Crowley_A-Magick_in_Theory_and_Practice.pdf

MAGICK IN THEORY AND PRACTICE

Magick in Theory and Practice by Aleister Crowley

1989 e.v. key entry and proof reading with re-format and ASCII conversion 9/18/

90 e.v. done by Bill Heidrick, T.G. of O.T.O.

(further proof reading desirable)

disk 1 of 4

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Pages in the original are marked thus at the bottom: {page number}

Comments and notes not in the original are identified with the initials of the

source: AC note = Crowley note. WEH note = Bill Heidrick note, etc.

footnotes have been moved up to the point of citation in the text and set off b

y > just before and after the note.

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Do what thou wilt shall be the whole of the Law

MAGICK

IN THEORY AND

PRACTICE

The Master Therion

Aleister Crowley

{Based on the Castle Books edition of New York}

HYMN TO PAN

epsilon-phi-rho-iota-xi epsilon-rho-omega-tau-iota pi-epsilon-rho-iota-alp

ha-rho-chi-eta-sigma delta alpha-nu-epsilon-pi-tau-omicron-mu-alpha-nu

iota-omega iota-omega pi-alpha-nu pi-alpha-nu

omega -pi-alpha-nu pi-alpha-nu alpha-lambda-iota-pi-lambda-alpha-gamma-chi

-tau-epsilon, chi-upsilon-lambda-lambda-alpha-nu-iota-alpha-sigma chi-iota-om

icron-nu-omicron-chi-tau-upsilon-pi-omicron-iota

pi-epsilon-tau-rho-alpha-iota-alpha-sigma alpha-pi-omicron delta-epsilon-io

ta-rho-alpha-delta-omicron-sigma phi-alpha-nu-eta-theta, omega

theta-epsilon-omega-nu chi-omicron-rho-omicron-pi-omicron-iota alpha-nu-alp

ha-xi

SOPH. AJ.

Thrill with lissome lust of the light,

O man! My man!

Come careering out of the night

Of Pan! Io Pan!

Io Pan! Io Pan! Come over the sea

From Sicily and from Arcady!

Roaming as Bacchus, with fauns and pards

And nymphs and satyrs for thy guards,

On a milk-white ass, come over the sea

To me, to me,

Come with Apollo in bridal dress

(Shepherdess and pythoness)

Come with Artemis, silken shod,

And wash thy white thigh, beautiful God,

In the moon of the woods, on the marble mount,

The dimpled dawn of the amber fount!

Dip the purple of passionate prayer

In the crimson shrine, the scarlet snare,

The soul that startles in eyes of blue {V}

To watch thy wantonness weeping through

The tangled grove, the gnarled bole

Of the living tree that is spirit and soul

And body and brain --- come over the sea,

(Io Pan! Io Pan!)

Devil or god, to me, to me,

My man! my man!

Come with trumpets sounding shrill

Over the hill!

Come with drums low muttering

From the spring!

Come with flute and come with pipe!

Am I not ripe?

I, who wait and writhe and wrestle

With air that hath no boughs to nestle

My body, weary of empty clasp,

Strong as a lion and sharp as an asp ---

Come, O come!

I am numb

With the lonely lust of devildom.

Thrust the sword through the galling fetter,

All-devourer, all-begetter;

Give me the sign of the Open Eye,

And the token erect of thorny thigh,

And the word of madness and mystery,

O Pan! Io Pan!

Io Pan! Io Pan Pan! Pan Pan! Pan,

I am a man:

Do as thou wilt, as a great god can,

O Pan! Io Pan!

Io Pan! Io Pan Pan! I am awake

in the grip of the snake.

The eagle slashes with beak and claw;

The gods withdraw:

The great beasts come, Io Pan! I am borne

To death on the horn

Of the Unicorn.

I am Pan! Io Pan! Io Pan Pan! Pan! {VI}

I am thy mate, I am thy man,

Goat of thy flock, I am gold, I am god,

Flesh to thy bone, flower to thy rod.

With hoofs of steel I race on the rocks

Through solstice stubborn to equinox.

And I rave; and I rape and I rip and I rend

Everlasting, world without end,

Mannikin, maiden, Maenad, man,

In the might of Pan.

Io Pan! Io Pan Pan! Pan! Io Pan!

-------------

{VII}

{Illustration on page VIII described:

This is the set of photos originally published facing page 12 in EQUINOX I,

2 and titled there: "The Signs of the Grades."

These are arranged as ten panels: * * * *

* *

In this re-publication, the original half-tones have been redone as line cop

y. Each panel consists of an illustration of a single human in a black Tau rob

e, barefoot with hood completely closed over the face. The hood displays a six

-pointed figure on the forehead --- presumably the radiant eye of Horus of the

A.'. A.'., but the rendition is too poor in detail. There is a cross pendant o

ver the heart. The ten panels are numbered in black in the lower left corner.

The panels are identified by two columns of numbered captions, 1 to 6 to the le

ft and 7 to 10 to the right. The description is bottom to top and left to righ

"1. Earth: the god Set fighting." Frontal figure. Rt. foot pointed to the fore

and angled slightly outward with weight on ball of foot. Lf. heel almost touc

hing Rt. heel and foot pointed left. Arms form a diagonal with body, right abo

ve head and in line with left at waist height. Hands palmer and open with fing

ers outstretched and together. Head erect.

"2. Air: The god Shu supporting the sky." Frontal. Heels together and slightl

y angled apart to the front, flat on floor. Head down. Arms angled up on eith

er side of head about head 1.5 ft. from head to wrist and crooked as if support

ing a ceiling just at head height with the finger tips. The palms face upward

and the backs of the hands away from the head. Thumbs closed to side of palms.

Fingers straight and together.

"3. Water: the goddess Auramoth." Same body and foot position as #2, but head e

rect. Arms are brought down over the chest so that the thumbs touch above the

heart and the backs of the hands are to the front. The fingers meet below the

heart, forming between thumbs and fingers the descending triangle of water.

"4. Fire: the goddess Thoum-aesh-neith." Frontal. Head and body like #3. Arm

s are angled so that the thumbs meet in a line over the brow. Palmer side faci

ng. Fingers meet above head, forming between thumbs and fingers the ascending

triangle of fire.

"5,6. Spirit: the rending and closing of the veil." Head erect in both. #5 ha

s the same body posture as #1, except that the left and right feet are counterc

harged and flat on the floor with the heels in contact. Arms and hands are cro

oked forward at shoulder level such that the hands appear to be clawing open a

split veil --- hands have progressed to a point that the forearms are invisibl

e, being directly pointed at the front. Lower arms are flat and horizontal in

the plain of the image.

#6. has the same body posture as #1, feet in same position as #5. The arms are

elbow down against abdomen, with hands forward over heart in claws such that t

he knuckles are touching. Passing from #5 to #6 or vice versa is done by motio

n of shoulders and rotation of wrists. This is different from the other sign o

f opening the veil, the Sign of the Enterer, which is done with hands flat palm

to palm and then spread without rotation of wrists.

"7-10. The L V X signs."

"7. + Osiris slain --- the cross." Body and feet as in #2. Head bowed. Arms d

irectly horizontal from the shoulders in the plane of the image. Hands with fi

ngers together, thumbs to side of palm and palmer side forward. The tau shape

of the robe dominates the image.

"8. L Isis mourning --- the Svastica." The body is in semi-profile, head down

slightly and facing right of photograph. The arms, hands, legs and feet are po

sitioned to define a swastika. Left foot flat, carrying weight and angled towa

rd the right of the photo. Right foot toe down behind the figure to the left i

n the photo. Right upper arm due left in photo and forearm vertical with finge

rs closed and pointing upward. Left arm smoothly canted down to the right of th

e panel, with fingers closed and pointed down.

"9. V Typhon --- the Trident." Figure frontal and standing on tip toe, toes fo

rward and heels not touching. Head back. Arms angled in a "V" with the body t

o the top and outward in the plain of the photo. Fingers and thumbs as #7, but

continuing the lines of the arms.

"10. X Osiris risen --- the Pentagram." Body and feet as in #7. Head directly

frontal and level. Arms crossed over heart, right over left with hands extend

ed, fingers closed and thumb on side such that the palms rest on the two opposi

te shoulders.}

INTRODUCTION

"Epsilon-sigma-sigma-epsilon-alpha-iota alpha-theta-alpha-nu-alpha-tau-omicro

n-sigma theta-epsilon-omicron-sigma, alpha-mu-beta-rho-omicron-tau-omicron-si

gma, omicron-upsilon-chi epsilon-tau-iota theta-nu-eta-tau-omicron-sigma

Pythagoras.

"Magic is the Highest, most Absolute, and most Divine Knowledge of Natural P

hilosophy, advanced in its works and wonderful operations by a right understand

ing of the inward and occult virtue of things; so that true Agents being applie

d to proper Patients, strange and admirable effects will thereby be produced.

Whence magicians are profound and diligent searchers into Nature; they, because

of their skill, know how to anticipate an effect, the which to the vulgar shal

l seem to be a miracle."

"The Goetia of the Lemegeton of King Solomon."

"Wherever sympathetic magic occurs in its pure unadulterated form, it is assum

ed that in nature one event follows another necessarily and invariably without

the intervention of any spiritual or personal agency.

Thus its fundamental conception is identical with that of modern science; un

derlying the whole system is a faith, implicit but real and firm, in the order

and uniformity of nature. The magician does not doubt that the same causes wil

l always produce the same effects, that the performance of the proper ceremony

accompanied by the appropriate spell, will inevitably be attended by the desire

d results, unless, indeed, his incantations should chance to be thwarted and fo

iled by the more potent charms of another sorcerer. He supplicates no higher p

ower: he sues the favour of no fickle and wayward being: he abases himself befo

re no awful deity. Yet his power, great as he believes it to be, is by no mean

s arbitrary and unlimited. He can wield it only so long as he strictly conform

s to the rules of his art, or to what may be called the laws of nature as conce

ived by {IX} him. To neglect these rules, to break these laws in the smallest

particular is to incur failure, and may even expose the unskilful practitioner

himself to the utmost peril. If he claims a sovereignty over nature, it is a c

onstitutional sovereignty rigorously limited in its scope and exercised in exac

t conformity with ancient usage. Thus the analogy between the magical and the

scientific conceptions of the world is close. In both of them the succession o

f events is perfectly regular and certain, being determined by immutable laws,

the operation of which can be foreseen and calculated precisely; the elements o

f caprice, of chance, and of accident are banished from the course of nature.

Both of them open up a seemingly boundless vista of possibilities to him who kn

ows the causes of things and can touch the secret springs that set in motion th

e vast and intricate mechanism of the world. Hence the strong attraction which

magic and science alike have exercised on the human mind; hence the powerful s

timulus that both have given to the pursuit of knowledge. They lure the weary

enquirer, the footsore seeker, on through the wilderness of disappointment in t

he present by their endless promises of the future: they take him up to he top

of an exceeding high mountain and shew him, beyond the dark clouds and rolling

mists at his feet, a vision of the celestial city, far off, it may be, but radi

ant with unearthly splendour, bathed in the light of dreams."

Dr. J. G. FRAZER, "The Golden Bough"."

"So far, therefore, as the public profession of magic has been one of the ro

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