LIBER O
VEL
MANVS ET SAGITTAE
SVB FIGVR
VI
A.'. A.'. Publication in Class B.
Imprimatur:
D.D.S.Praemonstrator
O.S.V.Imperator
N.S.F.Cancellarius
{Illustration facing page 12: THE SIGNS OF THE GRADES.
These are arranged as ten panels: * * * *
* *
* *
*
*
These are all halftone photos of a single human in a black Tau robe,
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 over the heart. The ten panels are numbered in white in the
upper left, but the numerals are very dim even in the Ist edition (some
blurred out entirely in the Weiser edition).
The panels are identified by two columns of numbered captions, 1 to 6
to the left and 7 to 10 to the right. The description is bottom to top and
left to right:
"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 touching Rt. heel and foot pointed left. Arms form a
diagonal with body, right above head and in line with left at waist
height. Hands palmer and open with fingers outstretched and together. Head
erect.
"2. Air: The god Shu supporting the sky." Frontal. Heels
together and slightly angled apart to the front, flat on floor. Head down.
Arms angled up on either side of head about head 1.5 ft. from head to
wrist and crooked as if supporting 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 erect. 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. Arms are angled so that the thumbs meet in a line over the
brow. Palmer side facing. 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 has the same body posture as #1, except that the left
and right feet are countercharged and flat on the floor. Arms and hands
are crooked 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 invisible, being directly pointed at the front. Upper arms
are flat and horizontal in the plain of the image. #6. has the same body
posture as #1, feet in same position as #1 but flat to the floor. The arms
are elbow down against abdomen, with hands forward over heart in claws
such that the knuckles are touching. Passing from #5 to #6 or vice versa
is done by motion of shoulders and rotation of wrists. This is different
from the other sign of opening the veil, the Sign of the Enterer, with 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 directly horizontal from the shoulders in the plane of
the image. Hands with fingers 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 positioned to define a swastika. Left foot flat,
carrying weight and angled toward the right of the photo. Right foot toe
down behind the figure to the left in the photo. Right upper arm due left
in photo and forearm vertical with fingers closed and pointing upward.
Left arm smoothly canted down to the right of photo, with fingers closed
and pointed down.
"9. V Typhon --- the Trident." Figure frontal and standing on
tip toe, toes forward and heals not touching. Head back. Arms angled in a
"V" with the body to 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 extended, fingers closed and thumb on side such that the
palms rest on the two opposite shoulders.}
LIBER O
VEL
MANVS ET SAGITTAE
SVB FIGVRA
VI
I.
1. This book is very easy to misunderstand; readers are asked to use
the most minute critical care in the study of it, even as we have done in
its preparation.
2. In this book it is spoken of the Sephiroth and the Paths; of Spirits
and Conjurations; of Gods, Spheres, Planes, and many other things which
may or may not exist.
It is immaterial whether these exist or not. By doing certain things
certain results will follow; students are most earnestly warned against
attributing objective reality or philosophic validity to any of them.
3. The advantages to be gained from them are chiefly
these:
("a") A widening of the horizon of the
mind.
("b") An improvement of the control of the mind.
4. The student, if he attains any success in the following practices,
will find himself confronted by things (ideas or {13} beings) too glorious
or too dreadful to be described. It is essential that he remain the master
of all that he beholds, hears or conceives; otherwise he will be the slave
of illusion, and the prey of madness.
Before entering upon any of these practices, the student should be in
good health, and have attained a fair mastery of Asana, Pranayama and
Dharana.
5. There is little danger that any student, however idle or stupid,
will fail to get some result; but there is great danger that he will be
led astray, obsessed and overwhelmed by his results, even though it be by
those which it is necessary that he should attain. Too often, moreover, he
mistaketh the first resting-place for the goal, and taketh off his armour
as if he were a victor ere the fight is well begun.
It is desirable that the student should never attach to any result the
importance which it at first seems to possess.
6. First, then, let us consider the Book "777" and its use;
the preparation of the Place; the use of the Magic Ceremonies; and finally
the methods which follow in Chapter V. "Viator in Regnis
Arboris," and in Chapter VI. "Sagitta trans Lunam."
(In another book will it be treated of the Expansion and Contraction of
Consciousness; progress by slaying the Chakkrams; progress by slaying the
Pairs of Opposites; the methods of Sabhapaty Swami, &c., &c.)
II.
1. The student must FIRST obtain a thorough knowledge of "Book
777", especially of columns i., ii., iii., v., vi., vii., ix., xi.,
xii., xiv., xv., xvi., xvii., xviii., xix., xxxiv., xxxv., xxxviii., {14}
xxxix., xl., xli., xlii., xlv., liv., lv., lix., lx., lxi., lxiii., lxx.,
lxxv., lxxvii., lxviii., lxxix., lxxx., lxxxi., lxxxiii., xcvii., xcviii.,
xcix., c., ci., cxvii., cxviii., cxxxvii., cxxxviii., cxxxix., clxxv.,
clxxvi., clxxvii., clxxxii.
When these are committed to memory, he will begin to understand the
nature of these correspondences. ("See" Illustrations "The
Temple of Solomon the King" in this number. Cross references are
given.)
2. If we take an example, the use of the table will become
clear.
Let us suppose that you wish to obtain knowledge of some obscure
science.
In column xlv., line 12, you will find "Knowledge of
Sciences."
By now looking up line 12 in the other columns, you will find that the
Planet corresponding is Mercury, its number eight, its lineal figures the
octagon and octagram. The God who rules that planet Thoth, or in Hebrew
symbolism Tetragrammaton Adonai and Elohim Tzabaoth, its Archangel
Raphael, its Choir of Angels Beni Elohim, its Intelligence Tiriel, its
Spirit Taphtatharath, its colours Orange (for Mercury is the Sphere of the
Sephira Hod, 8), Yellow, Purple, Grey, and Indigo rayed with Violet; its
Magical Weapon the Wand or Caduceus, its Perfumes Mastic and others, its
sacred plants Vervain and others, its jewel the Opal or Agate; its sacred
animal the Snake, &c., &c.
3. You would then prepare your Place of Working accordingly. In an
orange circle you would draw an eight-pointed star of yellow, at whose
points you would place eight lamps. The Sigil of the Spirit (which is to
be found in Cornelius {15} Agrippa and other books) you would draw in the
four colours with such other devices as your experience may suggest.
4. And so on. We cannot here enter at length into all the necessary
preparations; and the student will find them fully set forth in the proper
books, of which the "Goetia" is perhaps the best example.
These rituals need not be slavishly imitated; on the contrary the
student should do nothing the object of which he does not understand;
also, if he have any capacity whatever, he will find his own crude rituals
more effective than the highly polished ones of other people.
The general purpose of all this preparation is as follows:
5. Since
the student is a man surrounded by material objects, if it be his wish to
master one particular idea, he must make every material object about him
directly suggest that idea. Thus in the ritual quoted, if his glance fall
upon the lights, their number suggests Mercury; he smells the perfumes,
and again Mercury is brought to his mind. In other words, the whole
magical apparatus and ritual is a complex system of mnemonics.
[The importance of these lies principally in the fact that particular
sets of images that the student may meet in his wanderings correspond to
particular lineal figures, divine names, &c. and are controlled by
them. As to the possibility of producing results external to the mind of
the seer ("objective," in the ordinary common sense acceptation
of the term) we are here silent.]
6. There are three important practices connected with all forms of
ceremonial (and the two Methods which later we shall describe). These are:
{16}
(1) Assumption of God-forms.
(2) Vibration of Divine
Names.
(3) Rituals of "Banishing" and
"Invoking".
These, at least, should be completely mastered
before the dangerous Methods of Chapters V. and VI. are attempted.
III
1. The Magical Images of the Gods of Egypt should be made thoroughly
familiar. This can be done by studying them in any public museum, or in
such books as may be accessible to the student. They should then be
carefully painted by him, both from the model and from memory.
2. The student, seated in the "God" position, or in the
characteristic attitude of the God desired, should then imagine His image
as coinciding with his own body, or as enveloping it. This must be
practised until mastery of the image is attained, and an identity with it
and with the God experienced.
It is a matter for very great regret that no simple and certain test of
success in this practice exists.
3. The Vibration of God-names. As a further means of identifying the
human consciousness with that pure portion of it which man calls by the
name of some God, let him act thus:
4. ("a") Stand with arms outstretched. ("See"
illustration.)
("b") Breathe in deeply through the nostrils,
imagining the name of the God desired entering with the
breath.
("c") Let that name descend slowly from the lungs to
the heart, the solar plexus, the navel, the generative organs, and so to
the feet. {17}
("d") The moment that it appears to touch the
feet, quickly advance the left foot about 12 inches, throw forward the
body, and let the hands (drawn back to the side of the eyes) shoot out, so
that you are standing in the typical position of the God
Horus,["See" Illustration in Vol. I. No. 1, "Blind
Force."] and at the same time imagine the Name as rushing up and
through the body, while you breathe it out through the nostrils with the
air which has been till then retained in the lungs. All this must be done
with all the force of which you are capable.
("e") Then
withdraw the left foot, and place the right forefinger upon the lips, so
that you are in the characteristic position of the God
Harpocrates["See" Illustration in Vol. I. No. 1, "The
Silent Watcher."]
5. It is a sign that the student is performing this correctly when a
single "Vibration" entirely exhausts his physical strength. It
should cause him to grow hot all over, or to perspire violently, and it
should so weaken him that he will find it difficult to remain
standing.
6. It is a sign of success, though only by the student himself is it
perceived, when he hears the name of the God vehemently roared forth, as
if by the concourse of ten thousand thunders; and it should appear to him
as if that Great Voice proceeded from the Universe, and not from
himself.
In both the above practices all consciousness of anything but the
God-form and name should be absolutely blotted out; and the longer it
takes for normal perception to return, the better. {18}
IV
I. The Rituals of the Pentagram and Hexagram must be committed to
memory; they are as follows:
The Lesser Ritual of the Pentagram
(i) Touching the forehead say Ateh (Unto Thee).
(ii) Touching the
breast say Malkuth (The Kingdom).
(iii) Touching the right shoulder,
say ve-Geburah (and the Power).
(iv) Touching the left shoulder, say
ve-Gedulah (and the Glory).
(v) Clasping the hands upon the breast, say
le-Olahm, Amen (To the Ages, Amen).
(vi) Turning to the East make a
pentagram (that of Earth) with the proper weapon (usually the Wand). Say
("i.e." vibrate) I H V H.
(vii) Turning to the South, the
same, but say A D N I.
(viii) Turning to the West, the same, but say A
H I H.
(ix) Turning to the North, the same, but say A G L A.
Pronounce: Ye-ho-wau, Adonai, Eheieh, Agla.
(x) Extending the arms in the form of a Cross say:
(xi) Before me
Raphael;
(xii) Behind me Gabriel;
(xiii) On my right hand
Michael.
(xiv) On my left hand Auriel;
(xv) For about me flames the
Pentagram,
(xvi) And in the Column stands the six-rayed
Star.
(xvii-xxi) Repeat (i) to (v), the Qabalistic Cross. {19}
The Greater Ritual of the Pentagram. The Pentagrams are
traced in the air with the sword or other weapon, the name
spoken aloud, and the signs used, as illustrated.
THE PENTAGRAMS OF SPIRIT 
' ' Equilibrium of Actives
/ \ / \
* / \ # / \ Name: A H I H (Eheieh)
\---------------- \----------------
\ '/ . . \' \ '/ . . \'
\/ . " . \ \/ . " . \
I /\' ' \ /\' ' \ B
N \ \ A
V # * N
O I
K ' ' S Equilibrium of Passives
I / \ / \ H
N / \ * / \ # I Name A G L A (Agla).
G ----------------/ ----------------/ N
'/ . . \' / '/ . . \' / G
/ . " . \/ / . " . \/
/ ' '/\ / ' '/\
/ /
# *
The Signs of the Portal ("see" Illustrations): Extend the
hands in front of you, palms outwards, separate them as if in the act of
rending asunder a veil or curtain (actives), and then bring them together
as if closing it up again and let them fall to the side (passives).
(The Grade of the "Portal" is particularly attributed to the
element of Spirit; it refers to the Sun; the Paths of Samekh, Nun and
Ayin, are attributed to this degree.<> See "777" lines 6 and 31 bis).
THE PENTAGRAMS OF FIRE.
I ' ' B
N / \ # / \ * A Name: A L H I M
V / \ \ / \ \ N
O -------------\-- -------------\-- I (Elohim).
K '/ . . \'\ '/ . . \'\ S
I / . " . \ \ / . " . \ \ H
N / ' ' \ * / ' ' \ # I
G N
G
{20} The signs of 4 Degree = 7 Square: Raise the arms above the head
and join the hands, so that the tips of the fingers and of the thumbs
meet, formulating a triangle ("See" illustration).
(The Grade of 4 Degree = 7 Square is particularly attributed to the
element Fire; it refers to the planet Venus; the paths of Qof, Tzaddi and
Peh are attributed to this degree. For other attributions "see"
"777" lines 7 and 31).
The Pentagrams of Water.
I ' ' B
N / \ / \ A
V #----------* *---------# N
O ---------------- ---------------- I Name: A L (El).
K '/ . . \' '/ . . \' S
I / . " . \ / . " . \ H
N / ' ' \ / ' ' \ I
G N
G
The signs of 3 Degree = 8 Square: Raise the arms till the elbows are on
a level with the shoulders, bring the hands across the chest, touching the
thumbs and tips of fingers so as to form a triangle apex downwards.
("See" illustration).
(The Grade of 3 Degree = 8 Square is particularly attributed to the
element of Water; it refers to the planet Mercury; the paths of Resh and
Shin are attributed to this degree. For other attributions "see"
"777", lines 8 and 23).
THE PENTAGRAMS OF AIR.
I ' ' B
N / \ / \ A
V *----------# #---------* N Name: I H V H
O ---------------- ---------------- I (Ye-ho-wau).
K '/ . . \' '/ . . \' S
I / . " . \ / . " . \ H
N / ' ' \ / ' ' \ I
G N
G
The signs of 2 Degree = 9 Square: Stretch both arms upwards and
outwards, the elbows bent at right angles, the hands bent back, the palms
upwards as if supporting a weight. ("See" illustration).
{21}
(The Grade of 2 Degree = 9 Square is particularly attributed to the
element Air; it refers to the Moon; the path of Taw is attributed to this
degree. For other attributions "see" "777" lines 9 and
11).
THE PENTAGRAMS OF EARTH
I ' ' B
N # / \ * / \ A
V / / \ / / \ N
O -/-------------- -/-------------- I Name: A D N I (Adonai).
K / '/ . . \' / '/ . . \' S
I / / . " . \ / / . " . \ H
N * / ' ' \ # / ' ' \ I
G N
G
The Sign of 1 Degree = 10 Square: Advance the right foot, stretch out
the right hand upwards and forwards, the left hand downwards and
backwards, the palms open.
(The Grade of 1 Degree = 10 Square is particularly attributed to the
element of Earth, "See" "777" lines 10 and 32
bis).
The Lesser Ritual of the Hexagram.
This ritual is to be performed after the "Lesser Ritual of the
Pentagram".
(i) Stand upright, feet together, left arm at side, right across body,
holding the wand or other weapon upright in the median line. Then face
East and say:
(ii) I.N.R.I.
Yod. Nun. Resh. Yod.
Virgo, Isis,
Mighty Mother.
Scorpio, Apophis, Destroyer.
Sol, Osiris, Slain and
Risen.
Isis, Apophis, Osiris, IAO. {22}
(iii) Extend the arms in the
form of a cross, and say: "The Sign of Osiris Slain."
("See" Illustration).
(iv) Raise the right arm to point
upwards, keeping the elbow square, and lower the left arm to point
downwards, keeping the elbow square, while turning the head over the left
shoulder looking down so that the eyes follow the left forearm, and say,
"The Sign of the Mourning of Isis." ("See"
Illustration).
(v) Raise the arms at an angle of sixty degrees to each
other above the head, which is thrown back, and say, "The Sign of
Apophis and Typhon." ("See" Illustration).
(vi) Cross
the arms on the breast, and bow the head and say, "The Sign of Osiris
Risen." ("See" Illustration).
(vii) Extend the arms
again as in (iii) and cross them again as in (vi) saying: "L.V.X.,
Lux, the Light of the Cross".
/\ #
/ \ \ (viii) With the magical weapon trace the
/ \ \ 1 Hexagram of Fire in the East, saying,
/ /\ \ * "Ararita" (Aleph-Resh-Aleph-Resh-Yod-Taw-Aleph).
---------- This Word consists of the initials of a
/ \ # sentence which means "One is His Beginning:
/ \ \ One is His Individuality: His Permutation is
---------- \ 2 One."
*
This hexagram consists of two equilateral triangles, both apices
pointed upwards. Begin at the top of the upper {23} triangle and trace it
in a dextro-rotary direction. The top of the lower triangle should
coincide with the central point of the upper
triangle. 
/\ #
--------\- (ix) Trace the Hexagram of Earth in the
2* \/ \/\ South, saying "ARARITA." This Hexagram
\/\ /\ *1 has the apex of the lower triangle pointing
-\-------- downwards, and it should be capable of
# \/ inscription in a circle.
/\ #
/ \ \
/ \ \
/ \ \ 1
---------- *
---------- (x) Trace the Hexagram of Air in the
2* \ / West, saying "ARARITA." This Hexagram
\ \ / is like that of Earth; but the bases of the
\ \ / triangles coincide, forming a diamond.
\ \/
#
----------
* \ /
\ \ /
\ \ / (xi) Trace the hexagram of Water in the
# \/ North, saying "ARARITA."
/\ # This hexagram has the lower triangle placed
/ \ \ above the upper, so that their apices coincide.
/ \ \
/ \ *
----------
(xii) Repeat (i-vii)
The Banishing Ritual is identical, save that the direction of the
Hexagrams must be reversed. {24}
"Invoking" "Banishing"
/\ # # /\ "The Greater Ritual of"
--------\- -/-------- "the Hexagram"
2* \/ \/\ Saturn /\/ \/ *2
\/\ /\ *1 1* /\ /\/ To invoke or banish
-\-------- --------/- planets or zodiacal
# \/ \/ # signs.
1 The Hexagram of
2* /\ *--/\--# Earth alone is used.
-/-------- ---------- Draw the hexagram,
/\/ \/ # Jupiter \/ \/ beginning from the
# /\ /\/ /\ /\ point which is
--------/- ---------- attributed to the
\/ *1 #--\/--* 2 planet you are dealing
with. ("See" "777" col.
#--/\--* 1 /\ *2 lxxxiii).
---------- --------\- Thus to invoke
\/ \/ # \/ \/\ Jupiter begin from the
/\ /\ Mars \/\ /\ # right-hand point of
---------- -\-------- the lower triangle,
2 *--\/--# 1* \/ dextro-rotary and
complete; then trace
4,9.* # 6,7. the upper triangle
#-- / /\ # --*5,8. 10,3.*-- / /\ * --# from its left hand
--------\- --------\- point and complete.
2,11.*/\/ \/\# #/\/ \/\*2,11. Trace the
#\/\ /\/*1,12.Sun 1,12.*\/\ /\/# astrological sigil
-\------/- -\------/- of the planet in the
6,7.*-- # \/ * --# #-- * \/ # --*4,9.centre of your
3,10. 5,8. hexagram.
For the Zodiac use
#--/\--*2 /\ *1 the hexagram of the
---------- --------\- planet which
\/ \/ Venus # \/ \/\ rules the {25) sign
/\ /\ \/\ /\ # you require ("777",
---------- -\-------- col. cxxxviii); but
1*--\/--# 2* \/ draw the astrological
sigil of the sign,
1* /\ 2*--/\--# instead of that of the
-/-------- ---------- planet.
/\/ \/ # Mercury \/ \/
# /\ /\/ /\ /\
--------/- ----------
\/ *2 #--\/--*1
/\ # # /\
--------\- -/--------
1* \/ \/\ Moon /\/ \/ *1
\/\ /\ *2 2* /\ /\/
-\-------- --------/-
# \/ \/ # {25}
For Caput and Cauda Draconis use the lunar hexagram, with the sigil of
Caput Draconis or Cauda Draconis.
To banish, reverse the hexagram.
In all cases use a conjuration first with Ararita, and next with the
name of the God corresponding to the planet or sign you are dealing
with.
The Hexagrams pertaining to the planets are as in plate on preceding
page.
2. These rituals should be practised until the figures drawn appear in
flame, in flame so near to physical flame that it would perhaps be visible
to the eyes of a bystander, were one present. It is alleged that some
persons have attained the power of actually kindling fire by these means.
Whether this be so or not, the power is not one to be aimed at.
3. Success in "banishing" is known by a "feeling of
cleanliness" in the atmosphere; success in "invoking" by a
"feeling of holiness." It is unfortunate that these terms are so
vague.
But at least make sure of this: that any imaginary figure or being
shall instantly obey the will of the student, when he uses the appropriate
figure. In obstinate cases, the form of the appropriate God may be
assumed.
4. The banishing rituals should be used at the commencement of any
ceremony whatever. Next, the student should use a general invocation, such
as the "Preliminary Invocation" in the "Goetia" as
well as a special invocation to suit the nature of his working.
5. Success in these verbal invocations is so subtle a {26} matter, and
its grades so delicately shaded, that it must be left to the good sense of
the student to decide whether or not he should be satisfied with his
result.
V
1. Let the student be at rest in one of his prescribed positions,
having bathed and robed with the proper decorum. Let the place of working
be free from all disturbance, and let the preliminary purifications,
banishings and invocations be duly accomplished, and, lastly, let the
incense be kindled.
2. Let him imagine his own figure (preferably robed in the proper
magical garments and armed with the proper magical weapons) as enveloping
his physical body, or standing near to and in front of him.
3. Let him then transfer the seat of his consciousness to that imagined
figure; so that it may seem to him that he is seeing with its eyes, and
hearing with its ears.
This will usually be the great difficulty of the operation.
4. Let him then cause that imagined figure to rise in the air to a
great height above the earth.
5. Let him then stop and look about him. (It is sometimes difficult to
open the eyes.)
6. Probably he will see figures approaching him, or become conscious of
a landscape.
Let him speak to such figures, and insist upon being answered, using
the proper pentagrams and signs, as previously taught.
7. Let him travel about at will, either with or without guidance from
such figure or figures. {27}
8. Let him further employ such special invocations as will cause to
appear the particular places he may wish to visit.
9. Let him beware of the thousand subtle attacks and deceptions that he
will experience, carefully testing the truth of all with whom he
speaks.
Thus a hostile being may appear clothed with glory; the appropriate
pentagram will in such a case cause him to shrivel or decay.
10. Practice will make the student infinitely wary in these
matters.
11. It is usually quite easy to return to the body, but should any
difficulty arise, practice (again) will make the imagination fertile. For
example, one may create in thought a chariot of fire with white horses,
and command the charioteer to drive earthwards.
It might be dangerous to go too far, or to stay too long; for fatigue
must be avoided.
The danger spoken of is that of fainting, or of obsession, or of loss
of memory or other mental faculty.
12. Finally, let the student cause his imagined body in which he
supposes himself to have been travelling to coincide with the physical,
tightening his muscles, drawing in his breath, and putting his forefinger
to his lips. Then let him "awake" by a well-defined act of will,
and soberly and accurately record his experiences.
It may be added that this apparently complicated experiment is
perfectly easy to perform. It is best to learn by "travelling"
with a person already experienced in the matter. Two or three experiments
will suffice to render the student confident and even expert. See also
"The Seer", pp. 295-333.
VI
1. The previous experiment has little value, and leads to few results
of importance. But it is susceptible of a development which merges into a
form of Dharana --- concentration --- and as such may lead to the very
highest ends. The principal use of the practice in the last chapter is to
familiarise the student with every kind of obstacle and every kind of
delusion, so that he may be perfect master of every idea that may arise in
his brain, to dismiss it, to transmute it, to cause it instantly to obey
his will.
2. Let him then begin exactly as before, but with the most intense
solemnity and determination.
3. Let him be very careful to cause his imaginary body to rise in a
line exactly perpendicular to the earth's tangent at the point where his
physical body is situated (or to put it more simply, straight
upwards).
4. Instead of stopping, let him continue to rise until fatigue almost
overcomes him. If he should find that he has stopped without willing to do
so, and that figures appear, let him at all costs rise above them.
Yea, though his very life tremble on his lips, let him force his way
upward and onward! 5. Let him continue in this so long as the breath of
life is in him. Whatever threatens, whatever allures, though it were
Typhon and all his hosts loosed from the pit and leagued against him,
though it were from the very Throne of God Himself that a Voice issues
bidding him stay and be content, let him struggle on, ever on.
6. At last there must come a moment when his whole {29} being is
swallowed up in fatigue, overwhelmed by its own inertia.*
* This in case of failure. The results of success are so many
and wonderful that no effort is here made to describe them. They are
classified, tentatively, in the "Herb
Dangerious," Part II., "infra".
Let him sink (when no longer can he strive, though his tongue by bitten
through with the effort and the blood gush from his nostrils) into the
blackness of unconsciousness; and then, on coming to himself, let him
write down soberly and accurately a record of all that hath occurred, yea
a record of all that hath occurred.
EXPLICIT
[A book of Elementary Invocations is in preparation, and will be issued
in Number 3.]
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