shamanism_spirit_evocation_witchcraft

 

DE UMBRARUM REGNI NOVEM PORTIS

THE NINE DOORS TO THE KINGDOM OF SHADOWS

AUTHORED BY THE SUBLIME HAND OF DIANA-LUCIFERA

 

The publisher of the De Umbrarum Regni Novem Portis goes by the name of Aristide Torchia who is a fictional character from the novel entitled, The Club Dumas, which was first published in 1993, written by Arturo Pérez-Reverte. The events of the novel takes place hundreds of years after Torchia's death, whom is referenced only as a historical figure. Torchia is also mentioned in the film The Ninth Gate directed by Roman Polanski, which is based on aforementioned novel. The film is a neo-noir, mystery thriller about the rare book business, wherein the mercenary rare-book dealer Dean Corso (Johnny Depp) is hired by bibliophile Boris Balkan (Frank Langella) to validate a Seventeenth-century copy of The Nine Gates of the Kingdom of Shadows, and what he encounters en route of otherworldly experiences. The book was of course featured prominently in the film, which then spawned a collector market for said tome to be verily placed next to H.P Lovecraft's literary creation of the Necronomicon on many a dusty bookshelf.

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The fictional back story of Torchia is that he was born in 1620. He apprenticed in Leyden under the Elzevir family. After returning to Venice he published small works on philosophical and esoteric themes. In 1666, Torchia published the De Umbrarum Regni Novem Portis, which was in turn based on the Delomelanicon, or Invocation of Darkness, a work supposedly written by Lucifer, which would allow the reader to summon Devils. However Lucifer was orginally known as Diana-Lucifera in ancient Rome before the Christian's turned her into a male, which Roman Polanski was no doubt well aware of while formulating characters for his film in which Corso is followed around by a strange woman who has supernatural abilities like that of a 'Valkyrie.' As for Torchia the Inquisition eventually condemned him for practicing Magic and Witchcraft and burned him at the stake in 1667.

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Torchia may have been based upon the very real Giordano Bruno (1548 – February 17, 1600), born Filippo Bruno, was an Italian Dominican Friar, Philosopher, Mathematician and Astronomer; Bruno is best known for his Scientific insight who perceived that the Universe is infinite, but in doing so he made many enemies amongst the Church. Bruno lived during the time when the New world of the America's was being raped by the Church whose native peoples suffered genocide at the hands of the Christian's. While the America's was being systematically ravaged by the Church Bruno's theories of cosmology went far beyond the Copernican model, which identified the Sun as being but a star among an infinite number of other stars around which moved the planetary bodies. Bruno was one of the first European's whom conceptualized that the Universe is a continuum where the stars are identical in nature to that of the Sun; however Bruno was duly burnt at the stake by the Church in 1600 because of his Scientific curiousity, which was at odds with Church doctrine, whereupon the Roman Inquisition found him guilty of heresy.

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Long after Bruno's ashes were scattered to the four winds by the Church Bruno was finally recognised for his astute insights during the 19th and early 20th centuries; numerous Scientist's who were inspired by Bruno's astronomical findings regarded him as a proto-Scientist and a martyr for their cause whose research into creation and that of his modern scientific insights led to the ascendancy of Scientific inquiry, which eventually broke the stranglehold of Church dogma over the mass Mind. However, there are those whom believe that Bruno's Scientific endeavour inspired the creation of the Illuminati and that his ideas in regards to the nature of the universe were but an unimportant backstage affair during his trial, whereas his pantheist beliefs, were seen to be far more dangerous and offensive by the Catholic Church. Should Bruno have had any contact with the discoveries coming out of the New World he would have no doubt found such information to be quite intriguing, which would have indicated interesting similarities between the Old-World and the New-World. Whether Bruno was aware of the Mayan World-Tree symbolism to thence equate with the Norse World-Tree of Yggdrassil one can only guess at.

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Besides that of his cosmological writings, Bruno had also written extensive works investigating the art of memory, whom put forward various mnemonic techniques and principles. The pioneering work of Frances Yates, suggested that Bruno had been very much influenced by Astronomical observations, which had been inherited from Arab Astrology, Neoplatonism, Renaissance Hermeticism and in turn that of prior Egyptian, Babylonian and Sumerian star lore; one could even conjecture that Bruno was perhaps privy to a now lost pre-Christian European tradtion. Other researchers have noted that Bruno had focused his attention upon Mathematics to thence apply its art to spatial paradigms of Geometry as well as to language, which had been prior investigated by the ancient Greek Philosophers.

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One can thereby deduce that the character of Dean Corso in Polanski's film is seeking to discover the truth behind Torchia's work, which masks Giordano Bruno's research into the underlying secrets of nature. One also has Torchia's book of the Nine Gates being authored by Diana-Lucifera of a Valkyrie who is following Corso throughout the movie.

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Although fictional, the 'Nine Gates' of Grimoire on face value derives its influence from the Hebrew tradition of the Kabbalah, which in turn had been prior influenced by Egyptian, Babylonian and Sumerian lore hearkening back to Shamanism; wherein one finds the symbol of the Tree interlinking Ten Spheres (Sephira) whose number becomes that of Nine; for Ten is reduced back to one of traditional practice. It is somewhat curious that the Physicists have devised an interesting schematic of Ten Dimensions, which just so happens fits quite nicely into the system of the Kabbalah whereby one can equate the numbered Planetary Sephira with the Dimensions to even include the hidden Eleventh Sephira of DAATH. 

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“In String Theory, Physicists tell us that the Subatomic particles that make up our Universe are created within ‘Ten’ spatial Dimensions (plus an ‘Eleventh’ dimension of "time") by the vibrations of exquisitely small "Superstrings". The average person has barely gotten used to the idea of there being Four Dimensions: how can we possibly imagine the Tenth?” (Rob Bryanton.)

shamanism_sorcery_chaos_magick

The Hebrew system of the Kabbalah's symbol of the tree, is often turned upside down where one has the roots in Heaven while the branches point towards the Earth or that of ones experiential reality. The symbolism of the Tree is originally derived from Shamanistic practice, which was perceived as being that of a World Tree one to also find in the ancient Norse mythology called Yggdrassill, which links Nine (Doors/Gates) Worlds.

shamanism_sorcery_chaos_magick

In Shamanistic practice the World Tree interpenetrates a Cosmic Mountain, which can be seen as being that of a Pyramid. Should one apply modern symbolism to this one can perceive the World Tree interpenetrating a Cosmic Mountain of a Pyramid as a huge (Irminsul) column of a Skyscraper whose Bordello Harem levels are occupied by salacious (Valkyries) Succubae.  

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The ideas presented below in association with the interesting woodcuts from the Nine Gates are derived in part from chapter one of the book entitled "Imagining the Tenth Dimension: a new way of thinking about time and space", written by Rob Bryanton of a modern day Giordano Bruno, which one could associate with the Hierarchal spheres of the Spirits found in many a Medieval Grimoire whose underlying Western Occult tradition is in the main based upon the Kabbalah.

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One can of course see the Valkyries all as Succubae occupying a Pyramidal Harem of a Bordello whose model can thence be equated with the Ten Dimensions, whereby one may be able to flesh out their characteristics and abilities further; this is more so the case when considering the Seven levels of a Hierarchy, which are equated with Planetary spheres and Alchemical Metals that one to find in many a Grimoire.

(The Planetary Spheres in association with the Dimensions were covered earlier in regards to the Valkyrie Succubus Belethi.)

 

shamanism_sorcery_chaos_magick_witchcraft

 

0. A point (no Dimension), which one could equate with the Ain Soph Aur in the Kabbalah. The  Ein Sof or Ayn Sof in the Kabbalah, is understood as being that of the Deity prior to his self-manifestation in the production of the world, probably derived from Ibn Gabirol's term, "the Endless One" (She-en lo tiklah). Ein Sof may be translated as "no end," "unending, there is no end," or Infinite. Hence a term like Ain Soph Aur means endless "light." One could equate ‘0’ as being that of the Centre of ones Magick Circle.

 

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One could equate ‘1’ as being that of the drawn Circle of ones Magick Circle to also equate with Kether in the Kabbalah.

 

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One could equate ‘2’ as being that of the Magick Circle divided by the Cross of Four directions of Length and Width but no depth, which could be equated with Chokmah in the Kabbalah.

 

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The Third Dimension – A Fold: SATURN. The Planetary Metal is Lead, which is equated with the ‘Knights’ in the Classical Goetia, otherwise called the ‘Amazons’ in regards to the Succubae. Saturn is associated with the sphere of Binah in the Kabbalah. One could perceive the ‘Triangle-Of-Art’ as representing the Third Dimension.

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In general one could perceive that a Spirit, which to exist within ones Three-Dimensional reality is closer to one than the skin on ones back, or should one say is the very life-force driving ones Cells and that of the intelligence residing within ones Serpentine Double Helix DNA. Such a Spirit determines ones life-span of a body clock to run ticking away as well as ones experience of Time affecting ones physicality; whereupon, if one can contact such a Spirit, one can perhaps change the timing of ones body clock to slow down, if not to stop it entirely, whence one attains physical immortality. Whether such is possible is debatable; if one was able to access the informational reality of the Dream to thence become Lucid, perhaps one could reprogram the body clock, which in turn will affect the bio-molecular level and therefore that of ones physicality.

 

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The Fourth Dimension – A Line: JUPITER. The Planetary metal is Tin, which is equated with the ‘Princes’ in the Classical Goetia or otherwise that of the ‘Princesses’ in regards to the Succubae. Jupiter is associated with the sphere of Chesed in the Kabbalah.

In general one could postulate that a Fourth Dimensional Spirit has a complete overview of ones Life from moment to moment whom cold allow one to access Memories to relive again or to visit ones self in the Past or Future to even slow down or speed up ones experience of Time. A Fourth Dimensional Spirit could enable one to have the experience of Precognition or that of Retrognition as well as to teleport objects from place to place of Poltergeist activity. It is within the Fourth Dimension one has the long undulating snake of an Ouroboros representing Eternal Recurrence, which one can experience rather than to hypothesize about, whereupon Precognition and that of Retrocognition is merely that of remembering what one has already experienced over and over again of Eternal Recurrence.  

 

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5. The Fifth Dimension – A Split: MARS. The Planetary metal is Iron, which is equated with the ‘Earls’ in the Classical Goetia or otherwise that of the ‘Countesses’ in regards to the Succubae. Mars is associated with the sphere of Gebdurah in the Kabbalah.

In general a Fifth Dimensional Spirit would allow one to access other probable futures contained within the Fifth Dimensional reality to thence collapse into the Fourth Dimensional line to experience as Time; in other words, of an example, the future outcome of a severe illness can be changed otherwise to heal instantaneously of another future outcome to manifest or to be avoided in the first place.

 

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6. The Sixth Dimension – A Fold: SUN. The Planetary Metal is Gold, which is equated with the ‘Kings’ in the Classical Goetia or otherwise called the ‘Queens’ in regards to the Succubae. The Sun is equated with the sphere of Tiphareth in the Kabbalah. It is here that one Sacrifices ones Elder self to attain a New Self via self-induced Trance or engineered Lucid Dreaming, which is equated with the symbolism of the Hanged Man; for when one accesses Trance or to Dream, such altered states are governed over by ones Reptilian-Brain-Stem of throat area, hence one has the Symbolic association of Hanging. As for Hanging upside down of Inverted Pentagram it represents that ones Conscious Awarenes of Five senses has been introverted into the Microcosmic realm of the Dream.

In general one could hypothesise that a Sixth Dimensional Spirit could allow one to access Alternate Selves to phase shift into via the informational reality of the Dream; however, those Alternate Selves, which are closer to one of shared memory are easier to slip into to be nigh unrecognisable of a phase shift than those whose memories are completely different of life-choices made. For example, an Alternate Self is about to win a large amount of money while ones present self is still destitute; should one be able to phase shift into the Alternate Self whom is about to become rich one miraculously attains ones desired fortune. The only difference between ones present self and ones Alternate Self is that ones present self is poor while ones Alternate Self is rich, both of whom share the same memories. Should one be able to phase shift into an Alternate Self via the Dream whose memories are entirely different to ones own, one may be able to possess ones Alternate Self for a time, but one will eventually be pulled back or to forget ones own memories, whereupon, ones Alternate Self should he/she remember anything at all will experience the now fragmented memories of ones present self as being but a strange Dream. However, via the intermediary of a Spirit one may be able to instantly access those Abilities of ones Alternate Selves to thence assume via the Dream.   

 

shamanism_sorcery_chaos_magick

 

7. The Seventh Dimension – A Line: VENUS. The Planetary Metal is Copper, which is equated with the ‘Dukes’ in the Classical Goetia, or otherwise called the ‘Duchesses’ in the regards to the Succubae. Venus is associated with the sphere of Netzach in the Kabbalah.

In general a Seventh Dimensional Spirit would allow one to access other Time-Lines, which in essence are Alternate Realities within which exist Alternate Selves, although in many of these Alternate Worlds one will not exist. It is here one can have Alternate Worlds like one to find in the Steampunk and Cyberpunk genre or that of Alternate Worlds where the Dinosaurs did not become extinct, Imperial Rome is still very much around, Napoleon won the battle of Waterloo or that of Nazi Germany winning WWII of numerous other possible worlds existing around one whose physics is the same although of different outcomes. A Seventh Dimensional Spirit could in essence initiate a physical Time-Slip into an Alternate World, which would be that of ones neural-net tuning into another reality via the informational realm of the Dream. One might be able to visit the Past or even that of the Future, but such may be that of Alternate Realities, which have little to do with ones present Time-Line of a reality.

 

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8. The Eighth Dimension – A Split: MERCURY. The Planetary metal is Mercury, which is equated with the ‘Presidents’ in the Classical Goetia as well as the Succubae. The planet Mercury is associated with the sphere of Hod in the Kabbalah.

In general an Eighth Dimensional Spirit would allow one to perceive parallel Universes via ones Dreams made Lucid of awareness whose physics are entirely different to ones own Universe and that of those Alternative Possibilities branching off it into Alternate Worlds of shared physical laws. It is here one can experience those parallel universe realities right out of fantasy, where Magick rules, such as a Harry Potter world whose physical laws are very different although similar in other ways, while there be Universes entirely different right out of a H.P Lovecraft story whose denizens look like creatures mentioned in the Necronomicon; there are of course those Parallel Universes one cannot even begin to imagine whose denizens would be around one without one even being aware of their reality, although they may be very much aware of ones existence whom have the ability to abduct one into their Universe of a UFO Abduction via the Ninth Dimension.   

 

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9. The Ninth Dimension – A Fold: MOON. The Planetary metal is Silver, which is equated with the ‘Marquis’ in the Classical Goetia, or otherwise called the ‘Marchioness’ in regards to the Succubae. The Moon is associated with the sphere of Yesod in the Kabbalah.

In general a Ninth Dimensional Spirit would be able to initiate ones Ingress into Parallel Universes to Quantum phase shift into via the Dream. As depicted in the woodcut above and that of Polanski's film Ninth Gate it is that of a Woman who initiates ingress into another reality; however, the Woman being spoken of here is that of a (Valkyrie) Succubus, while in the film Ninth Gate it was Diana-Lucifera herself whom enabled Corso to access another Universe to become as a Dragon of a World-Walker; for she was the Ninth Gate who had authored Torchia's book. Each Universe has its own signature of physical laws, hence, when one phase shifts into another Universe it entails one being torn apart at the informational level to be put back together in another way in accordance with the signature of the Universe accessed. This can be a truly terrifying experience for the unprepared, which many a UFO Abductee has endured that one to also find in Shamanistic lore being described as the Shamanic Dismemberment experience.

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One may experience ones self being torn apart by entities, surgically operated upon or that of fragmenting atom by atom before reassuming ones form in another world; the experience will be determined by ones consciousness seeking to understand the experience to thence utilise ones cultural imprints in order to comprehend it, even though ones fear may be overwhelming one at the time of the shift. However, the terror can be overcome when one understands what is going on, whereupon the experience changes accordingly to become ecstatic of nature and when initiated by a Female Spirit it is obviously Sexual, which leads one back to Polanski's film where Corso is ridden by Diana-Lucifera before he enters her Ninth Gate.

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Since the Parallel Universes do not share the same physical laws as ones own many of these other Universes will be quite Surreal of nature, whereupon inadvertent access into them will invariably lead to memory loss since ones present self would not be able to comprehend their reality at all, this is quite pertinent to UFO Abduction scenarios. The memory loss would be that of a natural protective mechanism in order to safeguard the protection of ones Ego from entirely fragmenting under the onslaught of the unknown. The UFO Abductee phenomenon often communicates that an outside agency of another order of intelligence initiates this process, which one to also find in Shamanistic lore; however, a Shaman can consciously call upon this other order of intelligence (Spirits) via Trance or vivid Lucid Dreams in order to access another universe by choice. The initial phase of a Shamans initiation often involves a scenario, which is akin to a UFO Abduction phenomenon prior to their control over the experience.

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The Shaman can return back to his/her world after visiting another Universe, but, it will not necessarily be the same world, which he had initially left; there might be observable differences such as others around the Shaman who no longer share certain memories of events that would be indicative of a return back to a world, although similar in many respects, is in fact that of an Alternate Reality. Time distortions will also be experienced and should the individual be unprepared they will suffer from acute amnesia concerning these experiences as well as post-traumatic-stress-disorders; in certain rare cases the individual experiencing such a phenomenon could duly go quite insane or to die of utter total all consuming terror, but more likely they would just forget.

 

THE KINGDOM OF SHADOWS

 

10. The Tenth Dimension – A Point? It is here one has the symbol of the Crown worn by the Magician, which has its ancient roots in the Horned headdress worn by the Shaman. The tenth Sphere in the Kabbalah is traditionally associated with the Earth, which is called the Kingdom; however, one can otherwise consider it to be the 'Kingdom of Shadows' whose secrets are encapsulated in the De Umbrarum Regni Novem Portis of a book, which in the Ninth woodcut of said tome Diana-Lucifera is holding in her hand while she rides a Seven headed Dragon whose heads represent the Seven hierarchal spheres of the (Succubae) Spirits. The Dragon its self represents a male adept who has been chosen by Diana-Lucifera to enter her Ninth Gate, whereupon he has opened the Seven seals (Chakras) within himself to thereby attain knowledge of the spheres who has control over the (Succubae) Spirits who reside within the (Quantum Dream) Kingdom of Shadows.

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THE SELF MADE HELL FIRE DESTRUCTION OF THE PATRIARCHS

Polanski's movie makes use of elegant locations, such as the Parisian Hotel Cayre and the Château de Ferrieres, as well as the Ville de Pontoise, all in the general vicinity of Paris. But it is the Castle of Puivert that is the Castle where Balkan will try to raise his Devil, where Corso will enter through the Ninth Gate. The fortress historically exists and is recorded at the start of Cathar Crusade, which suffered the onslaught of the Catholic Church against their opposing Heretics in the South of France. Puivert sits close to the Pyrenees, in the region of the other Cathar Castles, including the famous Montségur. Whereas Montségur became the last stronghold of the Cathars. What is interesting is that Polanski's film depicts the bibliophile Boris Balkan who had hired Dean Corso to find the authentic copy of the Nine Gates is eventually destroyed along with all his fellow followers who are of an ingrained patriarchal perspective whom perceive that their Devil, Satan or otherwise called Lucifer is a male deity in league with their God of religious indoctrination. Corso does not follow Balkan's dogma or that of his followers Gnostic hewn beliefs, which permeate all levels of society to kill others over in order to attain material power or otherwise that of spiritual dominion and influence over the world; Corso starts to become aware of unknown possibilities beyond this world, which he desires to know; whereby he is 'Chosen' by Diana-Lucifera to enter her Ninth Gate.

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Polanski could have clearly indicated that the strange woman who was shadowing Corso was in fact a Valkyrie of a Diana-Lucifera; but he no doubt left it up to the audience to figure it all out to thereby perceive that Diana-Lucifera had authored the Nine Gates, while Corso was the Dragon she to have chosen to ride. However, the audience never quite clicked to see that the woman was in fact Diana-Lucifera whom brought about the eventual destruction of all those who had a Patriarchal fixation by their own hand to knock each other off. The reason why most of the audience never quite grasped what Polanski was communicating via his Symbolist masterpiece is that they are just as much fixated upon the indoctrinated Patriarchal perspective of a collective Brainwash to not see beyond its lurid illusion through Gates to open within their Minds. One can say that the Vatican did a really good Brain job, to later inspire many an Evangelical Advertiser to investigate Neuromarketing. As for the Nine Gates of Symbolic association, each Gate corresponds with a (Valkyrie) Vagina; if one desires a second opinion just go and ask Sigmund Freud, although he be buried Nine feet under!

THE NINE GATES OF DIMENSIONAL WORLD WALKING SLIDER DRAGON

The ancient practice of Shamanism is nigh global, which stretches back into time over 40,000yrs if not further; one can find many examples of Shamanic practices in various cultures around the world involving the utilisation of Trance States and Controlled Lucid Dreaming via which the Shamans explored other levels of awareness, which one can equate with the exploration of other Dimensions.

“Before we discussed the First Dimension, we could say that we first started out with Dimension Zero, which is the Geometrical concept of the “point”. A point indicates a location in a system, and each point is of indeterminate size. The First Dimension then, takes two of these “points” and joins them with a line.

When we imagined the Fourth Dimension, it was as if we were treating the entirety of Three-Dimensional "Space" in a particular state as a single point, and drawing a Fourth-Dimensional line to another point representing space as it is in a different state. We often refer to the line we have just drawn as "Time."

Then in the Seventh Dimension, we treated all of the possible Timelines which could be generated from our Big Bang as if this were a single point, and imagined drawing a line to a point representing all of the possible Timelines for a completely different Universe.

Now, as we enter the Tenth Dimension, we have to imagine all of the possible branches for all the possible Timelines of all the possible Universes and treat that as a single point in the Tenth Dimension. Whew! So far, so good. But this is where we hit a roadblock: if we’re going to imagine the Tenth Dimension as continuing the cycle, and being a line, then we’re going to have to imagine a different point that we can draw that line to.  But there’s no place left to go! By the time we have imagined all possible Timelines for all possible Universes as being a single point in the Tenth Dimension, it appears that our journey is done.

In String theory, physicists tell us that Superstrings vibrating in the Tenth Dimension are what create the subatomic particles which make up our Universe, and all of the other possible Universes as well. In other words, all possibilities are contained within the Tenth Dimension, which would appear to be the concept we have just built for ourselves as we imagined the ten dimensions, built one upon another.” (Rob Bryanton.)

IMAGINING THE TENTH DIMENSION VIDEO

 
 

THE SHADOW KINGDOM OF THE IMPLICATE ORDERED MICROCOSMIC DREAM

In essence all these other Dimensions can be accessed from within, which one could equate with the Ten Sephira of the Kabbalah as well as the Seven Planetary spheres, which are listed in the Grimoires. The Nine Worlds of the World Tree of Yggdrassill described in ancient Norse mythology is also applicable; for Yggdrassill is surrounded by an egg, which one can equate with the Tenth Dimension; one even has the ancient Egyptian Ennead, while the Tenth reduces back to One and Zero of Binary Language. Perhaps one is living within a Computer Simulation, whereupon one can upload or download ones self into other Virtual Reality simulations. Whatever the case all these systems have a common thread winding back to a most ancient foundation in Shamanistic explorations of other Dimensions, which are seen to be frequented by varying forms of intelligence that are termed as being Spirits. The point of access into these other realms in the Kabbalah is that of the Eleventh hidden Sephira of DAATH, which is equated with ones Reptilian-Brain-Stem of throat area that governs  over ones depth of internal ingress into Trance and that of ones Dreams; hence one has the Symbolic motif of Odin Hanging him self upon the World-Tree of Yggdrassil, which actually alludes to Trance. The experience of Trance the Yogic practitioners equated with the attainment of 'Samadhi,' which leads one to the Haitian Loa called Baron (Samadhi) Samedhi. However Baron Samedhi or otherwise Samedi is French for (Saturn) Saturday, whom wears glasses with one lens missing, while Odin has one Eye, which leads one thence to the third Eye of Siva whom is a Master of the Death Trance of Samadhi.    

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"Lord Śiva said: My dear son, I, Lord Brahmā and the other Devas, who rotate within this Universe under the misconception of our greatness, cannot exhibit any power to compete with the Supreme Personality of Godhead, for 'innumerable Universes' and their inhabitants come into existence and are annihilated by the simple direction of the Lord." (Bhagavata Purana 9.4.56)

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EVERYTHING BE MADE OF LIGHT TO CHANGE BY THE SHADOW ART OF ONES ALCHEMY

There are many examples of Pagan survivals, where the elder pre-Christian and pre-Islamic beliefs have merged with other traditions such as in Vodou, which is a superb example of a cross-cultural synthesis, which has been merged with African belief systems; however, the media has the tendency to demonise such survivals to thence weave into grandiose conspiracy theories to thereby trivialise. The article below was written by Jacques Vallee who is a Computer Scientist, partner in a venture capital firm, and author of more than 20 books, including Passport to Magonia: From Folklore to Flying Saucers, The Invisible College, and The Network Revolution. The principle character of the Scientist in the film 'Close Encounters of The Third Kind' was based on Jacques Vallee:

"In our age of rational Science the Occult has never been more in demand: Angels and Demons are popular, the Da Vinci code and lost symbols fascinate audiences worldwide and Hollywood is eager to turn out more movies with a Paranormal theme. So why is it that so many of these stories seem flat, and fail to reach the level of insight into hidden structures of the world true esoteric adventures are supposed to promise?

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Perhaps the answer has to do with the failure of gifted directors to come to grips with the enormity of the unknown issues of human destiny, or to pose the fundamental questions their esoteric subject would demand. We go away charmed by artistic visions, dazzled by the pageantry of cardinals in red capes and titillated by women in black garters but the Illuminati only scare us because of the blood they spill, not the existential issues they should transcend. They behave like any other gang of thugs, even if they utter their rough curses in Latin rather than street slang, cockney or modern Italian.

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The circumstances that made this point clear to me arose when I watched again two movies within a few days, namely Kubrick's Eyes Wide Shut and Roman Polanski's The Ninth Gate. I was struck by the suspicious similarities and the enormous differences between them. In earlier viewings both had thrilled me with the superb photography, the great acting, and the expansive landscapes. A second experience made me wonder about the themes themselves: the contrast was striking. The story line of Eyes wide shut turns out to be not only unbelievable but downright silly. It could be summed up as "Handsome young millionaire doctor tries to get laid in New York for three days and fails!" In the process he has joined a fake black mass and deciphered a few facile occult clues but there is no point to any of it. I do understand that Kubrick, like Umberto Eco in Foucault's Pendulum, was attempting to say something profound about Magic and Eroticism but he only produced clichés, vague references to tired Grimoires and gratuitous gropings: those black garter belts again.

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The Polanski movie, in contrast, is dangerous and captivating from the very first frame. It combines a profound understanding of hermeticism with the breathless beauty of a quest for infinity. It completes it with the exquisite aesthetics of an adept who knows what should be exposed and what should remain hidden. Polanski has recognized the power and genuineness of his cause, his story, his landscapes, while Kubrick only exemplifies the well-trained academic intellectual who scrutinizes the magical from the outside and just doesn't get it, flashing the conventional symbols before us like so many obligatory props. Occultism is not science-fiction. The splendid photography doesn't fill the emotional gap.

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It was striking to me that both movies took the protagonists to very similar situations and to the same places - the region of 'PONTOISE' in fact, so charged for me in magical memories. Should we suspect that the scripts circulated from desk to desk in Hollywood, as is so often the case, and that both stories emerged from a bit of plagiarism? Let's not go that far: perhaps it was simply a case of lucky Occult coincidence." (Jacques Vallee)

shamanism_sorcery_chaos_magick

OF POINT AMIDST CIRCLE THE KUNDALINI FIRE SNAKE OF SEVEN DOOR ALCHEMY TO KNOW

An Occult coincidence indeed or that of similar interests in Alchemy becoming that of 'Light' captured into film. It is quite intriguing that both films point to 'Pointoise' of Occult interest, since it leads one to the conspiracy lore concerning the Merovingian's whom ruled over much of France, which was then called Gaul, a one time province of Rome's Empire. The Merovingian dynasty owes its name to the semi-legendary Merovech (Latinised as Meroveus or Merovius), leader of the Germanic Salian Franks, and emerges into wider history with the victories of his son Childeric I (reigned c.457 – 481) against the other Germanic tribes of the Visigoths, Saxons, and Alemanni. Childeric's son Clovis I (481 – 511) went on to unite most of Gaul, North of the Loire under his control around 486, when he defeated Syagrius, the Roman ruler in those parts. He won the Battle of Tolbiac against the Alemanni in 496, at which time, according to Gregory of Tours, Clovis eventually converted to Christianity because of his wife's Nicene Christian faith; although it probably had far more to do with politics, since the Roman Empire had by this time become Christian.

shamanism_sorcery_chaos_magick

The name of France was originally that of Francia, which is in turn derived from the name of the Franks whose Pagan beliefs were of similarity to other Germanic tribes and that of the Scandinavian peoples who worshipped Odin prior to becoming Christian. France was later invaded by the Pagan Norsemen who later became the Norman's, this leads one to 'Pointoise,'  which had once been the historical capital of the French (Frank)Vexin, while just over the border one had the Norman Vexin. One could conjecture that some of the anceint pre-Christian lore survived to be hidden away behind codes within dusty tomes, considering that the Franks were originally Pagan while the Norman's were one time Vikings from whose land the Knights Templar had originally stemmed. One also has Nicholas Flamel who was born in the region of 'Pontoise' at the beginning of the Fourteenth century, early 1330s - cir.1418. Flamel was a successful French scrivener and manuscript-seller who developed a posthumous reputation as an Alchemist due to his reputed work on the Philosopher's Stone. One can thereby deduce that the fictional character of Aristide Torchia is in part based upon Nicholas Flamel.

shamanism_sorcery_chaos_magick

As the legend goes, one night Flamel was visited by an Angel in a Dream. The Angel showed him a 'Book' to thence relate that he alone would come to understand its contents. It wasn't long before his Dream showed signs of becoming reality when he paid two florins for a manual of 21 pages. A diagram appeared on every Seventh page: the 1st showed a Serpent swallowing rods; the 2nd, a Serpent crucified; the 3rd, a treeless desert, at whose centre a fountain bubbled, with Serpents trailing from side to side. The Symbolism of the Serpent relates to the arousal of the Kundalini Shakti Fire Snake of Yogic practice, which ascends along ones spine penetrating ones Seven Chakras along its route; hence one has a diagram every Seventh page and that of another code relating to the Twenty-One cards of the Tarot card Major Arcana; some of these cards have interesting associations with the Norse Runes.

shamanism_sorcery_chaos_magick

The author of the mysterious Book claimed to be Abramelin the Jew, Prince, Philosopher, Levite, Priest and Astrologer. One could hypothesise that the name Abramelin is a composite name, such as that of Abraham (Abra) and the Norman-French name of Merlin (Melin) whose Welsh original was Myrddin, whom the Norse would have called Odin. If this is a distinct possibillity, then it would be indicative of a wedding of Hebrew, pre-Christian European systems and other influences from as far away as the far-East. Within the pages of the manuscript was a complete exposition on the art of transmuting Metals; however the said Metals and that of their associated Seven Planetary spheres are associated with what the Hindu Yogic practitioners call Chakras. The Book its self was addressed more to an Adept than that of a mere Novice; the Book took for granted that its potential student had already experienced what the Hindu Yogic pratitioners call the Kundalini awakening to thence gauge what the Philosopher’s Stone was all about; as for the Kundalini awakening, Merlin (Odin) would have probably seen such an experience as that of arousing the (Serpent) Dragon within one whose Fire Lights up ones head.

"Look well at this book, Nicholas," the Angel told him. "At first you will understand nothing in it, neither you nor any other man. But one day you will see in it that which no other man will be able to see." One could probably construe that said Angel is Diana-Lucifera whom the ancient Norse would have prior known as the Goddess Freyja who is the Mistress of the Valkyries and Witchcraft. One may also conjecture that the material, which Flamel was investigating was in fact that of a survival of ancient pre-Christian European Magickal lore; one can only wonder. However, all one has to do in order to glimpse the last vestiges of Paganism in Europe is to look at many a medieval painting, which depict interesting clues concerning folk customs, such as Yggdrassil May-Poles and Hobbyhorses since the Shaman God Odin rode an Eight-Legged-Horse when he trance travelled the World Tree.

shamanism_sorcery_chaos_magick

Nicholas Flamel intensely studied the Book, but he could not attain any understanding of its material. He eventually sought counsel with others, which he saw as being wiser than himself in such matters to no avail. For more than twenty years Flamel poured over the pages of the manuscript; since parts of the text were written in ancient Hebrew, his wife, Pernelle, made the suggestion that he should consult a Jewish Rabbi. However many of the Jews had been prior forced out of France to have thence migrated to nearby Spain, whereby Flamel travelled to Spain in his quest, where he made it his home for two years. It just so happens that Spain was one of the places to which the last remaining members of the Knights Templar fled to after being persecuted in France; many of whose principal members were burnt at the stake in Paris in the year 1310; during the following years most of the assets of the Knights Templar were seized by the Church. It is said while in Spain Flamel met a Jewish Doctor who was able to interpret the Symbolism of the mysterious manuscript, whereby giving Flamel the 'Keys' with which he would eventually decipher the entire contents of the Book. Joyous and with renewed vigour for his esoteric studies, Flamel returned back home to his wife to set up a small Paris bookshop. One could conjecture that Flamel had in fact made contact with the surviving members of the Knights Templar while he was in Spain.

shamanism_sorcery_chaos_magick

It is said that In February 1392 Flamel made Silver, which was duly followed in April 1383 when he made the Red Stone (Philosophers Stone) to thereby create Gold via his Alchemy. One could however theorise that Flamel's wealth had far more to do with Templar gold than to do with Alchemy. Eventually it would be said that Flamel also discovered the elusive Elixir of Life. The Flamel's utilised their new found wealth to help the Churches, Charities and Hospitals of the district, but continued to live modestly themselves. Flamel continued to write treatises on Alchemy, which can be still read today by the likes of Polanski and Kubrik.

shamanism_sorcery_chaos_magick

Some researchers who have investigated Flamel's writings have deduced that he probably practiced a form of Sexual Alchemy, which going by the Serpentine diagrams within the Abramelin manuscript may allude to a form of Tantric Kundalini Yoga, which involves erotic visualisations as well as the Sex act its self of ritualistic expression with a consenting partner who is also versed in the art, in order to transmute their Consciousness through sustained Orgasm. Kundalini Yoga also involves the experience of sexual entities inducing vivid Lucid Dreams called Dakinis, who are the energetic fluctuations of the aroused Kundalini Fire Snake as it arises along the spinal column to thereby penetrate the Seven Chakras, which in its self emanates from a feminine source. The Kundalini Shakti is none other than that of the Anima-Mundi World-Soul of the Alchemist's, which is otherwise known as the Quintessence and that of the Elixir whom be the (Red-Stone/Snake) of the Philosophers Stone. The Quinessence and that of the Elixir is often described as being that of a liquid Fiery Light, which is experienced internally to arise within the tube of ones spine to thereby thence set ones head aflame with an inner radiance; such an experience is very similar to the descriptions of the arousal of Kundalini Shakti, which leads one to Diana-Lucifera of a Light bearer.

shamanism_sorcery_chaos_magick

It is a possibility that Flamel had acquired rare texts from his Templar contacts in Spain; at the end of the day, he was a seller of manuscripts who knew full well that the Templar's had books, which his rich clientelle would pay many times their weight in gold for in order to acquire such rarities; however, times were still very dangerous; for the Church had eyes everywhere; whereby Flamel had to conduct his business in secret. Flamel's Magickal partner Pernelle 'died' two years before he eventually left his mortal coil; it is however believed that Flamel lived for 116 years. Flamel had made extensive preparations for both their funerals in minute detail, including the heavy slab of stone that was to cover his coffin and the arrangement of monthly services to take place at his own grave; on March 22 1417 Flamel died in his house in the ru des Ecrivains; however, some thieves decided to ransack his home and tomb after his death in the hope of finding any clues to the Alchemist’s great wealth and longevity, rumours spread like wildfire that the grave was found empty and that Nicholas Flamel was in fact still alive. During the 17th century the then Archaeologist, Paul Lucas, was sent to the East by Louis VIV. At Broussa, Lucas met up with a mysterious man wearing the clothes of a Turk. The man was said to have spoken several languages who talked of Immortality and the Elixir of Life; this individual related that Nicholas Flamel was one of very few people to have discovered its Secret. He also told Lucas that the Flamel’s were both very much alive. Their funerals had in fact been that of an elaborate sham. One could postulate that the mysterious individual who was dressed as a Turk was a descendent of the Knights Templar.

 

THE BOOK OF THE SACRED MAGICK

OF ABRA-MELIN THE MAGE

 

shamanism_sorcery_chaos_magick

THE HOLY GUARDIAN ANGEL OF GREAT WORK TO INVOKE

As for the mysterious manuscript of a Grimoire by Abramelin the Jew, which had influenced Nicholas Flamel's quest; one to find that the Grimoire could have been derived from the very same manuscript, which is now preserved in the Bibliothèque de l'Arsenal in Paris.  The preserved manuscript is a French copy of a 17th or 18th century original manuscript written in Hebrew called:  “The Book of the Sacred Magic of Abramelin the Mage, as delivered by Abraham the Jew unto his son Lamech, A.D. 1458”. The manuscript relates the story of an Egyptian Mage going by the name of Abramelin, or Abra-Melin, whom taught a system of Magick to Abraham of Worms, a German Jew who is presumed to have lived from c.1362 - c.1458; whereby he was a contemporary of Nicholas Flamel. One could postulate of theory that Abraham of Worms had created a fusion of Judaiac metaphysics to merge with a survival of Germanic Pagan knowledge, which is none to different to that of the ancient Norse, since the World Tree of Yggdrassil is very similar in many respects to that of the Cabbalist's Tree.

shamanism_sorcery_chaos_magick

The system of Magick from this book later regained popularity during the 19th and 20th centuries, which was due to MacGregor Mathers of the Hermetic Order of the Golden Dawn who translated the manuscript into English in 1899, and incorporated some of its attainments into the Golden Dawn’s working rituals when compiling them. The Book of the Sacred Magic of Abramelin the Mage, is one of the most important influences upon the Hermetic Order of the Golden Dawn, and later within the mystical system of Thelema, which was created in 1904 by Aleister Crowley; although the overall orientation is that of a Patriarchal perspective, whereupon Aleister Crowley's Holy-Guardian-Angel (HGA) was Male!

shamanism_sorcery_chaos_magick

However, Mathers had used the least-reliable copy of the manuscript as the basis for his translation, which contains many errors as well as omissions. The English translation of the manuscript by Georg Dehn and Steven Guth, is based upon the earliest and most complete sources, as well as being more scholarly and comprehensive. Dehn had attributed the authorship of The Book of Abramelin to the Rabbi Yaakov Moelin (1365–1427), a German Jewish Talmudist; although this identification has since been disputed. The text of the manuscript describes an elaborate Ritual whose purpose is to obtain the "Knowledge and Conversation" of the Magician's "Guardian Angel." The preparations are elaborate, difficult, and arduously long. All of the German texts describe a duration for the operation being that of Eighteen (multiple of Nine) months before any divine contact is made known; while in the Mathers translation, the Ritual lasts only Six months.

During the period of the Ritual, which is known as the Great Work, the Magician must pray daily before Sunrise and again at Sunset. During the preparatory phase of the Great Work, there are many restrictions: chastity must be observed, alcoholic beverages refused, while the Magician conducts his business with scrupulous fairness. After the preparatory phase of the Great Work has been successfully completed, the Magician's (Fylgjur) Holy Guardian Angel (HGA) will appear to the Magician whom will thence reveal Magickal Secrets. As the tradition goes of classical working, once the Magician has attained communion with his (Fylgjur) Holy Guardian Angel he must evoke the Twelve (Valkyries) Kings (Queens) and Dukes (Duchesses) of Hell (Lucifer, Satan, Leviathan, Belial, etc.) to thereby bind them to his will; hence, the Magician gains command over them within his own mental Universe, in order to remove their negative influence from his life. As one can tell these Kings and Dukes are associated with the Star Signs of the Zodiac and in turn that of Twelve Pentagonal slabs making up a Dodechadron. As for the Patriarchal slant of an all Male pantheon, one can see it as an Occult blind. These Twelve Spirits are not so much to do with negative traits but that of an observance of repeating patterns in ones life and that of certain manifest occurences at Key-Times to thereby transform of habitual perception; further, these (Valkyries) Spirits must deliver a number of (Succubae) Familiar Spirits; Four principal (Succubae) Familiars associated with the cardinal directions and Elements, as well as several more, which are associated with a set of Magickal Word-Square Talismans..

The Magickal goals for which the (Valkyries) Daemons can be employed are typical of those one to find in many of the Medieval Grimoires: the practitioner is promised by his bound (Valkyries) Daemons that he can attain the power to find Buried Treasure, cast Love Charms, the ability of Magickal Flight, to acquire the secret of Invisibility- as well as transmuting Lead into Gold of Alchemy, which be but a small number of examples; whereupon Nicholas Flamel appears to have been Evoking Spirits; although said Spirits may have been far more akin to (Valkyries) Dakinis or otherwise called Succubae than the classic Daemons should he have practiced a form of Kundalini Yoga. If so, Flamel had initially derived his practice from the works of Abramelin whom may have been influenced by far Eastern practices along the Silk-Road to merge with his Kabbalah, which no doubt incorporated elements from pre-Christian European Pagan practices as well.

The utilisation of (Rune Squares) Magick Squares feature prominently in Abramelin's Book of Grimoire, which has instructions for carrying out these operations, as well as relating a recipe for an anointing oil (taken from Exodus 30), which is popularly used by ceremonial Magicians under the name "Abramelin Oil". There are also several further tools listed such as a holy Lamp, a Wand made of an Almond branch, a recipe for incense, which is now known as "Abramelin Incense" (also taken from Exodus 30), various Robes, a Square or Seven-sided plate of Silver or (Bees) wax, etc. Due to the fact that the Great Work involves the Evocation of (Valkyries) Daemons, the Abramelin operation has often been compared to Goetic Magick, most especially by European scholars; although, the primary focus of the text is upon the Invocation of the Magician's Guardian Angel, and modern works on the subject tend to focus upon this aspect as well, whereupon one finds Dean Corso being followed around by his (Fylgjur) Holy Guardian Angel of a 'Woman.'

One could therefore deduce that the Fylgjur of a 'Holy Guardian Angel' is none other than that of the Kundalini Shakti, whom the Alchemist's called the Anima-Mundi World-Soul, wherefore the energetic fluctuations, which emanate from her liquid Light Diana-Lucifera (Fylgjur) radiance are ones Valkyries or otherwise perceived Daemons who are in fact all Succubae, which in the practice of Yoga are called Dakinis. For example, in Bon-Po Tibetan Buddhist practice and that of Tantra the Dakinis are seen to be in Sexual congress with alternative male aspects of the Magician; for it is the Dakinis whom empower his alternate guises. This doesn't sound too unbelievable since the internal experience of the liquid Light is probably that of the Biophoton emanating from amidst the Mitochondria suffusing ones Dreams and Visions of Evoked (Succubae)Valkyries/ Dakinis, which is passed down from the Mother to her children; wherefore the inner Diana-Lucifera Light emanates from a female source; what is more, the Mitochondria determines the energy output of every cell in ones Carbon-Based body; whereby if one be an Alchemist seeking to transmute the prior Lead of ones physicality into the Golden rebirth of an alternate self to assume so that one can attain Immortality it be the Mitcochondria one has to look into to thence change her 'Cyclic' energy output under 'Star Clock.'

The practical Magick of Abramelin (found in both Book III of the French text, and Book IV of the German original) is centred around a set of Talismans like that of Mandalas one to find in far Eastern practices, which are composed of Magick Word Squares. The letters one to find can be translated into Runes, especially those of the elder Futhark whose numerological associations have not changed, which are in turn associated with the Chakras; for one has Twenty-Four Runes divided into Three Columns of Eight Runes each, which are equated with the Three Nerve Channels (Ida, Pingala, Sushumna) running along ones Spinal-Column (Irminsul) of an Axis-Mundi World Tree of a Yggdrassil. These Squares are very similar to traditional Magic Squares one to find associated with the spheres of the Planets; although the latter are usually composed of numbers, while Abramelin's Squares contain letters. The (Rune Squares) Word Squares are usually used as puzzles or as teaching and memory aids for students. In the context of Abramelin's Sorcery, the focus becomes Mystical, whereupon each Square should contain Words or Names of (Valkyries) Spirits, which relate to the Magickal goal of the Square; such Squares were no doubt utilised like that of Mantras one to find in Yogic practice. A parallel of such Word Squares is found in the famous 'Sator Arepo Tenet Opera Rotas' Word Square of a Mantra, a differing version of which can also found among Abramelin's Squares.

For example, one can find an Abramelin Square entitled "To walk under water for as long as you want," which contains the word MAIAM, the Hebrew and Arabic word for "water". A Square for recovering Treasures of Jewelry begins with the word 'TIPHARAH' (a variant of Tiferet/Tiphareth), which can mean "Golden Ring" in Hebrew; Tipharah is also the name of the sphere of "Beauty" on the Kabbalistic Tree of Life depicting Nine Doors to the Kingdom of Shadows.