MYSTERY AND REGENERATION

Tag: agathodaimon

Steps of the Foundation III: The Wards

Wolfgang Paalen, Les Cosmogones (1944)

This is the third in a series of ‘deep dives’ into the foundational rituals of the Ogdoadic tradition. As in earlier essays, everything in here is the fruit of my own work: it is entirely unofficial. It might help to read the essay on the Calyx, especially, prior to reading this one, as it is an essential part of the Setting of the Wards of Power. Practice of the Wards represents the student’s first step into ritual proper; like the Calyx, it is a deceptively simple ritual which repays practice and contemplation.

The ritual text of the Setting of the Wards of Power (hereafter ‘Wards’) can be read on the ORS website. It is, of course, also available in Denning & Phillips’s classic presentation of the rituals of the Aurum Solis. Any half-educated magician will notice its similarities with – and perhaps its differences from – the Golden Dawn’s pentagram ritual. We will come to these. I’ve appended some practical notes on ritual performance, culled from my own diaries, to the end of this post.

On visualisation and practice

Magical visualisation is a frequent stumbling block for beginners. Many occult groups instruct the student to undertake a battery of exercises, like maintaining the mental image of a red triangle or a green square for a period of time, in order to build up the faculty. I’ve used those exercises myself: they’re helpful in developing a skill often atrophied today, but they can also be immensely (and unnecessarily) boring. If such exercises are used, they should be alongside actual ritual performance, rather than for a period of months before doing any actual magic. 

Why? Visualisation is not just about the use of mental muscle, but the opening of the subtle senses. The power being invoked ought to form a feedback loop to reinforce – or even change – the visualisation. This does not obviate the need for training and developing the skill, but it does speed it along. Because visualisations can be difficult to hold, it’s also tempting to conduct much of the ritual with eyes closed, but this risks making the ritual too much a mental abstraction and weakening its effect. Even if it is useful to reinforce the visualisation with closed eyes, opening them and affirming its reality in the sensible world is a good idea before moving on to the next phase. (This may initially make the ritual slower than it would otherwise be. The skill of standing between the worlds comes with time, but it comes.)

Needless to say this is not a hard and fast rule: there are very few of those in magic. There are also techniques – pathworking, meditation, some middle pillar-like exercises, empowerment of a ritual space – which work well with closed eyes and withdrawal from the senses. But in general, the embodied and physically present form of the ritual will provide a stronger foundation should it one day become necessary to perform it with no outward sign at all. It is always best to learn through doing.

But what does it do?

Like its Golden Dawn analogue, the Wards serves as an exorcism, balancing and sanctification of place. In their notes on the ritual, Denning & Phillips write: 

“The purpose of the present ritual is to demarcate and prepare the area in which the magician is to work, with astral and Briatic defenses. The ritual consists of both banishing and invocation: the four Elements having been banished from the Circle in their naturally confused and impure state, the mighty spiritual forces ruling the Elements are invoked into symbolic egregores, to become Guardians of the Circle.”

Banishing and exorcism of the place of work are de rigueur in ritual magic: the grimoires offer a proliferation of exorcisms of both elements and places. As the equal emphasis on the invocatory part of the rite suggests, this is more than just a simple sweeping of the astral floor. Just like the Calyx, there are levels to this little rite which are not obvious at first glance, and only open out through practice and reflection; though it works on the working space as described, it also works on the magician herself. There are two obvious functions of the ritual according to the quotation above: cleansing the space and defending the magician. I would add a further two: establishing a rectified and perfect miniature cosmos, and by doing so balancing and empowering the magician. These two also make it, implicitly and subtly, a ritual introduction to theurgy.

Banishing, purity and spiritual fear

Perhaps it is worth spending a little time on a modern problem. A friend who runs a prominent occult shop mentions to me that the most frequent request they get at the counter is for a spell, or a ritual, or a guide on how to purify and cleanse; browsing the magical internet, similar questions about dangerous energy, astral parasites, or ever more elaborate forms of purification are very common. Fears about maleficent spirits or curses abound, as do hawkers of expensive bits of rock or pewter offering to rid you of them. This is not new – anti-curse magic is abundant in all historical periods – but it is a little alarming that it’s so prominent, sometimes to the exclusion of much else. We live in an anxious age, but even that doesn’t suffice to explain it. 

A culture (or individual) with a hypertrophied sense of purity, and a deep fear of contamination – and which thinks of all interactions with the world and with other people as an opportunity for such contamination – is a very damaged one, prey to paranoia and obsession. Perhaps some of the emphasis laid on banishing in 20th century magical curricula is responsible for this, albeit dilutely and at some remove. Tacitly received ideas about a fallen world and personal sin might also be at play, and such received ideas are harder to break with emotionally and instinctively than many believe. Of course malicious magic exists – nor is it that rare – but this is a warning against an occult version of scrupulosity, once recognised as a serious spiritual disorder. (Phil Hine has written recently and perceptively about ‘astral hygiene’ in a similar context.)

The phrase quoted above, about the ‘naturally confused and impure state’ of the elements, should not be read as articulating a moral abhorrence of the sensual world. (Denning and Phillips are clear elsewhere in rejecting that kind of cosmic pessimism.) We might think of it as being closer to chemical rather than moral purity, or that the little universe that the magician constructs in the circle represents the perfected cosmos, free of the mutability and admixture in which we usually encounter the elements. I will have more to say on the symbolic cosmos below, and return to the question of ‘the fall’ and how to think about the material world in a later piece. Briefly, ideas about impurity or fallenness describe something obviously very common in human spiritual experience – suffering the flux and reflux of the sublunary world – but the primary key in which western seekers feel this is a useless and toxic blend of guilt and shame, or (through negation) a shallow hedonic antinomianism. Neither is useful for the magician. Magic, though it has its periods of abstraction and withdrawal, ought generally involve us more in the many wonders of the world, even while ceasing to be beholden to them.

A well-executed daily practice of the Wards, then, does have clear effects on the magician as well as the space in which it’s performed. Along with the other foundational practices, it strengthens the will and thus brings to awareness our habitual, programmed or automatic behaviours – and what lies behind them. It also strengthens the intuition, which means it combines well with a daily divinatory practice. Naturally, it is very useful as an all-purpose exorcism, whether in a place haunted by terrible events or simply somewhere stress and difficulty have left an imprint. It is safe and even beneficial to practice it where you sleep, and in my experience this means a richer dream life.

On the Magic Circle

‘Nigromantic’ Magic circle with strong quaternary elements, including the names of the four demon kings of the directions. Sloane MS 3853 f.74r

The Wards bear the imprint of the Victorian occult revival, but the concept of the magic circle is far older. Scattered (and mostly ambiguous) examples of magic circles survive from the ancient world, but it is in the grimoires of medieval and early modern magic that they are most recognisable to us. A full examination of the history is beyond the scope of this essay, but there are two traits worth noticing in the older traditions. The first, and most obvious, is the stress laid on the protective function of the circle, e.g. in the preface to the English version of the Heptameron (1655): ‘they are certain fortresses to defend the operators safe from the evil Spirits.’ But the tradition also hints at why a circle is used by the magician, and these discussions present many useful avenues for deepening magical practice. The locus classicus is Agrippa, in his chapter on geometrical figures (II.xxiii):

A circle is called an infinite line in which there is no Terminus a quo, nor Terminus ad quem, whose beginning and end is in every point, whence also a circular motion is called infinite, not according to time, but according to place; hence a circular [form]1 being the largest and perfectest of all is judged to be the most fit for bindings and conjurations; Whence they who adjure evil spirits, are wont to environ themselves about with a circle.

1 – The translation here is more than usually haphazard; Agrippa’s Latin means essentially ‘the form of a circle is the best of all lineal figures’, thus my small emendation.

A scholar might detect distant echoes of Aristotle’s Physics in this passage, or perhaps the aphorisms of the medieval Book of 24 Philosophers. Most striking for magicians, though, is that Agrippa also goes on to discuss the pentagram as well as the significance of the quaternary, the ‘most firm receptacle of all Celestial powers’. This sequence of chapters is especially concerned with the resonances between microcosm and macrocosm, the secret signatures and sympathies by which magic operates. And it suggests one of the keys to the many designs for circles in the grimoire tradition, which combine the infinite symbol of the circle with the fourfold symbol of the material world – usually by cardinality of some kind, whether at quarters or cross-quarters. The circle for the infinite, the square or the cross for the material. That is, the circle itself is a miniature kosmos. (Ancient defenders of pagan theurgy also argued this about the circular design of temples: see Sallustius, Peri theon§ XV.)

Two quite distinct qualities of the practicing magician come out of the grimoire material on magical circles. Firstly, that he or she is powerful: amplified by standing inside a living symbol the magician can call up – or down – Agrippa’s ‘Celestial powers’. But, second, that he or she is vulnerable: that those powers may harm, obsess, derange as much as heal, transform or enlighten. The juxtaposition of these qualities reveals a truth: magical practice involves a risky opening of the self to the cosmos; the openness that makes us vulnerable is also the route through which power comes and spirits are called. One goal of magical training is to cultivate and direct this openness while learning to protect against its risks. But at its core is that openness and vulnerability: magic that risks nothing achieves nothing. The second power of the magician is to dare.

Agrippa is often a useful prompt for meditation, but is also a useful because Victorian occultists often turned to him when developing their grand and sometimes unwieldy magical syntheses. Much of the foundation material for modern ceremonial magic was drawn from Agrippa’s own early modern synthesis. Transmission of this kind is usually textual, but one might also speculate about the impact of the illustrations in De Occulta Philosophia. A few pages on from our quotation above, a reader will find a mysterious and evocative illustration in the chapter on the human body (II.xxvii), which combines the circle, the quaternary and a human being wielding pentagrams in both hands. Did this image linger in the minds of the eventual redactors of the Golden Dawn’s pentagram ritual, who must have stared at it, entranced, under the lamplight in the reading room at the British Museum?

Ritual Roots

Like the Golden Dawn’s pentagram ritual, the Wards maintains the defensive and symbolic aspects of the magic circle mentioned above, but adds to it techniques of mental concentration, visualisation and vocalisation. Whereas before the symbols and divine names may simply have been drawn on the floor, these rituals ‘activate’ them through the magician’s body, in a way very typical of late Victorian occultism and its 20th century descendants. (I’ve written about this before, and noted that in the earliest extant GD manuscripts these inner techniques are absent; whether they were passed mouth-to-ear or developed a little later I leave to the reader’s judgement.) The centrality of these techniques puts the rituals of the 20th century Aurum Solis and the Ogdoadic tradition firmly in the mainstream of post-Victorian revival magic – just like the Stella Matutina, the A∴A∴, initiatory Wicca and many others. 

Is this, then, just the pentagram ritual with the serial numbers filed off, gussied-up in Greek drag? No: it draws influence from other sources, and includes significant changes to the structure and function of the ritual. For instance, the flinging of the pentagrams into the quarters suggests the influence of Crowley’s Star Ruby (first published 1913 but known to most magicians from 1929’s Magick in Theory and Practice.) Unlike many ceremonial magicians of their period, Denning and Phillips do not share the dislike for Crowley common among their peers; their mentions are rarely overt but are complimentary. Other influences on the implicit cosmology of the wards – explored below – allow us to date this recension, at least, to the mid-20th century. (This is not a suggestion that the predecessor occult societies to the Aurum Solis did not exist; I am fairly certain they did.)

That is what textual criticism tells us, what of magical experience? I have already indicated some of the rite’s beneficial effects, but it also feels subjectively distinct from the pentagram ritual. The two have a similar effect in clearing the space, of course. But the cosmogonic symbolism is stronger in the Wards: it is a ritual drama creating a symbolically complete universe in miniature, a form common to many diverse spiritual traditions. In particular the interplay between the body of the magician as the axis mundi, the medium through which magical work happens and link between above and below, is much more strongly emphasised in the Wards. Unlike the pentagram ritual, the Wards is not modular: the tradition uses other methods for elemental invocation. It does, however, teach a great deal of basic ritual structure and regular practice will help develop an intuitive sense of fitness about other rites. With every performance of the rite, the magician recreates his universe, stepping out of linear time into the circular time of ritual; it is a daily practice of rectification of the microcosm. This symbolic balancing invokes real powers, which act on both the magician and the space in which the rite is performed.

N.B.: When magicians talk of the symbolic we do not mean it in the sense common today, as the opposite of actual or real. In a tradition that stretches as far back as Iamblichus, symbols are living things, connected in secret bonds, and magic of all kinds depends on their use. For us, the world is alive with powers and connections, and much of the art of magic is learning how to use those symbols to connect to the forces they embody: the world is a great, living theophany. We might easily understand the pentagram or the circle as symbols, but in this sense so too are the colours, scents, stones and names used in magic. Ancient magicians sometimes called them συνθήματα, sunthemata. In modern magic there are also special symbols which connect the magician to the powers of a particular tradition. The Tessera, which sits on the altar of every Ogdoadic magician, is one such symbol.

The Wards as Cosmogonic Ritual

Let us think about the Wards as a cosmic drama. First the magician empowers and orients himself with the Calyx. The tracing of the circle of mist recalls the infinite pre-creation waters – the deep – common to ancient myths. The circle itself is, of course, a symbol of infinite potentiality. The Greek invocation that follows is of two ancient images generative cosmic potential, recalling Orphic myths and, implicitly, the White Goddess and Black God of the Ogdoadic tradition. Then, in each quarter, the pentagram is made and the divine name of each element called: like all creation myths, it begins with division and ordering of the infinite. Note that this moves counter-clockwise, and by its conclusion the magician has effectively traced a circled cross in the space – a figure uniting the circle and the quaternary, and a traditional symbol of the manifest world. By another Greek invocation he affirms his position as the link between the celestial and the material, the axis mundi. An invocation of the four rulers follows: the great powers disposing and ordering the material world, again affirming the quaternary. The creation accomplished, the magician reaffirms his relation to the divine and concludes the rite with the Calyx.

Other lenses can be fruitfully applied to this rite – Kabbalistic, Hermetic, or according to the House of Sacrifice formula. All complement each other. All of them inform my thinking about the cosmogonic aspects of the rite. It’s my intention in the following to offer – rather than everything possible to say on the matter – cues and readings which flow back into practice and deepen our appreciation of what’s happening in the work. While I offer these as fruits of my own practice with the rite, I would also suggest that practice must come first, to feed in to reflection and meditation, which feeds back into practice. There is a danger, when simply reading texts on magic, to become overwhelmed by details or to feel one has understood simply by reading. I hope these are spurs to deeper practice rather than arid intellectual completion.

The Calyx has already been examined in detail: here it opens the rite with the descent of spirit into matter, at the centre of the space. The still point of the turning world. It corresponds to the inspiring breath, Pneuma.

The Circle. (Principle: Sarx)

Little more needs to be said about the circle itself, the symbolism of which is covered above. Note that the circle is visualised as a wall of mist surrounding the magician. This is helpful because mist is a good analogy for the pliable, shifting medium through which magic works – called by some the ‘astral light’. Similar willed visual-imaginative work is done when learning the first stages of astral projection, emitting the nefesh as a mist from the solar plexus. Whatever this medium is called, it is responsive to human will, thought and consciousness; reflecting on this it is easy to see the clearing effect this rite might have on old habits and ideas the magician might be carrying around.

This mist is also the primordial waters of creation, and as in all creation myths the magician must divide the waters and give order to them. (The ancient historian Eudemus records a trace of Orphic myth that puts fog, along with time and desire, at the very start of the universe [fr. 150, qtd. Dam. Pr. III.163.19].) Kabbalistically-inclined magicians may feel here a distant echo of tsimtsum, the process of deliberate withdrawal of the godhead from itself to form the space of creation. There is a deep chain of symbolic linkages between the astral substance, the primordial waters, and the moon as governess of the tides and ruler of magic; these repay meditation.

A textual and ritual note: in the first edition of The Magical Philosophy, instruction is given to perform the circle widdershins, i.e., counter-clockwise. In later editions, the instruction is given instead to perform it clockwise. This reflects a change in the practice of the original A∴S∴. The magical effect is relatively slight, but having done it both ways, I find the widdershins turn helpful if the rite is preceding works of negation, diminution, banishment or disguise. (Denning and Phillips lay out the use of widdershins circumambulation in Paper XIV of Mysteria Magica.) As a complete daily ritual, though, I turn with the course of the sun, clockwise.

The First Invocation.

The magician vibrates two Greek phrases, which translate as ‘The Dove and the Waters’ and ‘The Serpent and the Egg’. These are two images of primordial generation. Though no instruction is given to visualise anything, the images are naturally suggestive, and can cause visuals of great intensity to rise in the mind, along with a sense of enormous latent power and potency. Both images allude strongly to Orphic creation myths, though their resonance is not purely Orphic – the spirit moving over the waters (or the void) is of course also a key part of the Genesis creation myth. The story of Phanes, or Protogonos – the first-born god emerging from the cosmic egg – is fairly familiar. Worth stressing here is that Protogonos is co-extensive with the entire cosmos: in one myth the universe blinks out of existence when he is swallowed by Zeus. M.L. West, for this reason, among others, compares him to the Vedic Prajāpati. (Many of the fragmentary details concerning Phanes-Protogonos are worth meditation: for instance, Damascius’s assertion that he is the first god knowable to human beings.) Through the use of these symbols, then, the tradition makes an explicit link to the Orphic mystery cults of antiquity, their later Neoplatonic interpreters, and their apparent central themes – especially resurrection and regeneration.

But the images also have specific resonance within the Ogdoadic tradition: they symbolise Leukothea and Melanotheos (lit. ‘the White Goddess’ and ‘the Dark God’), two of the deities central to Ogdoadic magic – the third, the Agathodaimon,  appears slightly later in the ritual. They also suggest the two pillars, black and white, of the magical temple – between which the whole tapestry of the universe is woven. It is unsurprising that the parent deities are invoked at this stage of the rituald. It is not, however, a full and direct invocation of these powers.

A textual note: the images, though most are Orphic in ultimate derivation, are also clearly influenced by Robert Graves’s imaginative and idiosyncratic reconstruction of a ‘Pelasgian’ creation myth in his Greek Myths. Graves’s insistence that the ancient myths recorded fragments of a pre-Olympian cult of the Mother Goddess was, of course, hugely influential on the course of modern neopaganism, druidry and witchcraft. Such influence suggests that this particular recension of the Wards is unlikely to predate the mid-1950s. (It is possible, and quite likely, that other versions of this ritual preceded it.)

Although I am not particularly inclined to ipsosephy – the Greek equivalent of gematria – there are some resonances worth drawing out in these phrases: πέλεια, the dove, shares its value with ἱέρεια, meaning ‘priestess’. The Peleiades – doves – were also the sacred women of the mother goddess Dione at Dodona, the most ancient oracle in Greece. The total value of the second invocation sums to 12, suggesting the belt of the zodiac and the great cosmic serpent with which Melanotheos is associated.

The Wards (Principle: Dike)

In each quarter, proceeding anti-clockwise, the magician performs a complex gesture – first bringing his hands to form a triangle at his brow and visualising a blazing pentagram, then flinging this pentagram outward into the mist wall. The hands should spread, and the pentagram should be seen to grow before bursting in shimmering light in the mist. The spreading hands resemble the horns of a great stag, and so this gesture is called ‘Cervus’. At each point he vibrates the appropriate divine name: first that of spirit, and then that of the element as the pentagram is flung. This is the banishing part of the ritual proper, and thus its correspondence to the principle of justice, Dike.

This action is similar to the many exorcisms and prayers involving the four directions which recur across many religious traditions when marking out sacred space, or calling for protection – the common Jewish Shema before sleep, or St. Patrick’s Breastplate (sect. 8) spring to mind. The specific genealogy of the Wards is ultimately from Eliphas Lévi’s ‘Conjuration of the Four’, and – as suggested above – influenced by the pentagram ritual and Crowley’s Star Ruby. This ritual sequence banishes and fortifies the circle: it really is a sweeping of the astral floor. It is also the first part of the ritual structured by the quaternary, and thus symbolically addressed to the tangible world, rather than the circular or axial focus of preceding steps.

The symbolic lore of the pentagram is vast: it is the pre-eminent symbol of command and magical power. Here its aspects as a symbol of protection, the magus as microcosm, and the government of spirit over and through matter are especially relevant.

Some brief notes of interest: the assignment of the elements to the quarters is the same as in the Golden Dawn, and are taken from Ptolemy’s elemental attributions of the winds (in Ptol. Tetr. I.10). This attribution is shared by virtually all post-Victorian ceremonial magic, though other modes of assigning the elements to the quarters are possible: using zodiacal attributions, as in Agrippa, and placing fire in the east – sometimes still deployed in some planetary workings – and a Kabbalistic tradition stemming from Zohar II.24a, which has never to my knowledge been used by Western magicians. 

The Cervus gesture should flow naturally with the rhythmic breath – it is also the first training in the projection of magical force. Notably the divine name of spirit – Athanatos or Ischuros – always precedes work with a particular element. (The two divine names for spirit is, I think, another legacy of the Golden Dawn – though like many Victorian innovations there is precedent for it in the wider tradition.) 

Again, some brief examination of the divine formulae may be helpful. The two Spirit names, Athanatos and Ischuros mean respectively ‘undying’ and ‘mighty’. The name for Air, Selaê-Genetês, means ‘Father of Light’, an epithet of Apollo and appropriate for the rulership of the East. The name Theos for Fire means simply ‘God’, but ultimately derives from words related to a proto-Indo-European root meaning ‘shining’ (cf. the holy and formless shining fire of the Chaldaean Oracles). Pankrates, the name for Water, means ‘All-Powerful’ – a name especially appropriate for water’s power over physical and emotional life. Earth is assigned the name Kyrios, meaning ‘Lord’, mirroring the Hebrew assignation of Adonai to the same element; its value in isopsephy is 800, the value of the letter Omega (assigned to Saturn) and ὕπνος, hypnos, meaning sleep. There is food in all these names for meditation; in magical practice one ought to be entirely absorbed in the vibration of the name itself.

The Second Invocation

The circle banished and warded, the magician now stands in the centre of the place of working, upright and vibrates a Greek phrase translated as ‘Earth and the Blood of Heaven’. This is a moment of great symbolic importance in the ritual, for multiple reasons:

  • Like the preceding invocation, it is delivered in the centre of the place of working, but the invocation calls on the Agathodaimon, the Ogdoadic deity attributed to Tiferet, the sun, and tutelary spirit for the magician’s theurgic development. As with the previous calling, the invocation is indirect but significant; the previous images of potential are followed now by the image of the descent of spirit into matter. The Agathodaimon is central to the magical work of the system, and this moment of daily contact with him is vital.
  • The phrase continues the Orphic resonance of the ritual, recalling not only the ancient myth that human beings were created from the blood of the Titans (see West, p.165) but the initiatic phrase inscribed on the Orphic lamellae to be used as a password in the afterlife: Γης παις ειμί και ουρανού αστερόεντος – ‘I am a child of Earth and Starry Heaven…’ It is also worth noting that the ancients thought ichor a distinct substance from human blood.
  • The axial moments of this ritual are of great interest – all those at which the magician is at the centre of the circle with his attention directed towards the divine. The literature here is vast and uneven, but closely linked to the cosmogonic aspect of the ritual. The fundamental practices of the tradition all involve work through the central column of the magician’s subtle body: the Calyx, these moments within the Wards, and all the formulae of the Clavis Rei Primae (similar to the Middle Pillar exercise) – and from this perspective it can be seen how they interlock and reinforce each other. When I have meditated on these moments, I have often seen the magician as a great cosmic tree, its roots deep in the darkness and its boughs entwined with stars. Significantly, one of the more advanced magical practices involves the assumption of the godform of the Agathodaimon as a serpent rising along the spinal column. (I will say more on this in my notes on the Clavis Rei Primae.)
  • Students of the Kabbalah may find meditative resonances in the sequence of actions here: first the banishing of confused and chaotic elements, then the descent of the spirit – as with the Kings that were in Edom. This parallel is suggestive, not direct.
  • The Agathodaimon is a solar deity, and it is striking that this allusion to him should precede the invocation of the elements in their pure and rectified form. The traditional Ogdoadic design of the Disk, the magical weapon of Earth, shows the colours of each element governed and illuminated by the rays of the sun.

The Four Regents (Principle: Eleos.)

Raising his arms to the Tau posture, palms down, the magician invokes the four Briatic Regents, or Archontes, governing the elements. These regents are equivalent to the Archangels in Hebrew working, i.e. extremely potent and pure facets of divine power. Denning and Phillips give specific elemental forms for visualisation, but also give notes for contemplation – the winds of the east and the spiritual aspiration they carry, the divine intoxication of the southern fires, and so on. (These are reproduced at the Citadel of Pharos website.) Getting all these layers in place at the same time is a serious exercise, and may at first take several cycles of breath to establish each figure fully: it is worth paying attention to whether one in particular is causing difficulty, as it may indicate special work is needed on something governed by that element.

The Tau position occurs frequently in ritual: it is a sign governing the material world and the magus at its balancing point. Most frequently, with palms upturned, it is used in invocation of the highest powers – the divine name governing an operation, or as in the Ogdoadic formula The Magician, the divine spark above the head. Here, with palms down, it is a gesture of materialisation – manifesting the power of the elemental regents. It is worth noticing the way the orientation of the body changes by assuming the posture and changing the position of one’s hands. The body is the instrument through which we do magic: its movements matter.

The invocation of the four regents completes the symbolic cosmos: the four elements are present in their pure forms. In another sense, the four elements have been rectified: i.e., the ritual action symbolises one of the fundamental steps of magical development, mastery of the four elements – including their microcosmic reflections in the psyche. Many magical systems place this work in their first grade, but it is often neglected or scanted because it is unglamorous and requires honesty and self-examination. ‘Adepts’ who then proceed to blow their psyche apart are testament to its importance. No temple stands without a firm foundation. The Wards is an excellent basis and aid for this work; meditation and invocation of each of the regents in turn also helps.

The names of the four regents are also titles or epithets: Soter, meaning ‘saviour’ applied to many gods but especially Dionysos and Zeus (and for theurgists, in its feminine variation, Hekate); Alastor, ‘avenger’, with varying shades of moral significance in antiquity; Asphaleios, ‘foundation’, an epithet of Poseidon understood as referring to him as giver of safety on the seas; Amyntor, ‘defender’, and note that the elemental weapon of earth is sometimes called the shield. Denning and Phillips refer to the forms they give for these four regents as symbolic egregores, i.e., general-purpose symbolic forms specifically pertaining to their rule over the elements. The symbols are very obvious, though it should be noted that the sickle held by Amyntor instances the strong connection between Saturn and Earth that runs through the system. It is my experience that continued use of these forms will individualise them to some degree. They should not be deliberately altered by the magician’s imagination, however. The reason for this is worth stressing: they are not just symbolic forms of the elemental kings, but they are specifically forms used by magicians within this tradition every time we perform this rite. It is one way of linking our individual work to the wider work and power of the tradition, or like following tracks already made for us. This is one reason behind the strict instruction sometimes given in early training not to change this-or-that specific part of a rite or programme. It’s an instruction usually worth heeding.

The rite concludes as it begins, at the centre of the place of working, as the magician centres himself on the divine spark through the Calyx, and the final principle of the House of Sacrifice: Kudos.

The Uses of the Wards

The two primary uses of the Wards have already been indicated: as a ritual that clears, sanctifies and prepares a space for magical work, and as an individual rite which – through daily repetition – contributes to the spiritual transformation of the magician. This latter effect is greatly enhanced by also practicing the Clavis Rei Primae, akin to the Middle Pillar exercise: all the foundational practices inform and reinforce each other. It is also the rite that the magician will most often perform to open more elaborate workings (one variation, The Setting of the Wards of Adamant, elaborates and makes explicit the symbol of the circled cross as a representation of the specific divine powers of the tradition.) It is easy to take for granted, but honed and mastered it can change a space very rapidly; appreciation of its hidden depths develop through practice.

I’ve suggested above that one of the effects of the Wards is an increase in self-awareness, and in particular awareness of habitual actions which have outlived their usefulness. This is one consequence of a more general fortification and charging of the magician’s subtle body. Daily invocation of the kings of the four elements will also likely work to transform the parts of the psyche under their rule – leading some practitioners to a difficult early confrontation with acquired habits, dogmas, or empty forms of life which no longer suit them. This work is all to the good, but it conceals a risk – delaying progress in the work for an endless cycle of self-analysis, or frequent sharp and ill-considered changes in direction. It is worth thinking of oneself with love – and remembering that you are offering all of yourself for transformation and irradiation by divine power, not only the parts you think already worthy. One method I suggest: delineate the natal chart as a key to psychic makeup, paying attention especially to elemental distribution. Construct the sigils of each of the four regents using the elemental presigilla and the kamea of Malkuth (all given in Mysteria Magica.) Continue the daily regimen as normal but time  each ritual to begin in the appropriate elemental tide, dedicating a week to each, decorating the space appropriately and adding in a daily meditation on the element, its regent, and in particular its effect in one’s life. This is both a helpful exercise as well as a nice training in gathering appropriate correspondences and decoration for the working space.

This elemental practice of theurgy points us towards the development of the light-body. The next post in this series will examine the set of practices related to the subtle body: the charging and development of the centres of activity, and their centrality to this form of magic.

Appendix: some notes on practice

I thought it might be useful to add these very practical notes, which are culled from my own magical diaries, to supplement the instructions. They are, I think, useful principles for ritual work in general.

  • Confidence and clarity of purpose is more important than perfect visualisation. Visualisation will come in time, as the magical senses open up. It may also come in different ways, including auditory phenomena, or a sense of something akin to pressure: I often experience the closing of the circle as a satisfying, almost audible clinking sound.
  • Self-doubt is lethal. Relaxation and trust in oneself, the powers, and the efficacy of the ritual is essential. This is not a state that can be achieved by trying for it, or indeed by telling someone else to strive for it. Take the internal policeman off duty for the duration of the work. A period of ten minutes of meditation prior to the work can help induce this at first.
  • As the pentagrams are flung rather than physically traced, it’s useful to build them up – and specifically their motion when flung – in the visual imagination. What does each phase of process look like? What does it feel like to have a symbol of power burning between your hands and then flinging it out to a quarter? Revisiting these questions with the experience of practice is helpful.
  • The ritual should be led and timed through your breath, ideally neither rushed nor languorous. Allow your breath to guide you. It is worth walking through it several times using the rhythmic breath to ‘pin’ the visualisations to certain sequences of breathing.
  • Vibration of the divine names should be treated as a kind of personal transubstantiation: you are taking the name into your body and activating it, becoming more like it. (See the previous essay on the Calyx for more on this idea.) Again, it may take some time at first to build up the technique. Experimentation with the vibratory exercises given by Regardie can help as well, although it is not necessary to import this technique into the rite itself.
  • The Archontes – the four elemental guardians invoked at quarters – are not ciphers, but real and individual spiritual presences. They are not extensions of the individual will. Meditation on their forms, and seeking out experience of their elements in the world, will help strengthen the invocation.
  • Stick at it. Self-punishment for missing a day here or there early on is counterproductive. (But if you are inclined to self-punish in this way, or drawn to demanding structures which provide you an opportunity for self-punishment, you might find regular practice forces you to confront that.)
  • In memorising rituals, I often find it helpful to draw or paint diagrams, which lay out the rite schematically; these figures can even sometimes become mandala-like themselves. They might be made with great and colourful elaboration and careful calligraphy, or they may tend to the more schematic. Though I would never share a photograph of my personal grimoire, this digital diagram suggests what the more functional version might look like. The letter Psi in the centre represents the magician with arms upraised, ready to receive the divine influence, as in the Calyx.

Steps of the Foundation II: Calyx

Piet Mondriaan, Evolution (1911), Kunstmuseum Den Haag.

This is the second post in a series of ‘deep dives’ into the fundamental rituals of the Ogdoadic tradition. Find its predecessor here. These analyses are the product of practice and meditation on the forms, but they also draw on historical research and resonances within the wider magical tradition. Needless to say I don’t speak for the AS or any of the post-AS groups or orders: it’s all me. (And as such reflects my own idiosyncrasies and interests, which are wide but not universal.) This extended meditation will take us through the relation of magical force to the body, the work of the ancient Hermeticists, and the cultivation of the body of light – all latent in this simple little formula.

The Calyx has a claim to being the first properly magical ritual an aspirant practices – but because it is a simple little rite, it is often overlooked or subsumed into a broader discussion of the Setting of the Wards. But that would be to miss its potency. Its basic dynamic and symbolism are capable of significant elaboration – and it is intimately connected to some of the most powerful advanced work in the curriculum – but even by itself it is a powerful tool. Unlike the solar adorations, which connect the aspirant to the rhythm of the day and year (a useful sense to build ahead of learning planetary magic), the Calyx is magical: it draws divine force into the body of the magician with the intent to transform it. How? By breath, voice and image.

Breath and Body

In my last post I suggested that one of the hallmarks of magical techniques descended from the Victorian occult revival is an emphasis on visualisation, especially the visualisation of the body of the magician overlaid with concentrations of light or fire in symbolically important places, which vary slightly according to tradition – thus awakening powers or states of consciousness associated with this-or-that centre, or ‘charging’ the magician with the appropriate energy for a ritual. Of course this was partly the result of the revival of interest in esoteric yoga prompted by Bennett, Blavatsky et al, and really came to fruition through the popularising work of Israel Regardie –but there’s plenty of at least circumstantial evidence from the writings of late antique theurgists, some sections of the Graeco-Egyptian Magical Papyri and the more charming and disreputable parts of Late Platonism that such techniques were historically part of magical practice.

But my concern here isn’t really historical. It’s about what we do when we do ritual magic. One of the most attractive features of The Magical Philosophy, when I first read it, was the consistent emphasis on the physical body: from the careful attention to the basic gestures (and the flow between them), or the distinctive planetary gestures, and especially the stress on the ritual power of dance (which I know now to have been a deep love of Melita Denning’s.) This is good: one thing that has often puzzled me is the apparent neglect with which some magicians treat their physical bodies, or the odd, only half-inhabited relationship to the body some bring to ritual – self-conscious or half-hearted in gesture, shrunken in, afraid to properly grasp their own power. The body is the first and most powerful of tools.

Why might this be so? Sedentary lifestyles are part of it: serious magical practice helps break much of the appeal of screen-based life, but even then we moderns are historically aberrant in how little we move. In Don Kraig’s manual – still the first workbook for many would-be occultists – he recommends the ‘five Tibetans’ as part of daily work, but the details of the choice matter little. In truth, the issues go deeper than sedentarism – or rather, it’s the fruit of a more pernicious mind-body dualism set deep into our culture. Working away at that cultural pattern – taking the work of the body as seriously as we take the cultivation of the mind – is sometimes a tall order for ritual magicians, who are often by inclination bookish and retiring. It takes work and time to unlearn cultural patterns of disdain and neglect; in doing so you might learn how memories can lie hidden in muscle, or that what appears as instinct can reveal itself as conditioning. You might weep. But the rewards are many, because the body is the instrument through which we do our magic.

It is also the reason magicians are encouraged to learn their rituals by heart. The phrase itself is revealing: when we learn the words of a ritual – really learn them, not so that we can occasionally stumble through them but so that they flow from us like heat from a flame – we have made it part of ourselves. This is true in the trivial, physical sense of course: we’ve altered the material of our brains to hold the memories. It is also true in a magical sense: we can then allow the words to move us into gesture, or pay attention to the hum and resonance of the words in our body, the change they produce in the temple room. It is therefore also a kind of transubstantiation: dead words are given life through the body.

This may all seem like a digression in an essay purportedly about a very simple little rite. I am stressing it because breath and body are the key to unlocking these foundational practices. It is why, for instance, the study plan in the combined edition of Foundations instructs the aspirant to take a couple of weeks to really learn how to breathe, and even how to sit, stand and lie prone. (Just like the use of the robe and ring, these all become bodily cues that, combined with actual practice, become rapid ways of shifting one’s mind into the proper magical state, opening the senses, focusing the will.) Each of the foundational practices is carefully keyed to the breath, and so, when mastered, the visualisations and vibrated words should flow along with it. There is a reason that two of the names we give to the pillars of the temple are ‘breath’ and ‘body’: without them the temple cannot stand.

On Vibration

In many magical textbooks, instruction is given to ‘vibrate’ this-or-that magical name. Details beyond that are usually sketchy: effectively vibration is a form of chanting pitched in just such a way as to make the chest cavity resonate, with tingling physiological effects that can be felt throughout the body. Denning and Phillips provide a useful exercise in ‘finding the magical voice’ [TMP combined edition, I. pp. 295-6], which should help absolute beginners: once found it is easily relocated. Importantly, vibration is not shouting, bellowing or badly projecting the voice; many a novice magus has injured his (it is usually his) vocal cords this way, an injury which is not always immediately obvious. (There is, in fact, a place for shouting in ritual magic – as there is for most affective states. But it is rare.)

Is it just a physiological technique, then? No. Used correctly, it is the most tangible part of a magical action taking place on multiple levels, bringing the power of a given divine force into the body of the magician – and the temple space. This is why some magical traditions instruct students strictly to vibrate only divine names. It is hard to describe this technique without reaching for metaphorical language: I’ve just used metaphors of force and power, and a family of other metaphors about charge and energy are also frequently employed. Metaphors of music, tuning and resonance also help. I often find myself thinking of it like the physics of a lightning strike: building the small upward charge that creates a channel for the vast answering charge we thinking of as lightning proper. Fully developed – through familiarity with the physical technique and mastery of visualisation and concentration of the will – the effects of vibration can be brought about with very little noise at all. This is a matter of some relief when a magician might be staying in, say, a hotel room.

I spoke above of memorisation as a kind of small-scale transubstantiation; we can also think of vibration as a mode of deliberate magical transubstantiation, where the divine name is intentionally taken in to the body of the magician and allowed to transform it. Thus some authorities write of envisioning the name in white fire over the heart, or hearing the name resound to the ends of the universe. (This relatively simple technique can be elaborated into a system of mystical contemplation, prayer and ecstasy very similar to Orthodox hesychasm or Merkavah mysticism.) Thinking of it this way also lets us think about what should be vibrated and what not: what do you want to take into yourself? What power are you making way for, or bringing through your body? How central is it to the rite? And where does this leave us with the Calyx, which does not call for the vibration of divine names or nomina barbara, but a small formula, a magical doxology?

The Form

The text of the Calyx is available on the Citadel of Pharos’s website. For readers more familiar with the magic of the Golden Dawn, this is indeed very similar to the Qabalistic Cross. It invokes similar divine power – the same, in fact – from above to below, and distributes it in a symbolic balancing, ending at the heart centre; the Kabbalistic symbolism is the same, as are the words, save in Greek rather than Hebrew. Nothing to see here, then? The GD with the serial numbers filed off? Not quite.

The differences are small but meaningful. When presented in full, the Calyx comes with clear instructions for visualisation; the exact form of visualisation used in GD traditions varies slightly, partly as a result of never being clearly systematised in the order’s papers, at least in its earliest forms. (Very early adept papers don’t instruct on visualisation – see, e.g., Ayton’s copy of the pentagram rituals, now in the library of Freemason’s Hall – some claim this is a sign that it was communicated only orally.) Many recensions will instruct the practitioner to imagine growing to cosmic size, then to perform the cross by visualising three beams of light – following his gestures, one for each axis of space – to converge on his heart. The Calyx is similar, save that it lays greater stress on the descent of light from crown to feet: that invocatory movement, and its balancing, are the fundamental actions of the rite. Though the symbolism of the cross is present, in the Calyx it is secondary to the symbolism of the cup – which gives the rite its name.

It is my experience that such differences, though apparently small, can significantly change the feel and effect of a ritual. Why the difference? In general, where there are analogues with other forms of ritual magic, the version presented by Denning and Phillips is usually de-Christianised: that is certainly the case here. More substantially, the Calyx accords with the central symbolic structure of the Ogdoadic tradition – the House of Sacrifice [.pdf]. The drawing down of the light in its first two points (the major magical action of the rite) relates to the two pillars, the breath and the body; the subsequent three points represent the equilibration of that force through invocation of the triune superstructure. The emphasis is on the reception of divine force: properly achieved, the rite ends with the operator standing with arms crossed over the chest – in a symbolic position of resurrection and rectification – focused on the heart centre shining at the balance point of the microcosm.

There are already several threads to pull on there when thinking about the Calyx, then: the symbolism of the cup, the subtle motif of resurrection, the interplay of the breath and the body, the predominantly receptive and microcosmic orientation of the rite (i.e., the operator is doing something to himself), and the conclusion at the heart. All repay meditation. To dwell a little on the last: a fair accusation sometimes levelled at Anglo-American ritual magic traditions is that the solar focus of many of the initiatory orders, when improperly applied, can lead to ego inflation, narcissism and spiritual derangement. There is far too much evidence to deny this – many cases bearing similar hallmarks – and it is a serious risk especially for anyone writing, thinking about or teaching magic publicly. That so many orders now lay special stress on self-knowledge in their early training is one beneficial outcome: some work through analysis of the natal chart, others through exposure to a balanced variety of magical energies, usually the four elements. Personally I’ve found an exercise originally published by Norman Kraft useful: taking a six month chunk of your magical diary, use four coloured pencils to attribute elemental (or, properly, humoural) properties to the predominant moods across the period. This gives an excellent way into beginning the work of rectification and balancing. The Ogdoadic tradition is certainly not without its egos and public contretemps, but much of the ritual material demonstrates a special concern with keeping the operator well-balanced (for instance, the published pathworkings feature balancing rites for when they are employed out of sequence for magical purposes.) It is no surprise to find that feature in the Calyx, therefore: though it ends with a focus on the spiritual sun at the heart, there is a heavy accent on receiving, balancing and allowing oneself to be transformed by divine power. This rite, likely the rite a magician will perform most often through his life, is also especially a prayer – and can inspire humility alongside empowerment. It is a reminder, at the start of our work, every day, that the power we invoke does not come from us, is not the property of the ego, and is no more ours than the sunlight.

Ernest Page, in initiatory robes and pentacle, performing either the Calyx or the Arista. Painted by Melita Denning, undated.

The Cup: From Hermes’s Vessel of Mind to The Grail

Why the symbol of the cup? On one level it is simple: the cup receives liquid as we receive divine power – it is a symbol of receptivity. It would be an excessive digression to spend many words disentangling the knot of spiritual paranoia, cultural dogma and genuine insight that led many magicians of a century or more ago to make dire warnings against ‘passivity’. Suffice to say the Calyx involves the active concentration of the mind and the will, and like all genuine invocation it can contain moments of weightless stillness and surrender to the current. Perhaps modern magic might be in a better state had those virtues been less scorned. Nonetheless,purely passive it is not: perhaps it makes greater sense to think of it as internally focused, especially when paired with the outwardly-directed ritual drama of exorcism and creation that constitutes the Wards. 

Yet it is more than a convenient symbol for the calling down of divine power. One of the less remarked but powerful features of ritual magic is that its fundamental symbols gradually unveil deeper layers over time. The motif of the cup will recur and deepen in the course of the work: this is not the elemental cup of water, but the greater cup, the grail.

The grail is a distinctive magical weapon used in the Ogdoadic tradition. Denning and Phillips say of it that though it “is not in one sense the ultimate instrument of the magician, [it] is the one used in the highest operations, for, being a symbol of the passive and receptive aspect of the Work, it may be used at those high levels where the magician cannot presume to command but only to situate himself so as to receive.” (TMP, combined edition, I. p.269) The consecration of the the Grail is one of the most beautiful of our consecrations, and there is much that may feed back into the practice of the Calyx from meditation on this ritual invocation of the ‘Virgin of Light and Mother of Ecstasy’, who declares herself thus:

‘Myrrha am I, and Marah am I, and Mem the Great Ocean
Within me mingle time and eternity:
I am the Mother of all living, and I am the womb of rebirth.’

The Calyx is not the Grail, of course, but I think it is right to see it as a prefiguration, and one of the ways the powers of the supernal mother are woven through the tradition. 

The resonances of this cup are many, though: the protean object of medieval grail romance – at once stone of heaven, dish, or crown – or the regenerative, superabundant cauldrons of Welsh and Irish myth. Depending on background one might also hear chimes with the alchemical vessel, or the graal-work of many 20th century British occult orders, or even the Cup of Babalon of Thelemic mysticism. For me, though, most striking is the echo of ancient Hermetic texts, which speak of the krater full of mind. A krater is a large cup or bowl in which wine was mixed with water (or sometimes snow) before consumption; this social and domestic metaphor was given cosmic weight by Plato, who described the demiurge’s fashioning of the world-soul and human souls via mixture in a krater. Taken up by the Hermeticists, this becomes both an explanation of the different types of human souls in the world (a tripartite division is most common: divine, reasoning and those locked in the animal sense-circuit of stimulus and response) and the means of rising, freeing or divinising oneself. The texts sometimes seem to allude to a ritual drinking from the krater, and sometimes to a practice of immersion; a symbolic layering that has caused great confusion to scholars but will cause none to magicians. Its most prominent use is Corpus Hermeticum IV.4:

—κρατῆρα μέγαν πληρώσας τούτου κατέπεμψε, δοὺς κήρυκα, καὶ ἐκέλευσεν αὐτῷ κηρύξαι ταῖς τῶν ἀνθρώπων καρδίαις τάδε· βάπτισον σεαυτὴν ἡ δυναμένη εἰς τοῦτον τὸν κρατῆρα, ἡ πιστεύουσα ὅτι ἀνελεύσῃ πρὸς τὸν καταπέμψαντα τὸν κρατῆρα, ἡ γνωρίζουσα ἐπὶ τί γέγονας.
ὅσοι μὲν οὖν συνῆκαν τοῦ κηρύγματος καὶ ἐβαπτίσαντο τοῦ νοός, οὗτοι μετέσχον τῆς γνώσεως καὶ τέλειοι ἐγένοντο ἄνθρωποι, τὸν νοῦν δεξάμενοι· 

He [God] filled a great krater with it (i.e. mind, nous) and sent it down below, appointing a herald whom he commanded to make the following proclamation to human hearts: “Immerse yourself in the mixing bowl if your heart has the strength, if it believes you will rise up again to the one who sent the krater below, if it recognises the purpose of your coming to be.”

All those who heeded the proclamation and immersed themselves in mind [ebaptisanto tou noös] partook of knowledge [gnôseôs] and became perfect humans when they had received mind.

[tr. copenhaver, amended.]

There are many interesting features to this passage, including the divine initiator, the resolution and will of the candidate, and the emphasis on the heart – they are worthy of meditation. The text goes on to disparage those unable to understand the message, or those given over to the appetites of the world; it is one of the more ascetic and negative of the Hermetica. The theme was clearly thought central by ancient Hermeticists: Zosimos, father of Alchemy, makes pointed reference to it in his exhortation to Theosebia to plunge into the krater; his own visions contained a dramatic transformation in a vast altar-vessel. Recent scholarly attempts to reconstruct the initiatory practice behind the Hermetica have assigned this tract to an early, ascetic stage of the candidate’s progress, and its world-hating rhetoric is understood as specific to that stage – a preparation for the more exalted palingenesis [rebirth] of CH.XIII, in which Hermes hymns the presence of the divine throughout the material cosmos

The cultural foibles of late antique Alexandria are not ours, and the confusion of the flesh with a prison has done much and enduring harm – especially when severed from that later vision of the god-breathed kosmos – but there is still great wisdom here. Given how often references to the krater are accompanied on the one hand by exhortations to self-knowledge and withdrawal into silence, and on the other contempt for the ways of the masses, I think modern scholarship is right to accord it an early position in the Hermetic way; the most perceptive scholars have also noticed that the symbolism transfers back and forth between the vessel full of mind and the candidate as a vessel to be cleansed before receiving divine power. Both valences are present at once in our ritual. (Similar exhortations to states of mental emptiness and receptivity are, as Eric Dodds noted decades ago, also present in the Chaldaean Oracles.) All this – for me – is hidden under the deceptively simple surface of the Calyx, a rite which I therefore regard as one that links me not only to my ancestor magicians who raised their hands every day in the same ritual, but further back to the Hermetic seekers and Gnostics of Alexandria plunging themselves into the well of mind.

What might the Hermetica teach us about the Calyx? It bolsters our sense that it is a rite of the reception of divine force, and one intended to transform the magician. The exhortations to practice self-knowledge, meditation or asceticism which appear in krater texts make intuitive sense as part of a foundational modern magical regimen. The disdain for the masses and the hierarchy of souls are less comfortable topics for modern sensibilities: without seeking to make ancient culture conform to our own, one sense in which this might be understood is as a description of the results of magical training. A consequence of repeated practice of the Calyx, alongside the other foundational rituals, is simply a greater awareness of – and control over – mental processes. Sometimes this can prompt a paranoiac reading of the world when one notices how many products and people seek to manipulate others’ psyches; more often it brings the candidate face-to-face with unpalatable truths about his own compulsions, self-excuses, or simply poor habits. It also frequently dims their attraction, and offers the possibility of stepping beyond them – if the magician is willing to embrace change. Given how much like death real change can appear, it’s hardly surprising that this often prompts the first serious crisis of the magician’s path. And from this position, it is easy to share the ascetic scorn of CH IV: all the more so in our age of new and more gleaming snares of the mind. But as the Hermetica also remind us: that’s not the whole story.

Two further small and useful points from our dip into the ancients. Where we instinctively reach for the word ‘energy’ to describe what we use in magic, we might equally reach for the ancient equivalent of ‘mind’ in the Hermetic sense. That is not to ‘psychologise’ magic, but to say that we live in a cosmos utterly permeated by noetic power, in infinite modulation and variety – and that we are part of it, and it part of us. This is the basis of our work. What is this mind? CH X.23 tells us οὗτός ἐστιν ὁ ἀγαθὸς δαίμων – ‘this [mind] is the Agathodaimon’, a figure of immediate interest to Ogdoadic magicians and other Hermeticists, and who will prompt a return to the Hermetica in a few posts’ time. The second point is this: though the word ‘calyx’ puts us in mind of the cup, the word has other harmonies as well, derived ultimately from καλύπτω, to conceal. Thus the calyx – the thick, green protecting leaves – conceal and protect the rose as it grows. The grail, too, is often depicted as a covered cup.

The Mirror of the Kosmos: Inner Alchemy and the Body of Light

You might very well ask, then, what is happening inside the calyx? Or what effect its repeated practice is supposed to have? Here is what Denning and Phillips say:

“As in all magical operations involving the central column energies, whether visualised as the downward-coursing light or as the Centers of Activity themselves, the primary domain of controlled function is the astrosome. Initially, therefore, the effect of such practices is likely to consist solely in the increase and harmonization of energy patterns within the astral body. But this is only the beginning of the process, for through continual and regular use of these practices, higher and more inward faculties of the psyche will become increasingly involved in the work, and a true harmony and interaction of forces will thus be wrought through all levels of the psyche.”

(TMP, III.9n.)

Note the emphasis – consistent through their work – that it is only repeated practice which allows the fullness of the rite to unfurl. There are two additional implications that are useful to note. First, the stress on the astral effects of the rite underscores the link between the explicitly magical works and the programme of mental training (meditation, scrying, astral projection) which make up the foundational work of the tradition. Regular invocation of divine force should and does aid in the opening of the subtle faculties. The second implication is that the Calyx is the first of a series of techniques that cleanse, fortify, open and empower the subtle body through the use of its central channel: most obviously this is true of the Rousing, a close equivalent to the Middle Pillar, but the same basic technique is modified into methods of rapid empowerment, projection, consecration and even invocation and assumption of god-forms. One development not outlined in TMP is into a form of healing, a method for which becomes obvious after some practice; the formula has also been developed into a method of sublimation and transformation of difficult or unwanted forces.

The Calyx is therefore the first step in a work of inner alchemy, one which awakens the microcosmic reflections of the powers and begins to move them towards equilibration. I will explore this inner alchemy more when we come to focus on the Rousing itself. Some of its effects have already been sketched above, so it is perhaps worth noting a few others. Increasing awareness of the way much of the world seeks to stimulate us (generally for profit or control) via our instincts is a particular instance of a more general sharpening of a sense of how our instincts work; one may also become aware of the way our thinking has bent to this or that dogma, that certain habits are not in our full control, or that one’s taste for various forms of passivity has diminished. It is also not uncommon to notice certain physical pains or tensions that that one had until now kept repressed and unconscious. Changing these is all to the good, though very public announcements of grand changes to one’s life (or The Great Reordering of The Universe, Shattering of the Aeons, Revelation of The Sole Mystic Truth) are best avoided, if only because these may in retrospect appear embarrassing. An undervalued power of the magician is silence.

The other result of unfogging one’s personal magic mirror is a greater sensitivity to people and places. Sometimes this manifests as auric perception, but sometimes as a clear and unmistakable gut feeling about individuals: inner discrimination ought to be ruthlessly applied to hone this faculty and free it of the dross of prejudice, because rightly used it is invaluable. The faculty extends beyond people to buildings and spaces; for magicians living in cities, especially, it can start as a strong and undefinable impulse to find greenery and nature, and it can be developed into an ability to properly feel the land (this can be, however, quite an overwhelming experience.) These effects perhaps underline the value of the Setting of the Wards of Power in ensuring the opening of this faculty is under our control, rather than the reverse.

On the Magical Use of the Calyx

All of the foregoing is taken from practice and reflection on this little rite: it is my belief that meditations and elaborations of this kind feed back powerfully into the ritual form. Perhaps that appetite for detail and history is no surprise, given my ascendant sits on the cusp between the first and second decan of Virgo. One Virgo quality, which can be set to use by the working magician, is a willingness to practice and perfect – but in its unbalanced form, that inclination to perfection can be paralysing and even disrupt the state of relaxed awareness needed for magical practice. (As a magician with lots of strong Air placements, too, it was the work of relaxation and letting go of the endlessly diffractive analytical mind which was by far the most difficult and rewarding lesson of early practice.) Though I think the magical use of scholarship – that is, reading serious work with a magician’s eyes as well as a scholar’s – is immensely useful for us, I would not want to give the impression that any of the foregoing is necessary to work or even to perfect the Calyx. It is simply one way of deepening the practice. I therefore conclude with these brief notes on practical applications.

First, Denning and Phillips’s comments on the rite: this ‘fundamental technique … aligns the practitioner with the forces of the cosmos and awakens awareness of the counterparts of those forces with the psyche.’ It thus encapsulates the ‘chief method and purpose’ of high magic. The formula is ‘variously employed as a psychic energiser, as a mode of adoration, or as a preparatory formula for the bringing through of power’ – they go on to highlight its use in the advanced formulae of transubstantiation or evocation as a gratulatio, a thanksgiving and a balancing at the end of magical work, and stress its use as a ‘complete “spiritual toner” in its own right” and commend its frequent use. Study of the advanced ritual formulae help develop this sketch: it is notable, for instance, that in work calling for the projection of force (as in a consecration) a different method is used, which draws power up as well as down the central column. These differences are not haphazard.

In my own practice, I have used the Calyx in most of the ways outlined above. That is to say, I usually use it as a prayer to begin and end the day; it combines well with the practice of solar adoration. I have also used it as an empowerment: obviously it is used as such daily in the Setting of the Wards, but personally I have also found it useful ahead of difficult mundane situations, or prior to events where I’m aware there is likely to be either conflict or hostility (here it is useful to conclude with a certain ‘hardening’ of the edge of the aura in visualisation.) Perhaps paradoxically, I have also found the Calyx useful in sensitisation – so I tend to use it prior to divination, or scrying, or when opening my senses to the land in a given place. (I should mention that it is also my experience that a well-performed Calyx might wake up presences which have been passive, resting or waiting.)

The form may also be developed into a slightly more sustained meditation than it currently is. The column of light may be sustained for several cycles of breath, arms extended, allowing awareness of the descending light – infinite, brilliant and unburning – to flood through the body, drawing to mind awareness of the twin powers of mercy and severity, warrior and lawgiver, on either side. After several cycles of this, the rest of the Calyx should proceed as normal, without further suspension, though some greater time may be spent in contemplation at its end. This simple expansion is – in my experience – quite powerful. It also brings us to a theme I will develop more fully in the future, but which is worth noting here: for this meditative expansion to work, the other practices of the central column – especially the rousing – need to be properly developed. With a little work, that is, the subtle body practices form a magical virtuous circle, in which they deepen and enrich each other, and reinforce each other’s power.

This tour around a very simple ritual has been extensive but not exhaustive: I hope it has given food for thought, and suggested that there are depths to be found in the contemplation and practice of even the simplest rites. In our next discussion, we will look at its use in a ritual of exorcism, which is also a miniature ritual drama of the creation itself –– The Setting of the Wards of Power.

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