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Aleister Crowley

 

ALIESTER CROWLEY THE MAGICIAN

Aleister Crowley, born Edward Alexander Crowley, was a British occultist, writer, mountaineer, philosopher, and mystic. He was an influential member in several occult organizations, including the Golden Dawn, the A.A., and Ordo Templi Orientis (O.T.O.), and is best known today for his occult writings, especially The Book of the Law, the central sacred text of Thelema. He gained much notoriety during his lifetime, and was infamously dubbed "The Wickedest Man In the World."

Crowley's other interests and accomplishments were wide-ranging—he was a chess player, mountain climber, poet, painter, astrologer, hedonist, bisexual , drug experimenter, and social critic. Crowley had claimed to be a Freemason, but the regularity of his initiations with the United Grand Lodge of England has been disputed.

 

 

 

WHAT CAN BE SAID THAT HASN'T BEEN SAID?

Aleister Crowley was a paranormal investigator in his time from researching the creature of Lochness in his Boleskine Lodge to calling up demons and countless spirits. Demonoligist, ocultist, or ghost hunter Crowley did it all.

The 'Wickedest Man in the World' died in quiet obscurity in Hastings in December 1947, his reputation having been somewhat overtaken by one Adolf Hitler, and in quiet obscurity he might have stayed had he not appeared on the cover of one of the1960s iconic rock albums. When asked to draw up a list of names to appear on the cover of their forthcoming Sgt Pepper album John Lennon included that of Aleister Crowley thereby introducing 'the Beast' to a whole new generation.

Crowley's diabolical reputation was based on press reports of his activities at the Abbey of Themela in Sicily in the early 1920s. The Abbey was to have been an 'ark of refuge' from the 'Aeon of a Dying God,' and an archetype of a new society based on ideas outlined in Crowley's The Book of the Law. In reality it appears to have been a rather squalid Mediterranean villa, with occult paintings covering the walls, where Crowley and a small band of followers carried out sex magick under the influence of drugs. Following the death of a disciple Raoul Loveday from gastro-enteritis at the Abbey the British Press had a field day with stories of drug induced 'bestial orgies' and 'satanic rituals' - not helped by Crowley's attempted to finance the community by publishing a fictionalised account of it under the title - The Diary of a Drug Fiend. Mussolini ordered the now notorious Crowley out of Italy and the community disbanded.

 

Love Is The Law, Love Under Will

Family photograph of Crowley, his mistress Leah Hirsig, whom he called the scarlet woman, and their baby Poupee outside the abbey in 1921.

Family photograph of Crowley, his mistress Leah Hirsig, whom he called the scarlet woman, and their baby Poupee outside the abbey in 1921.

 

Crowley was a highly prolific writer, not only on the topic of Thelema and magick, but on philosophy, politics, and culture. The poems and plays written in his twenties and found in his Collected Works of Aleister Crowley 1905-1907 were alone enough to substantiate a common writer's career.[citation needed] He left behind a countless number of personal letters and daily journal entries. He self-published many of his books, expending the majority of his inheritance to disseminate his views.

ALIESTER CROWLEY

Within the subject of occultism Crowley wrote widely, penning commentaries on magick, the Tarot, Yoga, Qabalah, astrology, and numerous other subjects. He also wrote a Thelemic interpolation of the Tao Te Ching, based on earlier English translations since he knew little or no Chinese. Like the Golden Dawn mystics before him, Crowley evidently sought to comprehend the entire human religious and mystical experience in a single philosophy.

Some of his most influential books include:

* The Book of the Law
* Magick (Book 4)
* The Book of Lies
* The Vision and the Voice
* 777 and other Qabalistic writings
* The Confessions of Aleister Crowley
* Magick Without Tears
* Little Essays Toward Truth
* The Goetia: The Lesser Key of Solomon the King (translation of original text)
* The General Principles of Astrology (with Evangeline Adams, Hymenaeus Beta, and others)

He also edited and produced a series of publications in book form called The Equinox (subtitled "The Review of Scientific Illuminism"), which served as the voice of his magical order, the A?A?. Although the entire set is influential and remains one of the definitive works on occultism, some of the more notable issues are:

* III:1, "The Blue Equinox" (largely regarding the structure of OTO)
* III:2, The Gospel According to St. Bernard Shaw and other papers (proof copy only)
* III:3, The Equinox of the Gods (covering the events leading up to the writing of Liber Legis)
* III:4, Eight Lectures on Yoga
* III:5, The Book of Thoth (a full treatise on his Thoth Tarot)
* III:6, Liber Aleph (An extended and elaborate commentary on Liber Legis in the form of short letters)
* III:7, The Shih I (allegedly. An unfinished/published translation of the I Ching)
* III:8, The Tao Te Ching (a translation of the Chinese classic)
* III:9, The Holy Books of Thelema (the "received" works of Crowley)
* III:10, An issue with mostly O.T.O constitutional papers
* IV:1, Commentary on the Holy Books, and other papers (mainly Liber 65 and Madame Blavatsky's The Voice of the Silence)
* IV:2, The Vision and the Voice with Commentary and other papers

Crowley also wrote fiction, including plays and later novels, most of which have not received significant notice outside of occult circles. Some of these fictional works include:

* Moonchild
* The Scrutinies of Simon Iff
* Golden Twigs
* Diary of a Drug Fiend
* The Fish (unfinished)
* Simon Iff Abroad (unpublished)
* Simon Iff in America (unpublished)
* Simon Iff, Psychoanalyst (unpublished)
* The Stratagem and other Stories
* The Testament of Magdalen Blair

Crowley also had a peculiar sense of humour, which he often utilised as a teaching instrument. He wrote a polemic arguing against George Bernard Shaw's interpretation of the Gospels in his preface to Androcles and the Lion, which was edited by Francis King and published as Crowley on Christ. In his Magick, Book 4 he includes a chapter purporting to illuminate the Qabalistic significance of Mother Goose nursery rhymes. In re Humpty Dumpty, for instance, he recommends the occult authority "Ludovicus Carolus" -- better known as Lewis Carroll. In a footnote to the chapter he admits that he had invented the alleged meanings, to show that one can find occult "Truth" in everything. His "8 Lectures On Yoga" are written under the name Guru Sri Pramahansa Shivaji (which translates into something along the lines of "Great Exalted Guru of Shiva") and are divided into "Yoga for Yahoos" and "Yoga for Yellowbellies". In The Book of Lies, the title to chapter 69 is given as "The Way to Succeed - and the Way to Suck Eggs!" a pun, as the chapter concerns the 69 sex position as a mystical act.

Crowley was also a published, if minor, poet. He wrote the 1929 Hymn to Pan,[90] perhaps his most widely read and anthologised poem.[citation needed] Three pieces by Crowley, "The Quest","The Neophyte", and "The Rose and the Cross" appear in the 1917 collection The Oxford Book of English Mystical Verse. Crowley's unusual sense of humour is on display in White Stains, an 1898 collection of pornographic verse pretended to be "the literary remains of George Archibald Bishop, a neuropath of the Second Empire;" the volume is prefaced with a notice that says that " The Editor hopes that Mental Pathologists, for whose eyes alone this treatise is destined, will spare no precaution to prevent it falling into other hands."

Some of his published poetry includes:

* White Stains (1898).
* Alice, an Adultery (1903).
* The Sword of Song (1904).
* The Star and the Garter. (1904).
* Orpheus, a Lyrical Legend (two volumes, 1905).
* Snowdrops From a Curate’s Garden. (1904).
* Clouds without Water ("by the Reverend C. Verey", 1909)
* The Scented Garden of Abdullah the Satirist of Shiraz. ( "translated by Major Lutiy", 1910).
* Aha ! (1910)
* Ambergris: the Selected Poems of Aleister Crowley (1910)
* The Winged Beetle. (1912).
* Olla, an Anthology of Sixty years of Song (1946, his last published work)

The Greek scholar Dionysios Psilopoulos has written on Crowley as a poet (Ph.D., Edinburgh).

 

 

Another way they can be "accepted" is by believing their lies whispered into the human mind, or accepting their suggestions, subtly disguised as one's own thoughts or otherwise (typically this can be recognized when the voices heard in the head seem to come from *outside* the bodily frame, especially if there are no signs of insanity in the person).

ALIESTER CROWLEY THE BAPHOMET

It might be interesting to note at this point that Crowley believed himself to be the reincarnation of the occultist Eliphas Levi who died the same year that Crowley was born. He had also determined that his past lives had included Count Cagliostro, an 18th century occultist, founder of 'Egyptian Rite Masonry', Alexander VI, the notorious Borgia Pope, and Edward Kelley (who along with John Dee were the Elizabethan court magicians who invented, err, deciphered Enochian, the language of the angels.)

ALSO SEE: BAPHOMET

Aleister Crowley's drawing of Coronzon

Coronzon (more commonly, but perhaps less correctly, spelled Choronzon) is an angelic being first named in the transcripts of the conversations that took place between the Elizabethan mathematician and magician Dr. John Dee and the hierarchy of spiritual beings who identified themselves as the angels that had instructed the patriarch Enoch in the holy magic of God.

These angelic conversations occurred between the years 1582 and 1587, through the mediumship of Dee's hired crystal scryer, the alchemist Edward Kelley. One or more times a week Kelley, under Dee's guidance, established communication with the Enochian angels in a ritual setting, using a globe of natural rock crystal as his instrument. He described to Dee what he saw in the crystal. Dee asked questions of the angels, and Kelley reported their replies verbatim. Dee transcribed both his questions, and the responses transmitted through Kelley, in a set of diaries. A large portion of this transcript has survived. Much of the most important material was reprinted in Meric Casaubon's A True and Faithful Relation, published in London in 1659.

In the Enochian Key known as the Call of the Thirty Aethyrs, Coronzon is referred to under the descriptive title "Him That Is Fallen," which is equated with the Enochian words Teloc-vovim. Coronzon is the proper name of the fallen leader of the Watchers, whereas Teloc-vovim is a title similar to those applied to God, such as Lord of Hosts. In the Eighth Key, reference is made to the "stooping dragon." This is almost certainly another title for Coronzon, who stoops in the way that a falcon stoops upon its prey, falling like a bolt of lightning from the heavens. In Enochian it translates as Abai-vovin. Note the similarity between the endings of both titles. They are probably the same word -- vovim or vovin is translated by Laycock in his Complete Enochian Dictionary as "dragon." The Enochian word teloc means "death." Therefore a more accurate meaning for Teloc-vovim is the Death Dragon, or perhaps the Slaying Dragon.

Aleister Crowley linked Coronzon to the Tenth Aethyr of Enochian magic. The aethyrs (or aethers or ethers or airs) are dimensions or worlds of spirit arranged in a series of concentric shells, like Ukrainian nesting dolls. The outermost sphere is numbered 1, and the innermost that is next to the earthly sphere of the four elements is numbered 30. One Call is used to invoke the spirits of all the aethyrs, but the name of each aethyr is inserted into the first sentence of this invocation to differentiate it. The name of the Tenth Aethyr is ZAX. It is unique in that it is associated with the spirit names that lie upon the Black Cross of the Great Tablet of the Watchtowers. All the other Aethyrs are linked to spirit names that appear within one of the four Watchtowers on the quarters of the Great Table -- the names linked with ZAX lie outside the Watchtowers. They are Lexarph, Comanan and Tabitom. It is interesting that this particular Air rules over the nation of Germany, in view of the attempt by the Nazis to exterminate the Jews during the Second World War.

In 1909, while on a walking tour of Algeria in northern Africa, Crowley took up a project he had begun in 1900 in Mexico -- the invocation of the Thirty Enochian Aethyrs. While in Mexico he had procured through ritual means psychic visions of the last two Aethyrs, numbers Thirty and Twenty-nine. Now, nine years later, he took up where he had left off with an invocation to the Twenty-eighth Aethyr. Israel Regardie wrote concerning this inspiration of Crowley's to begin again this ambitious project: "It is not at all clear how the idea came to him, but in 1909, during a walk through the desert with Frater O. V. (Victor Neuburg) a Probationer of the A[rgenteum] A[strum], a Hand suddenly smote its lightning into his heart at Aumale, and he knew that now, that very day, he must take up "the Vision and the Voice" from the point where he had laid it down in 1900" (Crowley, The Vision and the Voice, introduced and explained by Israel Regardie. Dallas: Sangreal Foundation, 1972, page 5). This episode in Crowley's life is described in many places, notably in chapter 66 of Crowley's autobiography The Confessions of Aleister Crowley (London: Arkana, 1989, pages 611-24).

Aumale is a small town in Algeria around 60 miles or so inland from Algiers, in a mountainous desert region -- the elevation is between three thousand and six thousand feet above sea level in that part of the country. It must have been a physically demanding undertaking to go into the desert and invoke spirits, but the desert places of the world have always been the best places to communicate with spirits of dubious origins.

Crowley fancied himself a reincarnation of Edward Kelley, whom he idolized, insofar as Crowley was capable of placing any historical figure on a pedestal. Victor Neuberg, a strange masochistic follower of Crowley, was regarded by Crowley as fulfilling the role of John Dee, who wrote down the original Enochian communications dictated by Kelley. Crowley never understood that the Enochian communications were focused entirely upon John Dee, or that in the eyes of the angels Kelley was merely a psychic telephone through which they could talk to Dee. Crowley placed all importance in Kelley, and regarded Dee with the same contempt that he heaped upon his own poor follower, Neuberg. This distortion of the true relationship between Dee, Kelley and the angels says a great deal about Frater Perdurabo's ego, his vanity, and the limitations of his mind.

Since Crowley's vision of the Tenth Aethyr reveals a great deal about his personal concept of Coronzon (spelled by him Choronzon), I will quote the text of the vision in full. It was first published in 1911 in the supplement to issue 5 of volume 1 of Crowley's periodical The Equinox. It may be of some minor interest that the name "Coronzon" appears at the bottom of page 92, the page facing page 93 of Casaubon's True and Faithful Relation, and that the vision of the Tenth Aethyr begins just before page 93 of the supplement to Vol. 1, number 5 of The Equinox, but of course the scientifically minded reader will see in this nothing more than a coincidence.

The Cry of the 10th Aethyr, Which is Called ZAX

There is no being in the outermost Abyss, but constant forms come forth from the nothingness of it.

Then the Devil of the Aethyr, that mighty devil Choronzon, crieth aloud, Zazas, Zazas, Nasatanada Zasas.

I am the Master of Form, and from me all forms proceed.

I am I. I have shut myself up from the spendthrifts, my gold is safe in my treasure-chamber, and I have made every living thing my concubine, and none shall touch them, save only I. And yet I am scorched, even while I shiver in the wind. He hateth me and tormenteth me. He would have stolen me from myself, but I shut myself up and mock at him, even while he plagueth me. From me come leprosy and pox and plague and cancer and cholera and the falling sickness. Ah! I will reach up to the knees of the Most High, and tear his phallus with my teeth, and I will bray his testicles in a mortar, and make poison thereof, to slay the sons of men.

(Here the Spirit stimulated the voice of Frater P[edurabo], which also appeared to come from his station and not from the triangle.)

I don't think I can get any more; I think that's all there is.

(The Frater was seated in a secret place covered completely by a black robe, in the position called the "Thunderbolt". He did not move or speak during the ceremony.)

Next the Scribe was hallucinated, believing that before him was a beautiful courtesan whom previously he had loved in Paris. Now, she wooed him with soft words and glances, but he knew these things for delusions of the devil, and he would not leave the circle.

The demon then laughed wildly and loud.

(Upon the Scribe threatening him, the Demon proceeded, after a short delay.)

They have called me the God of laughter, and I laugh when I will slay. And they have thought that I could not smile, but I smile upon whom I would seduce. O inviolable one, that canst not be tempted. If thou canst command me by the power of the Most High, know that I did indeed tempt thee, and it repenteth me. I bow myself humbly before the great and terrible names whereby thou hast conjured and constrained me. But thy name is mercy, and I cry aloud for pardon. Let me come and put my head beneath thy feet, that I may serve thee. For if thou commandest me to obedience in the Holy names, I cannot swerve therefrom, for their first whispering is greater than the noise of all my temptests. Bid me therefore come unto thee upon my hands and knees that I may adore thee, and partake of thy forgiveness. Is not thy mercy infinite?

(Here Choronzon attempts to seduce the Scribe by appealing to his pride.

But the Scribe refused to be tempted, and commanded the demon to continue with the Aethyr.

There was again a short delay.)

Choronzon hath no form, because he is the maker of all form; and so rapidly he changeth from one to the other as he may best think fit to seduce those whom he hateth, the servants of the Most High.

Thus taketh he the form of a beautiful woman, or of a wise and holy man, or of a serpent that writheth upon the earth ready to sting.

And, because he is himself, therefore he is no self; the terror of darkness, and the blindness of night, and the deafness of the adder, and the tastelessness of stale and stagnant water, and the black fire of hatred, and the udders of the Cat of slime; not one thing, but many things. Yet, with all that, his torment is eternal. The sun burns him as he writhes naked upon the sands of hell, and the wind cuts him bitterly to the bone, a harsh dry wind, so that he is sore athirst. Give unto me, I pray thee, one drop of water from the pure springs of Paradise, that I may quench my thirst.

(The Scribe refused.)

Sprinkle water upon my head. I can hardly go on.

(This last was spoken from the triangle in the natural voice of the Frater, which Choronzon again simulated. But he did not succeed in taking the Frater's form -- which was absurd!

The Scribe resisted the appeal to his pity, and conjured the demon to proceed by the names of the Most High. Choronzon attempted also to seduce the faithfulness of the Scribe. A long colloquy ensued. The Scribe cursed him by the Holy Names of God, and the power of the Pentagram.)

I feed upon the names of the Most High. I churn them in my jaws, and I void them from my fundament. I fear not the power of the Pentagram, for I am the Master of the Triangle. My name is three hundred and thirty and three, and that is thrice one. Be vigilant, therefore, for I warn thee that I am about to deceive thee. I shall say words that thou wilt take to be the cry of the Aethyr, and thou wilt write them down, thinking them to be great secrets of Magick power, and they will be only my jesting with thee.

(Here the Scribe invoked the Angels, and the Holy Guardian Angel of the Frater P. . . . The demon replied:)

I know the name of the Angel of thee and thy brother P. . . ., and all thy dealings with him are but a cloak for thy filthy sorceries.

(Here the Scribe averred that he knew more than the demon, and so feared him not, and ordered the demon to proceed.)

Thou canst tell me naught that I know not, for in me is all Knowledge: Knowledge is my name. Is not the head of the great Serpent arisen into Knowledge?

(Here the Scribe again commanded Choronzon to continue with the call.)

Know thou that there is no Cry in the tenth Aethyr like unto the other Cries, for Choronzon is Dispersion, and cannot fix his mind upon any one thing for any length of time. Thou canst master him in argument, O talkative one; thou wast commanded, wast thou not, to talk to Choronzon? He sought not to enter the circle, or to leave the triangle, yet thou didst prate of all these things.

(Here the Scribe threatened the demon with anger and pain and hell. The demon replied:)

Thinkest thou, O fool, that there is any anger and any pain that I am not, or any hell but this my spirit?

Images, images, images, all without control, all without reason. The malice of Choronzon is not the malice of a being; it is the quality of malice, because he that boasteth himself "I am I", hath in truth no self, and these are they that are fallen under my power, the slaves of the Blind One that boasted himself to be the Enlightened One. For there is no centre, nay, nothing but Dispersion.

Woe, woe, woe, threefold to him that is led away by talk, O talkative One.

O thou that hast written two-and-thirty books of Wisdom, and art more stupid than an owl, by thine own talk is thy vigilance wearied, and by my talk art thou befooled and tricked, O thou that sayest that thou shalt endure. Knowest thou how nigh thou art to destruction? For thou that art the Scribe hast not the understanding that alone availeth against Choronzon. And wert thou not protected by the Holy Names of God and the circle, I would rush upon thee and tear thee. For when I made myself like unto a beautiful woman, if thou hadst come to me, I would have rotted thy body with the pox, and thy liver with cancer, and I would have torn off thy testicles with my teeth. And if I had seduced thy pride, and thou hadst bidden me to come into the circle, I would have trampled thee under foot, and for a thousand years shouldst thou have been but one of the tape-worms that is in me. And if I had seduced thy pity, and thou hadst poured one drop of water without the circle, then would I have blasted thee with flame. But I was not able to prevail against thee.

How beautiful are the shadows of the ripples of the sand!

Would God that I were dead.

For know that I am proud and revengeful and lascivious, and I prate even as thou. For even as I walked among the Sons of God, I heard it said that P. . . . could both will and know, and might learn at length to dare, but that to keep silence he should never learn. O thou that art so ready to speak, so slow to watch, thou art delivered over unto my power for this. And now one word was necessary unto me, and I could not speak it. I behold the beauty of the earth in her desolation, and greater far is mine, who sought to be my naked self. Knowest thou that in my soul is utmost fear? And such is my force and my cunning, that a hundred times have I been ready to leap, and for fear have missed. And a thousand times am I baulked by them of the City of the Pyramids, that set snares for my feet. More knowledge have I than the Most High, but my will is broken, and my fierceness is marred by fear, and I must speak, speak, speak, millions of mad voices in my brain.

With a heart of furious fancies,
Whereof I am Commander,
With a burning spear
And a horse of Air
To the wilderness I wander.

(The idea was to keep the Scribe busy writing, so as to spring upon him. For, while the Scribe talked, Choronzon had thrown sand into the circle, and filled it up. But Choronzon could not think fast and continuously, and so resorted to the device of quotation.

The Scribe had written two or three words of "Tom o'Bedlam," when Choronzon sprang within the circle (that part of the circumference of which that was nearest to him he had been filling up with sand all this time), and leaped upon the Scribe, throwing him to the earth. The conflict took place within the circle. The Scribe called upon Tetragrammaton, and succeeded in compelling Choronzon to return into his triangle. By dint of anger and of threatening him with the Magick Staff did he accomplish this. He then repaired the circle. The discomfited demon now continued:)

All is dispersion. These are the qualities of things.

The tenth Aethyr is the world of adjectives, and there is no substance therein.

(Now returneth the beautiful woman who had before tempted the Scribe. She prevailed not.)

I am afraid of sunset, for Tum is more terrible than Ra, and Khephra the Beetle is greater than the Lion Mau.

I am a-cold.

(Here Choronzon wanted to leave the triangle to obtain wherewith to cover his nakedness. The Scribe refused the request, threatening the demon. After a while the latter continued:)

I am commanded, why I know not, by him that speaketh. Were it thou, thou little fool, I would tear thee limb from limb. I would bite off thine ears and nose before I began with thee. I would take thy guts for fiddle-strings at the Black Sabbath.

Thou didst make a great fight there in the circle; thou art a goodly warrior!

(Then did the demon laugh loudly. The Scribe said: Thou canst not harm one hair of my head.)

I will pull out every hair of thy head, every hair of thy body, every hair of thy soul, one by one.

(Then said the Scribe: Thou hast no power.)

Yea, verily I have power over thee, for thou hast taken the Oath, and art bound unto the White Brothers, and therefore have I the power to torture thee so long as thou shalt be.

(Then said the Scribe unto him: Thou liest.)

Ask of thy brother P. . . ., and he shall tell thee if I lie!

(This the Scribe refused to do, saying that it was no concern of the demon's.)

I have prevailed against the Kingdom of the Father, and befouled his beard; and I have prevailed against the Kingdom of the Son, and torn off his Phallus; but against the Kingdom of the Holy Ghost shall I strive and not prevail. The three slain doves are my threefold blasphemy against him; but their blood shall make fertile the sand, and I writhe in blackness and horror of hate, and prevail not.

(Then the demon tried to make the Scribe laugh at Magick, and to think that it was all rubbish, that he might deny the names of God that he had invoked to protect him; which, if he had doubted but for an instant, he had leapt upon him, and gnawed through his spine at the neck.

Choronzon succeed not in his design.)

In this Aethyr is neither beginning nor end, for it is all hotch-potch, because it is of the wicked on earth and the damned in hell. And so long as it be hotch-potch, it mattereth little what may be written by the sea-green incorruptible Scribe.

The horror of it will be given in another place and time, and through another Seer, and that Seer shall be slain as a result of his revealing. But the present Seer, who is not P. . . ., seeth not the horror, because he is shut up, and hath no name.

(Now was there some further parleying betwixt the demon and the Scribe, concerning the departure and the writing of the word, the Scribe not knowing if it were meet that the demon should depart.

Then the Seer took the Holy Ring, and wrote the name BABALON, that is victory over Choronzon, and he was no more manifest.)

(This cry was obtained on Dec. 6, 1909, between 2 and 4.15 p.m., in a lonely valley of fine sand, in the desert near Bou-Saada. The Aethyr was edited and revised on the following day.)

After the conclusion of the Ceremony, a great fire was kindled to purify the place, and the Circle and Triangle were destroyed.

NOTE BY SCRIBE

Almost from the beginning of the ceremony was the Scribe overshadowed, and he spoke as it were in spite of himself, remembering afterwards scarcely a word of his speeches, some of which were long and seemingly eloquent.

All the time he had a sense of being protected from Choronzon, and this sense of security prevented his knowing fear.

Several times did the Scribe threaten to put a curse upon the demon; but ever, before he uttered the words of the curse, did the demon obey him. For himself, he knoweth not the words of the curse.

Also is it meet to record in this place that the Scribe several times whistled in a Magical manner, which never before had he attempted, and the demon was apparently much discomforted thereat.

Now knoweth the Scribe that he was wrong in holding much converse with the demon; for Choronzon, in the confusion and chaos of his thought, is much terrified by silence. And by silence can he be brought to obey.

For cunningly doth he talk of many things, going from subject to subject, and thus he misleadeth the wary into argument with him. And though Choronzon be easily beaten in argument, yet, by disturbing the attention of him who would command him, doth he gain the victory.

For Choronzon feareth of all things concentration and silence: he therefore who would command him should will in silence: thus is he brought to obey.

This the Scribe knoweth; for that since the obtaining of the Accursed Tenth Aethyr, he hath held converse with Choronzon. And unexpectedly did he obtain the information he sought after having long refused to answer the demon's speeches.

Choronzon is dispersion; and such is his fear of concentration that he will obey rather than be subjected to it, or even behold it in another.

The account of the further dealings of Choronzon with the Scribe will be found in the Record of Omnia Vincam.

In his autobiography Crowley wrote concerning his concept of the nature of Coronzon: "The name of the Dweller in the Abyss is Choronzon, but he is not really an individual. The Abyss is empty of being; it is filled with all possible forms, each equally inane, each therefore evil in the only true sense of the word -- that is, meaningless, but malignant, in so far as it craves to become real" (Confessions, page 623).

To understand this surprising analysis, you must realize that for Crowley, the Abyss did not lie beneath the lowest Sephirah, Malkuth, the sphere of the four elements, but was a gulf that divided the Tree of the Sephiroth just below the three highest spheres, known collectively as the Supernals. To reach the Supernals in a spiritual sense, it was necessary for the seeker to cross the Abyss. The Abyss may be entered through the doorway of the eleventh quasi-Sephirah, Daath, located just below the Supernals on the Middle Pillar of the Tree.

Kenneth Grant has treated the connection of the realm of Coronzon with Daath at length in his book Nightside of Eden, which is to a large extent a commentary and expansion on an essay by Crowley titled Liber CCXXXI, first published in 1912 in volume 1, issue 7 of Crowley's periodical The Equinox. Grant writes about this essay: "The present work, therefore, which is based upon an extremely sinister grimoire known as Liber 231, continues to transmit the 93 Current as revived by Crowley in the twentieth century" (Nightside of Eden, page xii). In a footnote he adds: "The number 231 is the sum of the numbers of the Tarot Cards, 0-21; it is, therefore, the extension of the number 22. Liber 231 (or CCXXXI as it is more usually designated) treats of the 22 Atus of Thoth as applied to the 22 Paths of the Tree of Life, and the 22 cells of the Qliphoth. Crowley has treated openly of the Atus (see The Book of Thoth), but of the 22 Cells of the Qliphoth and the Tunnels of Set beneath the Paths, he did not write. The present book therefore completes the work he left unfinished" (Ibid.).

Set is the Egyptian god of evil and darkness, one of whose forms is that of a great serpent. He is therefore another name of the Death Dragon, Coronzon.

READ HERE: The Confessions of Aleister Crowley @ www.hermetic.com

 

 

Book of Thoth

THE DEVIL

The Book of Thoth : a Short Essay on the Tarot of the Egyptians, being the Equinox, Volume III, no. 5 by the Master Therion ; artist executant: Frieda Harris. Published by O.T.O., 1944 (London: Chiswick Press)

Crowley's major work on the tarot, was remarkable not least for its unusually handsome production at a time when - due to wartime paper restrictions - most British books were shoddy in the extreme. For the printing of The Book of Thoth Crowley had returned to the Chiswick Press, who somehow managed to unearth a stock of pre-war Arnold unbleached handmade paper. Seemingly rather oddly the Board of Trade had much more stringent restrictions on the use of paper for new books than it did for periodicals, and the fact that Crowley designated the volume as part of The Equinox series, coupled with the origin of the paper enabled him to produce such a lavish publication in a time of austerity. The book was bound in half (sometimes quarter) morocco by Sangorski and Sutcliffe, and issued in an edition of 200 signed copies.

The contents of The Book of Thoth clearly owe much to the tarot teachings of the Golden Dawn, although Crowley made a number of innovations: most notably changing the order of two of the trumps in accord with instructions contained in The Book of the Law. The volume is illustrated in colour and black and white with tarot designs executed by Lady Frieda Harris under instructions from Crowley.

The tarot is a set of cards featuring 21 trump cards, the fool, and an extra face card per suit, in addition to the usual suit (face and pip) cards found in ordinary playing cards. Tarot cards are used throughout much of Europe to play Tarot card games.

In English-speaking countries, where the games are largely unknown, Tarot cards came to be utilized primarily for divinatory purposes with the trump cards--along with the Fool card--comprising the 22 major arcana cards and the pip and four face cards the 56 minor arcana.

Crowley and Marguerit Frieda, Lady Harris

Marguerit Frieda, Lady Harris, nee Bloxham, (1877 – May 11, 1962) was commissioned by Aleister Crowley to paint the Thoth Tarot. Although involved in the women's branch of Freemasonry – Co-Freemasonry – her interest in the occult was not deep. Crowley had to initiate her into his Orders to expand her knowledge and commence the spiritual training necessary to design a deck of such power. By his own admission, the deck was intended to be traditional, but she encouraged him to commit his occult, magical, spiritual and scientific knowledge to the project. Apart from his mother, Frieda Harris was probably the strongest, longest lasting and most platonic relationship in his life. The extant letters from Frieda Harris to Crowley show her fondness and compassion for him, despite his regular begging for more money. Along with Louis Wilkinson, Frieda seems to be one of the few genuine friends in Crowley's life.

There were three significant events in 1937 - she met Aleister Crowley; he initiated her into his own Order, and she studied the teachings of Rudolf Steiner. Crowley was on the lookout for a talented artist for the three month Tarot project. His headhunter was Clifford Bax, playwright, author, and co-editor of an art & literature magazine entitled The Golden Hind between 1922-24, founded by Austin Osman Spare. On June 9th, 1937 Bax had intended to introduce the artists Meum Stewart and Leslie Blanche to Crowley, but they do not seem to have turned up, so he invited Frieda instead. Bax may have known Harris through Masonic links. Clifford Bax was also instrumental in introducing John Symonds to Crowley. Symonds takes up the Frieda Harris story:

"[Crowley] helped her through the portals of the mystical Order of the A.'. A.'. (Argenteum Astrum]]) She took the name of Tzaba “Hosts”, which adds up to 93; this is also the number of the thelema current which she was trying to tap." John Symonds, The Great Beast.

Frieda Harris was no stranger to ritual through her membership of Co-Masonry, but her knowledge was lacking. As well as reading books by Crowley, her studies of Anthroposophy were to be a critical aspect in the creation of the Tarot. It is quite possible that her studies of Steiner were suggested by Crowley himself. Crowley is on the record as saying that his mission was to continue the work of Blavatsky and Theosophy. Another avenue may have been Greta Valentine who introduced Frieda to Aleister. Greta Valentine was a London socialite whom Crowley loved, but probably never conquered.

"When they met in 1936 she was studying anthroposophy, the mystical teachings of Rudolf Steiner, whose school she attended. Her own interests stopped short of traditional occultism."

Greta was an artist friend of Frieda, and it was at her house in Hyde Park Crescent, London, that Frieda and Aleister worked on the Book of Thoth.

Frieda lived the construction and design of the deck to the point that events in her life mirrored the cards she was working on. For example, when she was working on the Eight and Nine of Swords, she experienced all sorts of accidents and delays.

Frieda was sending Crowley a regular stipend throughout the project. She was also using her society contacts to find financial backers for the exhibition of the paintings, the catalogues, and for the publication of the Tarot. The mental, emotional and spiritual pressures took its toll on Frieda, who became somewhat erratic. Aleister was sufficiently concerned to call in the lawyers to protect his 66% investment in the project. Despite the legal hitches, Aleister gives Frieda fulsome praise in the Introduction to The Book of Thoth - this from a man who spent much of his life creating enemies:

 

ALEISTER CROWLEY THOTH TAROT DECK

 

 

"She devoted her genius to the Work. With incredible rapidity she picked up the rhythm, and with inexhaustible patience submitted to the correction of the fanatical slave-driver that she had invoked, often painting the same card as many as eight times until it measured up to has Vanadium Steel yardstick!"

Throughout the project she insisted on her own anonymity, but she revelled in working for such a notorious man. Although the Book of Thoth was published in a 200 limited edition, neither Crowley nor Frieda lived to see the deck printed.

Frieda Harris
From Wikipedia, the free encyclopedia
(Redirected from Lady Frieda Harris)

 

 

 

The Great Work

There are several ways to view what magick is. Again, at its most broad, it can be defined as any willed action leading to intended change. It can also be seen as the general set of methods used to accomplish the Great Work (The term is also used in several spiritual traditions, such as Qabalah, Thelema, and alchemy, with a complex meaning that mainly refers to the philosopher's stone) of mystical attainment. At the practical level, magick most often takes several practices and forms of ritual, including banishing, invocation and evocation, eucharistic ritual, consecration and purification, astral travel, yoga, sex magick, and divination.

ALIESTER CROWLEY

READ HERE: The Confessions of Aleister Crowley

 

Egypt, in March of 1904, that Crowley had the most important experience of his life. Crowley had been trying for several years to contact his Holy Guardian Angel using the methods described in The Book of the Sacred Magic of Abramelin the Mage with no success. However it was in Cairo that Crowley finally encountered an entity known as Aiwass, whom Crowley believed was his Holy Guardian Angel.

According to Crowley's own account, while (unsuccessfully) trying to summon sylphs for his wife's amusement, she began to receive a very powerful psychic message from the Ancient Egyptian god Horus.

Skeptical of his wife's sudden clairvoyancy, Crowley demanded answers to a series of questions from her, of which she had no possible prior knowledge. Upon answering all things correctly, he took her to a museum, and after passing several images of Horus (which the still skeptical Crowley reports, he "noted with silent glee"), she pointed across the room to a stele which could not be clearly seen from where they stood. When they examined the stele (now referred to as the Stele of Revealing, it was painted with the image of Horus, and to Crowley's further conviction, it was labelled as item number 666 in the museum catalog.

 

Crowley had himself adopted 666 as his personal moniker in rebellion to his religious upbringing many years before. After invoking Horus, Crowley made his fateful breakthrough. For three days Crowley took dictation from the entity identifying itself as Aiwass, the resulting text, Liber AL vel Legis, became what is now known as The Book of the Law.

This book was to become the central core of Crowley's philosophy. Crowley was named the Prophet of a New Aeon which would end the Age of Osiris and usher in the Age of Horus, a signal that a new era had begun for mankind, and that the old religions were to be swept aside.

The 3 key philosophical ideas outlined in the book are:

Do What Thou Wilt Shall Be The Whole Of The Law

Love Is The Law, Love Under Will

Every Man And Every Woman Is A Star

Interpretation of what "Do What Thou Wilt..." in contemporary times seems to have deteriorated into "do whatever you want...", however it seems clear that the meaning was more along the lines of 'doing that which your higher self dictates'. The higher self, or "Will" is present in all of enlightened people. In order to follow your "Will", one must know oneself. And self knowledge is the central basis of most successful philosophies.

Sister Cybele (Leila Waddell)

Sister Cybele (Leila Waddell) Priestess, musician, scarlet woman and inspiration for many of Crowley's writings.

After the encounter with Aiwass, in typical grandiose fashion, Mathers received a letter announcing that the Equinox of the Gods had come, and that Crowley had forged a new link with the Secret Chiefs, thus making him the supreme magical authority. This naturally resulted in a magical duel, which Crowley seems to have eventually won.

A study in contradictions, Crowley was a pioneering mountain climber, a pioneering homoerotic poet, a pioneering ritual magician, a heroin addict (not so pioneering), a sleazy womanizer, a closet homosexual, a vocal feminist, a racist, a German collaborator, a British secret agent, a civil rights advocate, a talented amateur artist, a legitimately profound mystic and an infuriating charlatan.

ALSO SEE: Demonology ... AND The Lesser Key of Solomon

READ HERE: The Confessions of Aleister Crowley @ www.hermetic.com

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The Magick and Legend of Aleister Crowley

ALIESTER CROWLEY

Edward Alexander Crowley was born at '36 Clarendon Square' in Royal Leamington Spa, Warwickshire, England, between 11:00pm and midnight on October 12, 1875. READ HERE: The Confessions of Aleister Crowley www.hermetic.com

ALIESTER CROWLEY AGE 14

His father, Edward Crowley, was trained as an engineer but according to Aleister, never worked as one . He did, however, own shares in a lucrative family brewery business, which allowed him to retire before Aleister Crowley was born.

His mother, Emily Bertha Bishop, drew roots from a Devon and Somerset family.

Both of his parents were Exclusive Brethren, a radical wing of the Plymouth Brethren.Crowley grew up in a staunch Brethren household and was only allowed to play with children whose families followed the same faith. His father was a fanatical preacher, travelling around Britain and producing pamphlets. Daily Bible studies and private tutoring were mainstays in "Alick's" childhood.

On February 29, 1880, a sister, Grace Mary Elizabeth, was born but lived only five hours. Crowley was taken to see the body and in his own words (in the third person):

"The incident made a curious impression on him. He did not see why he should be disturbed so uselessly. He couldn't do any good; the child was dead; it was none of his business. This attitude continued through his life. He has never attended any funeral but that of his father, which he did not mind doing, as he felt himself to be the real centre of interest." ... The Confessions of Aleister Crowley

On March 5, 1887, his father died of tongue cancer. This was a turning point in Crowley's life, after which he then began to describe his childhood in the first person in his 'Confessions'.

After the death of his father to whom he was very close, he drifted from his religious upbringing, and his mother's efforts at keeping her son in the Christian faith only served to provoke his skepticism. When he was a child, his constant rebellious behaviour displeased his mother to such an extent she would chastise him by calling him "The Beast" (from the Book of Revelation), an epithet that Crowley would later adopt for himself. He objected to the labeling of what he saw as life's most worthwhile and enjoyable activities as "sinful".

The unicursal hexagram

The unicursal hexagram is a hexagram or six pointed star that can be traced or drawn unicursally, in one continuous line rather than two overlaid triangles. This is significant as the triangles are often used to represent opposites such as fire and water or male and female. The unifying of the symbol into one represents the synthesis of opposites.

The unicursal hexagram is a hexagram or six pointed star that can be traced or drawn unicursally, in one continuous line rather than two overlaid triangles. This is significant as the triangles are often used to represent opposites such as fire and water or male and female. The unifying of the symbol into one represents the synthesis of opposites.

The unicursal hexagram, as pictured to the right, is one of the key symbols within Thelema, the tradition founded by Aleister Crowley in the early part of the twentieth-century. Crowley did not invent the unicursal hexagram, the emblem was created by the Hermetic Order of the Golden Dawn and adapted by Crowley for his own use.[citation needed]

Crowley's adaptation of the unicursal hexagram placed a five petaled rose, symbolizing a pentacle (and the divine feminine), in the center; the symbol as a whole making eleven (five petals of the rose plus six points of the hexagram), the number of divine union.

Combined with the Marian Rose, the unicursal hexagram becomes Crowley's personal sigil, which is the magical union of 5 and 6 giving 11, the number of magick and new beginnings.

When Crowley introduces the unicursal hexagram in his The Book of Thoth he writes that "The lines, however, are strictly Euclidean; they have no depth."

The ritual where he makes use of the unicursal hexagram is 'Reguli' (He also uses the "averse" pentagram in it). In the commentary he writes that

"...for the True Will has no goal, its nature being To Go. Similarly, a parabola is bound by one law which fixes its relation to two lines at every point; yet it has no end short of infinity, and it constantly changes its direction."

The ability to draw it in one continuous movement, like the pentagram, is significant in ritual magick.

Aleister Crowley and his first wife, Rose Edith Kelly. The couple were married on August 12th, 1903 in Dingwall, Scotland in a civil ceremony.

The union of Aleister and Rose proved passionate and fruitful, both personally and magickally for a short time before tragedy struck the couple in the guise of the loss of their children. They eventually divorced due to Rose’s struggle with dipsomania and other problems.

Despite the eventual ruin of Aleister and Rose’s relationship, Thelemites honor this date as one of great importance. It was Rose (in her role as Ouarda the Seer), who was the catalyst to a series of events which lead to the writing of The Book of the Law, the primary source of Thelemic philosophy.

The Abbey of Thelema refers to a small house which was used as a temple and possible training grounds founded by Aleister Crowley and Leah Hirsig in Cefalù, Sicily in 1920.

The name was borrowed from François Rabelais's satire Gargantua and Pantagruel, where an Abbey of Thélème is described as a sort of anti-monastery where the lives of the inhabitants were "spent not in laws, statutes, or rules, but according to their own free will and pleasure." This idealistic utopia was to be the model of Crowley's commune, while also being a type of magical school, giving it the designation "Collegium ad Spiritum Sanctum", The College of the Holy Spirit. The general programme was in line with the A.'.A.'. course of training, and included daily adorations to the sun, a study of Crowley's writings, regular yogic and ritual practices (which were to be recorded), as well as general domestic labor. The object was for students to devote themselves to the Great Work of discovering and manifesting their True Will.

Every Man And Every Woman Is A Star

Crowley had planned to transform the small house into a global center of magical devotion and perhaps to gain tuition fees paid by acolytes seeking training in the Magical Arts; these fees would further assist him in his efforts to promulgate Thelema and publish his manuscripts.

What both the Abbey and its master actually became was the subject of much rumor and hearsay, partly the gossip of locals but mostly the product of John Bull, a British yellow journalist with a particularly vindictive attitude towards Crowley. These included charges of sexual orgies, animal and child sacrifices, drug use, and bestiality. Crowley never admitted to these, but neither did he deny them, feeling that there was no such thing as bad publicity.

Raoul Loveday

Loveday died mysteriously at the Abbey in 1918. Loveday's wife began a virulent newspaper campaign claiming that her husband had drunk poisoned blood which eventually led to the Sicilian authorities closing the Abbey and deporting Crowley.

In 1923, a 23-year old Oxford undergraduate by the name of Raoul Loveday (or Frederick Charles Loveday) died at the abbey. His wife, Betty May, originally blamed this on his participation in one of Crowley's rituals. Later, however, she accepted the doctor's diagnosis of acute enteric fever contracted by drinking from a mountain spring. (Crowley had warned the couple against drinking the water. Lawrence Sutin reports all this in his biography of AC.) When May returned to London, she gave an interview to a tabloid paper. The Sunday Express included her story in its ongoing attacks on Crowley. With these and similar rumors about activities at Thelema in mind, Mussolini's government demanded that Crowley leave the country in 1923. After Crowley's departure, the Abbey of Thelema was eventually abandoned and local residents whitewashed over Crowley's murals.

The villa still stands today, but in very poor condition. Filmmaker Kenneth Anger, himself a devotee of Crowley, later uncovered and filmed some of its murals in his film Thelema Abbey (1955) now considered a lost film. Recently other murals were uncovered, and pictures of them were posted on the Internet. "Abbey of Thelema" remains a popular name for various magical societies, Witchcraft covens, and Satanist grottoes. It is also the name of a fan club for controversial rock star Marilyn Manson, who included the line "We're gonna ride to the Abbey of Thelema, to the Abbey of Thelema..." in his song Misery Machine. Experimental musicians Coil, known to be fascinated by mysticism, went a step farther in "The Sea Priestess" on Astral Disaster, whose lyrics are a bizarre interpretation of the murals in the Abbey.

Magick, in the broadest sense, is any act designed to cause intentional change. To change nothing into something and something into something else. The spelling with the terminal "k" was repopularized in the first half of the 20th century by Aleister Crowley when he introduced it as a core component of Thelema.

Bronze amulet head of Pazuzu. Neo-Assyrian period, circa 800-550 BCE. Probably from Nimrud (ancient Kalhu), northern Iraq. British Museum ANE 93089

For Crowley, the alternate spelling was used to differentiate it from other practices, such as stage magic. Magick is not capable of producing "miracles" or violating the physical laws of the universe (e.g., it cannot cause a solar eclipse), although "it is theoretically possible to cause in any object any change of which that object is capable by nature".

Aleister Crowley "The Wickedest Man In the World."

Crowley preferred the spelling magick, defining it as "the science and art of causing change to occur in conformity with the will." By this, he included "mundane" acts of will as well as ritual magic. In Magick in Theory and Practice, Chapter XIV, Crowley says:

What is a Magical Operation? It may be defined as any event in nature which is brought to pass by Will. We must not exclude potato-growing or banking from our definition. Let us take a very simple example of a Magical Act: that of a man blowing his nose.

Crowley saw magick as the essential method for a person to reach true understanding of the self and to act according to one's True Will, which he saw as the reconciliation "between freewill and destiny. Crowley describes this process:

One must find out for oneself, and make sure beyond doubt, who one is, what one is, why one is...Being thus conscious of the proper course to pursue, the next thing is to understand the conditions necessary to following it out. After that, one must eliminate from oneself every element alien or hostile to success, and develop those parts of oneself which are specially needed to control the aforesaid conditions.

ALIESTER CROWLEY THE SCHOLOR AND WORLD TRAVELER

Since the time of Crowley's writing about magick, many different spiritual and occult traditions have adopted the spelling with the terminal -k, but have redefined what it means to some degree. For many modern occultists, it refers strictly to paranormal magic, which involves influencing events and physical phenomena by supernatural, mystical, or paranormal means.


Crowley made many claims for the paranormal effects of magick; however, as magicians and mystics had done before him and continue to do after him, Crowley dismissed such effects as useless:

So we find that from November, 1901, he did no practices of any kind until the Spring Equinox of 1904, with the exception of a casual week in the summer of 1903, and an exhibition game of magick in the King's Chamber of the Great Pyramid in November, 1903, when by his invocations he filled that chamber with a brightness as of full moonlight. (This was no subjective illusion. The light was sufficient for him to read the ritual by.) Only to conclude, "There, you see it? What's the good of it?" -- (Crowley, The Equinox of the Gods)

Even so, Crowley realized that paranormal effects and magical powers have some level of value for the individual:

My own experience was very convincing on this point; for one power after another came popping up when it was least wanted, and I saw at once that they represented so many leaks in my boat. They argued imperfect insulation. And really they are quite a bit of a nuisance. Their possession is so flattering, and their seduction so subtle. One understands at once why all the first-class Teachers insist so sternly that the Siddhi (or Iddhi) must be rejected firmly by the Aspirant, if he is not to be sidetracked and ultimately lost. Nevertheless, "even the evil germs of Matter may alike become useful and good" as Zoroaster reminds us. For one thing, their possession is indubitably a sheet-anchor, at the mercy of the hurricane of Doubt— doubt as to whether the whole business is not Tommy-rot! Such moments are frequent, even when one has advanced to a stage when Doubt would seem impossible; until you get there, you can have no idea how bad it is! Then, again, when these powers have sprung naturally and spontaneously from the exercise of one's proper faculties in the Great Work, they ought to be a little more than leaks. You ought to be able to organize and control them in such wise that they are of actual assistance to you in taking the Next Step. After all, what moral or magical difference is there between the power of digesting one's food, and that of transforming oneself into a hawk? -- (Crowley, Magick Without Tears)

Stele of Revealing

Stele of Revealing

Within Thelema, the Great Work is generally defined as those spiritual practice leading to the mystical union of the Self and the All—"The Great Work is the uniting of opposites. It may mean the uniting of the soul with God, of the microcosm with the macrocosm, of the female with the male, of the ego with the non-ego." According to Aleister Crowley, this is first represented by what he called the "Knowledge and Conversation with the Holy Guardian Angel." From another perspective, he also considered the Great Work to be the pursuit of self-knowledge, to "obtain the knowledge of the nature and powers of my own being." Although Crowley often discussed the idea of "succeeding" or "accomplishing" in the Great Work, he also recognized that the process is ongoing:

The Quest of the Holy Grail, the Search for the Stone of the Philosophers—by whatever name we choose to call the Great Work—is therefore endless. Success only opens up new avenues of brilliant possibility. Yea, verily, and Amen! the task is tireless and its joys without bounds; for the whole Universe, and all that in it is, what is it but the infinite playground of the Crowned and Conquering Child, of the insatiable, the innocent, the ever-rejoicing Heir of Space and Eternity, whose name is MAN

 

Mr. Crowley Lyrics
Artist(Band):Ozzy Osbourne

Mr. Crowley, what they done in your head
(Oh) Mr. Crowley, did you talk to the dead
Your lifestyle to me seemed so tragic
With the thrill of it all
You fooled all the people with magic
(Yeah)You waited on Satan's door

Mr. Charming, did you think you were pure
Mr. Alarming, in nocturnal rapport
Uncovering things that were sacred, manifest on this earth
(Oh)Conceived in the eye of a secret
Yeah, they scattered the afterbirth

Mr. Crowley, won't you ride my white horse?
Mr. Crowley, it's symbolic of course
Approaching a time that is classic
I hear that maidens call
Approaching a time that is drastic
Standing with their backs to the wall

Was it polemically sent?
I wanna know what you meant
I wanna know
I wanna know what you meant, yeah!

Mr. Crowley is a 1980 heavy metal song performed by Ozzy Osbourne (with Bob Daisley contributing lyrics, and Randy Rhoads the music), released on the album Blizzard of Ozz. The song is one of Osbourne's first two singles as a solo artist following his expulsion from Black Sabbath. It reached #46 on the UK charts. The intro, guitar solos and harmony line all were some of the earliest neo-classical metal parts ever written.

Mr. Crowley is a 1980 heavy metal song performed by Ozzy Osbourne (with Bob Daisley contributing lyrics, and Randy Rhoads the music), released on the album Blizzard of Ozz. The song is one of Osbourne's first two singles as a solo artist following his expulsion from Black Sabbath. It reached #46 on the UK charts. The intro, guitar solos and harmony line all were some of the earliest neo-classical metal parts ever written.

Aleister Crowley served as the Outer Head of the Order from 1922 until his death in December of 1947. Crowley's first act as O.H.O. was to reconfirm the charters of Jones and Tränker as Grand Masters for North America and Germany, respectively. Tränker, on Jones's recommendation, invited Crowley to formally assume leadership of O.T.O. as well as of the various organizations included in the Pansophical movement, at a conference to be held at Hohenleuben, near Weida, in the summer of 1925. The other attendees of the conference were: Heinrich and Helene Tränker; Karl Germer (Saturnus, Jan. 22, 1885 - Oct. 25, 1962), at the time Tränker's secretary and publisher); Albin Grau; Eugen Grosche; Martha Künzel; Henri Birven; a gentleman named Hopfer; Crowley; Crowley's associates Dorothy Olsen, Leah Hirsig, Norman Mudd; and others.

Aleister Crowley served as the Outer Head of the Order from 1922 until his death in December of 1947. Crowley's first act as O.H.O. was to reconfirm the charters of Jones and Tränker as Grand Masters for North America and Germany, respectively. Tränker, on Jones's recommendation, invited Crowley to formally assume leadership of O.T.O. as well as of the various organizations included in the Pansophical movement, at a conference to be held at Hohenleuben, near Weida, in the summer of 1925. The other attendees of the conference were: Heinrich and Helene Tränker; Karl Germer (Saturnus, Jan. 22, 1885 - Oct. 25, 1962), at the time Tränker's secretary and publisher); Albin Grau; Eugen Grosche; Martha Künzel; Henri Birven; a gentleman named Hopfer; Crowley; Crowley's associates Dorothy Olsen, Leah Hirsig, Norman Mudd; and others.

Ozzy came up with the song's title, a reference to the infamous Aleister Crowley, and Bob Daisley's subsequent lyrics are addressed to him. The song's lyrics do not display a profound knowledge of Aleister Crowley. His last name is mispronounced (it rhymes with "holy"). The lyrics ask "did you talk with the dead?", where Crowley believed in reincarnation. The lyrics state that Crowley "waited on Satan's call", where -- despite his reputation as a Satanist -- Crowley did not believe that Satan even existed.

Mr. Crowley seems to cast the life of the occultist in a critical light; Osbourne asks Crowley, "Mr. Charming, did you think you were pure?" and invites Crowley to "ride my white horse". It is commonly thought to refer to Crowley's addiction to heroin which was a prescribed medication for him. The line is open to interpretation, as Osbourne indicates in the following line, "It's symbolic, of course." Osbourne ends the song with a plea to the long-dead Crowley, "Was it polemically sent?/I wanna know what you meant", perhaps referring to Crowley's often-controversial doctrines. Osbourne also says in the reissue of Blizzard of Ozz that, in Black Sabbath, he had a roadie named Frank who'd worked with Led Zeppelin and Jimmy Page had given him a book signed "To Frank, Polemically Yours".

MR. CROWLEY

Do What Thou Wilt Shall Be The Whole Of The Law

ALSO SEE: Demonology ... AND The Lesser Key of Solomon

The Confessions of Aleister Crowley Crowley, Aleister, CONFESSIONS OF ALEISTER CROWLEY, 2, 1971, Bantam, PB. Edited by Kenneth Grant and John Symonds. You would think that  massive  1058 page paperback would  defy  the most dedicated reader, but the Crowley revival probably really went into high gear with the publication of this tome.

READ HERE: The Confessions of Aleister Crowley @ www.hermetic.com


THE TAROT DECK: The Book of Thoth : a Short Essay on the Tarot of the Egyptians, being the Equinox, Volume III, no. 5 by the Master Therion ; artist executant: Frieda Harris. Published by O.T.O., 1944 (London: Chiswick Press) by Aleister Crowley (Author), Frieda Harris (Author )This book describes the philosophy and the use of Aleister Crowley's Thoth Tarot, a deck of Tarot cards designed by Crowley and painted by Lady Frieda Harris. The Thoth Tarot has become one of the best-selling and most popular Tarot Decks in the world.

Crowley Thoth Tarot Deck back

In 1943 Crowley had a series of collotype printing blocks made to reproduce in color the images of seven individual tarot cards plus the design that he intended to have printed on the reverse side of each card. The plates were primarily struck so that high-quality color prints could be made to tip into his forthcoming The Book of Thoth, however he also took advantage of their availability to have a small test run of those cards made, for distribution to friends and acquaintances who might be persuaded to help finance the full printing of the pack. These are two of that test run. Each with the Rose Cross design on the back. Very unusual, and the true first printing of one of the most famous tarot decks.

 

ALEISTER CROWLEY WALLPAPER

ALIESTER CROWLEY WALLPAPER

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BOOKS BY  

Aleister Crowley

The Confessions of Aleister Crowley : An Autobiography by Aleister Crowley

The Book of the Law/Liber Al Vel Legis by Aleister Crowley

Demonology

Demonology Past and Present: Identifying and Overcoming Demonic Strongholds

The Lesser Key of Solomon

The Book of the Sacred Magic of Abramelin the Mage by Samuel MacGregor Mathers

Necromancy and the Ceremony for the Resurrection of the Dead by Eliphas Levi

 
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