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  1.  Notes on the Star Ruby
  3. by Frater  H'yitem  k-Elohim
  5. Aleister Crowley wrote the Star-Ruby ritual as an improved and ThelemAlthough it is one of the most
  6. beautiful and powerful rituals left to us by the prophet, it is one of the
  7. least frequently used by Thelemic magicians.  This, no doubt, is due in large
  8. measure to the fact that much of the ritual is in Greek, a language few modern
  9. magicians read or speak; the matter is further complicated by the fact that
  10. both of the printed versions of the Star-Ruby contain significant errors in
  11. the Greek spells, and also disagree with each other.  However, these problems
  12. are easily dispelled with the help of a good lexicon, and once the language
  13. barrier is broken, the ritual is in no way more difficult to master than the
  14. ordinary Pentagram ritual. The magician stands at the beginning in the center
  15. of the circle, assuming the god-form of Hoor-paar-kraat [the Egyptian for the
  16. Greek Harpocrates, -Ed.].  After inhaling as deeply as possible, he cries:
  21. As he makes this cry, he sweeps his hand back and out, afterward retiring it
  22. once again in the sign of Hoor-paar-kraat.  The words, translate, "Away from
  23. me, all evil spirits!"  The magician thus banishes at the outset all forces
  24. which seek to interfere with his True Will.  This done, he forms the
  25. qabalistic cross, essentially identical to the Hebrew version used in the
  26. Lesser Pentagram.  Touching the forehead, he says: "SOI (SOI),"  touching
  27. member "W FALLE (O PHALLI),"  the right shoulder, "ISCTROS (ISCHUROS),"
  28. touching the left shoulder,  "ETCARISTOS (EUCHARISTOS)," and clasping the
  29. hands on the breast, "IAW (IAO)." The next part of the ritual consists of the
  30. formulation of the pentagram and the vibration of the divine Names.  The
  31. method of forming the pentagrams is different than in the ordinary Pentagram
  32. ritual; instead of tracing them into the air, the magician visualizes them in
  33. his forehead, and then hurls them with his hands towards the quarter, assuming
  34. as he does so the god-form of Horus [i.e., The Sign of the Enterer -Ed.]  and
  35. vibrating the divine Name.  Here however, we encounter a problem:  the names
  36. given in The Book of Lies are different than those given in Magick In Theory
  37. and Practice.  The latter gives THERION in the East, NUIT in the North,
  38. BABALON in the West, and HADIT in the South.  The former reads CHAOS in the
  39. East, BABALON in the North, EROS in the West, and PSYCHE in the South.  (see
  40. diagram 1.)  The version in Magick is perhaps preferable, both because the
  41. names are closely related to the formul� of the �on, and because these
  42. attributions are reinforced in Liber V vel Reguli (The Ritual of the Mark of
  43. the Beast, quo vide).  Note that the circle is formed in the opposite
  44. direction to that in the Lesser Pentagram; remember also to retire in the sign
  45. of Hoor-paar-kraat after each pentagram is hurled. The circle completed and
  46. sealed, we now come to a part of the ritual that has no counterpart in the
  47. Lesser Pentagram: the Paian, and the invocation which precedes the evocation
  48. of the Angels of the Quarters.  The magician chants IO PAN, simultaneously
  49. forming the signs of N.O.X., which are as follows: Puella, (girl), with head
  50. slightly bowed, the right hand covering the breast, and the left hand covering
  51. the genitals; Puer (boy), head erect, right hand raised, with the upper arm
  52. exactly horizontal and the forearm at a right angle to it, and the thumb
  53. extended at a right angle to the fingers, while the left hand rests at the
  54. genitals, the fingers clenched, the thumb extending in the imitation of a
  55. Phallus; Vir (man), head slightly forward, clenched fists raised to the
  56. temples with thumbs protruding outwards imitating horns; and Mulier (woman),
  57. head thrown back, feet widely separated, arms raised in a crescent as if
  58. inviting embrace.  The signs of N.O.X. thus trace a state of gradually
  59. increasing exaltation, beginning with the modest shyness of the young girl
  60. awaiting her lover, to the abandoned ecstasy of the last sign, in which the
  61. magician is completely rapt away in the love of Pan. At this point, the
  62. magician is sufficiently exalted to proceed to the evocation of the Angels,
  63. which he does (like any good Gnostic) in Greek.  The meaning of this imposing
  64. spell, with the exception of the names of the Angels, is the same as in the
  65. Lesser Pentagram:  "Before me ________, behind me ________, etc." until ".and
  66. in the column stands the six-rayed star."  The pronunciation is given here
  67. underneath the Greek words:
  69. Pro mou Iugges, opiso mox Teletarcai, epi dexia Sunoces,
  70. Pro mou Iungges, opiso mou Teletarchai,    epi dexia  Sunoches,
  72. ep'arisera  Daimonos.   Flegei gar peri mou o aster ton pente,
  73. ep'aristera    Daimonos.    Phlegei gar  peri mou ho aster   ton   pente,
  75. kai en thi sthlhi o asthr ton ex esthke.
  76. kai  en tei   stelei  ho  aster   ton  hex esteke.
  78. With regard to pronunciation, please note that G is always hard, as in goat;
  79. Ch as in Loch Ness, not as in cheese; u by itself as in German �ber, or
  80. English excuse; ou as in rouge; and ai is pronounced like y in sky. THIS
  81. PARAGRAPH COULD NOT BE READ IN FROM DISK After the evocation of the Angels,
  82. the magician repeats the cross qabalictic, as at the beginning.  Crowley then
  83. goes on to say, ".and end as thou didst begin", which may suggest a repetition
  84. of the phrase "Apo Pantos Kakodaimonos."  This must remain a matter of
  85. personal preference, since he may be referring only to the cross qabalistic.
  86. The student will note that Crowley does not specify an attribution of the
  87. Elements to the Quarters.  If the student wishes to use such an attribution,
  88. it is possible to simply use the attributions as they are given in the
  89. Pentagram ritual; in my opinion, however, it makes more snese to use the
  90. attributions of Liber V vel Reguli, since the same god-names are employed, as
  91. well as the same signs (those of N.O.X.).  These attributions are as follows:
  92. Earth in the East, Air in the North, Water in the West, and Fire in the South.  
  93. Similarly, they may wish to make one of the signs of N.O.X. at each of the
  94. Quarters, as in the Mark of the Beast.  In this case, the attributions are as
  95. follows: Puella in the North, Puer in the South, Vir in the East, and Mulier
  96. in the West.  It is also quite effective to employ a spiral dance during the
  97. Paian, although a little more complex.  If this is done, the magician may
  98. simply stop at each of the Quarters long enough to make the sign of that
  99. Quarter, then proceed through the spiral dance, continuing the chant, until he
  100. finally arrives at the center of the circle, there to evoke the Angels of the
  101. Quarters.  The possibilities are endless. The advantages of this ritual for a
  102. Thelemic magician are considerable (although not beyond question), simply
  103. because most Thelemites have a more intense emotional reaction to the name
  104. 'Nuit' than to the name 'Adonai.'  The Greek, while certainly a bit more
  105. difficult to memorize than the English in the Lesser Pentagram, is also more
  106. effective for many people, partly because of the beauty of the sound of it,
  107. and perhaps even more, because it is unintelligible.  (See Crowley's
  108. discussion of the Barbarous Names in Magick In Theory and Practice). Crowley
  109. notes in a footnote to both versions that the true sense of the Names is to be
  110. sought in the numeration thereof.  Space prohibits an analysis of this matter
  111. here, and perhaps it is better for each student to work these matters out for
  112. himself as practice familiarizes him with this beautiful and powerful r

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