Ceremonial magic, also known as High magic, is a broad term used in the context of Hermeticism or Western esotericism to describe various lengthy, elaborate, and complex magical rituals. Ceremonial magic is so called because it includes ceremonies and various magical tools designed to assist the practitioner in his work. Ceremonial magic can be seen as an extension of ritual magic, and in most cases they are synonymous. Developed from the grimoires and secret instructions of Martinez de Pasqually's Order of the Chosen Cohens by Papus' Martinist Order, it was popularized by the Hermetic Order of the Golden Dawn. Ceremonial Magic is related to such schools of philosophical and occult thought as Christian Kabbalah, Hermetic Kabbalah, Enochian Magic, as well as to various magical grimoires, Esoteric Christianity, Tarot.
Renaissance magic
The term ceremonial magic has its origins in 16th-century Renaissance Magic, and refers to the practices described in various grimoires of the Medieval and Renaissance periods, as well as collections like Johannes Hartlieb's. George Pictorius uses the term as a synonym for Goetia.
In James Sanford's 1569 translation of Agrippa's " On the unreliability and futility of all sciences» ( De incertitudine et vanitate scientiarum) () says: " Parts of Ceremonial Magic are Goetia and Theurgy.". For Agrippa, ceremonial magic was the opposite of natural magic. Despite his misgivings about natural magic, which included astrology, alchemy, and what we now consider natural sciences such as botany, he was nevertheless willing to recognize it as "the high point of natural philosophy". On the other hand, Ceremonial Magic, which includes all kinds of communication with spirits, including necromancy and sorcery, he completely condemned as impious disobedience to God.
rebirth
Since the advent of the Romantic movement in the 19th century, many individuals as well as groups have carried out a revival of Ceremonial Magic.
Francis Barrett
Among the various sources on Ceremonial Magic, "The Magician" ( The Magus) by Francis Barrett combines a deep knowledge of alchemy, astrology, as well as the Kabbalah, and is a work used in the Hermetic Order of the Golden Dawn, and is also considered by some to be the most important source on the subject.
Eliphas Levi
The idea of writing a treatise on magic came to Eliphas Levi together with his friend Bulwer-Lytton. This treatise appeared in 1855 under the title Dogme et Rituel de la Haute Magie, and was translated into English by Arthur Edward Waite under the title Transcendental Magic, Its Doctrine and Ritual.
In 1861 he published a sequel, The Key to the Great Mysteries ( La Clef des Grands Mysteres). Further works on Levi's magic include "Legends and Symbols" ( Fables and Symboles) (1862), as well as The Science of Spirits ( La Science des Esprits) (1865). In 1868 he wrote The Great Arcana, or Occultism Unveiled ( Le Grand Arcane, ou l'Occultisme Devoilé); however, this work was published only after his death, in 1898.
Levi's texts on magic enjoyed great success, especially after his death. His notions of magic have been popular on both sides of the Atlantic since the 1850s. His magical teaching was free from overt fanaticism, in spite of its vagueness; he had no intention of selling anything, nor did he claim to be an initiate into some ancient or fictitious secret society. Eliphas Levi made tarot cards part of his magical system, and as a result they became an important part of the toolkit of adherents of the Western Magical Tradition. He had a profound influence on the magic of the Hermetic Order of the Golden Dawn, and it is largely because of this influence that Eliphas Levi is considered one of the key founders of the magical renaissance in the twentieth century.
Papus
Dr. Gerard Encausse borrowed his pseudonym "Papus" ("Doctor") from the "Nuctemeron of Apollonius of Tyana" by Eliphas Levi, an author revered by him. Papus is the author of over 400 articles and 25 books on magic, Kabbalah and Tarot. Being an excellent compiler, he compiled materials that included valuable information on Ceremonial Magic, as well as manuals he wrote for preparing for these operations.
According to Papus, he had in his hands the manuscripts of Martinez de Pasqually, founder of the Order of the Knight-Masons, Elected Cohens of the Universe ( Ordre des Chevaliers-Macons Elus-Cohen de L'Univers), whose members practiced theurgical operations, as well as exorcism, individual and general, with the aim of General Reintegration. In addition, he was the successor of one of the lines of Martinism emanating from Louis Claude de Saint-Martin, and in 1891, together with Auguste Chaboseau, with whom they "exchanged successions", created the Martinist Order ( Ordre Martiniste), which, thanks to its device, safely survived the First and Second World Wars.
Hermetic Order of the Golden Dawn- a magical order that existed in the late XIX - early XX century, whose members practiced magical and theurgic ceremonies, as well as spiritual development. Probably, this Order can be considered to have had the largest influence on the popular and generally accessible Western occultism of the 20th century. Thanks to the members of the Golden Dawn, the enlightenment of the English-speaking society regarding the theory and practice of magic was made possible, since, in particular, they produced an extensive work of translating into English many significant treatises.
Magic tools
The practice of Ceremonial Magic requires the use of specially made and specially consecrated tools for a particular ritual, or for a series of rituals. The tools themselves, and the rituals of their consecration, were described in detail first in various medieval manuals, then in the book “ Doctrine and Ritual of Higher Magic" Eliphas Levi, and after that - already in Papus, Stanislas de Guaita (the book "The Serpent of the Book of Genesis") and in the instructions of the Order of the Golden Dawn by S. L. MacGregor Mathers.
The book "Treatise of Practical Magic" by Papus (Gerard Encausse) describes the equipment for a magical laboratory, which includes an altar covered with a thin white cloth, on which the Universal Pentacle is to be depicted in its three plans: human, natural and divine, as well as magical a concave mirror on a black background, leaning against the wall above the altar. An incense burner and a magic lamp are placed on the altar. The altar is a new earthen hearth, and the magic lamp is made up of seven colored glasses corresponding to the colors of the seven ancient planets.
To preserve various magical instruments, Papus suggests using a small cabinet, covered inside with a white cloth, installed on the left side of the altar, " always closed from immodest glances».
Grimoires
Often, magicians were persecuted by the Christian church, and therefore their records were kept secret so that their owner would not be burned at the stake. Such books contain astrological correspondences, classifications of angels and demons, instructions on the use of magic formulas and spells, information on making potions, summoning astral entities, and making talismans. Magical books in any context, and in particular books of magical spells, are also called grimoires.
Enochian Magic
Organizations
see also
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Notes
Links
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An Excerpt Characterizing Ceremonial Magic
Kutuzov sighed heavily, having finished this period, and carefully and affectionately looked at the member of the Hofkriegsrat.“But you know, Your Excellency, the wise rule of assuming the worst,” said the Austrian general, apparently wanting to end the jokes and get down to business.
He glanced involuntarily at the adjutant.
“Excuse me, General,” Kutuzov interrupted him and also turned to Prince Andrei. - That's what, my dear, you take all the reports from our scouts from Kozlovsky. Here are two letters from Count Nostitz, here is a letter from His Highness Archduke Ferdinand, here's another,” he said, handing him some papers. - And from all this, cleanly, in French, make a memorandum, a note, for the visibility of all the news that we had about the actions of the Austrian army. Well, then, and present to his Excellency.
Prince Andrei bowed his head as a sign that he understood from the first words not only what was said, but also what Kutuzov would like to tell him. He collected the papers, and, giving a general bow, quietly walking along the carpet, went out into the waiting room.
Despite the fact that not much time has passed since Prince Andrei left Russia, he has changed a lot during this time. In the expression of his face, in his movements, in his gait, there was almost no noticeable former pretense, fatigue and laziness; he had the appearance of a man who has no time to think about the impression he makes on others, and is busy with pleasant and interesting business. His face expressed more satisfaction with himself and those around him; his smile and look were more cheerful and attractive.
Kutuzov, whom he caught up with back in Poland, received him very affectionately, promised him not to forget him, distinguished him from other adjutants, took him with him to Vienna and gave him more serious assignments. From Vienna, Kutuzov wrote to his old comrade, the father of Prince Andrei:
“Your son,” he wrote, “gives hope to be an officer who excels in his studies, firmness and diligence. I consider myself fortunate to have such a subordinate at hand.”
At Kutuzov's headquarters, among his comrades, and in the army in general, Prince Andrei, as well as in St. Petersburg society, had two completely opposite reputations.
Some, a minority, recognized Prince Andrei as something special from themselves and from all other people, expected great success from him, listened to him, admired him and imitated him; and with these people, Prince Andrei was simple and pleasant. Others, the majority, did not like Prince Andrei, they considered him an inflated, cold and unpleasant person. But with these people, Prince Andrei knew how to position himself in such a way that he was respected and even feared.
Coming out of Kutuzov's office into the waiting room, Prince Andrei with papers approached his comrade, adjutant on duty Kozlovsky, who was sitting by the window with a book.
- Well, what, prince? Kozlovsky asked.
- Ordered to draw up a note, why not let's go forward.
- And why?
Prince Andrew shrugged his shoulders.
- No word from Mac? Kozlovsky asked.
- Not.
- If it were true that he was defeated, then the news would come.
“Probably,” said Prince Andrei and went to the exit door; but at the same time to meet him, slamming the door, a tall, obviously newcomer, Austrian general in a frock coat, with his head tied with a black handkerchief and with the Order of Maria Theresa around his neck, quickly entered the waiting room. Prince Andrew stopped.
- General Anshef Kutuzov? - quickly said the visiting general with a sharp German accent, looking around on both sides and without stopping walking to the door of the office.
“The general is busy,” said Kozlovsky, hurriedly approaching the unknown general and blocking his way from the door. - How would you like to report?
The unknown general looked contemptuously down at the short Kozlovsky, as if surprised that he might not be known.
“The general chief is busy,” Kozlovsky repeated calmly.
The general's face frowned, his lips twitched and trembled. He took out a notebook, quickly drew something with a pencil, tore out a piece of paper, gave it away, went with quick steps to the window, threw his body on a chair and looked around at those in the room, as if asking: why are they looking at him? Then the general raised his head, stretched out his neck, as if intending to say something, but immediately, as if carelessly starting to hum to himself, made a strange sound, which was immediately stopped. The door of the office opened, and Kutuzov appeared on the threshold. The general with his head bandaged, as if running away from danger, bent over, with large, quick steps of thin legs, approached Kutuzov.
- Vous voyez le malheureux Mack, [You see the unfortunate Mack.] - he said in a broken voice.
The face of Kutuzov, who was standing in the doorway of the office, remained completely motionless for several moments. Then, like a wave, a wrinkle ran over his face, his forehead smoothed out; he bowed his head respectfully, closed his eyes, silently let Mack pass him, and closed the door behind him.
The rumor, already spread before, about the defeat of the Austrians and the surrender of the entire army at Ulm, turned out to be true. Half an hour later, adjutants were sent in different directions with orders proving that soon the Russian troops, who had been inactive until now, would have to meet with the enemy.
Prince Andrei was one of those rare officers on staff who considered his main interest in the general course of military affairs. Seeing Mack and hearing the details of his death, he realized that half of the campaign was lost, understood the whole difficulty of the position of the Russian troops and vividly imagined what awaited the army, and the role that he would have to play in it.
Involuntarily, he experienced an exciting joyful feeling at the thought of shaming presumptuous Austria and that in a week, perhaps, he would have to see and take part in a clash between Russians and French, for the first time after Suvorov.
But he was afraid of the genius of Bonaparte, who could be stronger than all the courage of the Russian troops, and at the same time he could not allow shame for his hero.
Excited and irritated by these thoughts, Prince Andrei went to his room to write to his father, to whom he wrote every day. He met in the corridor with his roommate Nesvitsky and the joker Zherkov; they, as always, laughed at something.
Why are you so gloomy? Nesvitsky asked, noticing the pale face of Prince Andrei with sparkling eyes.
“There is nothing to have fun,” answered Bolkonsky.
While Prince Andrei met with Nesvitsky and Zherkov, on the other side of the corridor Strauch, an Austrian general who was at Kutuzov's headquarters to monitor the food of the Russian army, and a member of the Hofkriegsrat, who had arrived the day before, were walking towards them. There was enough space along the wide corridor for the generals to disperse freely with three officers; but Zherkov, pushing Nesvitsky away with his hand, said in a breathless voice:
- They're coming! ... they're coming! ... step aside, the road! please way!
The generals passed with an air of desire to get rid of troubling honors. On the face of the joker Zherkov suddenly expressed a stupid smile of joy, which he seemed unable to contain.
“Your Excellency,” he said in German, moving forward and addressing the Austrian general. I have the honor to congratulate you.
He bowed his head and awkwardly, like children learning to dance, began to scrape one leg or the other.
The General, a member of the Hofkriegsrath, looked sternly at him; not noticing the seriousness of the stupid smile, he could not refuse a moment's attention. He squinted to show he was listening.
“I have the honor to congratulate you, General Mack has arrived, in perfect health, only a little hurt here,” he added, beaming with a smile and pointing to his head.
The general frowned, turned away, and walked on.
Gott, wie naive! [My God, how simple he is!] – he said angrily, moving away a few steps.
Nesvitsky embraced Prince Andrei with laughter, but Bolkonsky, turning even paler, with an evil expression on his face, pushed him away and turned to Zherkov. That nervous irritation into which the sight of Mack, the news of his defeat, and the thought of what awaited the Russian army had brought him, found its outlet in bitterness at Zherkov's inappropriate joke.
“If you, dear sir,” he spoke piercingly with a slight trembling of his lower jaw, “want to be a jester, then I cannot prevent you from doing so; but I announce to you that if you dare another time to make a fuss in my presence, then I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this trick that they silently, with their eyes wide open, looked at Bolkonsky.
“Well, I only congratulated you,” said Zherkov.
- I'm not joking with you, if you please be silent! - Bolkonsky shouted and, taking Nesvitsky by the hand, he walked away from Zherkov, who could not find what to answer.
“Well, what are you, brother,” Nesvitsky said reassuringly.
- Like what? - Prince Andrei spoke, stopping from excitement. - Yes, you understand that we, or officers who serve their tsar and fatherland and rejoice at the common success and grieve about the common failure, or we are lackeys who do not care about the master's business. Quarante milles hommes massacres et l "ario mee de nos allies detruite, et vous trouvez la le mot pour rire," he said, as if reinforcing his opinion with this French phrase. - C "est bien pour un garcon de rien, comme cet individu , dont vous avez fait un ami, mais pas pour vous, pas pour vous. [Forty thousand people died and our allied army was destroyed, and you can joke about it. This is forgivable to an insignificant boy, like this gentleman whom you have made your friend, but not to you, not to you.] Boys can only be so amused, - said Prince Andrei in Russian, pronouncing this word with a French accent, noting that Zherkov could still hear it.
He waited for the cornet to answer. But the cornet turned and walked out of the corridor.
The Pavlograd Hussar Regiment was stationed two miles from Braunau. The squadron, in which Nikolai Rostov served as a cadet, was located in the German village of Salzenek. The squadron commander, captain Denisov, known to the entire cavalry division under the name of Vaska Denisov, was assigned the best apartment in the village. Junker Rostov had been living with the squadron commander ever since he caught up with the regiment in Poland.
List:
Martinez de Pasqually · Louis Claude de Saint-Martin · Jean-Baptiste Willermouse · Papus · Stanislas de Guaita · Robert Ambelain · Oswald Wirth · Joseph-Marie, Comte de Maistre · Antoine Court de Gebelin · Saint-Yves d'Alveidre · Nisier , Philip Antelm Joseph Péladan Arthur Edward Waite Eliphas Levi Claude Debussy Nikolai Nikolaevich the Younger Novikov Nikolai Ivanovich Ryndina Lidia Dmitrievna Lopukhin Ivan Vladimirovich Troyanovsky Alexander Valeryanovich Antoshevsky Ivan Kazimirovich Jacques Kazot Chinsky , Cheslav Iosifovich · Grigory Ottonovich Mebes · Kaznacheev, Petr Mikhailovich · Auguste Chaboseau · Jean Bricot · Kheraskov, Mikhail Matveevich · Fabre de Olivier
Renaissance magic
The term ceremonial magic has its origins in 16th-century Renaissance Magic, and refers to the practices described in various grimoires of the Medieval and Renaissance periods, as well as collections like Johannes Hartlieb's. George Pictorius uses the term as a synonym for Goetia.
In James Sanford's 1569 translation of Agrippa's " On the unreliability and futility of all sciences» ( De incertitudine et vanitate scientiarum) () says: " Parts of Ceremonial Magic are Goetia and Theurgy.". For Agrippa, ceremonial magic was the opposite of natural magic. Despite his misgivings about natural magic, which included astrology, alchemy, and what we now regard as natural sciences such as botany, he was nevertheless willing to recognize it as "the high point of natural philosophy". On the other hand, Ceremonial Magic, which includes all kinds of communication with spirits, including necromancy and sorcery, he completely condemned as impious disobedience to God.
rebirth
Since the advent of the Romantic movement in the 19th century, many individuals as well as groups have carried out a revival of Ceremonial Magic.
Francis Barrett
Among the various sources on Ceremonial Magic, "The Magician" ( The Magus) by Francis Barrett combines a deep knowledge of alchemy, astrology, as well as the Kabbalah, and is a work used in the Hermetic Order of the Golden Dawn, and is also considered by some to be the most important source on the subject.
Eliphas Levi
The idea of writing a treatise on magic came to Eliphas Levi together with his friend Bulwer-Lytton. This treatise appeared in 1855 under the title Dogme et Rituel de la Haute Magie, and was translated into English by Arthur Edward Waite under the title Transcendental Magic, Its Doctrine and Ritual.
In 1861 he published a sequel, The Key to the Great Mysteries ( La Clef des Grands Mysteres). Further works on Levi's magic include "Legends and Symbols" ( Fables and Symboles) (1862), as well as The Science of Spirits ( La Science des Esprits) (1865). In 1868 he wrote The Great Arcana, or Occultism Unveiled ( Le Grand Arcane, ou l'Occultisme Devoilé); however, this work was published only after his death, in 1898.
Levi's texts on magic enjoyed great success, especially after his death. His notions of magic have been popular on both sides of the Atlantic since the 1850s. His magical teaching was free from overt fanaticism, in spite of its vagueness; he had no intention of selling anything, nor did he claim to be an initiate into some ancient or fictitious secret society. Eliphas Levi made tarot cards part of his magical system, and as a result they became an important part of the toolkit of adherents of the Western Magical Tradition. He had a profound influence on the magic of the Hermetic Order of the Golden Dawn, and it is largely because of this influence that Eliphas Levi is considered one of the key founders of the magical renaissance in the twentieth century.
Papus
Dr. Gerard Encausse borrowed his pseudonym "Papus" ("Doctor") from the "Nuctemeron of Apollonius of Tyana" by Eliphas Levi, an author revered by him. Papus is the author of over 400 articles and 25 books on magic, Kabbalah and Tarot. Being an excellent compiler, he compiled materials that included valuable information on Ceremonial Magic, as well as manuals he wrote for preparing for these operations.
According to Papus, he had in his hands the manuscripts of Martínez de Pasqually, the founder of the Order of Knight-Masons, Elected Cohens of the Universe ( Ordre des Chevaliers-Macons Elus-Cohen de L'Univers), whose members practiced theurgical operations, as well as exorcism, individual and general, with the aim of General Reintegration. In addition, he was the successor of one of the lines of Martinism emanating from Louis Claude de Saint-Martin, and in 1891, together with Auguste Chaboseau, with whom they "exchanged successions", created the Martinist Order ( Ordre Martiniste), which, thanks to its device, safely survived the First and Second World Wars.
Hermetic Order of the Golden Dawn- a magical order that existed in the late XIX - early XX century, whose members practiced magical and theurgic ceremonies, as well as spiritual development. Probably, this Order can be considered to have had the largest influence on the popular and generally accessible Western occultism of the 20th century. Thanks to the members of the Golden Dawn, the enlightenment of the English-speaking society regarding the theory and practice of magic was made possible, since, in particular, they produced an extensive work of translating into English many significant treatises.
Magic tools
The practice of Ceremonial Magic requires the use of specially made and specially consecrated tools for a particular ritual, or for a series of rituals. The tools themselves, and the rituals of their consecration, were described in detail first in various medieval manuals, then in the book “ Doctrine and Ritual of Higher Magic" Eliphas Levi, and after that - already in Papus, Stanislas de Guaita (the book "The Serpent of the Book of Genesis") and in the instructions of the Order of the Golden Dawn by S. L. MacGregor Mathers.
The book "Treatise of Practical Magic" by Papus (Gerard Encausse) describes the equipment for a magical laboratory, which includes an altar covered with a thin white cloth, on which the Universal Pentacle is to be depicted in its three plans: human, natural and divine, as well as magical a concave mirror on a black background, leaning against the wall above the altar. An incense burner and a magic lamp are placed on the altar. The altar is a new earthen hearth, and the magic lamp is made up of seven colored glasses corresponding to the colors of the seven ancient planets.
To preserve various magical instruments, Papus suggests using a small cabinet, covered inside with a white cloth, installed on the left side of the altar, " always closed from immodest glances».
Grimoires
Often, magicians were persecuted by the Christian church, and therefore their records were kept secret so that their owner would not be burned at the stake. Such books contain astrological correspondences, classifications of angels and demons, instructions on the use of magic formulas and spells, information on making potions, summoning astral entities, and making talismans. Magical books in any context, and in particular books of magical spells, are also called grimoires.
Enochian Magic
Organizations
see also
- Martinez de Pasqually
- Louis Claude de Saint Martin
Notes
Links
Wikimedia Foundation. 2010 .
Ceremonial magic, also known as High magic, is a broad term used in the context of Hermeticism or Western esotericism to describe various lengthy, elaborate, and complex magical rituals. Ceremonial magic is so called because it includes ceremonies and a variety of necessary magical tools designed to assist the practitioner in his work. Ceremonial magic can be seen as an extension of ritual magic, and in most cases they are synonymous. Developed from the grimoires and secret instructions of Martinez de Pasqually's Order of the Chosen Cohens by Papus' Martinist Order, it was popularized by the Hermetic Order of the Golden Dawn. Ceremonial Magic is related to such schools of philosophical and occult thought as Christian Kabbalah, Hermetic Kabbalah, Enochian Magic, as well as to various magical grimoires, Esoteric Christianity, Tarot.
Renaissance Magic
The term ceremonial magic has its origins in 16th-century Renaissance Magic, and refers to the practices described in various grimoires of the Medieval and Renaissance periods, as well as collections like Johannes Hartlieb's. George Pictorius uses the term as a synonym for Goetia.
In James Sanford's 1569 translation of Agrippa's " On the unreliability and futility of all sciences» ( De incertitudine et vanitate scientiarum) () says: " Parts of Ceremonial Magic areGoetia andTheurgy". For Agrippa, ceremonial magic was the opposite of natural magic. Despite his misgivings about natural magic, which included astrology, alchemy, and what we now regard as natural sciences such as botany, he was nevertheless willing to recognize it as "the high point of natural philosophy". On the other hand, Ceremonial Magic, which includes all kinds of communication with spirits, including necromancy and sorcery, he completely condemned as impious disobedience to God.
rebirth
Since the advent of the Romantic movement in the 19th century, many individuals as well as groups have carried out a revival of Ceremonial Magic.
Francis Barrett
Among the various sources on Ceremonial Magic, "The Magician" ( The Magus) by Francis Barrett combines a deep knowledge of alchemy, astrology, as well as the Kabbalah, and is a work used in the Hermetic Order of the Golden Dawn, and is also considered by some to be the most important source on the subject.
The idea of writing a treatise on magic came to Eliphas Levi together with his friend Bulwer-Lytton. This treatise appeared in 1855 under the title Dogme et Rituel de la Haute Magie, and was translated into English by Arthur Edward Waite under the title Transcendental Magic, Its Doctrine and Ritual.
In 1861 he published a sequel, The Key to the Great Mysteries ( La Clef des Grands Mysteres). Further works on Levi's magic include "Legends and Symbols" ( Fables and Symboles) (1862), as well as The Science of Spirits ( La Science des Esprits) (1865). In 1868 he wrote The Great Arcana, or Occultism Unveiled ( Le Grand Arcane, ou l'Occultisme Devoilé); however, this work was published only after his death, in 1898.
Levi's texts on magic enjoyed great success, especially after his death. His notions of magic have been popular on both sides of the Atlantic since the 1850s. His magical teaching was free from overt fanaticism, in spite of its vagueness; he had no intention of selling anything, nor did he claim to be an initiate into some ancient or fictitious secret society. Eliphas Levi made tarot cards part of his magical system, and as a result they became an important part of the toolkit of adherents of the Western Magical Tradition. He had a profound influence on the magic of the Hermetic Order of the Golden Dawn, and it is largely because of this influence that Eliphas Levi is considered one of the key founders of the magical renaissance in the twentieth century.
Dr. Gerard Encausse borrowed his pseudonym "Papus" ("Doctor") from the "Nuctemeron of Apollonius of Tyana" by Eliphas Levi, an author revered by him. Papus is the author of over 400 articles and 25 books on magic, Kabbalah and Tarot. Being an excellent compiler, he compiled materials that included valuable information on Ceremonial Magic, as well as manuals he wrote for preparing for these operations.
According to Papus, he had in his hands the manuscripts of Martinez de Pasqually, founder of the Order of the Knight-Masons, Elected Cohens of the Universe ( Ordre des Chevaliers-Macons Elus-Cohen de L'Univers), whose members practiced theurgical operations, as well as exorcism, individual and general, with the aim of General Reintegration. In addition, he was the successor of one of the lines of Martinism emanating from Louis Claude de Saint-Martin, and in 1891, together with Auguste Chaboseau, with whom they "exchanged successions", created the Martinist Order ( Ordre Martiniste), which, thanks to its device, safely survived the First and Second World Wars.
Hermetic Order of the Golden Dawn- a magical order that existed in the late XIX - early XX century, whose members practiced magical and theurgic ceremonies, as well as spiritual development. Probably, this Order can be considered to have had the largest influence on the popular and generally accessible Western occultism of the 20th century. Thanks to the members of the Golden Dawn, the enlightenment of the English-speaking society regarding the theory and practice of magic was made possible, since, in particular, they produced an extensive work of translating into English many significant treatises.
Magic tools
The practice of Ceremonial Magic requires the use of specially made and specially consecrated tools for a particular ritual, or for a series of rituals. The tools themselves, and the rituals of their consecration, were described in detail first in various medieval manuals, then in the book “ Doctrine and Ritual of Higher Magic" Eliphas Levi, and after that - already in Papus, Stanislas de Guaita (the book "The Serpent of the Book of Genesis") and in the instructions of the Order of the Golden Dawn by S. L. MacGregor Mathers.
The book "Treatise of Practical Magic" by Papus (Gerard Encausse) describes the equipment for a magical laboratory, which includes an altar covered with a thin white cloth, on which the Universal Pentacle is to be depicted in its three plans: human, natural and divine, as well as magical a concave mirror on a black background, leaning against the wall above the altar. On the
Ceremonial magic
The point of ceremonial magic is to compel an astral entity, which under other conditions, perhaps, would easily defeat the operator. For such coercion, it is necessary: the preparation of the actor (magician), the presence of magical tools and the commission of the act of coercion itself (magic operation).
Spirits of nature. The objects of coercion in the operations of ceremonial magic are usually the so-called spirits of nature, characterized by a planetary septener. They are in the following forms:
Spirits of Saturn they are usually in a long and thin body, with a face expressing rage. They have four faces: the first behind the head, the second in front, and the third and fourth on each knee. Their color is black, matte. Movements are like gusts of wind; when they appear, the impression of ground vibrations is obtained. Sign - the earth seems whiter than any snow. Images taken by them in exceptional cases: A bearded king riding a dragon. Bearded old man. An old woman leaning on a stick. Hog. The Dragon. Owl. Dark clothing. Spit. Juniper.
Spirits of Jupiter they appear in a full-blooded and bilious body, of medium height, in terrible excitement, their eyes are very meek, their speech is friendly, the color resembles iron. Their mode of locomotion is like lightning during thunder. A sign - people appear at the very circle, having the appearance of being devoured by lions. Images in exceptional cases: King with a drawn sword, riding a deer. A man in a miter and long clothes. Girl in a laurel wreath and decorated with flowers. Bull. Deer. Peacock. Azure dress. Sword. Buxus.
Spirits of Mars appear long and bilious. The appearance is very ugly, dark and somewhat reddish in color, with deer antlers and vulture claws. They roar like mad bulls. Their impulses are like a fire that spares nothing. A sign - you might think that lightning flashes around the circle and thunder rumbles. Exceptional images: An armed king riding a wolf. Red clothes. Armed man. A woman with a shield at her hip. Goat. Horse. Deer. Fleece wool.
Spirits of the Sun are usually in a wide and large body, full and full-blooded. Their color is like gold dyed with blood. Appearance is like a glow in the sky. The symptom is that the caller feels sweaty. Exceptionally: King with scepter, riding a lion. The king in the crown. Queen with scepter. Bird. A lion. Clothes of gold or saffron color. Scepter. Wheel.
Spirits of Venus appear in a beautiful body, of medium height, their appearance is charming and pleasant. Color is white or green with gilding on top. The walk is like a bright star. A sign is the girls frolicking around the circle, inviting the defiant to them. Exceptional: A king with a scepter riding a camel. A girl dressed amazingly. Nude girl. Goat. Camel. Dove. Clothes are white or green. Flowers, grass. Cossack juniper.
Spirits of Mercury appear in a body of medium height, cold, wet, beautiful, affably eloquent. With a human appearance, they are like an armed soldier who has become transparent. They approach like a silver cloud. A sign - the caller is terrified. Exceptional images: King riding a bear. A wonderful young man. A woman holding a spinning wheel. Dog. Bear. Sphinx. A colorful dress. Rod. Stick.
Spirits of the Moon usually appear in a large, broad, flaccid and phlegmatic body. In color, they resemble a gloomy and dark cloud. Their physiognomy is puffy, their eyes are red and watery. The bald head is decorated with prominent boar fangs. They move with the speed of the strongest storm in the sea. A sign is heavy rain near the circle itself. Exceptionally: King with a bow, sitting on a fallow deer. Small child. Hunter with bow and arrows. Cow. Little doe. Goose. Green or silver dress. Dart. Man with multiple legs.
These spirits have their own hierarchy, which is usually described in magical collections (grimoires) in relation to the feudal system.
Mage Training
In addition to the general preparation for practicing magic (Psychurgy), each magical operation requires its own special preparation, lasting, depending on the importance of the operation, from three to forty days.
This training includes the following parts:
- Theurgy, expressed in special daily prayers of a mystical nature.
- Meditation those related to the operation, and the affirmation of the consciousness of the pentagrammatic freedom of the magician (monondeism).
- Astral Harmonization, aimed at correcting shortcomings, restraining bad and inappropriate operations of desires and attuning to the harmony corresponding to the planet.
- Discipline- putting things in order in the physical body: fasting, ablutions, fumigations, saving strength by the day of the operation, etc.
Magic tools
To practice magic, first of all, you need a room - a large room, usually called an oratory. It is better to have two rooms - one for theurgy, the other - the oratory - exclusively for the practice of magic.
All items in the oratorio must be bought new without trading and consecrated according to the ritual.
In addition to the premises, special clothing is needed: a cap, a tunic and stockings. The ideal clothing for magical operations is considered to be a linen or woolen thin, long shirt (tunic) worn over the voice of the body. The shirt can also be silk. Some authors suggest wearing pantaloons as well. The ancient grimoires require a linen garment without a seam. Following the example of Apollonius, some operators wear a silk cloak over the tunic. The color of the cloak in such cases should correspond to the color of the planet whose spirits the operation is dedicated to. Sometimes they use the colors of the egregore for the cloak, which patronizes the operator. (For example R+C, golden orange with green lining).
The head is covered either with a special cap made of insulating material (linen, wool, silk), or with a hood of a raincoat, or with a special bandage - a scarf of the color corresponding to the operation.
There should be no shoes on the feet, but only woolen stockings. In general, the magician should not have any metal or skin.
The tunic under the cloak is girdled with a wide belt, behind which the magician lays ritual instruments during the operation. So he enters the circle with a sword in his belt; when the candle is extinguished, it is also placed in the belt, and the book is also sent there. The wand is usually held in the sleeve.
The four main instruments of the magician correspond to the quaternary and are arranged in the following order:
- Wand - serves to thicken scattered fluids.
- Bowl - serves as a support for the imagination in clean, pre-developed images.
- Sword - serves to dispel unwanted materialization.
- Pentagram - serves to remind the operator's free will.
Of the secondary subjects, four elements should be mentioned: water, earth(salt + ash), the fire(coals in the censer) and air(in the mage's own breath). Next, you need chalk to draw a circle, a wax candle, a book for writing spells, a knife, a sprinkler, etc.
Two-thirds of medieval grimoires are filled with the most punctual and detailed descriptions of how to prepare magical tools. The difficulties that must be overcome at the same time seem to be created in order to test the patience of the person preparing and require great effort, skill and time. Discarding all unnecessary trifles, we can make two main provisions for the correct and thorough preparation of magical tools:
1. They must be fluidized by the magician himself. This is achieved by the fact that the magician makes them himself.2. They must be produced with the appearance of a maximum volitional impulse.
magic operation
A theoretical understanding of the process of magical doing is given by an acquaintance with the operation of magical invocation. The magical ceremony is usually divided into a series of magical actions that we perform in the order in which they are performed.
- Ritual washing. It symbolizes all the previous preparation for the operation.
- Repentance is the completion of the theurgic training. The magician, as it were, is likened to the 12th lasso, that is, he sacrifices himself, renounces his will in order to be the conductor of the Higher Will, which is realized on earth. By repentance the magician finds his point of suspension in the higher planes.
- Blessing of helpers. The magician performs the rank of blessing assistants for soldering with them and forming an egregor of this operation.
- Transfer to the place of operation. This moment symbolizes the difference between Theurgy and Magic.
- Inscription and consecration of the circle.
- Entry into the circle.
- Prayer. By praying, the magician, already inside the circle, emphasizes his connection with the higher planets and thereby establishes his superiority over astrologers, which gives him the opportunity to act on him from above.
- The spell of four and seven.
- Sylph spell.
- great call. This is the projection of the will of the magician, who forms the astral tourbillon, that is, magic itself, its central point.
- Spell of the day tonalizes the tourbillon according to secondary causes (i.e., according to the calling planet). At this time, appropriate signs are written out and the candle is extinguished.
- Solomon's spell.
- Questioning the Spirits(via created tourbillon).
- Struggle with astral counteractions.
- Final words.
- Spirit release.
The entire magical operation contains all or part of the listed actions.
- Papus. Practical Magic, ed. Troyanovsky.
- Eliphas Levi. Dogma and ritual of higher magic. Per. A. Alexandrova. SPB. 901
- Sedir. Spells or Word Mage, ed. Troyanovsky.
- Nitibus. Black dragon or a collection of magical recipes. From drawing. talismans. SPB. 909
- Agrippa. Magic of Arbatel. Per. from French Troyanovsky, ed. Isis magazine. SPB. 912 46 pages
- Abraham of Worms. A book of true practice in ancient Divine Magic.
- Halle. Magic or magical forces of nature. M. 784-802, 9 volumes.
- Bourgea. Magic. Esotericism and exotericism. Man - God - Universe. Demon. Asters, plan, etc. St. Petersburg. 911 157 pages
- Piob. Ancient high magic. Theory and practical formulas. Per. from fr. I. Antoshsvsky, ed. I. K. Sveshotna. 912 St. Petersburg.
"The Origins of Occult Science" Russian Occult Center
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Originated in ancient Egypt. Here the caste of priests was engaged in magical experiments in order to get closer to understanding the matter of the Universe, controlling spirits and demons. The priests, in fact, usurped power over Egypt, making the pharaohs puppets. In doing so, they developed a number of formulas and magical actions that became the basis of later ceremonial magic.
Egyptian magicians accumulated knowledge for centuries, carefully recording and preserving the experience of their predecessors. They performed complex rituals of the Mysteries, during which spirits and demons were summoned. Egyptian magicians created universal symbols and figures that are still used today in fine work.
A significant problem arose when the Romans came to Egypt, in those days a false interpretation was given to the main Mysteries, which set ceremonial magic back many centuries. At this time, many superstitions and signs appeared, some of which still exist. We can say that black magic in the modern sense arose precisely then.
In the Middle Ages, it was on the basis of the Egyptian magical system, which the Romans brought to Europe, albeit in a distorted form, that a new magical system was created. A significant contribution to it was made by the Kabbalists, who devoted their lives to ceremonial magic, based on the belief that the Holy Books directly encourage the pursuit of the occult.
Ritual magic does not require any serious training, it is based on personal experience.
All this led to the extreme complication of this type of magic. It is believed that a magician who wants to turn to such forces must do it at a specific time (it depends on the purpose of the appeal), in strictly defined clothes, using wording honed for centuries, using sacred objects that can be passed down from generation to generation. The slightest mistake during the ceremony can lead to terrible consequences and even death of the magician.
It is believed that Hitler gathered a huge number of magicians initiated into the secrets of ceremonial magic.
