The Thirteenth Principle of Hermetic Magick is that the
reciprocal nature between fundamental inner traits and Cosmic traits allows
the conscious will to assume communion through contact with environmental
correspondents, symbols, and especially alertness of one's own vital power;
and to encode the appropriate force with ones' focused intent, as in the
case of Magick, or to encode one's subjectivity and environmental responses
to the theme of the force, as in the case of the mysticism.
At one time, mysticism or the Ascending tendency of the
Kabballah, and Magick, or the Descending tendency of the Kabballah were seen
as hostile; yet this century has seen a wiser approach by linking the two.
For it is necessary to achieve a sympathetic shift in
consciousness to make the links needed for Magick, and there is a conscious
use of this link and often of environmental correspondents to bring about a
modification of subjectivity by a magickal force.
Recall that when a force is summoned, encoded, and sent to
perform a task, this operation is called Evokation, and when subjectivity is
infused to create new competence, the operation is known as Invokation.
The key is shaping the consciousness with a theme and
focusing it into a will, that gathers and then encodes the power appropriate
to the theme. Evokation tends to a four--step process resembling the
elemental cycle, and Invokation tends to a three--step process resembling
the elemental cycle; and Invokation tends to a three--step process
resembling the union of the three principles. The Magus becomes Fire or
Sulphur, by forming a coherent will; the force responds as Water or Mercury,
the empowered trait becomes Salt, or the conscious correspondent of intent
and force, through symbols, ritual structure, theoretical and thematic
understanding becomes Air; and then a target situation or result brings the
work to Earth. More sophisticated ceremonies recapitulating the Secret
Ascent or the Worldly Cycle of the Zodiac, or the structure of the
Kabballist Tree of Life, could also be useful.
Having an actual script for a Magickal Rite is not only very
useful for the technical part of the Work; but it will be shown to be
extremely valuable for strengthening the Artistic and Venusian aspect of the
work of this Manifesto.
The scheme above, scripted or not, does have to call forth
real power as well as being psychologically evokative. For we repeat that
this Manifesto affirms the literal truth of Hermetica; and there is more to
Magick than psyching yourself out, or to put it another way, having touch
only with Water and Air.
Deep rhythmic breathing while keeping still in body and
thought will either put you to sleep, or if you maintain your alertness,
will bring you, in a very Earthy way, into contact with the Power. By
meditating on the practical way that an Element or Planet or Zodiac sign is
seen in life, you will find an Earthy touch with each power, as well as
working on the artistic possibilities of each; seeing the entire scheme
working together while engaging in this kind of breathing will put one into
contact with these powers at their actual work.
Doing this meditation for an hour and then a simple but
well--understood ceremony on a daily basis, for a month will surely give the
needed contact, even if the meditation does not appear to produce anything
spectacular.
Once any practical effect is willed and achieve while having
an earthy touch with the power, an inner or an Outer result being the
emphasis, one will have what can only be called a Fiery touch with the power
also.
There is another method, not exclusive with the above.
By preparing a symbol of one's purpose, raising one's power,
and directing one's power of concentration to that symbol as singly as
possible, one can often bring that symbol to reality. This often requires a
longer period for more objective effects, as this is a more Lunar operation
which allows the subconscious to weave magical forces to this symbol.
This sort of Magick is known as Astral or Virtual Magick when
done on it's own. However, developing an ability to make representative
symbols that can be visualized as strongly as possible, it will become
clear, is a quite powerful adjunct to Ceremony; we will once more draw upon
this point..
In this Manifesto, we add a special aspect of Venus as well
as the traditional Lunar auspice of this technique, inasmuch as we
understand that successful Art compliments our more Mercurial powers in
working Magick as a complimentary purpose of our artistic work.
For doing artwork while preparing to become proficient at
ceremony, in general and especially with this work, is the best way to call
power and awaken the faculty to use the power.
Also, the Power is in the environmental correspondences,
including the traditional "weapons" or ikons of Hermetic Magick, and knowing
and using these will hasten the approach of magickal powers.
There are good books on power--exercises and upon the many
correspondences, especially the 777 of Aleister Crowley.
The simplest and most powerful are colors, herbs, incense,
and numbers. For visual artists and text artists who know how to give a good
description or carry off a good chapter structure all of these will be
useful in keying their art to their ceremony.
The most useful colors are indigo for Saturn, blue for
Jupiter, red for Mars, green for Venus, orange for Mercury, yellow or
sometimes gold for Sol, and violet or silver for Luna.
For the Elements, red is traditional for Fire, blue for
Water, yellow for Air, and black or all the first three and black for Earth;
Sulphur is red, Mercurius blue, and Salt yellow.
The planetary colors represent the refracted light of the
rainbow, and the elements represent reflected light, since they are more
tangible in the world of Earth. The middle, Green stripe is symbolic of
Venus as the marriage of the Planets. The Zodiac, for ritual purposes, uses
the seven colors, in the Roy G. Biv order; mixing in the Water and the Earth
signs, except for Capricorn, which receives Indigo; subtleties of this
scheme repay study.
Numbers and colors are building blocks for permanent magickal
symbols; this procedure will be described presently.
However, there are deeper considerations that must be
considered in any rite, wether or not color, incense, or a script are used:
1). Names of Power
2). Magickal Weapons
3). Direction and Motion
4). Symbols, Gestures, Numbers, Formulae
5). Preliminary Banishing and Calling, other operations
6). Enigma, Metaphor, and the 3=4 principle.
7). Scripting
Only point 7). will be covered in the next section, when this
final phase of the theory is more explicitly stated in terms of Artwork.
Names of Power are names that are more than psychologically
charged when chanted or vibrated.
Chanting invests power and more, invests concentration in
them and is more mental; vibration is an actual power move supposing that
the exhaled breath is the medium that released the encoded power to the
world.
One might chant while rehearsing a ritual and building up
power, and possibly a chorus would chant during ritual to provide atmosphere
and persons recipient to the encoded power, but the encoder should vibrate
at the moment of decision even if they have built their power and
understanding of the word through chanting. Visualization is a useful
adjunct to such preparation, as is conscious development of broader or more
precise meaning of the word while it is being chanted. This should be
complimented by times of a silent mind during preparatory chanting.
They are spoken only at key times in the ritual, when they
power is most directly being worked. The names in 777, the names of the very
advanced Enochian system of Magick, which is definitely a later study; of
Neoplatonism and the Hebrew Kabballah and Gnosticism, all carry power and
all are found in an afternoons' reading. Yet they are also capable of being
manufactured, especially for an Artist; and these will be just short of the
terrible power of the keys of Enoch.
They must be pronounceable, consistently used, powerfully
spoken, personally meaningful. They are greatest when the corresponding
color is visualized at the time that they are vibrated.
Weapons, or as the author prefers, tools, representing and
consecrated to the forces of Magick combine color, inscribed or painted
names of power, and often number, to make a point of physical contact
between trait and force. The tools each undergo a ceremony to consecrate
them, and they should be used individually or at most by very trusted
persons only. After repeated use, the tools gain power and focus. They are
generally used on an altar.
A hollow red wand represents Fire; a Blue or Silver cup
represents Water, a yellow--handled knife represents Air.
Earth is represented by a Pentacle; a painting, usually round
wooden, and carved, with 4 quarters for red, blue, yellow, and black; a
motto of ones best and most general purpose around the rim; a symbol for
Spirit in the center, often a white circle; and imposed on top, a seven
pointed star, or a six--sided star with the Sun in the middle; and some
prefer to have an octave instead. The Pentacle represents Earth in the broad
sense of the tangible collection of all the forces of Magick one could work
with; structured by ones broadest and best intent.
There are two ways to represent the planets, and also a
third, as well as the Zodiac.
One means to represent these forces is to make a second,
solid wand, with a white undercoat which is left unpainted at the top
segment; a black bottom stripe at the lowest segment, and Planetary or
Zodiac colors in the middle, in a meaningful order. This is used for
gestures and to symbolize active use of these forces.
Second, to symbolize integrated existence with all of the
Planetary forces is a necklace or breastplate, known as the Lamen. The Lamen
is similar to the Pentacle in using motto, symbol, and an indication of
integrated forces, but this represents the Inner reserve of the Quintessence
and the Elements should be a lesser factor in the Lamen. The Pentacle is the
situation or the means of the Magus, and the Lamen is the system, or plan,
or integrity of the Magus that allows control of those means. Each should be
designed accordingly.
These two tools undergo Rites for each and all Planets; the
Lamen should be reserved for a time when one understands an overall vision
of one's ritual work; but some Magi prepare Planetary Wands first to
consecrate the Elemental Tools.
The third way is to make tools for each planet; this has
become less common. Saturn is often represented by a scythe; Jupiter by a
wheel or by coins, Mars by a sword or spear or a whip; Venus by a Girdle, or
sandals with a Venus--shaped toe strap; Mercury by a pen, feather, a
Caduceus Wand or mixed coins; Sol by a Lamp, sometimes by a simple Lamen,
Luna by a Silver crescent or a silver bowl.
Imagination, research, Mythology, and 777 will uncover other
possibilities; this is especially true if one wishes individual Zodiac
tools.
Tools for the principles are somewhat unusual, but sometimes
there has been a whip for Sulphur, a fan or Dagger for Mercurius, and a
chain for salt; a search of the Grimoirs of old will show many other
idiosyncratic weapons for these forces that earlier operators have devised.
Weapons often have the Names of Power and such symbols as
numbers and so forth painted on them, backed by their complimentary colors.
Aside from objective power, the tools are useful bases for
enhancing one's power of visualization and color association.
Both the Words of Power and the Tools really contain power;
and so does the use of directions and the motion in a ritual; it is these
most deeply powerful parts of ritual that allows less directly powerful
names, gestures, and such to be formulated.
The four Cardinal directions are associated with the
Elements, and the Elements are called from these directions; and the Planets
from the direction of Fire; unless some other element describes a more
accurate insight into how they are to be used for the situation and purpose
of the ceremony; and sometimes they are called in directions for their
natural sympathy, position in the sky at the time, and so on.
Some Magi use East for Fire because it is the direction of
the rising sun and some use South because it is in its' highest point
relative to the Earth when it appears in Cancer.
Air is opposed to Fire, and Earth to Water.
There are subtleties behind this arrangement, and one of the
repayments of considering them in detail are other schemes for arranging the
elements relative to direction and spatial division,
More importantly yet, clockwise turning or spinning about the
altar will attract force and counter--clockwise motion will banish and
disperse force. These do not seem to be optional, though some Magi make
variations for some of the Outer planets.
All of these considerations are Analytical; they examine the
parts.
Gestures, Numbers, and Formula synthesize, or move towards
synthesis after an initial period of analysis. They are the Air or Earth for
the Fire and Water of calling and receiving the power.
The first ten numbers symbolize the concepts of the ten
Sephira, and with some ingenuity all the numbers above ten can combine or
elaborate the functions of these numbers, or by adding the digits together
'till one of the first ten are obtained, it is possible to find a numerical
symbol consistent with the Hermetica that will represent just about any
concept.
Magi often include a number whose implications the have
worked out on their Lamen, generally equating it with their Motto. Often
they use a system of assigning numerical values to letters to obtain a
correlation between a verbal and a numerological scheme. Remember that
Hebrew, for example, was used as a number system as well as an Alphabet.
For example, the number 11, 1+10 or 1+1=2, is taken to mean
the work of infusing the world with the original naive creative wonder, or
for some, with the purity, of the quintessence. The number 40, 4 10 is taken
to be a number of very concrete manifestation, where the constructive urge
of Jupiter has found work with the forces collected and shaped in sphere
ten, perhaps managing to be unchanged in original intent after having passed
through the other spheres. Note that 11, by adding it's digits becomes 2,
and 40 becomes 4; also note that 40 could be said to include the more
mystical 0 in its' conception as well as 4 and 10.
Thus, some analysis might begin the process of assigning
meaning to a number, but finally the number exists to find a sense that
synthesizes all of them: and the process of achieving this understanding is
both the means of consecrating that number and the end towards which it is
consecrated.
For all of these numbers are really equations of
relationships between the first 10 numbers and for symbolic purposes, some
equations are only equalized in a metaphorical, metaphysical sense.
For example, the numerical formula of this Manifesto is
15=69; because 7+8 or Mercury and Venus equals 15, 6+9=15, and 6+9 reminds
us that Sol and Luna are the powers that Mercury and Venus sculpt in this
work. A study of the Kabballah, especially supported by further study of its
expression in the Tarot, will reveal other concepts collected there.
We have also discussed the formulae 2=(3=4=5)=1 and 7=1;
additionally we may represent the way that the three phases of each of the
elements is represented in the Common Cycle of the Zodiac as 3=4=12; and we
may represent the role of the Planets and the Secret Ascent as (3=4)=12=7;
and all of these may be modified if they are used in a specific operation
that may be represented by a specific number.
This approach to number allows an intuitive or metaphorical
result from logical and analytical means; and many magi claim that actual
lines of power connect numbers that have been treated this way. That issue
is a decision for individual magi and artists to make. Narrative artists;
those using text and those not, should take note.
Mottos are more directly verbal expressions of a Magickal
plan, and often they are in a foreign, ancient, Dead, or synthetic language
of one's choice. They can be spoken when swearing an oath, or when purpose
or culmination are reached.
For example, Aleister Crowley chose the motto Perdurabo, or I
Will Endure To The End.
Magickal formulae are the mottos of operations rather than
operators. They are usually spoken at the moment of salt/Earth/ Saturn/10;
they might be an anagram of all names or at least sources of power; for
example, VeMeLu could culminate a work of dream, Magick, and Art; or the
Hebrew names of the spheres might also be used: NeHoYe. The Number could be
789 or 6, or some other, depending on the imagination of the operator.
These are vibrated like Names of Power. Even if the aesthetic
sense of the Operator does not allow for the inclusion of spoken Magickal
formulae, examining and contemplating them is a very good mental preparation
for the actual operation itself.
All the above may be considered as a Mercurial equivalent of
Visualization.
Gestures can be made to ones' liking, if only they combine
theme, purpose, force, and consistency; people exploring the concept of
checkrows may wish to consider adding contact with Checkrows for especially
powerful or decisive moves.
The basic purposes and stages of operation are enhanced by
having gestures. Direction of Calling, Evokation or Invokation, wether one
banishes or calls, a gesture to begin and to culminate and to terminate, all
profit by having a gesture assigned to them.
It is good to have a gesture for each force, especially for
Invokation, and especially if one desire consistent and deeper success at
invoking a force.
Repetition and experience will infuse ones' own homemade
gestures with power over time.
Especially for this Manifesto, a symbol for marrying two
forces should be devised.
Like the prior two concepts, gestures are best if they
integrate many concepts into a common higher meaning that has some personal
aspects. Artist should well understand that most concepts collect other
symbols into themselves as a part of their intrinsic meaning.
With imagination, a script for a ceremony could be made with
what has been written, and effect could be achieved.
Yet there remains a significant safety and power factor to
consider, and some details of the types of operations to be consider before
beginning work.
For the place of working must be banished certainly of the
Elements, and usually of the Planets; by motion, direction, by words of
power, by tools, and by symbols and visualization when these have been
developed.
Then, all forces should be called in, and the preferred ones
emphasized afterwards in the ceremony itself.
This task assures a link with the ambient forces and that the
forces are not joined by themes or incoherence, none of which ever are to
the Will of the operator. Calling the forces is a question of success, and
banishing a matter of safety.
We have mentioned Evokation, which Mercury shapes, Invokation
which Venus shapes, Consecration which Luna shapes, creation of Talismans
and Amulets which Saturn shapes along with Luna.
Additionally, there is Initiation, where contact with a force
allows reintegration of the ego; this is shaped by Sol.
If ceremony is understood, Invokation and Evokation will see
to themselves; but the theory is useful.
Mercury shapes Evokation only inasmuch as a message is sent;
any force can be evoked and any force can develop that Evokation. Mercury
can be the Air that knits as well as the water that develops Evokation.
Venus controls Invokation to the extent that it is a marriage of likenesses.
Since this Manifesto marries Venus and Mercury to enhance the
quality of Artistic messages and processes, one might wonder which one is
more essential to the work.
In fact, the essential operation is to explore both; using
Evokation for inspiration and Invokation for producing an effect upon the
audience at least as often as the reverse. Here is a practical use of the
formula 15=69.
Partly this is from the perspective of daring that is a
feature of this work, in taking the risks of an Artist doing Magick. Also,
this derives from a deeper motive to fully exploit a concept discussed at
the beginning of this section.
Every Invokation first involves a message to the desired Myth
or Force; every Evokation inspires the Magus with the corresponding trait
and reserve of force within. The work of Mercury and Venus are already
married in terms of the operations they guide being married to one another;
and if Venus can balance any operation and echo it's marriage to Mercury in
doing so, then surely a union of Art and Magick is the most logical
development and application of the union of mysticism and Magick.
Sol and Luna always cross this union, and their operations
are no exception; the full artistic theory of this Manifesto cannot be
understood without them.
Luna is the governor of the Preliminary Banishing and
Calling; and also the consecration of Magickal tools. Luna is also of great
significance for other kinds of consecration, which is finally the work of
Saturn.
This is a practical secret of the Lunar phases; for the
knowledge of those who wish to go beyond pure theory.
The waxing moon, leaving the sun, has the power to dispense
and to aid in integrating power to a purpose; the waxing moon has the power
of the clockwise direction. The waning moon releases, disperses, and
banishes. The full moon gives us a time to unite divided halves for higher
power in synthesis; the dead moon gives a time to retreat to our own core
resources.
The individual Calling and Banishing works at all times, but
a greater strength will be noted in one or another phase of the moon, 'till
initiation allows you to call on your private reserves of power more fully.
Symbols that are given the power to bind and attract are
called talismans and their ceremony is performed at the waxing; symbols
which are given the power of counterclockwise motion are consecrated at the
waning, and these are called amulets.
Each in their own way, the full and dead moons are good times
to call works of Magick to a culmination.
All the above should be considered for Astral Magick, which
is Lunar at foundation even with our Venereal enhancements.
Saturn should be called to give borders and a beginning,
method and end to more specific symbols of an operation; this prevents
counter--reaction, unwanted means being used to an end, or a work outliving
its' time. Only through the scythe of Saturn does Luna remember to birth.
The Moon holds all; by itself the Amulets and Talismans work on their own
time and the moon, holding every means is dreamy and indifferent to what
means are used or to see the end come about in practice.
Sol is concerned with integration; and in the point at which
the individual consciousness turns synthesis and analysis into more concrete
traits; Sol touches on all traits if the Moon gathers them home to Earth.
Sol does the work of initiation or the permanent linking of
Cosmic traits to corresponding inner traits.
The operator should seek initiation into all the Elements and
then the Planets. This will show in the power, truth, beauty and integrity
of all rites and art done in the course of this Manifestos' operation.
Consecration of the tools is Evokation, initiation is
Invokation but perfecting each operation requires an operation of the
compliment. Consecrate your tools as an initiate; put your tools to work in
invoking with great power and sympathy with the contacted force.
All of this has thematic and technical implications for the
Art that focuses the use of these theories.
Dream, imagine, think, and apply this Idea now; then read the
explication of this statement.
The last operation to be described here is an example of our
final theoretical point of Magick explicit and art implied: the power,
truth, and beauty of enigma and secrecy, correctly understood and applied.
Another perspective of this general theory, by Eliphas Levi,
equates the elements with basic powers or virtues that a magician needs:
Fire is action, Water daring, Air knowledge, and Earth Silence. These were
also equated with Leo, Scorpio, Aquarius and Taurus.
This Manifesto proposes that these virtues need to be
reconsidered to marry Eros and Hermes. We repeat the Thirteenth Principle;
that the reciprocal nature between fundamental inner traits and Cosmic
traits allows the conscious will to assume communion with and to encode the
appropriate force with ones' focused intent, as in the case of Magick, or to
encode subjectivity or force one with the other as appropriate to the task;
to achieve exalted virtues in either case.
This Manifesto proposes that Fire and Sulphur shall be Power;
action infused with the force matching the intent.
Water and Mercurius shall be Beauty, not only daring but an
appreciation for what is dared and an appreciation of the pursuit itself;
elegance to shape power. Air and Salt shall be Truth; not just an abstract
awareness but a personal identification with and sympathetic understanding
of the subject of intent.
Further, we remove these virtues from specific Astrological
attributions, though Aries, Pisces, and Aquarius suggest themselves for the
first three: But we will give them deeper and more flexible ability which
these signs only indicate; and no such scheme will work for understanding of
our fourth virtue.
According to the former explanation, the Silence of earth
meant secrecy in doctrine, operation and aspiration in Magick. Yet never in
the past did this protect the knowledge from the malicious or the unworthy
and only empowered them briefly when they gained secrets to guard; and
silence before manifestation never yet harmed a well woven work by breaking
or saved a botched work with it's empty guard.
At times Prudence, or the Truth of the Environment and Times,
suggested secrecy in this sense with wisdom; we leave this question to the
Truth of Air.
Yet Silence, or Enigma, may be known in a higher sense that
has always kept its' root in the nourishing Earth This mystery has two
senses: tactical and strategic.
According to one understanding, all things leave the
quintessence by having a certain vibration; and all things are entered by
butler vibrations or overcome by mightier vibrations unless they do this
themselves or unless they adopt the higher strategy of Silence. For if
hearing, and every other sense is a reaction to vibration, Silence is either
a genuine absence of a vibration, or a vibration that always achieves a
sympathy with that which would detect and attack.
Silence is the capacity to become or at least issue the
compliment to any obstacle or attack. This is the means, this higher
silence, to enter the subtle and overcome the mighty. Yet there is a higher
meaning to the virtue of Silence.
Secrecy, Silence, or Enigma, not only guarded the basic
techniques of Magick, though never from natural intuition or ability.
Silence also guarded the literal meanings of many metaphors, different for
various lodges and circles and traditions; metaphors used to teach the Truth
of various insights and perspectives. The previous Adepti were correct, to a
good degree, in shrouding the Enigma of their insight with Silence, yet the
frequent mistake was to guard enigma as if Prudence had stated that Enigma
must be guarded against the Inquisition that could not receive Enigma.
The real purpose to guard Enigma is to guard the opportunity
of a newcomer to see the insight from a parable by a sudden shift in
insight; this is an initiation.
This is the power to unite a part of the mind with a concept
appropriate to that part of the understanding, and so usable by that same
trait; this is an appreciation of the idea for itself, this is a firsthand
occupancy or even identification with the idea. To grasp the meaning of a
metaphor is to find power, beauty and truth; to hold them Integrated in
Enigma and Silence.
This much the Adepts understood, and many others know what it
is to miss a conundrum and to have it explained: at that moment, a mystery
dies.
The Adepts feared that to speak the Mysteries would kill
their awakening in all who heard too early. Here, the Adepts feared too much
and harmed Enigma the more. Thus twice were you asked to remember your
questions.
For Enigma will always be borne anew. If a person has had a
puzzle spoiled, only to think on the dead conundrum and find its' unborn
twin, a new insight found by pursuing the life of the dead and taking a
single step, at a sudden moment, to the side. Or a person may think, to
their own surprised delight, of a new mask for a known and wooden--voiced
truth; and there is even the possibility that the holder of an enigma, if
they speak to the power, beauty, and truth of a
Indeed, in the old Mystery schools, the revelator or
hierophant or sybil often spoke the sense of the mystery at the end at a
climactic peak, to the desired effect. The only flaw in this plan is not
that their Mysteries were spoken, in time, to the unready, but that they
were spoken by those unready in the Mystery that has just been explained.
There is a surer means yet, for those who equally work Art
and Magick; a statement or symbol may have many meanings, some connected and
some to be accepted on the power of their own Truth and Beauty, for every
essence has a time in the Earth and a time to be itself also. Let symbols
and Enigmas, where possible, carry meanings that unfold over time with
contemplation and practice; this is the strategy to which this Manifest
aspires.
This Manifesto draws a distinction between puzzles and
Enigma. For puzzles carry the answer in their own gap, but Enigma forces the
worker to fill the answer from a new awakening of insight; at least a new
use of an old faculty; and if a Cosmic correspondent responds to this with
marriage, there is an Initiation; and not only through the work of Sol.
Here is the central secret of the truth, beauty and power of
this Manifesto: the means by which the Magick may always work with Art, and
by which the silent enigmas of this Manifesto may be identified in their
work and mystery. Here is the means by which a final theoretical integration
of these concepts may allow Art to be discussed clearly by its' own name.
For all this is an inward doctrine with broader outward
powers yet. The two kinds of Silence are of a kind: in accepting the Enigma
of each thing, we may apply tactical silence, and by daring to let our
Enigmas to find a voice. we know our Art and our Magick will always awaken
more and more mystery; we know that by accepting this challenge and working
true that we will always have the silence to give sound to those truly
powerful and beautiful voices kept locked away by those who have never heard
the silence of enigma. We have the silence, secrecy, the integrity to
counter the dust of death in words gone dry, and in images faded into their
own paint.
For as tactical silence is the secret of integrity against
the subtle and mighty foe, it is the integrity which allows this Manifesto
to speak forth and always call a new mystery forth in its own growth. All of
this said on mystery is the full meaning of 3=4 and of performing every
marriage by Venus; and it will be seen again that in full, 3=4=5.
This Manifesto will let its ideas part from it, for a time,
will let the world be shut away, certain that in time, everything separate
from this work (especially that which is most hostile) will find its own
time as a symbol to give meaning to, and to invest power in. Willingly does
the work of this Manifesto let some of its idea go the way neither of truth
nor beauty; by letting them take in the planets in their own way, this work
of Mars will bring them home when they have gotten power to make mystery. In
working with power, beauty, and truth, three may choose earth or may choose
the silent quintessence as the beginning of a new project. Three has two
avenues to be come four and start over; this is five and every work of Mars
in splitting from one thing is taken into the work of Venus again. Let the
dice of Jupiter roll also; let Saturn reap in it's due time.
Therefore the mystery that Eros balances all the works of
this Manifesto; the mystery that 3=4=5; and the enigma of integrity in
silence are all one mystery of quintessence and of earth; of power, beauty
and truth integrated by a secret love that dares to speak forth the enigma
of its name. Two more principles, belonging to this Manifesto more than
general Hermetic Theory will be expounded presently; but the essence is
already given; and a final caution concerning balance that might be best
understood with the whole of our perspective behind it.
Add to this that fortune, perhaps, can be the final arbiter
of any one immediate phase of all this work, and that our counter is a
deeply embedded mystery of this Manifesto: work indeed.
Borrowed
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