Change

Since November, a series of strange but fortunate events have followed. How to explain the details of the Abramelin Operation is beyond me. But my experiences I will now henceforth explain, slowly, over the course of many blog posts.

First, spelling during the Operation external is defunct while internally I am working hard to achieve the proper syntax in a sentence structure.

The formula by which one operates from dictates the pattern of sat-ananda-chit which revolves at each ticking of the clock. Freudian slips are therefore sometimes useful indicators of a positive attitude towards the acceptance of one’s own limitations. When, for instance, an individual blushes, at first glance we interpret embarrassment — not towards any one thing or another, for at that moment of apparition, the seed of the embarrassment is not conscious to the one blushing.

Time, therefore, is and always has been but a measurement of change.

Change, I have written about, to be understood in connection to the Major Arcana:

0. The ends justify the means, but the ends have no ends! The means justify the ends, but the ends don’t exist anymore.

I. Both the ends and the means justify the ends; every means being an end in itself.

II. For the assimilation of theurgy & thaumaturgy, just like the ends and the means, the practitioner must perform every act of thaumaturgy for the sake of theurgy.

III. The nature of theurgy expediates and burns the karma of the practitioner, from which thaumaturgy are his tools and in union with natural forces; he himself is a vector of the macrocosmic will while simultaneously affecting the macrocosmic will from his vector as microcosmic will.

IV. The theurgist, whose microcosmic capacity in his limited lifetime and physical manifestation of macrocosmic will is restricted to his lifetime and physical manifestation of macrocosmic will, is prone to an early physical death.

  1. His macrocosmic work as this restricted manifestation has a limit which propels his being (which has been solve-d and coagula-ed in the form of the white lion and red eagle; his sulfur = his mercury; his soul/spirit has actually reached Nirvana/Moksha and it is his salt which must now transmute) to be reborn.
  2. His microcosmic work/the imprint of his being is reincarnated and scattered among the universe in order to progress the Aeon, and aid the macrocosmic will.
  3. What happens to his salt, or physical body, involves a three-in-one collaboration (for salt is divided into three parts unto itself: Heaven, Earth, and the Firmament in which the operation of the Magick of Light may be performed).

V. Enlightened theurgists, therefore both reincarnate and reach Nirvana; the theurgist’s microcosmic will (which is not separated from his soul/spirit), has reached peace in the macrocosmic will – but part of the macrocosmic will is for the reincarnation of microcosmic wills.

VI. To avoid an early physical death as a theurgist, there are two options – doing magick really slowly or retire in magick and utilize prayer.
VII. Prayer is the disconnecting and surrendering of the microcosmic will entirely as a part for the microcosmic will. He is throned in the chariot rather than conducting it, because the whole system of progression is perfectly balanced. (As opposed to magick being the interplay between microcosmic and macrocosmic will; it is a rhythm of active/passive for both – conducting and riding).

VIII. Time stops during prayer; time speeds up with magick. Magi who retire to seemingly exoteric religions are not doing so for the idea of salvation, but for equilibration of micro/macrocosmic will.

IX. These magi usually withdraw from their “normal lives” and seem to have abandoned the Great Work entirely – when in fact they have become the Word/universal will, unspoken and secret.

X. His fate is now incalculable; luck is the remnant of design and all that he can witness is the design.

XI. (This is the part where Faust chases and sleeps with Gretchen; his moment of transcendence that seals over his fate to Mephistopheles. In the movie, this is the part where Faust seduces and sleeps with the life-sized puppet of Helen of Troy, before he finds out it was Mephisto in disguise. The macrocosmic seed/Word has been spoken, impregnating the Scarlet Woman with the Will of the Aeon.) The magus’s fate is sealed once more in the promulgation of his microcosmic will, and the clock resumes ticking.

XII. (Faust’s newly acquired despair & the infanticide of their child by Gretchen; in the movie being the drowning of the Court because they didn’t like his magick powers).

XIII. The magus/theurgist/practitioner dies for the “last” time, his clock having run out.

XIV. The art of dying consists of: one’s mind separating from one’s body, while the individual’s soul (cardinal, or sulfuric component) ignites a carefully and well-planned combustion within the firmament to unite the two halves of the alchemical being.

XV. This alchemical being, being part beast, will appear in a variety of forms, both animal, human, and divine.

XVI. The true form of oneself appears only when all said forms are assimilated and then rejected, for any attachment to the image results in the death of yet another aspect of self.

XVII. Thus consecrated, the purification of the spirit, soul, and body as one occurs.

XVIII. The shadow of the consecrated and purified individual must be tamed and integrated with the proper amount of tender loving care from the right sources; “look to the moon until you can see the sun.”

XIX. “There is no dread hereafter . . .”

XX. Everything changes after the rejoicing of both Night and Day.

XXI. This change is the birth of a universe of ideas.

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