence.
out a series of invocations to investigate all the angels of a given
rank within one of the Tablets, in some logical sequence. Complete the
series before working with any other rank or Tablet. Alternately, plan
out a series to investigate all the powers within a given Lesser Angle,
in order of rank.
A Magickal Space for Enochian Scrying
the Enochian powers are so sensitive to the visual symbols in a
magickal space, the general-purpose magickal space developed in the
preceding sections of this paper is likely to be inappropriate for
Enochian work. The profusion of objects with which you have populated
the landscape would all tend to anchor the forces in unexpected or
undesired forms. A space with a more neutral visual appearance needs to
woman I once met made a habit of surveying people about the appearance
of their magickal spaces. Amusingly, nearly all the Enochian magicians
she knew (most of whom did not know the others) had chosen to build
essentially identical spaces for their work. This space might thus be
considered an archetypal Enochian workplace. It consists of a broad,
gray plain, surrounded at the horizon by low hills; both plain and
hills are illuminated in a flat, sourceless light of relatively low
intensity. Overhead, there is a night-sky filled with stars. The plain
is large enough that the magician always has a previously-unused area
available in which to perform a new series of invocations.
remaining few magicians in her survey had chosen to go even further in
the direction of minimalism than this Michael Moorcock landscape. Their
workspaces consisted solely of a clear space within a gray mist, with a
featureless gray floor underneath, created ab initio for every invocation.
feeling is that the plain has a slight advantage as a workspace. It
allows for the establishment of long-term or permanent structures,
useful for advanced works in which the invocations must be done in
section, or for building a temple appropriate to a range of Enochian
Scrying Techniques for Enochian Magick
the "magick mirror" technique and its extension as a "gate" work as
well with Enochian powers as they will with other, more conventional
magickal powers. I would recommend that you create a new mirror in your
Enochian workplace for every series of invocations that you do, and
destroy it after completing the series. Since the Enochian powers tend
to accumulate over time, this prevents residual forces from previous
works from interfering with a new work.
as mentioned above, it is often necessary to provide a firm visual
anchor for Enochian powers; you may find that the mirror technique is
insufficiently exact, and only gives you confused or contradictory
results. If that is the case, one of the following methods will be more
Golden Dawn devised a technique for using visualizations of truncated
pyramids as the starting point for visions of individual squares from
the Tablets. This practical method has been proven by use to be very
effective, precisely because it provides a well-defined symbolic
"anchor" for the Enochian powers. I recommend this technique for
beginners, both for this reason and because it tends to focus the
powers into their most "earthly", most readily-comprehensible form.
basic technique is to build a truncated pyramid in your magickal space.
The flat top has an area one-ninth the area of its base. The relative
sizes of the top and bottom means the sides are tilted inwards at an
angle of forty-five degrees. The letter of the square is visualized on
the flat top. The sides of the pyramid are colored and labeled with
symbols and images according to a complex system of attributes.
(The G.D. system of attributes is described in detail in book 4 of Regardie's The Golden Dawn;
my own alternate system (which I believe to be a substantial
improvement over the G.D. system) is described in the papers titled
"Godzilla Meets E.T.", which can be found at: http://www.hermetic.com/browe/index.html. The pyramid method works very well with either system.)
pyramid is visualized as being large enough to stand on the top. Having
vibrated the appropriate Calls for the name in which the square lies,
the magician then stands on top of the pyramid in his astral body, and
vibrates the hierarchy of names. As he vibrates each name, the magician
imagines the power of that name gathering around the pyramid.
the last name is vibrated, the magician imagines that each side of the
pyramid is gathering in the attracted energy, each taking the type
appropriate to its attributes and symbols. This energy is seen moving
upwards, being focused as it goes by the narrowing of the sides. The
flows of energy from the sides reach the top simultaneously, run into
each other, and form a beam of light shining up and outwards into the
astral worlds, forming a path to a region of magickal space governed by
the square. The magician then follows this beam in his astral body
until a landscape or other scene forms around him. This scene should
symbolize various aspects of the square invoked. From that point, the
techniques describe earlier can be used to explore the region.
prefer a variation of this method, in which the magician stands inside
the pyramid. When the energies traveling up the sides reach the top,
they come together on the letter and then shine downwards
into the pyramid, illuminating the interior. The angel governing the
square is invoked to visible appearance within the pyramid and is
tested there. After testing, the angel conducts the magician to various
scenes that illustrate the square's nature.
a session using this technique only explores the power of one letter of
an angel's name, you only get a partial view of the angel's nature. To
fully understand an angel, all the letters of its name should be
explored in sequence.
you wish to invoke all of an angel's powers at once rather than a
single letter, it is more convenient to make your anchoring image
something like a magickal circle, or a talisman sufficiently large that
you can stand on it. A example design for such a circle would have the
divine names superior to the given angel written around the rim of the
circle. The name of the angel being invoked would be written within the
circle, oriented so that it appears upright when you are facing in the
direction in which you want the angel to appear. If the angel is
associated with a particular magickal formula (e.g., Kerubic angels and
the INRI formula) symbols appropriate to that formula might also be
drawn within the circle.
that the intent of this figure is much closer in function to a talisman
than to the traditional idea of a magickal circle. It is not intended
to block off its interior from the exterior areas; you should feel free
to move in and out of it at will. Nor is it intended to "contain" the
invoked force. Rather, the idea is that the charged figure will serve
to attract the attention of the appropriate being -- like putting a big
illuminated sign saying "Land Here!" next to a runway -- and will also
serve to condition the surrounding magickal space so that it reflects
the nature of the invoked powers.
the appropriate Calls several times; then enter the magickal space and
create the circle. Vibrate the divine and angelic names, and as you
feel the invoked power arrive, direct it into the lines and letters in
the circle so that they glow and re-radiate the power to the
surrounding environment. Keep vibrating the names until the intensity
of invoked power seems to level off, then vibrate only the name of the
being you wish to contact, asking it to appear before you. Vibrate the
angel's name until it does appear; then apply the tests, and ask the
angel what you will.
the angel to the circle is my personal preference; I would rather have
the guide take me to the place I want to go than go there first and
find a guide afterwards. The reverse may be more comfortable for you.
If that is the case, you can vary the above method by concentrating the
invoked force in the circle instead of allowing it to radiate. Then
imagine that the force is creating a "gate" to the power's magickal
space; imagine the center of the circle opening up as the magick mirror
did in the earlier exercises, so that you can step directly through it
into that space. Or you can imagine that the powers form a beam of
light shooting up from the circle, which you can ride to the powers'