Lesser invoking ritual of the pentagram pdf

Continue The small ritual of expulsion of the Pentagram (or LBRP) is a ceremonial magic ritual developed and used in the original order of the Golden Dawn, which became the basis of modern occultism. This ritual, considered by many, is a basic preliminary for any other magical work, so much so that it was the only ritual other than the initiation rituals taught to members of the Golden Dawn before they advanced into the Inner Order. The description and structure of the Ritual are very dynamic, using the gesture, visualization and pronunciation of certain words of power, combining prayer and resurrection, as well as purifying and preparing the space for further magical or meditative work. The ritual is perceived as the expulsion of any chaotic and unclean forms of elements from the circle of the magician, tracking the pentagrams in the air and the power of some Divine names, followed by the call of the spiritual forces ruling the elements to strengthen and guard the circle. The main components of the zabalist cross and LBRP are taken from the works of the French occultist Elif Levy. The text originated as a traditional Jewish prayer, described before going to bed, as documented by Rabbi Samson Raphael Hirsch in The Hirsch Siddur (Feldheim Publishing, 1969), which reads: In the name of God, the God of Israel: may Michael be my right, Gabriel to my left, Uriel in front of me, Raphael behind me, and above my head, the presence of God. Ritual equipment Although some orders suggest that magical equipment is needed to perform LBRP, the original Hermetic Order of the Golden Dawn did not use any necessary quote. However, the modern approach may include the following: an altar in the center of the ritual space, which houses tools representing four classical elements of a ceremonial robe (such as a tau robe) or other suitable ritual garments worn by a magician ritual dagger or sword (e.g. athame), or a wand used to gesture to the points of the halleanalist cross, and draw a pentagrams and a magic circle. The LBRP Golden Dawn procedure consists of three main parts, in this order: TheCalist Cross, sometimes repeated at the end of lbRP. This is designed to build an astral cross in the body of a magician, with dots corresponding to Sephirut on the Tree of Life. Building this cross, the magician vibrates in Hebrew from the last few lines of the Lord's Prayer (Thine is the kingdom, etc.). The wording of the pentagram vibrates, in which the pentagram vibrates in the air at each of the four cardinal points (for the ritual of the call) in each of the four cardinal points and the associated name of God (YHVH, ADNI, AHIH and AGLA for the east, south, west and north respectively). This segment of the ritual is designed to expel or summon four elements (air, fire, water and accordingly). Four pentagrams are connected by a circle, also drawn in the air. The call of the archangels, during which the magician announces the archangel Raphael, Gabriel, Michael and Uriel (or Auriel) to be present, visualizing them in four cardinal points, as noted by Abdul Karid Janji in Ohcisenone. Some traditions, in order to distance themselves from the Judeo-Christian content of the ritual, replace the zabalistic cross, the names of God and the archangel with suitable substitutes; using, for example, the chakra system instead of the Tree of Life, mantras instead of the names of God, etc. Mages practitioners Thelemic magick often thin the name Aiwass in the heart while performing the zabalist cross as a reinforcement of their commitment to the presiding intelligence of Liber AL. Links - Craig, Donald Michael (1998). Modern Magik (Second P. Llewellyn. 165-166. ISBN 0-87542-324-8. Jewish Prayers: Prayers before bed, Jewish Virtual Library, access to it on April 20, 2017, and Mistichi. General Books Ltd. 2001. ISBN 1- 23265-201-6. Partial bibliography All the following books contain some variations of the Small Exaltating Pentagram Ritual, its history, instructions on execution and/or commentary on the ritual. There are many more. Cicero, Chic (2003). Basic Golden Dawn: Introduction to High Magic. Llewellyn around the world. ISBN 0-7387-0310-9 Crawley, Alistair. Equinox (I:1-10). (2006). York Beach, ME : Weiser Books. ISBN 1-57863-351-6 Crowley, Alistair. Magick : Liber ABA, Book 4, Parts I-IV. (1997). York Beach, ME : S. Weiser. ISBN 0-87728-919-0 Crowley, Alistair. A book of lies. Weiser Books, reissued, June 1986. ISBN 0-87728-516-0 Drury, Neville (2002). Dictionary of Esoterics: 3000 entries about the mystical and occult. Sterling Publishing Company. ISBN 1-84293-108-3 Duquette, Lon Milo. Alistair Crowley's Magic: The Telema Ritual Handbook, Weiser's Book, 2003. Duquette, Lon Milo (1995). Taro Ceremonial Magick: A scenic synthesis of the three great pillars of Magick. Weiser. ISBN 978-0-87728-764-3 Forrest, Isadora (2001). The magic of Isis. Llewellyn. ISBN 978-1-56718-286-6 Griffin, David (1999). A Ritual Guide to Magic: A full course of practical magic. Golden Dawn Publishing. ISBN 0-9658408-9-1 Harper, George Mills (1980). W.B. Itts and W.T. Horton: Recording occult friendship. Mcmillan. ISBN 0-333-27165-3 Hougham, Paul (2006). Atlas of Mind, Body and Spirit. Sterling Publishing Company. ISBN 1-85675-247-X Howe, Ellic (1972). The Wizards of the Golden Dawn: The Documentary History of the Magic Order. Rutledge and Kegan Paul. King, Francis (1990). Tantra, the path of action: a practical guide to his teachings and methods. Internal traditions. ISBN 0-89281-274-5 Craig, Donald (1988). Contemporary Magick: Eleven Lessons in High Magickal Arts. Llewellyn is everywhere. ISBN 0-87542-324-8 Regardie, Israel et al, eds., Golden Dawn: Full Course of Practical Ceremonial Magic (Llewellyn, 1989) ISBN 0-87542-663-8 Regardie, Israel (1982). Golden Dawn. Llewellyn Publications. ISBN 0-87542-664-6. Regardie, Israel. Middle pillar: Balance between reason and magic. Llewellyn Worldwide, 1998. ISBN 1-56718-140-6 Scarborough, Samuel. The vibrating formula and its use in daily ritual work in the journal Western Secret Tradition, No. 5, Volume 1, AutumnAlquine 2003 Wasserman, James (2006). Alistair Crowley and the practice of the magic diary. Weiser. ISBN 1-57863-372-9 External links extracted from It's good so we all know LBRP, but I've heard about the call version. Anyway after a little research I've seen a lot of magicians say we're all banishing too much and we should do referring to the Ritual before Magickal work and exile after. As far as I can see, it's the same, except for the pentagrams drawn the opposite way. So I'm just wondering, does it make sense to banish up Magickal work? Don't you have to invoke, do your work, then expel? LBRP from Golden Dawn, and the ritual is allowed for outside members, but it seems potentially their attention has been focused on LIRP for internal members, but somehow LBRP has leaked into almost every western Magickal system in one form or another, not, with almost no mention of the call version, but I just have to wonder if you're banishing all the time that you're going to leave? Edit: This article goes into more detail on the subject, and what prompted this postPage 2 Those who view this ritual as a simple device to call or banish spirits, are unworthy to possess it. This is done through symbolic designations and magical definitions of the mage alignment and participation in the spiritual land of the cosmos. When first learned, these rituals are usually dealt with in a strictly executed manner. Words and gestures are memorized and used without deeper reflection. Familiarity with the ritual can often breed forgetfulness that is not just a performance play, however, but a deep prayer and moving meditation. Actual, and not just symbolized identification with absolute is the true purpose of the ritual. This requires attentiveness and concentration in the performance of visualizations, gestures and vocalization. Personal issues and concerns should be deferred to sacred space of ritual. As the Chaldean Oracles say: God has never turned away from man, and never sent him new ways, as when he did the ascent to divine speculations or worked in a confused or disordered manner, with unwashed lips or unwashed feet. For those who are thus negligent, progress is imperfect, impulses are in vain, and the paths are dark. The Golden Dawn correspondence system forms a sophisticated language of mysticism and magic. You can spend a lot of energy and effort to discuss and fight the various structural details of the language and its possible permutations. It's about Magick syntax, so to speak. It is possible to get so caught up in this that the semantics of this language is forgotten and left unexplored. As for the ritual, for example, it is possible to achieve a very complex understanding of how symbols are juxtaposed, but more importantly, it is that this juxtaposition means spiritually. We must therefore ask ourselves the purpose of establishing basic domination. If it is not a ritual of black magic, of simple dominion, this control must also be directed towards the true will of the magician. We will discover, as we analyze this ritual, that its symbolism makes it explicit. Much attention was paid to explaining these rituals to the pentagram itself as a symbol. Equally important, however, are other features of the ritual - the way movements and visualizations define the space of the play and in which the pentagram is inserted and integrated as a component of a larger ritual gesture. We can break the overall structure of the most basic pentagram ritual - the Small Call or the banishing ritual of the pentagram (later called LRP) - into several basic components that we will discuss in turn. These: The Kabbalistic Cross of the Pentagram 4 quarters of the Cross and the circle connected before the treatment of these specific components for symbolic discussion, some general observations on the ritual as a whole are called. The ritual itself, slightly adapted from Liber O Crowley, is this: The Smaller Ritual of the Pentagram Touching the forehead, say, Ateh (Unto Thee). Touching the chest, say, Malkut (Kingdom). Touching the right shoulder, say, ve-Gebur (and power). Touching the left shoulder, say, ve Gedula (and glory). Covering his hands with his breasts, say, le-Olam, Amen (in the ages, amen). Turning to the East, make a pentagram (earthly) with the proper weapon. Let's say (i.e. vibrate) YHVH. Turning to the south, the same, but say ADONAI. Turning to the West, the same thing, but say EHEIEH. Turning to the North is the same, but say AGLA. Extending his arms in the form of a cross, say: in front of me Raphael; I see Gabrielle; On my right hand is Michael; On Uriel's left hand; For there is a pentagram flame about me, and there are six rays of a star in the column. Repeat (i) to (v), 'Cabbalistic Cross'. The conscripts and banishing forms of this ritual are identical, with the exception of pentagrams. The call form uses the Call of earth's pentagrams. The banishing form uses the Earth's banishing pentagrams. Explanations for these forms of pentagram will be given below. The illustrated chart is at the end of the chapter. In G.D. and the telemicor tradition of Magick, the words given in capital letters vibrate with a special voice. This is done with traditional names of power that possess symbolic holiness. Vocal vibration also serves to enhance and direct the body's energy at key points in the ritual. There are a number of methods of vibrating divine names, sometimes involving simultaneous visualizations, but there must be at least a loud, deep, clear projection of the voice, with attention. The names of God used in LRP are pronounced as Yod-Heh-Vav-Heh, Ad-oh-ny, Ee-hay-yay and Ahg-lah. AGLA is an acronym using the initial letters of the phrase Ana Gibor le Ohlahm Adonai, and this can be said in the North instead of AGLA. This means: You are a mighty art before the Adonai era. These four names are called tetragrammatic names Mathers, and have a fourfold structure in general. They represent the Unity of the Name as a whole, symbolizing the Spirit, expressing themselves through its four components, representing four aspects of manifestation. Therefore, their placement on four quarters summarizes the basic structural significance of the ritual as a whole. Visualizations are used in the ritual. They are part of the oral traditions associated with this ritual and can vary greatly between individuals and communities of practice. The following is as a relatively standard set of sentences. An individual magician should experiment and develop a personalized version. Making the Kabbalistic Cross visualize the current of energy in the form of flaming, radiant white light descending through the body and then through the chest to form a cross. Visualize each pentagram as it is drawn in white light or color corresponding to the corresponding element. During the movement between the quarters draw a circle, again in white, around the perimeter of the space at the heart level. Finally, imagine the archangels about the circle, calling their names. These can be relatively traditional angelic figures of gigantic growth, attire in their elementary colors and armed with various weapons. Raphael carries a sword for air, Gabriel Grail for water, Michael staff for fire, and Uriel drive for Earth. Pentagram rituals are optional using a ritual dagger or sword used to draw different shapes. Have mutually compatible levels of symbolic interpretation of this action. The dagger can represent an element of air. This symbolizes Yetzirah, Ruach and Tiphareth, which lies in the center of this layer of wood. Thus, the dagger acts to summon the ezyratic energy in the ritual for the purpose of balancing the elements in the knowledge and conversation of the Holy Guardian Angel. It also shows the domination of Assia immediately by the highest spiritual heritage of Etzira, the Astral Light. If the sword is used, it represents Cefra Geburu most strongly in the G.D. system. On another level of symbolism, the sword is a lightning-fast flash on the Tree of Life, a pure active creative energy of the spirit, covering all Sephiroths. If implementation is not used, it is the oral custom to vibrate the divine names of the quarters, making the Enterer sign, and then with the sign of Silence. These two signs are paired with each other, and are the first symbolic signs given dedicated to the Golden Dawn, corresponding to the neophyte class of this system. The first sign is called the Enterer sign, or projecting sign, and is made, stepping forward with one foot and vigorously pushing out his hands at eye level, the palms were held exactly with the outstretched fingers. This symbolizes the projection of the divine will of the magician into their universe in an imaginary form of the current of magical energy. Thus, the magician is presented as the center of light in space. As the Book of Law says, Every man and every woman is a star. This sign is also called the Mountain sign and is associated with the active combat form of this deity. Gore is a symbol of the power of the Guardian Angel in the Book of Law. Therefore, this sign symbolizes the Angel of the Holy Guardian, acting through the magician's agency. The second sign is called the sign of Silence, and is made, retreating with an elongated leg, so that the legs are parallel. The right hand has fallen to the side, while the left index finger is placed on the closed lips, the other fingers are held freely in the fst. He seals the current energy released by Enterer's sign and represents a magician alone, absorbed by gnosis. If the first sign of magic, the second is mysticism. The sign of Silence is also called the sign of harpocrats, baby Gore. The Kabbalistic Cross of the Kabbalistic Cross is independent and can be performed as its own ritual. It is also interconnected within the broader framework of the LRP. Used by Golden Dawn, it is based on an interpretation of an excerpt from the Levy, who wrote: The sign of the Cross, accepted by Christians, does not belong to them exclusively. It is also cabalistic and represents opposition and notebook equilibrium elements. We see from the occult versicle of the Lord's prayer, which we quoted in our Doctrine, that it was originally done after two manners, or at least that it was characterized by two very different formulas, one reserved for priests and initiates, the other passed on to the neophytes and desecrated. For example, the initiate said, raising his hand to his forehead, To liquefy, then added eat and continued when he lowered his hand to his chest, kingdom, then on his left shoulder, and mercy, and then, with his hands folded, he added, in the generating eyelids. Tibi sunt Malkuth et Geburah et Chesed et Chesed per aeonas is a sign of the cross, which is absolutely and superbly cabalistic, which profanity has completely yielded to the official and militant Church. This Sign, made in this way, must precede and terminate the spell of the Four elements. The Kabbalistic Cross is placed on the body, which means that the me is an expression of symbols and meanings described by ritual gestures. The cross has a vertical and horizontal dimension. The vertical component represents the divine reality. Horizontal is a material or obvious existence. The vertical line is drawn first to show the ontological priority of the spirit, which extends to all planes of reality both above and below our world. The horizontal axis is then described in such a way that the two axis of matter and spirit meet at a point in the heart. The mathematical point has no expansion, and so this point, which is in the heart, represents Ait, the true Ya. It is also a mystical nothing, it is a quiet place where spirit and matter meet and are one. In another and equally valid symbolism, the Kabbalistic Cross is a manifestation of the Tree of Life on the human body and as on it. The tree of life representing the Body of God and aspects of the cosmos is simultaneously shown that the body of the magician and aspects of their being. Here is the teaching of anthropocosmosis - that the sublime physical and imaginary body of a magician is the body of God. For the first time, the middle pillar of the Tree, stretching from Keter above his head to Malkut at his feet, has been installed. This shows that the equilibrium of opposites precedes and is more fundamental than the duality of the opposing forces represented by the Pillars of Mercy and Austerity, which are marked by a horizontal strip of the cross. There are other meanings of the Kabbalistic Cross. The cross usually represents 4 elements, controlled and rotated around the central point of the cross, which stands for Therefore, the symbol as a whole is a manifestation as a spatial extension radiated from the central point of the Spirit. Different systems have different elements attributed to a particular weapon, but as a common symbol of the fourfold, there is no need to treat a specific weapon as specific elements, but rather to see the symbol as showing just the idea of four elements as a whole. It symbolizes the body of a magician, or microcosm, controlled and supported by the Spirit, located in the heart. Thus, the heart of the Kabbalistic Cross is a symbol of love and will, as it is a place of impulse to manifestation (Will), as well as traditionally a place of emotions and therefore Love. In its vertical form the cross also represents the trinity heading the pendant lower levels of reality: Much more depths of meaning to the cross, which further reflection and contemplation can show. It's not just a Christian sectarian icon. Perhaps the most thorough work on this subject is the Symbolism of the Cross by Rene Gunon. Some words are spoken when the Kabbalistic Cross is created. Phrase: Ana Malkut, ve Gebura, ve Gedula, le Ohlahm Amen. It means: You are a kingdom, a force and a glory to the Amen centuries. This is the final line of the Lord's prayer, as indicated in the King James Bible, translated into Hebrew to emphasize the Kabbalistic manner in which the passage is interpreted in the rituals of the Golden Dawn. The manner of this interpretation is partly determined by parts of the body touched by saying a phrase. Atah (to you) speaks while touching the forehead to represent Kether. Thus, you refers to the highest spiritual being. Malkut (kingdom) is said to indicate the lower part of the body, assigned to sefre with the same name, which represents material reality. Therefore, reality is the realm of the highest spiritual being. The horizontal crossbar is drawn during the reading of ve geburah, ve gedulah (strength and glory), which indicates that two Pillars of Austerity and Mercy are mentioned. Hands then held on to the heart, saying le ohlahm Amen (in the ages, amen). One way of understanding all this movement is to see in it the saying that reality and its seeming duality, polarity and contradictions are forever ruled and reconciled in the higher Spirit, marked by the vertical of the cross and the heart, in which the original vertical comes to rest in alliance with the horizontal. In the creation of the Kabbalistic Cross there is a dark tradition of touching the heart, making a vertical gesture, between the utterance of Ata and Malkut and the vibrating of the name of Aivas. This is the name of the Guardian Angel Crowley and the narrator of the Book of Law. This essence (or what Aiwass actually is) acts as a symbol of mediation or between Alemites and divine reality through the Book of Law and its message. It is advisable to place this name in the heart, because, as already described, the heart is the point of contact between it and God through Will and Love. Therefore, it is a suitable place to mark the awakening of the Dark Gnosis. In addition, the heart is associated with Sefara Tipharet, which in the A∴A system∴ is the place where personal Knowledge and Conversation between Adept and their Angel first take place. There is an oral tradition among the Alemites that, having acquired the knowledge of the name of the Guardian's own Angel, it is necessary to replace this name with the name of Aivas at the creation of the Kabbalistic Cross. If the attitude to your angel makes it appropriate, it can certainly be a meaningful addition to the ritual, as well as a way of personalizing the performance to one's own current. One powerful visualization that can be made during the execution of the Kabbalistic Cross is to see yourself more and more in growth. It must be imagined that during the ritual a person expands to enormous proportions within his imagination. This exercise in the expansion of consciousness seems to have an archetypal resonance, and its simplicity belies its effectiveness. Vajrayan's Tibetan methods often involve expanding their visualized body or deity body to gigantic proportions. Sometimes an enlarged body becomes sacrificed in some way, as in Choda's practice. One recalls the myths of a primitive giant who is killed by some deity and cut into two parts to create earth and heaven. One and Imir, for example, or Marduk and Tiamat. There is also Purusha, a primitive man in the Vedas whose death is symbolized by the sacrifice of fire. The basic idea shared by these traditions is that the Giant's body represents some aspect of the divine Pelopoma that sacrifices itself, or sacrifices for the world to emerge and/or be sustainable. These are powerful associations when you consider that the sign of the cross is done on the body during these visualizations. One identifies with the universal dying and ascending god of rebirth and renewal, with all the spiritual depths associated with it. Pentagrams There are a number of immediately perceived symbolic meanings of the form of the Pentagram. It has five points representing four elements and the Spirit. It is drawn by a one-course, or one continuous line, which shows the continuous unity of this Spirit with its elementary emanations. The figure fits exactly into the circle, also demonstrating its dependence on divine unity. It is in the form of a person who shows the identity of the symbol with the magician himself. It is in the traditional form of a star. As written in Law: Every man and every woman is a star. The five points are also the fifth Sefr Geburu, showing the magician's active power over the elements in the service of the Angel's consciousness. The five dots have the same meaning as the cross of the elements with the central point representing the spirit. In addition, the Egyptians used a five-pointed star to represent the goddess Nuit. Nuit, in the Book of Law, states that her symbol, the Five pointed star, with a circle in the middle, and a circle of red. (AL I: 60) As we can see, the symbolism of the pentagram serves as a visual summary of the entire ritual. Placing a pentagram in each of the four quarters shows the elementals or other forces of these quarters dominating the Spirit over them, as embodied in the magician. This domination of the Spirit is clearly encoded in the geometry of the Pentagram. The linear segments of the pentagram are at the exact extreme and mean proportions to each other. This means that in a line containing two segments, the share of the shorter segment in the longer segment is the same proportion as the longer segment to the line as a whole. In sacred geometry, it symbolizes that the ratio of the microcosm to the lower planes is a reflection of the macrocosm's relationship to the microcosm. Or as my mentor put it succinctly: We are an angel to our demons, and a demon for our angel. In the Golden Dawn system, certain elements are assigned to the Pentagram points. These correspondences are based on a cross formed in heaven by the positions of fixed signs of the zodiac. (WATER) I DO NOT (AIR) I NOT (EARTH) I DO NOT SPIRIT WATER AIR FIRE EARTH Specific elements can be caused or expelled, depending on how the pentagram is drawn in relation to elementary points. The general rule is that the pentagram, the first line of which is addressed to the point of a particular item, causes this element. The pentagram, the first line of which is pulled away from the point of a certain element, expels this element. An exception to this rule is the Pentagram of the Spirit. They use two string segments that are not used by other elementary pentagrams. These segments connect the two active elements of Fire and Air and the two passive elements of Water and Earth. To summon or expel the Spirit in its active phase, start the Pentagram with the segment connecting Fire and Air. Start the line sloping up to trigger, down to expel. To summon or expel the Spirit in its Passive phase, start the Pentagram with a segment connecting Water and Earth. Start the line sloping up to trigger, down to expel. The forms generated by these rules are shown in the diagram at the end of this chapter. The LRP uses the call or expulsion of the Earth's pentagrams, because this element can traditionally be understood as containing or of the other three. In Sepher Yetzirah, for example, the Earth is the result of an equal combination of the three mother elements of Air, Fire and Water. Thus, the Earth's Pentagram should be understood in the context of LRP as a stand for all other pentagrams. The difference between recalling and banishing forms of LRP is relatively subtle, and consist largely in attention discrimination. Small call Noah Pentagram Ritual causes the current of balanced spiritual power into the ritual space. The Small Exorcizing Ritual of the Pentagram performs the same function, but makes more explicit the specific direction of this energy to dissolve and expel any unbalanced forces. Since LRP is often used to open ritual space with pre-cleaning negative energy, banishing form is likely to be most commonly used in this context. However, the call form can still be used for the same purpose and, especially if used less frequently, can often have an extra kick. It is also particularly effective when performed on its own as a standalone ritual. Four quarters are the four directions to which pentagrams, divine names and angels apply. The general attribution consists of four elements to which the magician in the center acts as the Spirit. In the rituals of the pentagram, the cross of four quarters is understood as being formed by the crossing of the paths of Himself and The Tree of Life. This is the central key equilibrium point in the outer college A∴A∴. The man of the Earth, rising in his aspiration along the way samekh to Tiphareth must cross the path of Pech, the tower. This is a test of elementary equilibrium, alignment of the physical, emotional, cognitive and intentional aspects of the phenomenal me to the True Will. The symbolism of Samekh and Peh is parallel to, but the independent symbolism of tying particular elements and archangels to the quarters, as they are not based on the Sephiroth that surround that point on the tree. On the threshold of each quadrant the pentagram was inscribed, the divine name vibrated, and the archangel visualized and summoned. Thus, all four worlds are in a balanced equilibrium with respect to each other. The divine name Of Atzilutic, the archangel citymen are briatic, pentagrams in terms of their existence, as visualized objects are yetsiratic, and the performance of the ritual itself in the physical space refers to Assiah. The cross and the circle connected by this symbol are formed by the circular motions of the magician about four quarters. This implies the shape of the circle and the cross connected as such: this in itself is an important warrant officer of Thelemic Magick. The prototype is a symbol of the pink cross, the emblem of the Rosicrucian movement. Thelemic understanding of the pink cross is that it union of the subject and the object in Samadhi, and the constant embrace of Nuit and Adita. A cross is a consciousness stretched out on a rose/circle of infinity of possible experiences of this consciousness. A cross is life, and a pink light. Their union has the nature of love expressed through freedom. A few things should be said about the original context of the meaning of the pink cross, as it is used in the manifestos of Rosimuk. It is very similar in type to the symbols found in the so-called Books of Emblems of the 1600s. The mysterious emblems depicted in these volumes did not necessarily have to have a single fixed meaning, but rather were intended to open the soul through their contemplation to the higher spiritual reality. The pink cross comes from a Christian context, with all associations and depths Christian secrets give to the symbol. It's very similar to Martin Luther's coat of arms. Rosenrucianism has historically been very closely associated with Protestantism. This connection is clear in the Manifestos themselves. Although this association reflects only the exoteric context of the original matrix of movement, it nevertheless shows that Rosicrucism was a commitment to political and religious freedom as an integral part of its spiritual vision even in its original manifestation. At times this was hidden by his more capitalist and/or ignorant manifestations, but Tellema is the clear heir to this aspect of his tradition. In this sense, as in others, Tellema is a Rosicrucian religion. The Small Ritual of the Pentagram forms a kind of basic basis on which other rituals are based. In the rituals that came to us from the Golden Dawn, there are two versions of the more advanced ritual of the pentagram. One is called the Great Pentagram Ritual (GRP), and is located in Lieber O Crowley. The second is given in the Golden Dawn of Reley and is named the Higher Pentagram Call Ritual (SIRP). It is likely that SIRP is a later ritual, extended from the old GRP and developed by Stella Mautina, the successor organization of the original Golden Dawn. Since the SIRP is identical to GRP, except for the addition of a few gestures and words of force, the GRP structure will be considered first. The Great Pentagram Ritual serves as a kind of higher octave, or a complex version of the Small Pentagram Ritual, with similar magical effects and symbolism. The ritual is this: The Grand Ritual of the Pentagram performs the Kabbalistic Cross. Go east. Make referring Pentagram for Spirit Active, visualized in white. Vibrate EHEIEH. Give a sign of The Randing Veil. Make referring to the Air Pentagram, visualized in yellow light. Vibrate YHVH. Give me Shue's sign. Tracing the circle clockwise south. Make a call for Spirit Active, visualized in white. Vibrate EHEIEH. Give a sign of The Randing Veil. Make referring to the Pentagram of Fire, visualized in a red light. Vibrate ELOHIM. Give a sign to Tum-al-Nate. Trail the circle clockwise to the west. Make referring Pentagram for Spirit Passive, visualized in white light. Vibrate AGLA. Give a sign closing the veil. Make referring to the Pentagram of water, visualized in blue light. Vibrate EL. Give me an auramotan sign. Tracing the circle clockwise north. Make referring Pentagram for Spirit Passive, visualized in white light. Vibrate AGLA. Give a sign closing the veil. Make referring to the Earth's Pentagram, visualized in the green light. Vibrate ADONAI. Give a Set Fighting sign. Full clockwise track of the circle to the east. Return to the center. Perform a Kabbalistic cross. To execute the banishing version of the above, simply replace the banishing forms for all pentagrams. The ritual follows the basic LRP scheme with multiple extensions. First, and most obviously, the specific referring to the Pentagram of a particular elementary quarter is used rather than the general Earth Pentagon. They can be visualized in either of the two sets of colors. Element ElementAl color Sephirotic color Fire Red Green for Netzach water blue orange for Hod Earth Green or black black for Malkuth Air Yellow Purple for Yesod I personally find the former attribution more immediately intuitively appropriate. They correspond to the four colors used for quarters in Buddhist tantric mandalas, although the specific attributions of flowers to the elements differ in this system from those used in the Golden Dawn. You can use either green or black for the Earth. I prefer green, because it means more clearly that manifestation is the place of completion or growth of the Spirit (green vegetation), and then denial or opposite of the Spirit. Alternative color correspondence refers to the lowest four Separ on the Tree of Life, to which elements are assigned in the G.D. System In addition to the pentagram of an element of a particular quarter, each of the four stations has an additional pentagram. These are the pentagrams of the Active and Passive Spirit. Active Spirit is given with air and fire, Passive Spirit with water and Earth. The Pentagrams of the Spirit must be visualized in white light. The Spirit pentagram is drawn on each quarter before the pentagram of a particular element. This should further strengthen that the call of any particular force is in the morning and under the rule of universal spiritual strength. The divine name Eheieh is used with Spirit Active Pentagrams, AGLA with Spirit Passive. Divine names used with elementary pentagrams are based on sephyrotic correspondence, but different than those of the four lowest sephyrofoams. The name used Earth is Adonai. It should be an abbreviated form of Adonai Ha-Aretz, the divine name of Malkut. The divine name of the air quarter YHVH, which is intended as a shortened form of YHVH Eloha Ve-Daat, designated Tipharet. Water El, for Chesed, and Fire Elohim or Elohim Gibor for Geburah. This gives the following correspondence. The Sepira Sephiroth color element Fire Geburah Red Water Chesed Blue Air Tiphareth Yellow Earth Malkuth Black Colors sepir in the scale of the queen, and are the source of this appropriation of elements corresponding, as they do with the first set of color element of correspondence given above. There is also a deeper meaning of this manner of linking these Sefras with the elements. This can be seen looking at Sefra's relationship on the Tree of Life. A tree can be seen as an assembly of three trinitys representing the same principles reflected at higher or lower levels of reality. The highest triads are the Supernals of Keter, Chokma and Bina, representing God in themselves, so to speak. Below is that triad of Chesed, Geburah and Tiphareth - themselves emanating supernal triads, representing through their colors in the queen of the scale of Fire (red, Geburah), water (blue, Chesed) and air (yellow, Tiphareth). They, in turn, come from Earth as Malkut and/or the Lower Tree. Thus, through these names, this particular part of the ritual is shown from the point of view of Adept, looking down on the Tree, from the point of view of the higher Sephiroth, and not in terms of the initiated look up, from the point of view of the lower Sephiroth, as in LRP. The ritual calls for different signs in the cabins. These are the hallmarks of different classes of the Golden Dawn of the Outer Order, both aligned with the four elements. They are used to further strengthen the elementary symbolism in each quadrant. Signs: Element Sign golden Dawn Score Spirit Active Open veil Dominus Liminus Spirit Passive Closing veil Dominus Liminus Fire Thoum-ash-Neith Philosophus 4 '7 Water Auramoth Practicus 3'8 Air Shu Theoricus 2 '9 Earth Set Fighting zelator 1'1 These signs are western mudras. These are gestures and movements designed to mark and symbolize some aspect of spiritual truth. Their activities should be approached with both intent and attention. There is some variation in the oral tradition with regard to the exact wording of these signs. Below are my own interpretations. The spirit in its active and passive phases is symbolized by the Signs of Discovery/Discovery and Closing of the Veil. The Opening sign or Randing Veil is made by placing the palms together in the heart and then splitting the arms when stepping forward, as if opening the curtain and passing through it. He represents Spirit Active. A sign of the closing of the veil is taking a step back while bringing the extended arms together in the heart as if closing the curtain. It symbolizes the Passive Spirit. Both signs use the symbolism of the veil, which represents barriers of limited perception and understanding that hide from us the spiritual nature of reality. The signs are those of the Class Dominus Liminus, which stands before Tiphareth and represents a passage through the veil (called Paroketh) the breakthrough of Yesoda's personal consciousness in the illuminated consciousness of Tiphareth and the achievement of the knowledge and conversation of the Holy Guardian Angel. The beginning or ending of the signs is in the heart, the imaginary place of the Angel. A sign for the element of Fire is that class philosophy. The sign is made by raising the hands to form a vertical triangle on the forehead by connecting the tips of the thumbs and index fingers. This can be seen as an idea of the direction of the will, which corresponds to Fire, vertically in spiritual aspiration. The vertical triangle is also an element of Fire in traditional alchemical notation. The sign is said to be from the Egyptian goddess Tum al-Nate, or Nate, usually presented with a human head and holding a bow and arrow. In the Golden Dawn system, this form of God was adopted by four officers named Daidaho, whose duty is to consecrate both the initiates and the temple. Incense is a fire to purify the water of a parallel officer Stolstices. The sign for water is that of the Class Practicus and is done by raising the hand to form a downward pointing triangle in the heart, joining the tips of the thumb and index fingers. Just as the upward triangle is the alchemical glyph of fire, the triangle downwards points to water. Here the symbolism lies in the fact that the descent of the divine spirit of the Angel into the soul, concentrated in the heart, made receptive to his infuence. A sign is also made over the heart to show that this divine susceptibility is achieved through love. It is said to be a sign of Auamoto, or Muta, Amun's wife in Thebes. This is the Egyptian God-form, adopted by the tablest at the ceremonies of the V.D. to cleanse the temple and dedicated to water. The sign of the element is the Air sign of Shu. It is the Egyptian deity of the atmosphere that stands, dividing Heaven and Earth (Seb), allowing the world to come into the being in the space created between them. This is a creation or an awareness of the world that has been made possible by the ability of minds to make distinctions, to the rational faculty represented by Air. The sign is made, imitating the pose of Shu holding the sky. Hands held above his head, as if supporting the object, elbows formed the right corner. Earth Element With the set Fighting sign. This is done by stepping forward with the right foot, completely extending the right hand up and forward. The left hand is stretched down and back. Both palms are open and forward. It represents to win the position of God's set. This deity is often seen in the telemicor tradition as the embodiment of materiality and divine power expressed in matter, especially through physical functions such as sexuality. Thus, this god is aptly connected in this context with Sefra Malkut, the class of the zelator and the element of the Earth. All elementary signs can be reinforced in their execution by accepting the god-shape associated with this sign. This procedure is discussed in Chapter 9. There seems to be no real reason why archangels are omitted on the quarters, except that the Spirit Pentagrams may have to fill the same role of Bria's symbolization. Depending on their preferences, individual magicians can fill this step using the wording from LRP. Changing God's names and using specific elementary pentagrams are the most important differences that distinguish the Ritual of the Great Pentagram from the Small. Class signs and other decorations add emphasis to specific elements in order to increase the concentration of conscription. The highest appeal of the Pentagram Ritual, developed by the GRP from the successor to the Golden Dawn group Stella Mautina, is identical to GRP, except for a few additional such accents. SIRP does make only two significant additions to GRP. First, the symbols are drawn in pentagrams. The Pentagrams of the Spirit have eight spoke wheels of the Spirit. Elementary pentagrams have a fixed sign of the zodiac, connected to their element, drawn and visualized inside them. These are the signs of Aquarius for Air, Scorpio for Water, Taurus for Earth and Lion for Fire. In the original G.D. material, the outline of the eagle's head is drawn in the profile instead of the Scorpio sign. The eagle is the Kerubic keeper of the Water, as it is the highest of the three octaves of Scorpio, the other two are symbolized by a snake and a scorpion. Secondly, various words and phrases in the angelic language of Enochia are spoken, in addition to divine names, drawing pentagrams on quarters. The words spoken with the Pentagram Spirit from the Union Tablet correspond to the lines of the four elements. The words stated with elementary pentagrams are taken from the central line of the Enochian tablets of the relevant element. SIRP also includes archangels from LRP and does not include the use of Dominus Liminus signs with Spirit Pentagrams. Supreme Call Ritual Pentagram Perform Kabbalistic Go east. Make referring Pentagram for Spirit Active, visualized in white. Vibrate EXARP while drawing a pentagram. Draw the wheel in the Pentagram. Vibrate EHEIEH while making the wheel. Make referring to the Air Pentagram, visualized in yellow light. Vibrate ORO IBAH AHOSPI while drawing a pentagram. Draw the symbol of Aquarius in the Pentagram. Vibrate YHVH by making this symbol. Give me Shue's sign. Tracing the circle clockwise south. Make referring Pentagram for Spirit Active, visualized in white. Vibrate BITOM while drawing a pentagram. Draw the wheel in the Pentagram. Vibrate EHEIEH while making the wheel. Make referring to the Pentagram of Fire, visualized in a red light. Vibrate OIP TEAA PEDOCE while drawing a pentagram. Draw the Lion symbol in the Pentagram. Vibrate ELOHIM by making this symbol. Give a sign to Tum-al-Nate. Trail the circle clockwise to the west. Make referring Pentagram for Spirit Passive, visualized in white light. Vibrate HCOMA while drawing a pentagram. Draw the wheel in the Pentagram. Vibrate the AGLA during the manufacture of the wheel. Make referring to the Pentagram of water, visualized in blue light. Vibrate EMPEH ARSEL GAIOL while drawing a pentagram. Draw the eagle's head in the Pentagram. Vibrate EL by making this symbol. Give Auramoth a sign. Tracing the circle clockwise north. Make referring Pentagram for Spirit Passive, visualized in white light. Vibrate NANTA while drawing a pentagram. Draw the wheel in the Pentagram. Vibrate the AGLA during the manufacture of the wheel. Make referring to the Earth's Pentagram, visualized in the green light. Vibrate EMOR DIAL HECTEGA while drawing a pentagram. Draw the symbol of Taurus in the Pentagram. Vibrate ADONAI by making this symbol. Give a Set Fighting sign. Full clockwise track of the circle to the east. Return to the center. Call the four archangels and perform the Kabbalistic Cross, as in the LRP. All the different rituals discussed so far in this chapter are common to both the Golden Dawn and the telemicor traditions. This is not surprising, since the whole System of the Golden Dawn is contained in the wider structure of The Dark Spirituality. In addition, there are clearly dark rituals written by Crowley that use G.D. rituals as inspiration. As for the Pentagram rituals, Crowley's version is a ritual known as Star Ruby. There are two versions of this ritual, one of which is published in the Book of Lies in 1913, the other printed in the application of the later Magalka in theory and practice. This chapter will focus on a later, more definitive dark version of Magick's theory and practice. These two versions are identical, except for the original divine names placed in the neighborhoods. The name comes from Stones, a known 6 pointed pattern of star, which is formed when light is refracted through the concentrations of a substance called rutile in a stone. Symbolism of 6 rays of the star and the rarity and value of value the stone refers to the consciousness of Adept in Tipharet. There are several deeper layers of symbolism that can be gleaned from a close study of the Holy Book of Liber 66: Liber Stellae Rubeae, where Star Ruby is also a ioni Goddess. The ritual is given to the number 25 Crawley. This is 5 squares, the number of pentagrams is amplified by itself. The text of the ritual, as found in Magick in theory and practice is this: Liber 25: The star of Ruby Facing the East, center, draw deep deep breath, closing the mouth with the index finger prest against the lower lip. Then dash down your arm with a big sweep back and with, outsing violently your breath, cry. With the same index finger, touch your forehead, and say, Your dick, and tell Ω ΦΑΛΛΕ, your right shoulder, and tell ΙΣΧΥΡΟΣ, your left shoulder, and tell ΕΥΧΑΡΙΣΤΟΣ; then the clasp thins the hands, locking his fingers, and crying. Advancing to the East. Imagine strongly the Pentagram, right, head-on. Draw your hands to your eyes, throw it forward, making a sign of Gore and roaring THERION. Retire with a thin hand in the sign of Hoor-paar-Kraat. Go north and repeat; but say nuit. Go to the West and repeat; but in a whisper babalon. Go south and repeat; but below HADIT. Completing the circle of widdershins, go to the center and raise your voice in Paian, with these words, with signs of N.O.X. Expand your hands in the form of tau and say ΤΕΛΕΤΑΠΧΑΙ ΟΠΙΣΘΩ, low, but ΔΕΞΙΑ ΣΥΝΩΧΕΙΣ clear: I, ΦΛΕΓΕΙ I, z, z, z.A. Ω I ΕΞ. Repeat thepal cross as above and end as you didst start (1 and 2). As you can see, Star Ruby follows quite carefully the basic structure of the Rituals of the Pentagram of the Golden Dawn, and its overall shape and purpose can be understood in terms of discussing these spells. There are a number of interesting extra features as well. The spell begins with the magician making a sign of silence, inhaling deeply - descending deep within himself to the place of power of this hermetic silence. Then divine commands break out of this silence. This is Apo Pantos Kakodaimamos . . . all the evil spirits are away from here. This serves to disperse all the illusions of distraction and disturbance in a way that remains only true Will. Assuming that the entire purpose of the ritual is not achieved at the moment, or if the magician wishes to further design, develop and/or celebrate this state, the rest of the ritual can be performed. To some extent, this warning applies to every element of this or any ritual. Any truth the symbol sums up all the Great Work. The Star Ruby version of the Kabbalistic Cross uses the same basic movements and symbols, but the Greek words place a slightly different emphasis on its meaning. Words: The location on the body of the Greek Englishman Soi Une Genitals O Phalle Oh Phallus Right Shoulder Ishchuros Strength, can the left shoulder of Eucharistos Eucharist Heart IAO The first vertical movement seems to confirm that the highest principle is identical to 'Phallus'. Crowley means a lot more than just physical genitalia here, of course. Rather, it mentions that the Lord is the secret and most holy, the source of life, the source of love, the source of freedom, the power of energy, the fire of movement - that art is the essence of every true god that is on the earth's surface. (from the collections of Liber XV) Then the gesture of the crossbar of the Kabbalistic Cross confirms that this principle, manifested in it itself, is both strong (i.e. straight) and mighty, as well as the nature of the sacrament. He gives and receives, and is active and passive. It is the nature of the synthesis of all planes and all opposites. There is a complication at the moment as a result of Crowley's use of a gender-specific term (Fallos, not Kteis) to refer linguistically to this principle. It is an interpretation of some prominent alemites that Fallos (with capital 'P is implied as a gender-neutral or gender-neutral inclusive term. , Omega, used before the word Falle in the ritual in its current form, probably designed by Crowley to represent the divine Oteus or Ioni. IAO is the name of God used by the Gnostics. In the telemicor tradition, it is a divine name corresponding to Tipharet. It also hides a formula for justifying suffering, which will be discussed in more detail in Chapter 12. Having made the Kabbalistic Cross, the magician goes along the perimeter of the circle counterclockwise, placing pentagrams and divine names on the quarters, as in the standard format of pentagram rituals. This anti-clockwise direction shows that Star Ruby is, in fact, an exile ritual. The ritual calls for pentagrams to be thrown out rather than drawn in the air. Some people who perform this ritual, however draw pentagrams, or the common Earth expulsion of pentagrams used in LRP, or pentagrams of a particular block element. The value of the pentagram projecting is shown in the fact that it is done in the sign of the Mountain from Ajna Chakra, which represents the location of an imaginary visionary faculty associated with the actual process of visualization of the pentagram itself. The name of a certain Dark Deity is placed on each block with pentagrams. There is a tradition to also visualize some aspects of God in question. The text states that the name of the deity must be said in a certain way. One roars the name Therion, says Nuit, whispers Babalon and shouts Ainite. This serves for the characteristic of feeling the gods. This actually works very well and is highly recommended. The question arises as to what elements correspond to those quarters in this ritual. As mentioned in Chapter 3, there are two main direction schemes: winds/landline and Sidereal. The deity Direction of the Ground Sidereal TheRION East Air Fire BABALON West Water Air NUIT North Earth Water HADIT South Fire Earth Agreed with the symbolism of other Pentagram rituals one would expect Star Ruby to use terrestrial attributions, and indeed the ritual is performed as such with appropriate visualization development. However, there is reason to believe that Crowley may have intended Sidereal correspondence to be used. The key to this is the Liber 5 vel Reguli ritual discussed in Chapter 10. In this ritual identical Thelemic deities are placed to quarters as in The Ruby of the Star. However, while Sidereal correspondence is used in Reguli, they are modified in a way unique to this ritual (wed chapter 10) and the direct application to Star Ruby is problematic. The Wizard must determine his own answer to this question by experimenting with both attributions to find the one that works best for them. Earthly correspondence is my own preference, and I clearly agree with the symbolism of Star Ruby with the symbolism of other Pentagram rituals that have already been discussed. However, the lateral circuit seems more suitable for the stellar nature of the deities acting to elevate the ritual to a higher level as it was. When a particular Thelemic deity is given elementary attribution it produces some interesting meanings. Being deities, and therefore briatic archetypes, these four symbols may have several possible correspondences depending on the ritual context. Linking them with a certain element and direction, you can throw in the relief important features of God-forms. The following reflections use earthly correspondence: Like air, Terion is Ruach concentrated in The Sun Tipharet. He is the lion of light, the solar god mediating between the tallest and lowest, Malkut and Keter meeting in Tipharet - beast, god and man as one. Babalon as Water shows it as the embodiment of the feminine divine principle. The weapon of Water is the bowl, which is here the Holy Grail The Babalon. Located in the West, she is opposite her wife Therion in the East and further represents the presence of divine female power over the apparent darkness of the setting sun. This is especially insinuating the Goddess - powers associated with the mysteries of death. Nuit as Earth shows its aspect as an opportunity to experience an explicit universe - as a phenomenal reality itself. The North is the direction of the pole star, the zenith of the celestial vault. Nuit is also placed opposite her compliment Hadit. Ainit is free. Thus, he is a innermost flame and free from I, the embodiment of the True Will. Will itself fit for free. There are many deeper levels of meaning of these attributions that can reveal further contemplation. The Wizard now returns to the center of the circle and makes NOX signs, meaning nothing or nothing. There are five of them. Crowley describes them in the ritual of Liber 5 vel Reguli (in full in chapter 10) as follows: Puella or a girl made by a magician standing with her feet together, a head bowed, his left hand shielding the phallus, and his right hand shielding the chest (attitude of the Venere medici). Puer or boy performed by a magician standing with his feet together and head straight. Let his right hand (the thumb between the index and the medium) be raised, the vertical forearm at right angles with the upper hand, which is horizontally stretched in the line, connect the shoulders. Let his left hand, thumb stretch forward, and fingers clenched, rest at the junction of the thighs (attitude of the gods Mentu, Khem, etc.) . Vir or person is done with the legs to be together. Hands, with clenched fingers and fingers pushed forward, are held to the temples; the head is then bowed and pushed out, as it would symbolize the butting of the horned beast (the attitude of Pan, Bacchus, etc.) . Mulier or woman is made so that the legs are widely separated, and the arms raised to offer a crescent moon. The head is pushed back (The attitude of Baphomet, Isis in Welcome, Microcosm of Vitruivius) Finally Mater Triumphans or mother triumphant performed so that the legs together; the left hand is curved as if it were supporting the child; thumb and pointer of the right hand pinch the nipple of the left breast, as if offering it to that baby . These signs can be matched by the five letters Pentagrammaton as follows: Letter Element Sign (Latin) Sign (in English) Y Fire Vir Man H Water Mulier Woman SH Spirit Mother Triumph v Air Puer Boy H Earth Puella Girl There is an oral tradition probably stemming from the Berkeley OTO, which performs signs in the order of four worlds from Fire to Earth and then Spirit. This represents the descent of divine reality through four worlds in a circle, creating Spirit. Crowley himself seems to have used the signs in a slightly different, and equally valid, manner. NOX refers to nothing or nothing of the absolute Spirit. In the Golden Dawn system, the Formula for Achgharat's achievement is represented by LVX letters belonging to the Latin suite, meaning light. For A∴A∴ above Tipharet, Crowley used the NOX formula to represent supernal unpreparedness, or light above vision (AL II:51), as opposed to the lower class LVX formula. These concepts are formulated in more detail in the Book of Lies. For Crowley noX marks represent the following A∴A∴ classes: A∴A∴ Score Sign Sefra Major Adept 6 5 Puer Geburah Freed Adept 74 Vir Chesed Babe from the abyss puella Abyss Babe of the Abyss Mulier Abyss Master of the Temple 8 3 Mater Triumphans Binah Under this use are the signs given above. symbolize climbing through these achievement classes. Supernal zero is called in the Book of Lies Night Pan, and so making these marks the magician must Eton IO PAN. Pan is everything, reality inclusive of all airplanes. The letters I and O of IO further represent Fallos and Yoni, respectively. The unification of their duality reveals the unity of Pan. NoX signs, in any approach, serve as the call of the Spirit to the center of the circle among the four elements in the center of their cross. Upon completion of noX signs, the magician says: Pro mou Iunges, ophistho mou Teletarchai, epi dexia Sunoiches, eparistera Daimones. This means: In front of me Iunges, behind me Teletarchi, on my right Sunoiches, on my left Daimones. This is the equivalent of the Star Ruby Of the Briatic or Archangel Guardians used in other pentagram rituals. The names come from the Chaldean oracles of the zoroaster, which is a scheme of divine emanation from the absolute, itself described as the paternal fire of reason (Nous). Iunges, Teletarchi and Sunoiches are the main emanations lying above the demiurge (i.e. above the abyss). Dimons are just a Greek plural name for spirits. The demon is the modern corruption of the word. In Greek, however, dimon refers to any spirit, not just evil. Its context in this ritual suggests that the higher briantic dimmons are referring to, of which aspects of the Angel of the Holy Guardian can be tested from time to time as a type. There are different traditions of how to visualize these entities. The easiest way to see them is as angelic figures as in LRP. Having taken away the briatic hierarchy for a quarter, the magician now states: Phlegi gar peri mo aster ton pente, kai ente stele ho aster tons hexsteke. Which means: There's a pentagram flame about me, and there's six star rays in the column. It's just like in LRP, but in Greek, not in English. Star Ruby with a repetition of his version of the Kabbalistic Cross. It should be noted after completing our study of the basic rituals of the pentagram that all ceremonies have so far been discussed to refer or banish elements as a group. What do you need to do to summon or expel an item? There is no single methodology, there are many oral traditions. Neither the original Golden Dawn nor Stella Mautina had a version of the Pentagram ritual to evoke a certain element, although other Golden Dawn groups and practice traditions developed different methods of developing the original Pentagram material for this purpose. The original G.D. method of calling specific elements comes from the holes of elementary degrees and uses enochian tablets. Less difficult is the use of some variation of the Pentagram ritual. There's a lament in this, but probably the easiest method would be to perform LRP in its banishable form and then turn to the appropriate quarter of the item you want to call. Make referring to Pentagram Spirit Active or Passive, as in GRP, and then draw referring to the pentagrams of the selected item, visualized in an appropriate elementary color. Announce that this item has been called. When it's time to expel a particular item and close the ritual space, turn back to the appropriate quarter. Make an element expelling the pentagram by re-visualizing it in the desired color. Follow with the expulsion of the Pentagram of the Spirit either in its active or passive form, as in GRP, and then perform the Small Exorcizing Ritual of the Pentagram in its entirety. There is also a much more meditative rather than magical method. Sitting in his asana to visualize his aura as a glowing radiant white, which then gradually moves to the color of the caused element, slowly and completely filling the ritual space with the light of this color. When the ritual is complete, the light is visualized as it gradually turns back to the personal aura and is transmuted back into white. This is a very passive method, and it is best to use in contemplation of some spiritual aspect of the desired force, rather than in the active use of force for some end. A more magical method would be preferable to the latter purpose. The standard magic method of the original Golden Dawn system is used to call a single item during the opening of four elementary classes from 1 to 4 x7. This method is usually called The Discovery of a Watchtower today. A short plan for this procedure is given in Lieber Chanokh Crowley. It is also presented in the Golden Dawn and in a more detailed focus in Israel's book Regardie ceremonial magic. In these complex but powerful rituals, Enokhian material is significantly used. They are probably best used by someone familiar with G.D. perhaps someone who worked the elementary classes in question, or whether one with a thorough understanding of the Enochian system. The method requires the use of a set of Enochian guard hoods installed on four quarters. This method is referred to as a more advanced method. Readers cite these sources for details. REFERRING TO THE EXPULSION OF ACTIVESPIRIT PASSIVESPIRIT FIRE WATER AIR EARTH lesser invoking ritual of the pentagram pdf

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