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A BARDON

COMPANION

Dedicated to all sincere students

of Franz Bardon’s writings.

Rawn Clark

2002

CONTENTS

Author’s Preface p. 7

Part One

Introductory Material

p. 13

Part Two

Commentary Upon Initiation Into Hermetics

Introduction p. 27

Theory p. 30

Step One p. 42

Step Two p. 57

Step Three p. 67

Step Four p. 80

Step Five p. 95

Step Six p. 103

Step Seven p. 106

Step Eight p. 111

Step Nine p. 117

Step Ten p. 121

Part Three

Commentary Upon The Practice of Magical Evocation

p. 137

Part Four

Commentary Upon The Key to the True Quabbalah

p. 165

Appendix

An Essay on Shielding

p. 219

Author’s Preface

On a few occasions, I have been asked to write some sort of student's

guide to Franz Bardon's "Initiation Into Hermetics". Each time, I responded

with something like "I can't think of anything to add." And for years I've held

this opinion, but my experiences participating in an Internet e-board discussion

group about Bardon's works has led me to reconsider that sentiment. So,

when I was asked to rewrite the Franz Bardon FAQ that appeared on a popular

website, I consented to write a few things concerning the first four Steps of

IIH. Little did I know at the outset that I'd find all kinds of things to say!

Word junkie that I am, I ended up writing no less than 37 full pages of commentary

and answers to commonly asked questions. Even at that, hundreds

more pages could be written.

Making things understood, presenting concepts in such a way that it

is easy for the reader to grasp them, is the responsibility of the writer. But the

writer's responsibility stops there -- it is up to the reader to do the understanding

itself. And it’s the reader who doesn't quite grasp the author's meaning

that’s the one responsible for trying to figure it out. That is indeed the failing

of a written thing -- there is no chance for dialogue and for putting all your

questions to the author for clarification. Consequently, many written things

remain misunderstood by many, or at least only partially understood.

In the case of Franz Bardon's books, this is compounded by the fact

that as he wrote them, he placed himself in the perspective of the student who

is actually involved with the labor of the material he describes. For instance,

when he describes the exercises of Step Five in IIH, he is saying things that

only a student who has done the labor of the Step One, Two, Three and Four

exercises, will understand. Thus, the student who is in the middle of Step

Two, or the student who is reading IIH for the first time and hasn't even begun

the work, will understand what Bardon wrote regarding Step Five, less completely

than someone who has completed the Step Four work.

This was certainly the case for me and as I progressed through the

Steps. I was repeatedly surprised to find that I had previously misunderstood

things in the mere reading of the text that now made perfect sense because I

had done the work leading up to that point in the path. It was within this

thought that I found a reason for writing my commentaries.

I firmly believe that anyone who has progressed through IIH up to

the start of Step Five, has no need for outside advice. The student of Step

Five will have mastered the most rudimentary techniques upon which the remainder

of the course is constructed. Plus, the student will have learned the

ability to puzzle out their questions on their own and will have, by necessity,

honed this skill to a razor sharpness. At this point, IIH becomes much easier

for the student.

This stage, typified by the student's ability to ask their questions internally

and seek out answers through their own experimentation, is a necessary

part of the path of initiation. As you trod the path of initiation, the responsibility

for your progress falls more and more into your own hands. Inquisitiveness

and inventiveness are both important allies of the student of

magic and there are certain passages where that is all you will have at your

disposal to work with.

I have tried to find a balance between giving this fact its due respect

and trying my best to steer away from giving encouragement to those who

wish to leap farther than they are truly prepared to step. My compromise has

been to do two things in regard to IIH: First, I have limited my detailed commentary

and practical suggestions to the "Theory" section and the exercises of

Steps One through Four.

Second, I have written a commentary on Steps Five through Ten

which outlines some of the points where Bardon's way of writing from the student's

immediate perspective interferes with the understanding of the unprepared

reader. I will not offer my practical advice for these later Steps other

than in personal correspondence or conversation with practicing students of

those particular Steps. The same holds true for Bardon's second and third

books, the "Practice of Magical Evocation" and "The Key to the True Quabbalah."

I should add here, that I don't expect I'll ever be asked such questions

anyway. Everyone that I know that has reached these stages in their initiation

does not need to ask the advice of another person, consequently they don't

ask.

All of my internal rationale aside, I do have concern that those who

read IIH or who look ahead to the Steps to come, will get the wrong picture of

what it all really means. At many places in IIH, Bardon has to resort to metaphors

that can only be understood if you already know what all went into the

metaphor in the first place. It is difficult for the reader to make the subtle

connections between what is learned in one Step and what is then applied in a

new way in the next.

My concern is especially sharp when it comes to Bardon's PME and

KTQ. All too often I have encountered students who pick up PME and want

to START with evocation while totally overlooking what Bardon says

(repeatedly) about having to first reach the end of the Step Eight of IIH (or its

equivalent by other means) before beginning the work of PME or KTQ. It is

easy to think from the mere reading of these two books that it is really possible

to ignore Bardon's stated prerequisite, but the reality is an entirely different

matter and Bardon's admonition is completely accurate. This sort of misunderstanding

of PME is, in my opinion, due to a lack of background in genuine

magic and the consequent inability to truly understand the deeper signifi9

cance of what is being said. This is inescapably natural and what I have said

is meant only as a statement of fact that must be dealt with openly and not as a

criticism.

For this reason above all others, I will attempt, through my own commentary,

to help the reader at least become aware of the places where this is

an important addition to their understanding of the author's deeper meaning.

Whether or not my comments actually add to your understanding is out of my

hands -- all I can promise is that I will try my best.

I would ask that as you read my comments, you do so with this

thought in mind: The only true teacher is experience. Even though a thousand

sages will spend a billion words trying to explain the Mysteries, you will

not truly understand their full implications until you yourself have penetrated

what lies beyond the veil. But never let this dissuade you from doing your

damnedest to penetrate this veil -- it is only gossamer, as they say. The further

you penetrate, the deeper your understanding will grow; and the deeper

your understanding, the deeper into the Mysteries will you penetrate. Hold

your conclusions with loose hands so that you may always be able to re-form

them. Always remain willing to deepen your understanding -- the main barrier

to this is holding on too tightly to our conclusions. Adopt your own conclusions

not those of another. This is especially true considering that all I can

offer you here are my own conclusions and yours might be far different than

mine. The best I hope for is that reading about a few of my conclusions will

inspire you to question and expand your own conclusions.

Part One

Introductory Material

FRANZ BARDON (1909 to 1958)

His Life, Works, and Legacy

You might ask, "who was Franz Bardon?" For those who are not

familiar with his work, suffice it to say that Bardon is considered to be one of

the most important adepts of our age. According to Bardon himself, he was

directed by Divine Providence to reveal to humanity the meaning behind the

first four major arcana of the Tarot. While he fulfilled his mission, only his

revelation of three of the Tarot cards were published and the fourth has been

lost due to the twists of fate. The first card, the Magician, was revealed in

"Initiation Into Hermetics" (IIH); the second card, the High Priestess, was revealed

in "The Practice of Magical Evocation" (PME); and, the third card, the

Empress, was revealed in "The Key to the True Quabbalah" (KTQ). Only a

small fragment of his revelation of the fourth card, the Emperor, remains and

is found as an appendix to the book "Frabato", titled "The Golden Book of

Wisdom".

With some occult writers, we are left with nearly every detail of their

personal lives, while with others, we know no more than their pen names. The

situation with Bardon lies somewhere between these two extremes. While we

have, through the grace of Divine Providence, access to all of his published

works, we can find only a small few details left over from his personal life.

What we do know is that he was born in Czechoslovakia in 1909 and

that he died in 1958. He was the first of 13 children and an only son. According

to legend, his spirit inhabited the body of young Franz at the age of

16, in answer to the prayers of his father, Victor, for the guidance of a personal

teacher.

During his young adult years, Franz worked as a stage performer under

the name "Frabato". His performances were reportedly of a unique nature

in that he displayed and explained the occult practices so common in that day.

According to all reports, he was one of the few such performers who was not a

charlatan.

In his early thirties, because of his interest in the occult, he was imprisoned

in a concentration camp by the Nazis. He survived three and a half

years in the concentration camp but little is know publicly about his time there

other than its obvious horror. At some point after that, he became well known

as a teacher of Hermetics and worked successfully at a healing practice based

upon those same principles.

It was during this period of his life that he wrote the three books we

now know him by.

According to legend, it was his healing practice, combined with the

books he was directed by Divine Providence to write, that incurred the wrath

of the communist government of Czechoslovakia which followed the war, and

in the late 1950's he was again imprisoned. It was in prison that he apparently

died.

He left behind a wife (Marie), a daughter (also named Marie), a son

(Lumir), and a group of direct disciples. And, he left us three very important

books in the annals of occult literature: IIH, PME, and KTQ.

It is impossible to truly know the inner life of an adept such as Franz

Bardon, but we can discern certain things from his life, from the testimony of

those who knew him, and from his writings. What stands out clearly for me is

that Bardon's commitment to Hermetics was not about how great and powerful

a guy he was. This sets him apart from many of his contemporaries and no

where will you find braggartly statements about him other than from his disciples.

As evinced from what he wrote and what is known of his life, he was

a humble, sincere and honorable man of great accomplishment. He was able

to write down for all the rest of the world to see, a plainly spoken outline of

the path of Hermetic Magic. Never before, and not since, has so comprehensive

and so clear a guide been presented to the general public. Yet he managed

to do this without touting himself as "The Magus of the Age", etc.

At the same time, Bardon was a very HUMAN being. He smoked

heavily and experienced many difficulties with his health and life circumstances.

I think it was perhaps these very experiences that enabled him to devise

a path that was so accessible to the common man or woman. While his

path demands that the student work to ennoble their character, he never resorts

to judging the student's character himself -- that task he leaves up the

student.

Nothing concrete is known about who Bardon's corporeal teachers

were or from where he learned Hermetic Magic and Kabbala. A good amount

of speculation has passed under that bridge but the fact of the matter is that

this question is relatively irrelevant. Certainly parallels exist between Bardon's

system and other important systems of practice throughout the world,

but where Bardon's ideas originated has no real bearing upon the fact that his

system has been proven to work.

Nevertheless, the question often arises as to what Bardon's

"Hermetics" have to do with classical hermeticism. While his hermetics do

derive from the body of writings known as the "Corpus Hermetica" (i.e., those

ancient writings attributed to "Hermes The Thrice Greatest"), it takes a deep

understanding of this work to see the similarities. The similarities are easier

to detect with the later hermetic writings found in sources such as the

"Kybalion" by Three Initiates, the "Emerald Tablet of Hermes", the "Seven

Hermetic Letters" by Georg Lomer, and the occult hermetics of his day. To

Bardon, hermeticism is the science of occultism, based upon the teachings of

the legendary figure known simply as Hermes.

With his book PME, the parallels between what he writes and the

standard works on Solomonic magic, are very obvious. Yet even here, Bardon

offers the student more than most authors. The same is true of his book

KTQ. Many modern students of Kabbala don't even recognize KTQ as Kabbala,

but in truth, Bardon's approach reaches back to a more original form of

Kabbalistic practice. In this case, the "even more" that he gives the aspiring

student is a universal Kabbala that is amenable to ANY language and therefore

does not require the learning of biblical Hebrew.

Perhaps the greatest gift of Bardon's writing style is that he explains

things in a very practical manner and does so without all the flowery language

so prevalent in occultism. It is obvious from the outset, that the reader has

found an author who speaks from long and deep experience instead of off the

top of his head. The depth of his experience is often difficult for the reader to

grasp, for he speaks, from beginning to end, from the perspective of someone

who has done every stitch of the work for himself, and in this way he naturally

conveys the concept that all he describes is obtainable, even easy.

Bardon wrote for both the common reader (one not really interested

in hermetics other than as an intellectual oddity) and for the serious student of

hermetic magic. Even someone who has had no previous experience with occultism

can begin the work of IIH, since this work begins with the rudiments

of initiation and gradually develops the student's magical abilities. Most who

begin the work of IIH however, have had some occult training, but this is a

two-edged sword, as it were, for often, the experienced occultist will find that

they must unlearn some of what they have learned from other sources.

Of the many direct students that Bardon left behind, two are of special

note. The first was his secretary, Otti Votavova, who was responsible for

the book "Frabato" and for seeing to it that his writings remained accessible.

While I have some problems with "Frabato" it is well worth reading if approached

as a "Zanoni"-like occult novel. I find it hard to believe that Bardon

would have said some of the things about himself that were said in "Frabato".

To me, it seems that Ms. Votavova's own love for her teacher amplified parts

of Bardon's life out of proportion to their nitty-gritty reality. As I said, it is

impossible to truly understand the inner life of so great an adept. According

to the record, Bardon submitted to Ms. Votavova an outline of that period of

his life covered in "Frabato" and left it up to her to flesh it out into a book.

I'm certain that Ms. Votavova did her best (others assure us that Ms. V. loved

the truth) but I'm equally certain that some parts of "Frabato" describe events

with too symbolic a language. While I admire her work, I do not recommend

trusting it as an accurate biography of Franz Bardon. At best, it does a good

job of giving the reader the flavor of the man and an idea of the depth of his

commitment.

Another direct student of note is the late Dr. M. Kumar. He relayed

several tales of Bardon and was ever helpful to students of Hermetic Magic.

There are many other personages of note, but the one remaining that

I wish to mention is Dieter Ruggeberg. Mr. Ruggeberg has spent several decades

of sincere effort and expense to see to it that Bardon's books have remained

available to the modern reader. He has also helped guide sincere students

and has helped to keep the evolution of the public response to Bardon's

work on the right track.

Today, we are blessed with the opportunity to purchase Bardon's

works in print and to encounter others with the same interest through the

Internet. We owe this fact to the efforts of not only Bardon, Votavova, Ruggeberg,

and now the folks at Merkur Publishing, but also to countless other

modern-day magicians. Folks like Daren, Paul Allen, Ralf Mulberg, Tim

Scott, and William Mistele, to name just a few, are helping to increase this

legacy.

There are six books related to Franz Bardon. The first three are the

books that he wrote: IIH, PME, and KTQ.

The next three books were written about him by others. The first and

most famous of these is the pseudo-biography titled "Frabato The Magician".

The second is a compilation of notes from the archives of his personal disciples,

known as "Questions and Answers". And the last is known as

"Souvenirs of Franz Bardon", written collaboratively by his son, Lumir, and

one of his disciples, Dr. M. Kumar.

INITIATION INTO HERMETICS

by Franz Bardon

The first book by Franz Bardon to be published was "Initiation Into

Hermetics", known in the original German edition as "Der Weg zum Wahren

Adepten". It appeared in 1956, approximately two years before Bardon's

death.

This book forms the foundation upon which PME and KTQ were

later written and it outlines the basic training necessary for one to become an

Hermetic magician. It is composed of a fairly enigmatic-in-spots section on

"Theory", followed by a series of exercises and practical work divided into

ten "Steps".

Within each of the ten Steps, you will find three types of exercises:

Mental/Spirit, Astral/Soul, and Physical. The exercises of each category are

designed to compliment the exercises of the other two categorizes in each

Step, thus the student performs the current mental, astral and physical exercise

during each period of work or meditation. This assures the student of a balanced

advancement -- and balance or equilibrium is a very important thing in

Hermetic magic.

Each exercise is presented in very practical terms. At times however,

Bardon is not altogether clear as to exactly what he means. I believe that this

is on purpose -- it is the responsibility of every student to puzzle some things

out for themselves. This is in fact, a vital component of any path of selfrealization

and empowerment, and believe you me, the course of IIH's ten

Steps will hone your inventiveness and inquisitiveness to a razor sharpness.

Only the Astral/Soul exercises of Step One are presented with time

limits (approximately three months). The reasons for this are specific (i.e., it

doesn't pay to dawdle over this particular part of the work) as are Bardon's

reasons for not setting time limits to guide the student through the rest of the

exercises. The reason that there are no time limits set for the remaining exercises

and Steps is that each student progresses at their own unique pace --

there is no standard length of time it takes one to make it through the entire

ten Steps. It does not matter how many decades or lifetimes it takes you to

complete this work. The only thing that matters in regard to IIH is that you

master each Step completely, regardless of how long it takes you to do so.

The work of Hermetic Magic can fit in with any of your other philosophical

interests. In and of itself, it holds no religious doctrine yet is amenable

to almost any. Throughout IIH, PME and KTQ this is left up to the student

him or her self. In fact, many things in this course are left up to the student

and that is as it should be.

THE PRACTICE OF MAGICAL EVOCATION

by Franz Bardon

Bardon's second book, "The Practice of Magical Evocation", also

appeared in 1956, shortly after the release of his first book, IIH. While many

books have been written about the subject of magical evocation, none compare

with PME. Books such as "The Greater and Lesser Keys of Solomon",

"Abramelin the Mage" and "The Ars Notoria", to name a few, provide only a

small number of details as to the tools required, the ritual orations, and the

spirits to be evoked, but say nothing of the theory, preparation and details so

necessary to genuine success in this interesting art.

PME does not stand alone -- it is designed as an extension of the

work begin in IIH. In the introduction to PME and in several places throughout

the text, Bardon warns that the student should approach the work of evocation

only after having progressed through Step Eight of IIH (or an equivalent

initiation). All too often students have been lured by the glamour and

romance of evocation into taking up this work before they are properly prepared

to do so, and this, as Bardon repeatedly warns, results only in very dubious

and possibly harmful experiences.

Without the proper training it is virtually impossible to understand

the deeper significance of evocation. Generally, the unprepared student will

think evocation to be fairly fantastical or strictly symbolic. Some believe that

the ancient art of evocation is merely a primitive form of psychotherapy and

for the uninitiated novice who steps into the practice unprepared, this is all

that it will be. The reason for this is that without the prerequisite magical

training, the practitioner will evoke nothing more than images from their own

psyche, instead of entities that have actual existence independent of the human

psyche.

One key to the genuine practice of magical evocation is the ability

learned in Step Eight of IIH known as "mental wandering". The first step in

any evocation is for the magician to establish a mental contact with the entity

to be evoked through mental wandering into their respective sphere.

Another key to genuine evocation is the magical ability to work consciously

within all three realms (mental, astral and physical) simultaneously.

This alone is what transforms mere oratory and theatrical movement into

genuinely magical acts.

The primary motivation for undertaking evocation is the exploration

of the universe and the expansion of the magician's consciousness. It is not

about gaining extraordinary powers over other people and events. Through

evocation, the student may explore the other realms or spheres of existence

(this is often called "rising through the planes") and may be able to learn of

many things directly from the beings which inhabit these realms. Furthermore,

some of these entities may be convinced to carry out the magician's will

and perform tasks that would otherwise take the magician's extended attention

to accomplish.

Bardon divides PME into three sections: Magic (theory and practice),

Hierarchy (an expose upon the hierarchy of planes), and Illustrations (a

grimoire of sigils for the various Elemental and planetary beings).

In the first section, Bardon explains the theory behind evocation and

explores the rationale behind, and the making of, each of the classic ritual

tools. These instructions surpass any such previously given by past authors.

Bardon teaches that each aspect of the ritual regalia must be personalized and

empowered according to the magician's own understanding and needs. For

example, in Bardon's instructions regarding the Magic Circle, he gives no instructions

as to which specific sigils and words are to be inscribed therein.

Instead, he instructs the student to create a Circle that clearly represents the

student's own understanding of the universe.

Another example of Bardon's unique approach is when he explains

that the atmosphere within the Magic Triangle must match the atmosphere

familiar to the entity which is to be evoked -- a fact unrevealed before.

In the section on the hierarchy of the planes, Bardon leads the student

through each of the planes in sequence and introduces many of the entities

which inhabit them. Here you will find none of the language of former

works on evocation. In the books of Solomonic magic, the entities described

are of a low, demonic, nature, but those of PME are not. The beings listed in

PME are ones contacted by Bardon himself and are most all willing to teach

the student and aid in their advancement. For reasons of protecting the uninitiated

dabbler, Bardon does not provide a detailed list of beings of either the

Mars or the Saturn spheres.

PME ends with a grimoire of sigils for each of the entities listed in

the section on hierarchy. Though this part of PME is often the most interesting

to the passive reader, it is truly the least of importance to the practicing

student. The student who has actually pursued IIH through the 8th Step will

be able to discover these things for him or her self, as Bardon mentions in the

theory and practice section.

It is interesting to note that the attitude of the practitioner of PME

must invoke a different sort of relationship with the evoked entities than surmised

by other books on the subject. In those other traditions, the magician is

taught to be overly forceful and downright rude in an effort to gain and maintain

control over the evoked entity. This is accomplished through all sorts of

threats and exhortations about how the magician is supposedly working under

the aegis of deity. Essentially this is rooted in the magician's fearful and secret

knowledge that they are in fact unable to control anything when left to

their own devices.

In PME however, the prerequisite training insures that the magician

is actually capable of maintaining control over the entire evocation. For such

a magician, there is no need of fear. Furthermore, the magician is taught to

always be respectful, yet stern when necessary, but never rude. Just as with

any interaction with another being, the evoker will receive a reflection of what

she/he puts forth. Thus it is prudent for the one wishing to master the art of

evocation, to always be kind, respectful and honest, and to never try to force

another being against their will. This is how friends are made and it will lead

to your winning over the heart of the whole universe.

There are many, many more entities inhabiting the various planes

than are mentioned by Bardon. No grimoire can ever completely list all the

entities it is possible for the magician to encounter. Who knows who you may

meet when left to the whim of Divine Providence? Yet, the ability to go out

and make contact with entities unknown to you (i.e., those not listed in any

grimoire) is a more advanced faculty and it may take meeting a familiar being

or two before this becomes possible.

The serious student will, after due preparation, find no better guide

to this ancient art than that provided by Bardon. And for the passive reader

wishing to arrive at a more complete understanding of the mysterious practice

of magical evocation, this book will be worth more than the reading of a hundred

others.

THE KEY TO THE TRUE QUABBALAH

by Franz Bardon

The third and final volume in the series by Bardon is "The Key to the

True Quabbalah" (published in 1957). At least this is the last completed and

published piece. A partial manuscript of a fourth book was later printed as an

appendix to "Frabato" and it is rumored that there once existed a manuscript

for a fifth book concerning Alchemy, but the latter was lost when Bardon was

arrested by the communist government of Czechoslovakia.

The spelling "qUAbbalah" is unique but it is actually just as good as

any other transliteration of the original Hebrew word into English. [I, however,

will use the spelling "kabbala" hereafter (it's easier to type and more

automatic for me).] This is merely a reflection of the uniqueness of what you

will find between the covers of this book!

If you are expecting to encounter yet another book on Western Kabbala

or one on the cosmology of Jewish Kabbala, then you will be sorely disappointed

because Bardon's "Quabbalah" is not exactly like either. The basic

technique and its focus upon the letter-sounds, harkens back to an ancient

Jewish practice of Kabbala, but the exercises themselves are of purely Western

Hermetic origin.

Bardon's Kabbala is not dependent upon the twenty-two Letters of

the Hebrew alephbet. In fact, he employs the German letter-sounds throughout.

The Hebrew formulas that Bardon explains are all composed of the German

letter-sounds and are approximations of the Hebrew. Unfortunately, neither

Hebrew, German nor English script can accommodate all the sounds it is

possible for the human mouth to create (I think perhaps Sanskrit comes the

closest). Thus there are many other formulas than those that Bardon mentions.

But this fact is irrelevant since KTQ teaches the student the technique

which will enable them to truly speak the universally sacred and creative language

of kabbala. A kabbalistic formula does not depend upon words in the

normal sense -- its language is formed through intent and in accordance with

the flow of Nature.

As with PME, Bardon warns the reader that the work of kabbala

should not be initiated until one has completed the first eight Steps of IIH or

has achieved an equal training by other means. In one place he actually states

that it is even better if one has also gained experience with PME. The training

of KTQ requires the same sorts of abilities that PME requires of the student

and if these prerequisites are not present, then little (if any) success will result.

Certainly someone who STARTS with KTQ and thinks that they will thus

master the true art of creative speaking will meet with no success until after

many decades of ardent practice, and even then there are no guarantees. This

art, even more so than evocation, requires a high degree of development at the

outset.

KTQ is divided into three sections. The first section is titled

"Theory" but this is not about the complexities of kabbalistic cosmology. Instead,

it is about the theory behind uttering creatively.

The second section is titled "Practice -- Preconditions" and serves to

teach the student the technique of uttering the simple, single-letter formulae.

After a brief introduction, this section is divided into Steps One through

Seven, similar to how IIH is structured. The lessons begin at the beginning, as

it were.

Bardon speaks of a quadrapolar type of action required for true kabbalistic

utterance, each pole of which corresponds to an Element. The first

Element, naturally, is relegated to Fire. The student begins with the

"pronunciation" (this has nothing to do with physical speech) of the single

letters within the mental sphere as a certain color and shape. The exercises

are similar to those found in IIH, except that they are infinitely more complex.

Next, the student learns how to employ the second pole, corresponding

to Air, by "pronouncing" the single letters at a particular tone or note, simultaneous

with their utterance as a color and shape.

The third pole (Water) of the quadrapolar action involves

"pronunciation" through the invocation of a feeling or sensation corresponding

to the letter.

These three poles form what Bardon calls the "three sense concentration"

required for basic kabbalistic speech. After this, Bardon provides a

brief, concise expose on the meaning of the numbers 1 through 10. This gives

a clue as to what the fourth pole (Earth) of the quadrapolar action is. Namely

it is the speaking of the letters with all three types of sense concentration active

at the same instant, and founded upon the 10 original creative ideas.

Bardon closes this section by giving instruction in the use of the first

of four keys, in the four realms (Akasha, Mental, Astral and Physical), and

how to cause effects in any of these realms or in all of them simultaneously.

The third and final section of KTQ is titled "Practice -- The Magic of

Formulas" and is dedicated to the remaining three keys. Each key refers to

the number of letters involved in each formula. Thus the second key involves

combining two letters; the third involves three letters, and so on. There are

ten such keys according to Bardon, but he gives instructions for only the first

four. At the end of the twelfth Step, Bardon speaks about Elemental formulas

and the use of Divine Names and Beings.

There are a few specific errors and omissions in the latter part of

KTQ. I suspect that this was intentional and intended to offer a degree of protection

to these deep mysteries and to shield the dabbler who would toy with

them. It also serves as a test of the student's true abilities for it will require

that the student confer with non-corporeal entities in order to discover these

errors and omissions along with their rectifications. This ability is a prerequisite

for the true kabbalist and without it the student will be able to penetrate

only a short way into this Mystery of Mysteries.

Truly any person who makes it through even the second section and

is able to speak the single-letter formulas, needs no physical guide beyond that

point. To achieve such a high goal provides the magician with all the internal

guidance necessary to reach even higher goals.

FRABATO THE MAGICIAN

by (Franz Bardon) Otti Votavova

Prior to his death in July of 1958, Bardon gave his student and secretary,

Otti Votavova (1903 to 1973), an outline for his biography. Bardon left

it up to Ms. Votavova to flesh out the details and turn it into a readable book.

Unfortunately for us, what resulted, while good reading, was not a strictly accurate

biography.

The manuscript of "Frabato" was not completed until after Bardon's

death and it did not see publication until 1979. Dieter Ruggeberg, the publisher,

writes that is was with some trepidation that he published "Frabato"

under the name of Franz Bardon, since it was Ms. Votavova who actually

wrote it. But eventually he was convinced to do so because he felt that listing

Bardon as the author would give it the attention it deserved.

When I read "Frabato", I am reminded of Lord Bulwer-Lytton's book

"Zanoni". Both share some details of the life of a man dedicated to the path

of Hermetic initiation. "Frabato" however, covers only a moderate span of

Bardon's life (from the time he was a stage performer till shortly before his

final imprisonment), but it is enough to give the reader the flavor of the man

and his works. Where "Frabato" fails, in my opinion, is when it comes to describing

the inner life of Bardon. Nonetheless, "Frabato" does give some insight

as to why Bardon wrote what he wrote.

Over all, "Frabato" is worth reading -- so long as you remember that

it is not altogether accurate. Of special interest to Bardon's students are a

memoriam by Ms. Votavova (written two months after Bardon died), an epilogue

written by Mr. Ruggeberg (in 1979), and two appendices. Both of the

notes from Ms. Votavova and Mr. Ruggeberg, convey some of the details of

Bardon's life that are not present in "Frabato".

The first appendix is a fragment (only part of the first three out of ten

chapters) of a manuscript in-progress titled, "The Golden Book of Wisdom".

This book was supposed to have concerned the fourth leaf or trump card of

the Tarot (the Emperor). To our great loss, there remains no complete transcript

of the work, but was does remain, is very intriguing.

The second appendix is a manuscript titled "High Magic". When

Mr. Ruggeberg added this to a new 1982 edition of "Frabato", he was under

the impression that this was written by Bardon himself. Since then, the truth

has come out and we now know that this was none other than the book "Seven

Hermetic Letters" by Georg Lomer. Apparently, Bardon was so impressed by

this little book that he had it translated privately (prior to writing IIH), from

the original German into Czech, for the edification of his own disciples. The

differences between the original version of "The Seven Hermetic Letters" and

that provided in "Frabato" as "High Magic", may well be due to the fact that it

was translated from German into Czech and then, from Czech into English!

Many later students of Bardon's writings were puzzled at the differences

between what is presented in "High Magic" and what is presented in

IIH. "High Magic" is interesting (I have not read "The Seven Hermetic Letters")

but it pales in comparison with IIH.

QUESTIONS & ANSWERS by Franz Bardon

This little book, first published by Dieter Ruggeberg in 1997, was

put together by a group of Bardon's students sometime in the early 1950s,

prior to the publication of Bardon's three books. What lies within these pages

are the notes they took down of Bardon's oral teachings.

These notes were later edited by Dr. Kumar along with Silvia and

Ulrich Ohm, and arranged under four section headings: concerning the mental

plane, the astral plane, the physical plane, and the function of the akasha. The

book is presented, as it's title suggests, in a question-and-answer format, with

a total of 185 entries.

While it doesn't contain any truly startling revelations or insights for

one who has read Bardon's other books, it is nonetheless, of great value to the

student. In Q&A some of the topics which Bardon speaks of in other places

are amplified and explained in greater detail. Its greatest value, as Mr. Ruggeberg

states in his forward, is as inspiration for the meditations of the student.

For certainly there is ample stimulus for thought within Q&A's pages.

SOUVENIRS DE FRANZ BARDON

This little book has yet to be translated into English. Consequently, I have not

read it and I know only a little about it. From what I understand, it contains

reminiscences of Bardon recorded by those who knew him. It also contains a

few pictures relative to Bardon's life.

Part Two

Commentary Upon

Initiation Into Hermetics

Introduction

It is my honor to present to you some of my thoughts about the

course of initiation presented in Franz Bardon's "Initiation Into Hermetics"

(IIH).

[I will be employing the 1999 Merkur Publishing edition throughout

my comments. The differences between this edition and earlier editions are

minor. The only change is that the present English translation is easier for the

modern reader than the original translation.]

When a student first approaches this work, questions inevitably arise.

While the best way to answer these questions is for the student to meditate and

consider and come to the answers on their own, this seldom satisfies the beginner

and many will put the book aside out of frustration. These days, now

that the Internet offers us an easy way of getting in contact with others who

have been doing the work of IIH for many years, there is little reason for the

beginner to have their simpler questions become a barrier to progress.

The answers to the deeper questions though, must still be sought out

by the student on their own. In these matters, experience is still the only reliable

teacher!

The thoughts that I proffer here come from my own personal experience

of working through the Steps in IIH. It is up to the student to prove or

disprove what I have written through their own pursuit of the work. What I

write is only meant to expand upon some of the things that Franz Bardon outlined,

it is not meant to supplant what Bardon wrote. Hopefully, my words

combined with the text of IIH, will make it easier for the student to begin the

work with greater confidence.

IIH presents a coherent course of initiation. It, unlike many modern

systems of initiation, begins at the beginning. Each Step builds upon what

precedes it. Therefore, it is prudent that the student skip nothing along the

way. What seems simple in the beginning will prove itself to be essential to

success in the longer run.

Initiation is not a race. It matters little if it takes you 30 years to

reach the 10th Step or if it takes only 10 years. Progress at your own pace

(without dawdling) and practice both patience and perseverance. I have absolutely

no doubt that anyone who sincerely wants to take up this work will meet

with the desired success if they steadfastly pursue IIH.

Each of the 10 Steps in IIH is broken down into three categories of

work: Spirit (Mental), Soul (Astral) and Physical. Each of these categories

are to be pursued hand-in-hand. This brings about a balanced progress that is

essential to true advancement in magic. Never should the student go, for example,

from the Step One physical exercises, on to the Step Two physical ex28

ercises, until the Mental and Astral exercises of Step One have also been mastered.

If a certain set of exercises within a Step come easily for you and you

complete that category of exercises before you complete the other categories

within that Step, then simply improve upon your successes while finishing up

the rest of the Step's requirements. The standard of success Bardon lays out

for all three parts of each Step must be attained before progressing to the next

Step.

The work of IIH requires discipline and commitment. At first the

student will need to carve out the time from their daily schedule to accommodate

the exercises. I advise that, if possible, the beginner devote at least an

hour first thing in the morning and an hour each evening before going to

sleep. But do allow yourself occasional exceptions to this regimen -- five

days a week will suffice, but seven is better. Eventually this discipline will

become a joy and the period during which it is an onus will pass quickly.

Nonetheless, it is important to consider this BEFORE one begins the

work. First, the student should read through IIH a few times and get a feel of

exactly what will be required. If you see no way in which your busy life can

accommodate the time required for this sort of work, then it is best if you put

off beginning the work until such a time as you are capable of reshaping your

life. In the mean time, you can initiate the changes in your life that will eventually

allow you the time for these pursuits.

Be good to yourself. Initiation is not meant to be torture. It is supposed

to be, if not fun, at least interesting and inspiring. Improving oneself

can be (and in my opinion, SHOULD be) a joyous pastime.

Initiation is not a path toward great riches nor power over others. If

these are your goals then you will meet with no genuine success in the pursuit

of magic. Asking yourself the question of why you are choosing this work, is

essential. It is wise to spend a goodly amount of time thinking about your reasons

for taking on this responsibility.

Throughout the course of IIH, your intentions will be tested over and

over again. These mark the various "pitfalls" or "blinds" that are spoken of by

those who have made progress in the work. Only the "correct" motives will

carry the student through certain parts of the path of initiation. If your motives

are too selfish or too egotistical, then you will run into a wall and only a

reevaluation of your motives will free you. This is a good thing and it is not

meant as a blockage, per se. Instead, it is a vital part of initiation that guarantees

that the student will either stay on course or give up the pursuit.

In this modern age when information is so easily accessible, we have

the habit of seeking answers from external sources. We have lost the habit of

looking within for our answers and of trying our damnedest to figure things

out for ourselves. While it is easy to accumulate a great deal of information

and store it in our minds as knowledge, it is only through experience that information

is transformed into understanding. The process of initiation is one

of experience, not a mere accumulation of information. Thus, it is important

to contemplate every idea you encounter in IIH and puzzle things out for

yourself whenever possible. This is especially true when it comes to the

"Theory" section. Much of what Bardon says in this section is a mere outline

of the facts and is meant less as an answer to all your questions and more as

something to spur your own meditation and contemplation. Please rest assured

that some of the most confusing bits will clarify themselves over time as

you gather more experience.

Initiation requires of the student a radical self-honesty. Watch out

for kidding yourself that you have attained to something that you have not in

fact attained to. And always be ready to lovingly criticize yourself.

We each have within us a most reliable source of guidance. This is

the interior voice of our individual conscience. One of the most important

lessons that I have learned is to ALWAYS listen to my conscience. It has

never led me astray and I have come to a point where I NEVER disobey its

dictates. I advise the same for you. Listen to and follow your conscience and

your continued success will be assured!

I wish for you the greatest success in your path of initiation!

Theory

The Elements:

The philosophy of Elements is, obviously, a human construct. It is

one way in which we humans have attempted to describe the workings of the

universe. But even though it is a human construct this does not negate the fact

that it describes a real thing. To my mind, it is a description that works well.

It gives me a tool by which I can work with the actual forces that it tries to

describe. Granted, it is imperfect and does not exactly match the reality of

things, but then again, an exact match would be impossible.

The forces that underlie the Elements do exist regardless of whether

or not we try to describe them and regardless of whether or not humans are

around to perceive them.

There are two very important things to keep in mind when working

with the Elements. First is that the Elements are not the same as the physical

phenomena whose names they share. For example, the Element Fire is not the

same as the physical phenomena of fire. The names of the Elements are derived

through the "law" of analogy. This means that the Element Fire possesses

many of the characteristics of physical fire, such as expansiveness,

heat, brightness, and the ability to transform what it touches.

All to often the student falls into the trap of drawing too close a relationship

between the Elements and their analogous physical phenomena. This

tends to obscure the deeper significance of the Elements and should, therefore,

be avoided.

Second in importance regarding the Elements is the fact that in our

physical realm, the Elements never act alone. All physical things are a combination

of the Elements. For example, the physical phenomena of fire is not

composed solely of the Fire Element. Instead, physical fire is composed of all

four Elements working together (plus the fifth -- Akasha). A physical thing

may show a predominance of one Element over the others, but it still contains

all four.

The Elements exist in their pristine, separate sense only in the most

rarified reaches of the astral and mental planes.

The Electric and the Magnetic Fluids:

Bardon does not write extensively about the Electric and Magnetic

Fluids in the Theory section of IIH. He does, however, speak of it in the ten

Steps and in his other books, especially KTQ and Q&A. But in no one spot

does he clearly and exhaustively define these terms.

Probably the first question that arises is what does he mean by

"Fluid"? By Fluid, Bardon indicates an energy or essence that manifests mo31

tion and handles in a manner similar to water. Both Fluids are dynamic

things. IIH teaches the student how to manipulate or wield these Fluids, form

them into whatever shape is desired and impregnate them with any corresponding

wish.

These two Fluids are the primal polarity and are effective in every

plane of existence. The Electric Fluid is the positive, expansive pole and the

Magnetic Fluid is the opposite negative, contractive pole. As with a physical

magnet, these poles cannot be separated -- they are manifest through the continuum

that unites them in their eternal embrace. Both forces are equal and

interdependent, and have been described in every culture in one way or another.

At the highest level, these poles are expressed through the two faces of

The One.

The Fluids are the root of the Elements Fire and Water. This is why,

in the course of IIH, the student looks within the Fire Element for the Electric

Fluid and within the Water Element for the Magnetic Fluid. It is in fact, difficult

for the student to at first differentiate between the primary Elements and

the Fluids. But there is a difference -- it's just difficult to explain.

Within the Fire Element, the Electric Fluid is found in the Fire's expansiveness,

heat and light. The Magnetic Fluid is found within the Water's

contractiveness, cold and darkness. The Magnetic Fluid gives form to the

Electric force and everywhere in our world, they act in unison. The Fluids are

the two primal forces and the Elements are their extensions or modifications.

Each of the Elements can be said to have a specific ElectroMagnetic

charge. The Fire Element is predominantly Electric and the Water, Magnetic.

The Air represents a balance of the two Fluids (the continuum which connects

these two poles) -- the perfect hermaphrodite, capable of accepting the influence

of either Fluid. The fourth pole of the quadrapolar magnet, Elemental

Earth, represents the combined action of these three ElectroMagnetic charges.

This is often difficult for the novice to understand. It requires careful

consideration to see how, at a philosophical level, the combination of parts

can sometimes equal more than the sum of its parts. In this case, the amplification

of effect occurs because the parts which combine are each dynamic

things. Their dynamism makes them interactive and together, they make

something new which does not exist at the level of their independent parts.

Thus the Elemental Earth contains not only the Electric and Magnetic balance

of Air, but also the raw polarities of Fire and Water. Together, they work in a

dynamic, rhythmic and cyclic manner. It is the combination and interaction of

these three dynamic parts that causes things to manifest solidity in each of the

three mediums or substances (Mental, Astral and Physical).

The serious work with the Fluids doesn't begin until the eighth Step

of IIH, so there is little point in listing too many correspondences for the Flu32

ids here. Between now and Step Eight, you'll have plenty of time to become

familiar with the Fluids on your own. In the mean time, here are a few notes

from Bardon's own comments as relayed by his direct students in the book

"Questions and Answers" --

MENTAL (page 24, question #19): "The Electric Fluid fills abstract

thoughts with pure Electric Fluid, warmth, expansion and dynamics. The

Magnetic Fluid fills them with pure Magnetic Fluid and the opposite attributes.

For example, the Electric Fluid expresses itself through its attributes in

willpower, while the Magnetic Fluid expresses itself in the antipole of the

will, that is, in manifested belief, an aspect of the productive universal

power."

ASTRAL (page 47, question #12): "Clairvoyance is an Electric ability of the

astral body; clairsentience and psychometry are Magnetic abilities."

PHYSICAL (page 65, question #5): "If we are under the influence of the

Electric Fluid, then the Fire Element is more effective in us. In this case we

feel hot, or we are active to higher degrees, we work more diligently, and

therefore we are internally satiated with the Fire Element. Through the increased

influence of the Magnetic Fluid we perceive coldness; should the

Magnetic Fluid become satiated within us, elimination increases."

(page 66, question #6): "On the surface of the human body, the ElectroMagnetic

Fluid is effective as radiating life-magnetism. The right side of the body

is (in the case of a right-handed person) the active or Electrical side, whereas

the left side of the body is passive or Magnetic. The opposite is the case with

a left-handed person.

"The Electric Fluid, through its expansion, causes radiating electrons on the

inside of every body [i.e., physical thing], which on the other hand are attracted

by the Magnetic Fluid of the earth. [This explains "gravity".] The

Electric Fluid is located in the Inner of everything created, therefore also in

the center of the earth, while the Magnetic Fluid is effective on the surface of

the earth an on everything created. . . The Electric Fluid produces the acids

in all organic or inorganic bodies or substances from a chemical or alchemical

point of view, whereas the Magnetic Fluid is effective in an alkaline manner."

Needless to say (but I'll say it anyway), the Electric and Magnetic

Fluids are not the same thing as the physical phenomena of electricity and

magnetism. While they are analogously related, they are not the same. The

physical phenomena of electricity and magnetism are each primarily caused

by their corresponding Fluid but they are not purely one or the other Fluid --

they are each composed of the four Elements with a corresponding polarized

predominance of either Fire or Water.

It is impossible for me to describe what it feels like to accumulate

and project the Fluids. The only way to gain this insight is through direct experience,

the key to which is to take careful note, in your daily life, of the

qualities I described above and look for them, especially as you work with the

Elements.

The "Od":

Bardon mentions "Od" in passing but doesn't really explain what he

means by this term. I've heard several definitions of Od but from what I've

gleaned of Bardon's definition, he is referring to the character of the individual

or, in other words, the individual's expression of their particular Elemental

composition.

The Od is primarily Electric in nature. Simply put, it is the energy

that we each express through our accumulated thoughts and emotions. At the

mental level, it is our attitude and the quality/quantity of our ideas, seen by

how they influence others -- in other words, their emanation. In astral terms,

the Od is our astral character or emotional composition, again in its emanative

phase of influencing our surroundings. As to our physical body, the Od is the

vitality we bring to life and express through our actions. Thus, one with a

strong Od is generally outwardly gregarious and active, and one with a weak

Od is passive and shy.

These three aspects of the Od work in unison to produce the overall

Od.

One place where Bardon speaks of the Od is in the little book

"Questions and Answers", under the Astral heading (page 50, question #21).

This question concerns astral healing methods and gives an important clue as

to what Bardon means by Od:

"We draw this accumulated vital energy directly from the universe

and direct it into the astral body of the ailing person without passing it through

our own body. Through this we prevent the weakening of our own vitality

and at the same time prevent the mixing of our Od (character) with the Od of

the ailing person; otherwise we can infect ourselves with the negative attributes

of the patient."

While Bardon speaks here only of the Od in relation to astral healing,

the same can be said of the mental Od in mental healing and the physical Od

during physical healing.

The Quadrapolar Magnet:

Bardon speaks of the Quadrapolar Magnet throughout his books but

still, many readers have difficulty with the basic concept, especially those who

are not familiar with a Hermetic diagram known as the "Cross of Equated

Forces" (CEF). The CEF diagram is a simplified picture of the Quadrapolar

Magnet and helps immensely in the understanding of it. Please take a moment

to draw one for your own study (or at least visualize along with my description).

Begin by drawing a circle with about a three inch (7.5 cm) diameter.

Draw a vertical line, from edge to edge, through the center point of the circle.

Then draw a corresponding horizontal line through the center point. This

should net a quadrated circle, i.e., an equal-armed cross within a circle.

Now label the poles of the cross. Writing just outside of the circle,

put 'Fire' to the right, 'Water' to the left, 'Air' on top, and 'Earth' at the bottom.

Just inside the circle write the following: Above the Fire line, put 'Hot', and

below, put 'Dry'. Above the Water line, put 'Wet', and below, put 'Cold'. To

the left of the Air line, put 'Wet', and to the right, put 'Hot'. To the left of the

Earth line, put 'Cold', and to the right, put 'Dry'. At the center of the circle

where your two lines intersect, place a heavy dot and label it "Depth Point" or

"Aethyr".

If you want to colorize your CEF, you will need to again divide your

circle, this time, into eight parts. Reproduce your work of creating the equalarmed

cross but this time, place it askew so that it divides each of the four sections

exactly in half. As you will see, this establishes quadrants for each of

the Elements instead of just poles for the Elements -- the four poles of the Elements

meet the edge of the circle at the center of each Elemental quadrant.

Color the right-hand quadrant a bright red for the Fire. Color the left quadrant

a cyan blue for Water. The top quadrant should be bright yellow for Air, and

the bottom quadrant should be either a deep earthy brown or a deep olive

green. [Alternately, you can use the color associations Bardon lists: Red-Fire;

blue green-Water; pale, bright blue-Air; and, dark brown, gray, or black for

Earth.]

And now, for a final touch , you can divide into halves (along the

vertical Air-Earth line), the whole of the paper you are drawing on -- the Electric

Fluid on the right and the Magnetic Fluid on the left. With the right-hand

side of your page, you should paint the area -- outside of the circle -- a bright

red (slightly more blue than the color you used for Fire). Similarly, paint the

left side of your page (again, outside of the circle) with a rich blue color (not

as bright or as greenish as you used for Water).

You can, through time, add any correspondences you desire to this

diagram. What it accomplishes most admirably is to illuminate the ways in

which the Elements interact.

The main reason that Bardon used the analogy of a magnet specifically,

was to emphasize the interaction not only of the Elements, but more importantly,

of the Fluids. Like with a physical magnet, these two opposite

poles coexist. They both attract through their similarities and repulse each

other through their differences. This is the same situation with the quadrapolar

magnet but on a different scale.

The quadrapolar magnet is composed of four poles instead of two..

Three of these poles (the predominantly Electric Fire Element, the predominantly

Magnetic Water Element, and the equally balanced ElectroMagnetism

of the Air Element) combine and their interaction causes the Earth Element.

Some say that the Earth Element is not a proper Element per se, but

is the interaction of the three "true" Elements of Fire, Air and Water. This is

only partially true. It IS the interaction of three Elements, but the fact that

these Elements are dynamic and therefore interact when in combination, results

in the creation of an entirely new factor -- the combination ends up

equaling more than the sum of its parts. It is this unique product of the interaction

of Fire, Air and Water that we call Earth. Thus the Earth manifests as

one of the poles of the quadrapolar magnet.

By the same twists of philosophic thinking, the quadrapolar magnet,

just like the common bi-polar magnet, is more than its poles. It is also the cumulative

interaction of its poles.

At the center of the quadrapolar magnet lies the "Depth Point" that

Bardon speaks of in IIH (Step Five) and KTQ. This is nothing other than the

Akasha or Aethyr, from which all else sprouts. The Hermetic's universe is

infinite and one of the mysteries conveyed by the quadrapolar magnet is that

this center point occurs every 'where', 'when', 'why', 'what' and 'who', within

that infinity.

The Beings of the Elements:

In the on-line discussion board, the question recently arose as to

whether the beings of the Elements are metaphorical and contained in the Psyche,

or whether they are independent entities. This is a common question considering

how much like a fairytale the writings about these beings sound.

The truth of the matter is that the beings of the Elements are, in and

of themselves, entities independent from the human psyche. Their FORMS,

however, are not independent from the human psyche. Sound confusing?

The beings of the Elements exist within the astral realm and as such

they are seen to have a certain form. Their form is symbolic as is true of any

astral form. Thus the form in which they are perceived varies from culture to

culture. The European cultures generally view them as Salamanders, Sylphs,

Undines and Gnomes, but, for example, an aboriginal African culture might

perceive them dressed in an entirely different form.

We humans perceive astral beings differently since we each process

our perceptions through different minds. But this does not negate their reality

as beings which have an existence separate from our individual minds. It is

only their astral FORMS which pertain to the human psyche, not their existence.

Karma / Cause and Effect:

It is prudent for the student to contemplate hard and long upon the

topic of cause and effect. This law is a friend of the magician as it is the

workings of this law that magicians use to craft their ascent. For example, as

you work at improving your character, you will follow certain practices which

will cause your negative traits to be replaced by more positive ones. Cause

and effect is why practice makes "perfect".

Yet the magician will face instances where cause and effect cannot

be used to advantage. A good example is in the work of healing either one's

own self or another person. There are some illnesses which have a deep karmic

root and the magician may find that there is nothing that he/she can do to

improve a patient's condition. Likewise, there are certain inevitable events

(hardships) that the magician cannot divert due to the fact that they are deeply

rooted in a person's own karma. Seldom is the magician allowed to interfere

with another's karmic debt.

It takes a certain amount of wisdom for the magician to accurately

discern when she/he should leave a situation alone. This is only gained

through experience.

Physical, Astral and Mental Planes:

This, like the philosophy of the Elements, is a human construct that

seeks to describe universal phenomena. Its biggest failing, in my opinion, is

that it implies separate, clearly defined realms. The truth of the matter however,

is that the universe is a unified whole. There is no exact point where the

physical plane ceases and the astral plane begins. Likewise, there is no exact

point where the astral realm ends and the mental realm begins. One graduates

into the next and all three interpenetrate each other.

We divide the universe into these three parts simply because it is an

easier, more convenient way to grasp its wholeness. Like all such constructs,

it is only a tool -- it gives us the practical ability to manipulate universal

forces.

A simple rule-of-thumb to remember is that for a physical thing to

exist, it must also have existence at the astral and at the mental level.

The astral realm exists due to the descent of the mental realm into (or

towards) the physical realm. It is, for the most part, an intermediary phase.

The astral substance translates rapidly into physical manifestation and is easily

manipulated by mind.

In terms of our human being, our mental body corresponds to our

conscious awareness and it penetrates both our astral and physical forms.

When we perceive our mental body, its shape and color reflects our state of

mind. It takes on a shape similar to our physical dimensions only when we

spread our awareness evenly throughout our physical body.

Our mental body does not feel our surroundings in a manner similar

to the perceptions of our physical senses. The senses of the mental body are

merely analogous to the physical senses. For example, there is a mental sense

that shares some of the characteristics of physical sight, but the mental sight

reveals a far different universe than that of physical sight.

Our astral body corresponds to our emotional being or personality

and it penetrates our physical being. When we perceive our astral body, its

shape is very similar to our physical body and its color reflects the state of our

personality and emotions.

The senses of our astral body are very similar to those of our physical

body, yet also similar to those of our mental body. The astral senses mediate

between those of the mental and physical bodies.

A good way to tell the difference between an astral journey and a

mental journey is to gauge the degree to which our perceptions of our surroundings

match those of normal physical perception. During an astral journey

one will be able to feel texture, heat and cold, etc., and will be able to

hear sounds, smell odors, and taste flavors. During a mental journey however,

there will be no physical-like sensations.

Our physical body is temporary. It lives for a certain amount of time

and then dissolves back into the universe and its constituents disperse. Our

astral body is also temporary yet of longer duration than our physical body.

Eventually, it also dissolves. Only our mental body or spirit is eternal. It descends

into a long succession of temporary astral and physical forms but does

not itself dissolve.

The three bodies of the human being serve as a handy analogy for

understanding the interaction of the three corresponding realms. One of the

advantages of Bardon's system is that it directly relates the three realms to the

student's three bodies. In this way, the student learns to experience each realm

by first experiencing its impact upon their personal experience. The path

leads from the intimately personal to the universal.

Religion:

The question of religion is often troubling for the beginning student.

One is faced with deciding how to combine one's religious viewpoint (if the

student even has a religion to which he/she adheres) with that of magic. Each

student must, of course, puzzle this out for themselves.

The only advice that I can offer is that you keep an open mind.

Truly, magic can coincide with any religion. It has indeed taken every form

throughout the ages and can be found within every religion know to humanity

if one looks with eyes educated in the rudiments of magic.

To the magician, the most important part of religion is the feeling of

devotion that it instills in the practitioner. Devotion, especially as it manifests

through the act of worship, is a very powerful force that the magician can employ

in their process of spiritual ascent.

Asceticism and Sexuality:

Bardon is very clear about what he means by asceticism. Basically,

he is speaking of self-discipline and self-control. He always recommends a

balanced approach that does not stray into extremism of any kind. Nonetheless,

the question frequently arises as to whether or not the student should abstain

from all forms of sex.

While many different systems advise abstinence from sex as a way of

attaining purity or of increasing the will power, etc., this is not the case with

Bardon's system. For the magician, it is clear that a complete abstinence from

something so inherent and natural to human physiology as sex, is a form of

extremism that produces little more than imbalance. There may be occasions

in the magician's life when a temporary abstinence from sexual release is productive,

but this is rare and only for very specific tasks.

In general, a healthy sexuality is a vital part of leading a healthy, well

balanced life. Not only is it an essential bodily function, it is also an essential

part of one's emotional well being.

Many male magicians practice what is called "retention of the seed"

and report that this is beneficial on many levels. This is a simple technique of

putting pressure on the tubes which carry the semen and thereby preventing

ejaculation. This does not usually adversely effect the male orgasm and in

fact, often heightens the energetic effect that orgasm has upon the male body.

Several years ago, a fellow said to me that homosexuality is due to an

imbalance of the Water Element and that it was something that the magician

should overcome. After a little discussion it became clear that his feelings

about homosexuality had nothing to do with magic, per se. His bias was due

to his upbringing and his personal morals and was truly not founded upon the

philosophy of the Elements.

In point of fact, this aspect of sexuality has nothing to do with one's

Elemental balance. Homo-, bi- and hetero-sexuality are all natural and none

is more nor less healthy than another. I should hope that no student will fear

that their specific sexuality prevents them from following a magical path.

The only important parts of sexuality that effect one's spiritual

growth and advancement in magic, are how one feels about one's own sexual

orientation and how one treats others with whom one is having a sexual rela39

tionship. In other words, it is the emotional and moral aspects of sexuality --

those parts that the magician can change and improve upon -- that are of concern

to spiritual ascent.

Getting back to the main topic; other forms of asceticism, such as

starvation, self-flagellation, self-deprivation, and so on, are not advisable.

These practices only produce imbalance. Equilibrium is achieved through

moderation and disciplined control, and this is the path recommended by

Franz Bardon.

Time:

Time is not a subject that Bardon discussed in the "Theory" section

of IIH. Nonetheless, I think it is of such importance to the student of magic

that I have chosen to say a few words about it here.

It is difficult to separate the objective reality of time from our subjective,

human perception of it. Both are of concern to the magician.

As physical human beings we experience time as a thing which

stretches behind and in front of us. To us, time either seems to move forward,

or we seem to move forward through time. Either way, we perceive time as

having forward movement.

To keep track of this forwardness, we have constructed elaborate

methods of measuring time's passage. We divide time into seconds, minutes,

hours, days, weeks, months, years, etc.

At the moment that I'm writing this, it is 1:10 pm, Pacific Standard

Time, on March 3rd, 2001. This fact has relevance to my mundane existence

in that it helps me place myself into context with my scheduled routine, but as

a magician, it has little relevance to me.

In magic, there is only one aspect of time that has true relevance, and

that is the present moment or now. The exceptions to this are when the magician

needs to set a duration to a certain magical act (such as when keeping a

magical healing effective till a patient is well) or when aligning a certain ritual

with favorable astrological events, etc.

The essence of time is sequential change. The number of changes

that occur within each moment are truly infinite. There is no stasis -- no moment

when change ceases and everything remains the same. This is the crux

of what differentiates our subjective perception of time from the objective reality

of time.

As physical human beings, we are not capable of perceiving the infinite

number of changes occurring at each moment. All we can do is grasp

hold of a small few of the changes at a one time. The mechanics of human

perception are such that we take the equivalent of a photograph of the present

moment -- altering it into a static, unchanging picture of events -- and then we

decode its significance to us. This happens very rapidly and we develop a

chain of these stop-action images and from this process we get the impression

of forward movement similar to that derived from watching a motion picture

made up of 24 static images per second.

This has the effect of putting us ever so slightly out of temporal and

emotional sync with real-time or objective time. In objective time, there is

only one part -- the present moment or now. Objectively, the Now is eternal

and in a ceaseless state of change. It has no movement -- it simply IS.

The present moment has three components: 1) Infinite Change. 2)

Infinite Continuity: This is what makes one moment so similar to what precedes

and follows it. 3) Nowness: This is the sensation of immediacy inherent

to our experience of the present moment.

Processed by the human brain, the infinite present moment is perceived

as a sequence of finite moments. Thus we feel that there are past moments,

present moments and future moments. But the magician should clearly

understand that at the physical level of our existence, past is only a function of

memory and future is only a function of our creative imagination. Neither

past nor future can truly be said to exist presently.

In seeming contradiction to this, we speak of an eternity which encompasses

the whole of time's passage and we quibble over whether or not we

have free will. I say to you that there is no contradiction, or rather, the contradictions

coexist quite comfortably. While the present moment is all that truly

exists within the physical realm where time involves itself so intimately with

space, in the most ephemeral parts of the non-physical realm where eternity

holds sway, all of time (past, present and future, as it were) exists simultaneously

and wholly.

Time is multidimensionally infinite. When one experiences eternity,

the whole multidimensional infinity of time is perceived as a unified Now.

From this perspective, the issue of free will is irrelevant due to the fact that

infinity implies that there are enough options to accommodate the infinite

number of available courses one can choose to take. In other words, it takes

free will to create and to follow the infinite number of choices which fill eternity.

From the magical standpoint, this is the root truth behind many of the

modern physicist's theories regarding the idea that there are an infinite number

of universes following an infinite number of time lines. Eternity is not filled

with infinite possibility; instead, it is filled with infinite actuality. In other

words, all possibilities are actualized -- if they were not, then eternity would

not be truly infinite.

What prevents us from constantly perceiving eternity with our normal

awareness is the fact that as physical human beings we are intimately

bound up in sequence. In every regard, one thing follows another. One idea

leads to another, one action is followed by an effect, etc. To perceive eternity

(or any infinity in its whole, for that matter) requires that one must remove

one's self to a non-sequential perspective. This perspective is so foreign to

our day-to-day existence that seldom do we even consider its implications, let

alone its possibility.

The physical realm is ruled by both space and time. I must say

though, it is hard to separate space from time for without the factor of time,

space would not exist.

The astral realm mediates between the densely sequentialized physical

realm and the non-sequential aspect of the mental realm. Thus the astral

realm is not completely bound to substance and for this reason it is said that

space does not hold sway in the astral. This is only partially true. For the magician

this is especially true when it comes to astral journeying and astral

communication with other beings. In other words, the well trained magician

may travel to any physical place through the astral realm and communicate

with another being regardless of where in space they may reside. Time (i.e.,

sequence) however, holds a firm grip upon the astral realm and to truly travel

throughout time, the magician must work within the mental realm.

The mental realm spans both the realm of sequence (time) and the

non-sequential realm (eternity). Within the highest reaches of the mental

realm, there is no sequence and one steps out of time, as it were, and views

things from an eternal perspective. In the lower reaches of the mental realm

(that of sequential thought and physical matter) time is a factor. Only at the

level at which the mental realm intersects the physical realm does space become

a factor, but this is a small part of the overall mental realm and thus we

say that neither time nor space restricts the mental substance.

The student of magic will receive a great benefit by analyzing the

nature of human perception and of time itself. Repeated meditations upon this

subject, experimentation and reading the available literature will all forward

the student's understanding.

And don't worry, there's plenty of time . . . <grin>

Step One

Preface:

In my opinion, the most important thing that differentiates Bardon's

system from most all of the other modern systems of magic is that it begins at

the beginning. The crucial nature of these elementary, beginning steps is all

too often overlooked by other systems and this does an ill service to the novice.

True success with magic is built upon a foundation of simple things -

- the firmer the foundation, the farther the student will be able to rise. In Step

One, the student will find the basics of the rest of the course: Meditation, Introspection

and Self-Discipline. I cannot stress sufficiently how absolutely

essential these three things are to genuine magic.

Mental:

With Step One, the "Schooling of the Spirit" concerns three basic

types of meditation. The first is titled "Thought Control", but this is sort of a

misnomer. What is meant here is not direct, active control of what thoughts

arise in your mind; rather, what is referred to is establishing yourself as an

active observer of your thoughts. When the observer-perspective is established,

the multitude of thoughts that normally arise, will naturally slow of

their own accord.

The second type of meditation is titled "Thought Discipline" and has

two phases of practice. The first phase is enacted in day-to-day life and involves

disciplining your thoughts so that they pertain only to the task at hand.

For example, if you're driving to work, you practice the shunning of thoughts

that have nothing to do with the act of driving. The second phase of the practice

is performed as a normal meditation (i.e., sitting with your eyes closed).

Here, one chooses a single thought and shuns the intrusion of all other

thoughts. It is best, in this instance, to begin with a simple, captivating

thought. Each time your mind wanders, bring it firmly back to the chosen

thought.

The third type of meditation is titled "Mastery of Thoughts" and involves

the attainment of a vacancy of mind or an absence of thoughts. For

those unfamiliar with meditation, this is often the most difficult task. It requires

a good deal of will power and persistent effort. When thoughts intrude,

you must learn to willfully shun them and regain your emptiness. I assure you

that this is not an impossible task!

Q&A--

1) What is "thought control"?

In the initial exercises of Step One, Bardon describes three sorts of

mental discipline or meditation. The first type involves merely observing

what goes on in your mind. In this exercise, the student does not block any

thoughts, s/he merely observes what is present. Given time and repeated practice,

you will notice that the flow of thoughts naturally slows down. But what

is really happening is that you are re-tuning your mind to another, less cluttered,

level of mentation. This is not something that you can force, so it does

little good at this stage to be blocking certain thoughts while letting others

through, etc.

Of concern here, is the other distractions that arise, such as that car

alarm that keeps going off in the distance, or the bark of the neighbor's dog.

These sorts of incidents can distract your attention from the observance of

your thoughts. While such occurrences are not within your ability to control,

your response to them is within your control. So, you must learn how to

quickly dismiss these distractions and refocus your attention to the task at

hand. At first this may be difficult, but with persistent practice, your ability to

refocus will become so quick and absolute that such external events will no

longer distract; or rather, the distraction will be so brief that it will not interrupt

your practice.

Another sort of distraction is that you will be tempted to pursue the

thoughts that arise in your mind. The point here however, is to distance yourself

from involvement with your individual thoughts -- you are to be only an

observer, not a participator. At first, this is also very difficult, but with persistent

practice, you will learn how to distance yourself and observe.

No matter how difficult this exercise may at first be for you, do not

give up. This is an essential precursor to the exercises which follow. You

already possess the natural, generally unconscious, ability to do everything

taught in IIH -- all that the training does is bring what has previously been unconscious,

into the realm of a conscious ability.

2) What is "thought discipline" or "one-pointedness"?

The second type of mental discipline or meditation described in Step

One, concerns the one-pointedness of mind. Here you focus your thoughts

upon a single idea and shun all other intruding thoughts. This practice eventually

re-tunes the mind to a still higher level of mentation. If you have learned

to manage external distractions with relative ease and have reached the state

of an observer of your quieted mind, then all you have to do here is select a

single thought and focus solely upon it. The sorts of distraction you will en44

counter here is the intrusion of associated and non-associated thoughts, and

the habit that your mind has of involving itself in these extraneous thoughts.

If we consider the analogy of re-tuning the mind, it becomes obvious

that the mind functions in predictable ways at each frequency. At the frequency

of our normal day-to-day lives, thoughts come with great frequency

and variety, and we exercise little control over them. At the frequency of the

observer, the mind contains fewer thoughts, but the mind itself is still also

functioning at the level of the day-to-day. The observer exercise merely shifts

the focus onto another frequency, it does not make the day-to-day frequency

disappear altogether. The same is true of the one-pointedness frequency -- the

observer and the day-to-day frequencies still exist, only the mind is now tuned

to a higher frequency. It's as if the background noise of the other frequencies

still exist but are relegated to the background and taken out of the current focus.

Dealing with the intrusion of unwanted thoughts during the onepointedness

exercise is much like the management of external distractions you

learned during the observer exercise. Part of getting your mind tuned into the

correct frequency for one-pointedness, involves learning how to quickly dismiss

these extraneous thoughts and refocus your attention. The more you do

it, the quicker it becomes, and eventually, it happens so quickly that these distractions

no longer interrupt your exercise.

Do not "battle" the natural workings of your mind as this leads only

to frustration. The best tact is to coax your mind. You control your mind, not

the other way around, and all you need do is take the control that you already

have and make it a more conscious thing.

Again, do not give up if at first you fail. This is also a vitally important

ability to master for the future exercises.

3) What is "mastery of thoughts" or "emptiness of mind"?

The third and final type of mental discipline or meditation covered in

Step One, involves the emptying of the mind ("vacancy of mind"). If you

have sufficiently mastered the dismissal of distractions in the previous two

exercises and learned how to limit your mind to a single thought, then reaching

an emptiness of mind is the next logical step. This is still only a higher

frequency of mentation, but it is a very difficult one to tune into unless you

have mastered the observer and the one-pointedness exercises.

Perhaps the easiest way to reach the emptiness of mind is to go by

stages. First reduce your mind to a single thought and then eliminate even

that thought. If you are facile with the dismissal of distractions, then the distractions

at this level will be quickly managed.

Before progressing to the Step Two exercises, you should have made

good headway with your emptiness of mind exercises. Even a small few minutes

of true emptiness will suffice to begin with but you must constantly improve

upon this initial success if you wish to make headway further along the

course of IIH. This is a basic magical technique which serves as a foundation

for the rest of the work -- without this degree of mental discipline, many

things are impossible in magic.

4) Should I keep track of all my distractions or just the major ones?

I recommend that on your first trial of each exercise, you do not

bother counting your distractions. Focus instead upon managing them. In the

case of the first exercise with the observer perspective, after you get the hang

of it, start counting your external distractions -- the ones that actually interfere

with your exercise. If you are able to manage a distraction rapidly and it

doesn't interrupt you, then don't bother counting it.

With the other exercises concerning the one-pointedness and the

emptiness of mind, count all the distractions that interrupt your flow of consciousness.

Again, count only those that actually serve to interrupt you.

Counting and keeping track of your disruptions is not a necessary

part of mastering these exercises. Its only importance is when it comes to

gauging your progress. It can be very beneficial to be able to compare how

many interruptions you experienced yesterday or last week, to how many you

encountered today. By making these connections, you will be able to see exactly

how much progress you have made.

In Step Two, Bardon mentions using a string of beads or knots to

keep count of your interruptions during your exercises. This is a good technique

once you get used to it. Eventually, counting off another bead or knot

becomes second nature and takes no interruptive thought at all.

5) Why is five minutes the goal to aim for?

Five minutes is one of those "at least" sort of goals. It is an arbitrary,

but nonetheless good, rule to follow. The idea is not that you should strictly

adhere to exactly five minutes; rather, the idea is that you should set a goal

that is beyond the reach of your normal activity and one which will take a certain

degree of commitment to attain. Never be satisfied with five minutes as

the ultimate, end all goal -- always push beyond this limit. Ultimately, you

should be able to reach and maintain these states for as long as you desire,

regardless of whether that's for five minutes or three hours.

6) Doesn't keeping track of my time cause a distraction?

It can if you let it be. The way I work is I give the exercise a go and

when I reach the state required, I flow with it for as long as I am comfortable

with. When I'm done, I open my eyes and check the time. But while I'm do46

ing the exercise, I don't think about whether I'm doing it long enough.

Another tact is to work at it until I suffer a major interruption. At

that point, I open my eyes and check to see how long I went before I was interrupted.

When I find that at least five minutes have passed before I was interrupted

and that I can go for the same amount of time consistently, I then

feel comfortable in assuming that I have attained my first goal.

How you measure your time is up to you and requires only a little

inventiveness. I use a simple electric clock that doesn't tick, placed at my feet

or otherwise within view. The problem with this is that I must remember what

time it was when I started. Another alternative is to use a simple stopwatch,

but that requires starting and stopping. All in all, use whatever method works

best for you and affords the least interruption possible.

Astral:

In my opinion, this process of establishing the positive and negative

soul mirrors is THE most important phase of initiation. The repercussions of

this form of self-analysis will be felt throughout the entire life of the student

and will be of great benefit regardless of how far into the Steps of IIH one

penetrates.

What is required here is a radical self-honesty. The student must

ruthlessly penetrate through all of his/her illusions regarding who they are and

how they act in the world, and excavate the unadorned root of the matter.

Doing this may be very troubling as you face up to parts of yourself

that are unappealing. Thus, it is a good idea to be especially kind to yourself

as you go through the process of introspection. Treat yourself to enjoyable

activities and pastimes that you might not otherwise entertain. Remember that

the unsavory parts that you uncover are simply who you are at this moment in

time -- never forget that you have the power to change these parts of yourself!

The point of this exercise is not to simply make you fell bad about

yourself, but rather, it is to clearly define where you must begin in the process

of self-change. If you do not have a clear grasp upon who you really are, then

you have no reliable means of knowing what you wish to become, nor little

means of getting there.

In this process of self-change, the student transforms what is already

present into something better. It is not a method which simply rids your personality

of its negative aspects. Instead, it takes the energy of a negative aspect

and changes it into a comparable positive manifestation. Here nothing is

discarded or lost -- it is all transformed.

In the Step One work, the focus is upon taking stock. The work of

transformation is relegated to Step Two. So while you are searching out the

positive and negative aspects of your personality, temporarily set aside

thoughts about how you want to transform them and leave this part of the task

to Step Two.

An important consideration in setting up your positive and negative

soul mirrors is that this task is best done with complete privacy. Never should

you share your mirrors with another human being! This is important in that it

supports the sort of radical self-honesty that the task requires. You must engender

the feeling of absolute safety as you write down things, many of which

you would never share with another.

A medium sized spiral-bound notepad is sufficient. I advise against

using a hard-bound journal because you may find yourself ripping out pages,

especially as you begin the work of transferring your list of items to your Element

sections. Besides, a spiral binding has the practical advantage of lying

flat and does not need to be held open. [NOTE: Do not type your lists on

your computer! Writing your lists by hand upon paper personalizes the process

and makes it considerably more intimate.] Without being paranoid about

it, store your written mirror in a place where you can rest assured that its privacy

will not be violated.

Begin, as Bardon advises, with the analysis of your negative traits.

Write down absolutely everything that comes to mind, no matter how insignificant

it may seem. Place yourself back into the different events of your life

and see what there is to find. Keep track during each day of items that arise in

the present. Meditate each day about who you are and in this way build a

deep understanding of your negative side.

Franz Bardon suggests that you continue this analysis until you have

a list of at least 100 items. Many people balk at this total, but I concur that

this is a good standard to shoot for. If you find your list growing beyond 100

items, then go with it and continue until you feel satisfied that you have completely

uncovered everything. If you find it difficult to make 100 items, then

continue relentlessly until you do.

As you analyze your faults, make sure that each item is really something

that YOU consider to be a fault. It is you who are judging yourself --

your list should not include the judgments of others.

Bardon suggests a time limit of one to two weeks for this part of the

exercise (it is very rare in IIH that he sets out a time limit). This is important

because this initial process of self-analysis should have a beginning and an

end. It is not something to be dawdled over nor is it something that should be

rushed, but it is something that should be attended to within a predetermined

amount of time.

At the same time, the process of self-analysis is a life-long responsibility

for the serious magician. I have, over the years, gone through this Step

One procedure three times. Each time was separated by a few years and each

time netted new results. This is another way for me to keep track of my progress,

as well as being an exercise that is very helpful to my progress.

The magician must at all times be aware of who she/he is. The process

of crafting the personality into what you desire to be is life-long -- achieving

true absolute perfection is not possible as physical human beings. The

best we can hope for is to be constantly involved with actively improving ourselves.

At any rate, to get back on track with the concerns of Step One: It is

tempting, during the construction of your list, to rely upon the list of faults

associated with the "Four Tempers" that Bardon included in the IIH text. I

advise against this as the items he lists are too general. Your list should be as

specific as possible.

Where the Four Tempers come in most handy is in the next phase --

dividing your list into five sections by way of the Elements.

The division into Elements is often a very difficult task, but the important

thing to remember at this stage is that it doesn't have to be perfect. Do

the best you can (meditating upon the symbolism of the Elements will help

immensely) -- you can always move an item to another category later if you

find your original designation to be incorrect. In my first go at this process,

my "Aethyr/Unknown" section was bigger than any of the other sections! It

may take a while to figure out where they truly belong, but don't let that difficulty

stop your progress.

Bardon does not specify any particular time limit for this phase, but

try your best to accomplish this task within a week, or at the most, two weeks.

The final phase of this part of Step One is to divide each of your five

sections into three categories of importance. Bardon suggests that this be

done within a week's time, so don't get too carried away with this part of your

analysis.

That completes the basic Step One work with the negative mirror and

one now shifts to crafting the positive mirror. The same processes and time

limits apply to this process. Devote as much effort to this list as you did with

your list of negative items. With this phase, instead of trying to avoid feeling

too bad about yourself, you will need to avoid getting a swelled head. :)

The end result is two mirrors of 100 or more items each, each divided

into five parts containing three categories. This whole process should

take no more than three months to accomplish.

Should the other exercises of Step One take you longer than three

months to master (which, by the way, is quite common), then it will be wise

for you to spend that extra time studying your mirrors. Try to understand your

present state of Elemental equilibrium. Look and see how the different items

from your lists relate to one another. Often, you can in this way uncover

"complexes" built of many items working together. Spend a good amount of

time getting to know yourself through this medium.

In closing, I repeat to you, this is a very, very important part of IIH

and no effort should be spared in this regard. Even if you come to IIH after

many years of introspection and feel that you know yourself very well already,

do not skip this step! Even if you have made some progress in the past and

then set aside the work for an extended period of time, still do not skip this

task -- a repeat of it may go very quickly for you, but still it should not be

skipped.

Q&A--

1) What if I can't come up with 100 items for each of my soul mirrors?

Then keep trying till you do! The 100-item requirement is a good

one since it pushes you to dig as deeply as you can. This is not meant to be an

easy exercise that you could do without much effort. The idea here is to completely

cleanse your soul and to hone your skills of introspection. This is a

learned ability just like the mental discipline.

2) When do I stop making my list? Should I continue indefinitely?

This is the opposite of the first question. Some find hundreds of

faults and have difficulty knowing when to stop for now. The point of this

first exercise in introspection is to set a limited goal. If you find more than

100 items, then instead of continuing on indefinitely, limit your efforts to two

weeks.

This is important because it is all too easy to wallow in self-criticism

and thus avoid moving on to the part about changing yourself. Don't think of

the overall process as being divided into sections so much -- it is a cycle, composed

of two very important parts: introspection and subsequent selftransformation.

Self-analysis alone doesn't accomplish much if there is no

motive to change and improve what one finds. Likewise, self-change alone

doesn't work for long if you haven't taken a thorough stock of what you already

have to work with.

So, set yourself a limit of no more than two weeks for this phase of

the cycle. This will suffice for now. You can (and should) always go back

and add things to your lists later -- it does not have to be absolutely perfect on

the first round.

Which brings me to the subject of the endless nature of this cycle of

introspection/self-change. This is truly a life-long habit for the true magician.

Over my time at this work, I have constructed three such mirrors of the soul,

each separated by a few years. This is a process of constantly perfecting oneself

-- there is no resulting absolute state of perfection. This is a dynamic and

continuous process since, as humans, we are constantly changing and encountering

new parts of ourselves.

For the purposes of Step One, you must see to your forward progression

through the exercise along with your dedication to doing the best you can

with it. This is only possible when you set goals and limitations for yourself.

By approaching it in this manner, you learn the fundamentals of the process

and you are then better prepared to continue working with it as the years

stretch before you.

3) What should I do if I can't figure out which Element corresponds to a specific

trait?

At this stage, don't fret over it. Simply assign the item to which ever

Element seems most appropriate and those you absolutely can't figure, assign

to that wonderful category titled "unknown". As you work with the Elements,

your understanding of them will increase and you will be better equipped to

decide if you've been wrong in your assignment.

At this point in the ten Steps, the actual Element each item belongs to

is of less importance than the degree to which the item effects you. For the

purposes of self-change itself, the second division into three categories of importance

or frequency, is far more relevant than an item's Elemental correspondence.

This is true because the actual techniques of self-change that you

will be working with are not dependant upon the Elements themselves.

In the Step Two work of self-change, the changing of your traits will

balance your Elemental composition regardless of whether or not you have

assigned your items correctly. The main use of the Elemental division is that

it gives you an idea of the quality of your overall Elemental balance or imbalance.

This is when an accurate designation by Element becomes truly important,

but at this stage it is of minor importance.

This does not mean that you should not try your best to determine the

correct Elemental correspondence. You should commit yourself to pursuing

your "unknown" category until you assign each item to an Element. Also, as

your understanding of the Elements improves, review the items you have assigned

and see if you still feel that you got it right. One advantage to not having

to carve your soul mirrors into stone is that you can always go back and

change your mind!

Some have found that researching the character associations of the

zodiacal signs of astrology is very helpful as they try to discern which item

goes with what Element. Some find solace in the more recent works on psychology,

and so on. At any rate, there are written resources that will help.

But by far, the best aid is if you spend time meditating on the subject.

Another bit of practical advice is that when you encounter a truly

puzzling item, look into it further. Often times, an un-catagorizable item is

one that is too complex and that can be broken down into more specific parts.

Usually, those specific parts are easier to categorize into individual Elements

than is the whole complex of traits. Again, meditation is the magician's handiest

tool -- most answers are just inside, waiting to be discovered.

4) Under which of the elements would one place an addiction to substances,

such as tobacco? I know FB himself dealt with this entity.

Well, as you've already guessed, there is no quick and easy answer.

There are so many factors that contribute to an addiction that it is better if you

break down these factors for yourself and deal with them individually instead

of under the umbrella of 'addiction'.

I am also a smoker and have grappled with this issue at very close

quarters. I quit smoking for three years and while it was very beneficial for

the development of my will power, it had no effect upon my underlying addiction.

From it I learned a great deal about how to manage my addiction, but it

did not address the underlying emotional and mental aspects of my addictiveness.

Any addiction is composed of many more factors than the object of

addiction. For example, my body is physically addicted to the periodic rush

of nicotine. This is true of any truly addictive substance, whether it is something

inhaled, eaten, injected or drunk. This is also true of the emotional

states or activities that we are addicted to -- they each initiate chemical reactions

within our physical bodies to which we can become addicted. While we

can ameliorate the impact of the physical consequences of an addiction

through abstinence, this does not address the other components of the root

addiction (in many cases this has the opposite effect of amplifying those other

components).

For me, smoking satisfied a certain inclination toward selfdestruction.

And it satisfied other needs as well: my need for social acceptance

(this was back when everybody smoked); my need for something to

keep my hands busy (probably the bane of every artistic soul); my need to distance

myself from others; my need to have something entirely my own; and

last, but by no means least, my need for pleasure (I actually like to smoke).

Of course I could list a few more, but I'm sure you get my drift.

By breaking my addiction down into its component parts, the assignment

of the parts to the Elements was made relatively easy. And this gave me

the key to remedying the root addiction. Very often in any work of healing

(and what else is the transformation of one's character other than a healing

process?) it is the root disease that is more important than its symptoms. This

is especially true when it comes to the work with your soul mirrors. We can

be going right along in the smug assumption that we've managed the symptom

(e.g., I quit smoking) quite admirably, when all of a sudden we realize that we

did nothing to remedy the root disease (i.e., my addictiveness) and, poof!, all

of our hard effort was for nothing. Until you reach to the root of an addiction

and tackle all of its parts, the addiction itself will persist. In my case, after

three years of not smoking, I started smoking again. In fact, at no point during

those three years was I NOT addicted to smoking -- all because I hadn't

addressed the other components of my addiction.

When I first assigned the item "smoking" to an Element in my first

go at my negative mirror, I listed it under the heading of the Air Element.

There were, for me, some very Airy aspects to my smoking but this really didn't

work for me in a practical sense. When I began to break it into parts, I

found that initial item spread out all over the place. In the end, it belonged to

no single Element, and I'm certain that where the parts fell into place for me

will be very different for each individual. So much of the soul mirror cannot

be given a universal Elemental correspondence. Where such universal standards

apply accurately is only at a very superficial level of generalization.

This is why the list of the character traits associated with the four temperaments

that Bardon gives in IIH is not all that useful -- it is too general.

Any time I have difficulty determining what Element to assign an

item in my soul mirror to, I try to break it down into smaller parts. Invariably,

this has solved my confusion and provided me with the handle by which to

grab hold of and transform myself.

5) Why should I make a negative AND a positive soul mirror? Isn't just the

negative mirror enough?

Granted, the primary purpose of the techniques of self-change is to

equalize one's negative traits, but that is ultimately only half of the whole process.

It is of equal importance that you nurture your positive traits.

It is also important in the process of introspection that you not look

only at your negative side. This can be very depressing if you don't balance it

with an equal look into your positive side. The magician must walk in balance,

as it were.

Another important reason why both mirrors are essential to the overall

process is that often the answers to your negative traits are found amongst

the list of your positive traits! In this way, you are already your own best

friend.

Physical:

This section of Step One opens with suggestions for a few simple

daily exercises. The first concerns bathing and advises that the student bathe

in a cold shower and brush the skin with a natural-bristle brush. This may

sound silly but I urge you to actually try it. It is especially beneficial to the

beginning student in that it very effectively opens the pores of the skin and

facilitates bodily health. If you are arising very early to make time for your

exercises, this technique will assure that you are fully awake.

The second set of recommendations concerns the establishment of a

daily regimen of exercise. Again, this is especially beneficial for the beginning

student as it draws the student's consciousness into a closer awareness of

their physical body. This need not be taken to extremes -- the important aspects

being the maintenance of flexibility and bodily vitality.

While these exercises are not strictly "magical", they are nonetheless,

of importance and are pertinent to the further, more "magical" exercises.

The next section is titled "The Mystery of Breathing" and forms the

basis of many of the exercises to come. It is important therefore, that the student

pay attention to the mastery of this simple technique.

Please note that what concerns the student here is not the physical

constituents of the air that are inhaled (oxygen, nitrogen, etc.), nor does it concern

the vital energy inhaled. This is not "pranayama" nor is it an exercise to

hyper-oxygenate the blood. The only thing of concern at this stage is the idea

inhaled with each breath -- this idea represents the quality of what is taken in

and is attached, by the mind, to the Akasha principle of the physical air.

It is vital that the student maintain their normal rhythm of breathing

during this exercise. One should not lengthen the inhale or exhale and should

not hold the breath at any point. It is normal for the beginning student to

automatically lengthen the breath cycle because it takes a few moments to get

one's thoughts in order. The result is usually a longer inhale while the mind is

establishing the idea to be inhaled and a lengthy holding-in of the breath while

visualizing that the idea is penetrating the whole body. The reason this occurs

is because the student is unfamiliar with the building-up of the idea and the

visualization of its action upon the body, so to compensate, the breath is extended.

The problem that arises with this is that if this habit is continued then

the student eventually associates the ability to breathe in this manner with extending

the breathing cycle and it becomes impossible to accomplish this task

with the normal breath. Learning to do this exercise within the confines of the

normal breath is important because the magician may not always have the opportunity

to slow the breath in order to perform the later exercises such as ac54

cumulation of an Element, etc.

With practice, the building of the idea and the circulation of it

throughout the body, can be accomplished in a nanosecond. The trick to

learning the exercises without altering the breathing cycle is to disassociate

the ideation from the breath. For example, establish your normal, comfortable

breathing rhythm and breathe normally as you build up the idea in the air surrounding

you. Then, when the idea is well established, inhale a normal breath

of the impregnated air. Do not hold your breath at this point, but instead resume

your normal breathing while holding the idea in your body and circulating

it. Let your exhale be just of air and not of your idea.

In other words, it is your mind which does the work, not your breath.

The breath is only the carrier of the idea and it is not necessary to alter your

breathing cycle to accommodate the speed of your thinking. With practice

though, you will get used to the mental work and it will become fast enough

for you to not have to insert extra "empty" breaths while you think. Eventually,

your rate of thinking and visualization will match the rate at which you

breathe.

Other important factors are:

1) The nature of your idea. The thought you inhale should be positive

and concern your own spiritual well-being.

2) The degree of your conviction. You should cultivate an attitude of

absolute assurance that your idea is quickly becoming a reality.

3) Persistence. You should persist with a single idea until your goal

is realized before passing on to another idea.

The next two sections are titled "The Conscious Intake of Nourishment"

and "The Magic of Water". These techniques are based upon the same

principles as the mystery of breath -- an idea is attached by the mind to the

Akasha principle of the physical substance. Again, this has nothing to do with

the physical properties (vitamins, minerals and other nutriments) of food and

water. Our only concern at this stage is with the idea that the student must

attach to the physical substance.

The same requirements (i.e., the nature of the idea, the degree of

conviction, and persistence) apply to these exercises. This work with food

and water should be carried out simultaneous with the breath exercises. In

other words, you don't need to master the breath exercise before beginning

this work with food and water.

These exercises should be made a daily habit. Do the breathing exercises

every morning and every evening, and do the food and water impregnation

with each meal. With a little inventiveness, you will be able to impregnate

your food and drink unnoticed by others, even when you sit in a crowded

restaurant or at a table filled with family members.

Q&A--

1) Do I have to give up smoking, drinking and sex?

No, you don't HAVE to do anything. But, if you want to succeed at

the initial work of IIH it is advisable that you temporarily eliminate all mind

altering substances. These substances remain in your blood stream for extended

periods of time and they will effect how much control you are capable

of exerting over your mentation. The idea of a magical initiation is that you

must learn how to reach the equivalent altered states, of your own accord and

without an artificial crutch to get you there. The well trained magician can

match any altered state that a drug can induce -- AND control the nature and

duration of the experience.

Once you have mastered your own mind, there is no reason why you

may not indulge yourself in mind altering pleasures with moderation. Eventually,

the only issue is whether or not the mind altering effect interferes with

your magical practice. With attention to your timing, this can be avoided.

As to giving up all sexual expression, this is neither necessary nor

advisable in the long term for the magician who seeks balance. Sexual abstinence

breeds imbalance. Invoking this sort of specific imbalance may at

times be of use to the advanced magician, but only for periods of short duration

and for very specific tasks. If you have what is now called "sexual addiction",

then a temporary abstinence may be a helpful component of your recovery.

But alone, denial will not resolve an addiction -- one has to reach to the

root of an addiction and work at it from the inside AND the outside.

2) Do I have to become a vegetarian?

This is a common question and there are always disagreements as to

whether vegetarianism is required of the student. At best, it's a good idea if

your body feels comfortable eating only a vegetarian diet and you feel comfortable

preparing only vegetarian meals. But, it is not a requirement. The

potential benefits to one's health are undeniable but this is not an essential part

of learning magic.

What is far more important is to eat a well balanced diet. One that

provides your body with the nutrients and energy resources it needs, will suffice.

Try to avoid over- or under-eating.

3) Does this mean I have to start taking up yoga or go to the gym every day?

Not unless that is what works best for you. The idea behind what

Bardon calls "daily gymnastics" is just to keep your body limber and fit. You

don't need to go to extremes in this regard. Another important thing here is

that daily exercise brings you into a closer contact with the state of your

physical body.

4) How does the magic of breath, food and water work? Does the water have

to be cold?

It is only the Akasha Principle that is worked with in these matters.

The Akasha permeates all things. By its nature, it is susceptible to any

thought impressed upon it and it will transmit that thought to the matter it encounters.

Thus, when you impress your thought into the Akasha permeating

the air you breathe or the food and water you ingest, the Akasha will transmit

that thought to the Akasha permeating your physical, astral and mental bodies.

Through the agency of the four Elements, the thought will become a part of

your physical makeup at a cellular level. This changes your body at every

level.

This takes time -- it does not, at first, happen over night. With practice

however, this can become a very effective tool for self-change and the

rapidity of its effect will increase.

The temperature of the food or water you consume is not a factor in

regard to the impression of a thought since it is only the Akasha you are working

with. Where the coldness of the water becomes important is when you are

accumulating the vital energy, an Element or a Fluid into the water. Then, it

is not the Akasha (which permeates cold and hot water equally) upon which

you are impressing your will -- it is the physical or astral substance of the water

itself and the colder the water, the more readily it will accept this sort of

accumulation.

5) Do I have to bless each meal and glass of water I consume?

No, you don't have to, but by doing it every chance you get, you will

be increasing the effectiveness of this technique.

Step Two

Step Two opens with a section titled "Auto-suggestion or the Secret

of the Subconscious". This describes a relatively simple technique wherein

the student formulates a positively stated phrase pertaining to an aspect of self

that is in need of improvement, and then proceeds to repeat this phrase over

and over, until it becomes rooted in the subconscious mind.

This is not a stand-alone technique -- it will not assure permanent

change in and of itself. To truly effect change in one's self, affirmation must

be joined with direct action. This is elaborated further in the section "Magical

Schooling of the Soul".

Where this technique is most effective is for keeping the positive alternative

to a negative trait at the forefront of one's conscious mind. By implanting

the positive affirmation into one's subconscious mind, it will naturally

arise each time that the corresponding negative trait rears its head. When

combined with a commitment to direct action, this is an invaluable asset.

In my experience, the best times to do this repetition are immediately

upon waking and just before falling asleep.

It is very important that the affirmation be phrased in the present

tense and in a positive manner. For example, "I will quit smoking" does not

suffice as it is both negative and not in the present tense. Far better would be

"I am a healthy, happy non-smoker." Avoid phrases which include the word

'not'.

It is in this section that Bardon introduces the idea of working with a

string of beads (or knots) to keep track of the number of times that the affirmation

is repeated or to keep track of the number of interruptions incurred

in the concentration exercises. This is a handy tool. I work with a length of

yarn in which I have tied 40 simple knots. At each repetition or interruption, I

simply move my finger past one knot. This is advantageous in that it frees me

from having to count my repetitions or keep track of the number of interruptions.

Thus, keeping track does not itself constitute an interruption or distract

me from the task at hand.

Mental:

The student must have reached the recommended degree of success

with the Step One meditation exercises before beginning this section of the

Step Two exercises. The ability to concentrate is essential to the work which

follows.

With this section of the Step Two training, the attention is directed

toward the five physical senses. The practice serves as an introduction to a

type of meditation commonly called "creative visualization". But, as with

many things in IIH, this is more than what is commonly meant or understood

as creative visualization.

These exercises are an important first step toward the development of

the subtle astral and mental senses. They are designed to achieve the following

things: 1) To hone the student's powers of concentration. 2) To teach the

student how to separate out one sense at a time. 3) To hone the student's

physical senses.

The description that Bardon offers of these exercises is very straight

forward and simple. The doing of them however, can be quite difficult for the

average student.

Most students notice that the exercises with one sense will be more

difficult than those of another sense and this is absolutely normal. The reasons

for this are two-fold. First is the fact that we rely upon one or two senses

more so than the others and so some of our senses will not be as well developed

as others. This is easily remedied by focusing upon the sense at hand

and consciously using it throughout the day. For example, if you have trouble

bringing up the aroma of a rose, then go smell a few roses and concentrate

upon their aroma. Pay special attention to how things smell and this will help

develop your olfactory sensoria.

The secondary reason for the difference between one's senses has to

do with the Elemental balance. Each sense is related to an Element and so

when an Element is lacking, the corresponding sense is also lacking. Which

of these exercises is easy and which is hard can tell you a great deal about the

current state of your own personal Elemental balance. As you work at crafting

a greater balance of the Elements in your personality (see Step Two,

"Magical Schooling of the Soul") these discrepancies between the senses

should ease.

The exercises with the sensory concentration should be carried out

exactly as Bardon describes. Be sure to work with just one sense at a time.

For example, if you are working with the smell of a rose, shun all images of

the rose and all remembrances of roses past as they intrude upon your consciousness.

The sequence of senses should also be followed. They are presented

in this sequence for very good reason and you should not spend five minutes

with visualization, followed by five minutes with smell, etc., in a single sitting.

Each sensory exercise should be mastered before beginning work with

the next sense.

Choose simple images to work with when you are beginning the visual

concentration exercise. I advise against using complex images or objects

such as Tarot cards. This tends to make the exercise much more difficult to

master and serves no good purpose at this stage. Likewise with the other

senses, choose simple things to work with.

Please note that in Bardon's description of the "sentience or feeling

concentration", he refers only to overall body sensations such as heat and

cold, and not to tactile sensations such as rough and smooth. It will do no

harm however, to include tactile sensations in your work, but it is not a requirement.

Q&A--

1) Does auto-suggestion really work? Why?

Yes, it does, but not as a stand-alone technique. To be truly effective,

it must be combined with direct action.

This is a very common technique these days, so much has been

learned about why and how it works. Cutting away all the fancy language and

superstition, the simple fact is that by repeating your wish frequently, you

keep the thought in your surface awareness. Of course, this also integrates the

thought into your subconsciousness. But of main importance is that it helps

you keep the thought in your conscious mind and from there, it impacts your

other thoughts and actions.

2) What is the proper phrasing for my wish?

Your phrase should be entirely positive (no 'not's) and in the present

tense (no 'I will'). For example, "I am a healthy, happy non-smoker" is preferable

over "I will not smoke."

Furthermore, when it comes to using auto-suggestion for self-change,

your phrase should address the root of the problem, not the mere symptom.

3) I can't visualize for beans, how do I overcome this?

Number one, keep trying! Secondly, try looking at things more

closely. Pay attention to their color, texture, size, shape, etc. As with any of

the sensory exercises, the more acute your physical senses, the easier it will be

to do these exercises. Persistent trouble with the visualization exercise can be

indicative of an imbalance of the Fire Element, so if this is the case for you,

then working at rectifying your Fire imbalance should make your visualization

exercise go easier.

4) Why are some of the concentration exercises easy and others difficult?

There are two factors at play here. First is the acuity of your senses -

- we tend to favor one or more of our senses over the others in our day-to-day

lives.

The second factor is your Elemental balance. The senses are associated

with the Elements and so when one sort of sensory exercise is more difficult,

it may be due to an imbalance in the corresponding Element. Addressing

that imbalance may help with your sensory exercise.

5) I'm practicing Bardon's visualizations. I can imagine objects with closed

eyes, but I still can't imagine objects with my eyes open.

The main reason that doing the sensory exercises with your eyes

open is so difficult is because with your eyes open there is more visual stimulation

than with your eyes closed. When your eyes are closed, all you generally

see is blackness and this allows you to easily concentrate on just your

visualization. But when your eyes are open, all the images of your surroundings

interfere with your concentration upon the visualization.

There are several ways to make the transition between eyes closed

and eyes open a bit easier. One method is to work in a darkened room. This

reduces the amount of visual distractions during the eyes-open phase and

mimics the blackness of having your eyes closed. Once you can manage your

visualization with your eyes open in a darkened room, then gradually increase

the light in your room until you can master the visualization, with eyes open,

in a fully illuminated room.

A second method is to stare at either a black surface of a plain white

surface when you build your open-eyes visualization. This will also reduce

the amount of visual distractions.

A third method is to stare at a wall or into space with your eyes

slightly out of focus. This blurs your surroundings and thus diminishes visual

distractions.

A fourth, and probably the most difficult method is to first build your

visualization with your eyes closed and then, holding firmly on to your established

visualization, open your eyes. Once your eyes are open, try to hold on

to your visualization and let it float before your open eyes.

The key in any case is to ignore the increased visual details of your

surroundings when your eyes are open. Truly all you should concentrate upon

is your visualization itself.

Many of the exercises require this sort of transition from mastery

with the eyes closed to mastery with the eyes open. This is designed to teach

the student how to make these abilities things that can be employed at any moment

in their daily life.

When any exercise presents a difficulty for you, be inventive and try

a variety of different methods to overcome the difficulty until you find the

method that works best for you. I'm certain that in the above case, there are

more than just these four methods for overcoming your difficulty. I hope that

these examples will at least stimulate your imagination and inspire you to devise

a method that works well for you.

6) Is it okay to skip from sense to sense or should I follow the sequence that

Bardon infers?

The order in which Bardon presented the sensory exercises is important

and for a reason. It is no different in the work of accumulating the Elements

-- you follow the sequence of Fire, Air, Water and then Earth. The reasons

for this are complex, but suffice it to say, you can trust Bardon on this.

You will be wise to follow his directions exactly as stated. It is all too easy to

fall into favoring one sense/Element and this violates the intent of a balanced

magical training.

Astral:

While the Step One "Schooling of the Soul" concerned the analysis

of the personality, the Step Two exercises put this analysis into motion. Here

the focus is upon what I call "self-crafting", wherein the student begins the

process of transforming what has been revealed by self-analysis, into a more

positive manifestation of who the student wants to be.

Bardon recommends starting to work with the most bothersome aspect

of the personality, but adds the proviso that if the student's will is weak,

then she/he can begin work with a minor negative aspect. Truly, starting with

the thing you want to change the most is the better way to go. But, if you

really are lacking in will power, then starting small will build both your will

power and your confidence.

It is of vital importance that you persist with your chosen item until

you meet with the success that you desire. Do not ever give up half way to

your goal. If you feel stuck, then spend some time reevaluating your approach

to the problem and see if you can come up with a better tact.

Choose only one item at a time and devote all your personal resources

to its successful transformation.

Bardon suggests a three-pronged attack, as it were, consisting of

meditation, affirmation and direct action:

Meditation -- Once you have decided upon an item to work with,

spend a goodly amount of time in contemplation. Try to uncover everything

about this item that you can. Each negative trait serves a positive purpose --

what makes it negative is that these aspects of ourselves usually are formed as

subconscious responses. Delve deeply into the negative item and try to uncover

the positive purpose that lies at its root. Then craft for yourself a more

positive way of meeting this root need, one that is a fully conscious choice

instead of a subconscious habit.

Affirmation -- Enough has already been said in this regard in the

opening section on the secret of the subconscious. The important thing here is

that your affirmation be carefully crafted to support the positive alternative to

your negative item. Use what you have learned about the magic of food and

water to also support this work of self-crafting.

Direct Action -- There are two aspects to direct action worth mentioning

here. The first is the moment-to-moment kind. Simply put, this means

that every time your negative trait arises in your day-to-day life, you must immediately

stop yourself and concentrate upon your positive alternative. Replace

your negative response with a positive one. This is a very powerful

form of self-transformation which will directly strengthen your will. The second

aspect of direct action is more occasional. Here, one must plan certain

actions which support the positive alternative and meet the needs of the aforementioned

root purpose. For instance if the root purpose behind your negative

trait is to provide you with a sense of connection with others, then instead

of satisfying this valid need through a negative manner, plan positive activities

that will bring you closer to others in your community or family.

Practice makes perfect and after your first success, your next will

come all the more quickly and easily. This work is very, very, very important

to a steady magical rise and no effort should be spared. Since we are constantly

changing beings, this is a work that never ends -- it only gets easier.

Soon enough, you will get the hang of it and self-crafting will become a joy.

Please remember that the Elemental Equilibrium is not an absolute,

static state. It is a thing that takes constant attention. You are not expected to

achieve an absolute Equilibrium before beginning Step Three. What is expected

however, is that you will have made major advancement toward Elemental

balance. A basic balance of the Elements within the personality is essential

for the work ahead. Without this basic balance and the commitment to

constantly improve upon it, the student risks damage to their psyche and their

physical health.

Q&A--

1) Where should I start?

It really is best if you start with the one item in your negative soul

mirror that bothers you the most. Stick with it until your transform it to your

satisfaction.

Conceding to a weak will is a dubious practice in my opinion. I

know that Bardon says you can alternately begin with a lesser item and work

your way up to the more important ones. But that really is not the best

method. A strong will is essential to the magician so why not do yourself the

favor of cultivating it from the outset? This might not be easy work for you,

but none of it is impossible. Instead of starting with a small item, work with a

big item and go at it in small, manageable increments.

2) Am I supposed to change only my negative traits or am I supposed to tone

down my outstanding positive traits as well?

This is a common question. The Step Two work should be focused

upon transforming your most powerful negative traits. At this stage, the greatest

use for your positive soul mirror is its value as a guide to the rectification

of your negative traits -- many times, the answer to what you should change a

negative trait into, lies within your positive mirror.

Some will say that too much of a positive trait indicates an imbalance

of the Elements. This is only partially true, for an overabundance of a positive

trait is actually a negative trait and should be logged in the negative soul

mirror as such.

3) Help! I'm not making any progress with this, what do I do?

Well, though I'm sure you're tired of hearing this, keep trying!

Sometimes, you will need to go back and entirely reevaluate your approach.

Look again at the item you wish to transform, make sure you've penetrated to

the root of the problem, and make sure that all the techniques for self-change

you employ fit the item exactly.

Sometimes, true and lasting problems with this part of the work stem

from not having the degree of commitment that is required. If this is the case,

then work at developing your commitment, as well as your ability to assure

yourself that your desired change is inevitable or has in fact, already come to

pass.

Physical:

The Step Two "Schooling of the Physical Body" exercises build

upon those of the first Step. Here, we shift our attention from normal lung

breathing, to what Bardon calls "pore breathing" or breathing with the whole

body.

The pseudo-scientific rationale behind magical breathing is that the

cells of the body are constantly regenerating themselves. They die off and are

replaced on a fairly predictable schedule that varies from one type of cell to

another. Our nutrition and our state of mind determines the health of the new

cells. When we practice the magical inhalation of an idea, that idea becomes

integrated into the structure of our new cells and thus we slowly transform our

entire physical structure. This is why it is so important that the inhaled idea

be circulated throughout the entire body.

The pore breathing technique is fairly simple and requires only a little

imagination to accomplish. Bardon uses the dry-sponge-dipped-in-water

analogy, but another good analogy is that of centering one's attention in the

physical bones of the body and sucking in the air from there. Either way it is

described, the feeling should be that one is inhaling air through the whole

body at once. Please note that this is not something that is merely visualized,

but rather, it is something that should be FELT by the entire physical body.

The first exercise in pore breathing involves the inhalation of what

Bardon calls the "vital energy". Unfortunately for the new student, Bardon

says very little about what this vital energy actually is. Consequently, this is a

question that is frequently asked, so I will take a few moments to speak about

the vital energy in the following Q&A section.

The exercises of this section of Step Two begin with the whole body

pore breathing of the vital energy. Remember to avoid altering the breathing

cycle during these exercises. Here, just as with the Step One exercise of inhaling

an idea through normal lung breathing, it is the mind which does the

actual work, not the breath itself. As before, take empty breaths to accommodate

the lag time between your ideation process and your normal breathing

cycle.

Once this technique of pore breathing the vital energy is mastered,

the student's attention is turned toward adding an idea to the Akasha principle

(of the vital energy or of the raw air itself). Here, the idea is inhaled through

the entire body in the same way it was inhaled in Step One through the lungs

alone.

Next comes the practice of the magical exhale. This follows the

same principles as the magical inhalation but focuses instead upon ridding the

body/psyche of a specific thought or ideation (usually the negative counterpart

of the inhaled idea). Again, it is important to not force a change in the normal

breathing rhythm -- take those empty breaths as needed. If you've mastered

the magical inhale, then the magical exhale should be very easy to master as

well.

When focused upon the same concern, the magical inhale combined

with the magical exhale, constitutes a very powerful method for self-change.

Its potentials for positive impact upon the physical and psychic health of the

practitioner are uncountable.

The Step Two exercises close with a section on physical discipline.

Specifically, this concerns the primary working asana (or bodily position) that

the student will use throughout the IIH work. Bardon recommends a sitting

posture (some call it the "King" or the "Throne" posture), but a kneeling posture

will work just as well for most students. It really matters little which particular

posture you choose for this as long as it is one in which you find bodily

comfort. For example, if you choose a lotus asana and can do it without your

legs falling asleep from lack of blood flow then by all means use it, but if the

lotus asana puts your legs to sleep, then choose another posture that does not

have this effect.

This exercise can (and in my opinion, should) be applied to ANY

posture the student finds themselves in throughout daily life. The point here

is to attain the ability to be in any position and still be able to achieve both

comfort and uninterrupted concentration.

As with Step One, it is equally important that the student not move

on to Step Three until all of the Step Two exercises have been mastered. If

one part of the exercises goes quickly for you then spend your time improving

upon your abilities until you have completed the rest of the Step Two requirements.

Q&A--

1) How do I breathe through my pores?

Bardon uses the analogy of a dry sponge which absorbs the water.

This is good, but I prefer the idea of breathing from the inside of your bones.

This way you are drawing in the air from the inside of your self. There is no

way to really describe how this feels, but with a little practice you'll get the

hang of it on your own.

2) What is the vital energy?

There are two questions about the vital energy that invariably arise:

"What is the vital energy?", and "What does the vital energy feel like?" The

first question is less important than the second at this stage in the training but

nonetheless, it is worthy of an answer.

The vital energy is a specific energy that has a specific constitution.

It is composed of the Elements (Fire, Air, Water, Earth and Akasha) and the

Fluids (Electric and Magnetic) in a ratio that has an affinity with living

(animate) matter. When an animate being is surrounded with the vital energy,

it naturally draws from the vital energy as much of the Elements and Fluids as

it requires. Thus a blade of grass will draw a slightly different array of Elements

and Fluids from the vital energy than will a human body.

The vital energy is an astra-mental substance -- it is not, in and of

itself, something measurable through the use of physical instruments (although

many of its physical effects are measurable). Since it is astra-mental, it has an

affinity for physical matter and does directly effect the structure of physical

things.

The specific ratio of Elements and Fluids composing the vital energy

expresses a slight preponderance of the Fire Element and the Electric Fluid. It

also expresses the positive polarity of the Elements and Fluids with greater

strength than it does the negative polarity. This gives it the quality of vitality

reflected in its name.

Most often, it is visualized as a slightly golden brilliance (due to its

preponderance of the Fire Element and the Electric Fluid). It is also visualized

by some to be of a pure white brilliance instead of having a golden tinge,

but in my experience this is not the vital energy that Bardon speaks of here.

This pure white (totally colorless) energy is also vital, but its effect is more

universal and not as specifically suited to animate, living matter. In other

words, the pure white energy will have a greater effect upon the structure of

inanimate matter but will have less direct an impact upon animate matter than

the gold tinged vital energy. Since the focus here in Step Two is our own

physical body, I highly recommend working with a vital energy that has a

golden appearance.

3) What does the vital energy feel like?

As to the second, more important question about how the vital energy

feels to the student's body, the main clue to this is found in the name this

energy is given. This energy feels vital and it is stimulating and energizing to

the human body. When performing the Step Two work with the vital energy,

the student should feel this stimulation throughout the nerves of their entire

body. Little more can be said for it is up to the student to find, through experimentation,

their connection to this energy for themselves. With these

clues and directions, you should have little trouble in this regard.

Step Three

Step Three opens with a discussion of the "four pillars of the Temple"

-- Knowledge, Volition, Courage and Silence. Often, these terms are

misunderstood, or rather, incompletely understood, so I will add a few words

of my own to those written by Bardon in this regard.

Knowledge: This does not mean the mere stuffing of the mind full of

facts and figures. This alone will not aid the student's magical rise. Rather,

the type of knowledge important to the aspiring magician is that gained by

combining study with practice. As any serious student of Alchemy will inform

you, study alone does not make one an Alchemist. It is only through

putting what one learns from study into practical use that true knowledge

arises. This is what leads to Understanding and, eventually, to Wisdom.

Volition: Volition refers not only to the power of the magical will to

overcome all obstacles, but also to the ability to invoke the feeling of absolute

assurance that what one wills is real. This is especially important when it

comes to the use of affirmations and the plastic imagination. Volition increases

with practice -- it is something that can be cultivated. With a strong

will, many doors which remain closed to the ordinary person, open for the magician.

But never should the magician's will be a violent thing which rips

through a barrier unconcerned. The sort of will the magician wields, is like

the undeniable force of running water -- it penetrates obstacles by going

around them instead of ruthlessly obliterating them.

Courage: This refers to an unflinching willingness to stand up to any

obstacle and to face any challenge which confronts the magician. At the root

of courage is the ability to control one's fear and to reach beyond its limits.

This does not mean that one should ignore fear for it is a natural and important

part of our mechanism of self-preservation. All that is meant is that when

fear arises, it should be treated as a valuable bit of information and should,

when appropriate, be set aside. Except in truly life-threatening situations, the

magician does not allow fear to be a barrier to progress. This aspect of courage

comes into play for the beginning student especially in regards to the

work of introspection and self-change. Often times we will see things in ourselves

that it takes courage to face and to overcome. A good meditation for

building one's courage is to consider exactly what the consequences of a fear

filled situation might be. Short of death or dismemberment, the consequences

of most situations are minor and are usually magnified out of true proportion

by the fear itself. There are also other methods for building one's courage.

For example, I have an innate fear of heights, so I chose for a short while to

become a window washer. This required climbing some pretty tall ladders,

but by practicing caution, I was able to go beyond my fear. I still have an in68

nate fear of heights, but now I know that my fear exceeds the real danger and

it no longer prevents me from testing my limits.

Silence: This is probably the least understood of the "four pillars".

Some take this injunction to mean that absolutely no word of magic or one's

experience with it should ever be mentioned, but this is not the case. If this

were so, then why, for example, would Bardon have written and taught as he

did? At its root, silence addresses two concerns: the personal ego and the

sanctity of magical experiences. The part of our human ego that requires approval

from others must be contended with by every student of magic. Here,

silence about the nature and extent of one's magical experiences and abilities

is very handy. If we start bragging about how all-powerful we are, then we

feed this ego need and we become distracted from our higher purpose. By

maintaining our silence in this regard, we avoid inflating this part of our ego

and make it much easier for ourselves to contend with it. Also of note is that

magical experiences are of a very intimate, personal nature. Their intimacy is

easily violated when we speak the details of these experiences to another.

Such a violation subtly diminishes the import of these experiences and does

the student a disservice. Personally, I have no problem discussing the rudiments

of magic, but never do I relay the intimate details of my own experiences.

I have found this advantageous to my own rise and recommend this

tact to you as well. This form of silence builds a very powerful charge of intimacy

into your experiences that is unattainable in any other way.

Mental:

These Step Three exercises take the student a step further into the art

of creative visualization. Creative visualization as described by Bardon is

fairly unique in that the student approaches it in a step-by-step manner and

assumes absolute control over what is visualized. This technique is important

to the student's furtherance in magic for several reasons. It strengthens the

concentration and will, it makes the physical senses and their astral and mental

corollaries more acute, and it prepares the student for the later work of

magical astral and mental wandering.

While at this stage the creative visualization is only a mental operation,

it leads, combined with the other exercises, to actual astral experiences.

The distinction between a mental projection that encompasses physical-like

sensations and a genuine astral experience (which also encompasses physicallike

sensations) is slight, but that is the point. Since it is so slight, mastery of

the multi-sensory mental projection leads the student naturally to the art of

astral projection. The main difference between these two is that in the astral

projection, the realm visited is not reliant upon the mental projection of the

magician; rather, the realm visited exists of its own accord. [The same can be

said of true mental wandering except that in mental wandering there are no

physical-like sensations.]

Another significant difference is that a true astral projection requires

that the magician consciously separate the astra-mental body from the physical

body and this does not occur with a mental projection.

Yet another aspect of these exercises that is worthy of mention is that

through mastery of creative visualization, the student learns how to effectively

build an image that can be wandered through astrally. A thoroughly crafted

creative visualization effectively establishes a connection with its astral counterpart.

For example, this is the secret behind the astral wandering of an occult

symbol -- the symbol is projected through intense creative visualization

which connects the projection to the symbol's astral counterpart and makes it a

thing which can be explored with the astra-mental body.

With these things in mind, I hope it is apparent to the student of IIH

that these exercises are of great importance. As a matter of fact, each of the

exercises found in IIH are of great importance to a steady, balanced magical

rise and none of them should be overlooked.

If the student has indeed mastered the single sense exercises of Step

Two, then these Step Three exercises incorporating two or more senses at

once should present no difficulty. These exercises are presented in a very specific

sequence which should be followed exactly.

The first exercise involves the external projection of a scene. Bardon

uses the example of a ticking clock wherein the student combines the visualization

of the clock with the hearing of its ticking and chiming. This projection

should float before your eyes. Bardon also talks of visualizing a stream

or a field of wheat, etc., employing two or more senses, but it should be noted

that these also should be projections which are separate from the student --

these are not scenes that the student wraps around him/herself and stands in

the middle of.

This first exercise is very much like the Step Two exercises except

that more than one sense is employed at a given time. This exercise should be

accomplished with the eyes open. The point of this particular exercise is to

familiarize the student with combining the senses.

Only when the preceding has been mastered should you turn to the

next exercise. This time you will work with your eyes closed and the visualization

will be a personally familiar scene which is wrapped around you. This

is far different from a projection which hangs in the air before your eyes and

which is essentially separate from you. At first, you should make this scene

only visual -- the point here being to familiarize you with the technique of

stepping into a scene.

After this is mastered for five minutes, then create a scene and add

sound to it. Then add sensation, etc. Here, you must involve yourself with

the entire experience of your scene -- see its every detail, hear its every sound

and feel its every sensation. Smell and taste can also be added to the visualization

as appropriate.

Once you have mastered this technique with your eyes closed, proceed

to experiment with your eyes open. You will have mastered this when

you are able to achieve the same quality of involvement in your scene as you

did with your eyes closed.

Next in sequence comes an exercise where you wrap an unfamiliar

scene around you. Work as before with as many senses as seem appropriate.

Start with your eyes closed and when this is mastered, shift to working with

your eyes open. Working with a scene that is unfamiliar to you requires a

greater degree of inventiveness and that is, essentially, the point of this variation.

Next, we turn to the multi-sense visualization of various animals.

Start with stationary animals and master their visualization with eyes closed

and then with eyes open. [Note: This is a projection, not a wrap-around

scene.]

Now put those animals in motion and work first with eyes closed and

then with eyes open. As before, begin with animals that are familiar to you

and then move on to unfamiliar animals.

The final exercises of this section concern the visualization of human

beings. Begin with familiar humans and project their image, without sound or

smell or movement, first with the eyes closed and then with the eyes open.

Then move on to the same exercise with unfamiliar humans.

When this single-sense visualization is mastered, switch to familiar

humans in motion and speaking. Employ as many senses as you can, working

first with your eyes closed and then with your eyes open. Finally, repeat this

exercise with humans unfamiliar to you.

This completes the magical schooling of the spirit for Step Three. At

the end of these exercises your abilities with creative visualization should be

well honed. You should be able to place yourself within any scene you desire,

for as long as you desire, populate it with whatever animals and humans you

desire, and be able to employ any of the senses you desire.

Q&A--

1) How real should my multi-sense visualizations be?

Ultimately, they should be so real that when you reach out to touch

them, you are surprised that they have no physical substance. Their degree of

detail should be so exact that you cannot visually tell them apart from the

genuine article.

2) Why do I have to work first with my eyes closed and then with my eyes

open?

These are both valuable abilities for the practicing magician. We

start first with our eyes closed because that is generally an easier way to learn

the basic exercise. Once it is mastered with the eyes closed it is then relatively

easy to master the exercise with the eyes open. The same quality of the

multi-sense visualization should be achieved with the eyes open as with the

eyes closed.

3) What's the difference between a visualization that hovers in the air before

my eyes and one that I step into?

These are also two valuable abilities for the practicing magician. An

example of the "hanging before the eyes" type of visualization is the imagination

of a ticking clock which hangs on a wall. Here, there is little direct involvement

with the visualization itself.

An example of the "step into it" type of multi-sense visualization is

the imagination of an entire room surrounding you. Here, there is an intimate

involvement with the visualization and you can employ all five of your senses

at once.

The exercises begin with the "before your eyes" type of multi-sense

visualization because this is an easier way to learn the basic technique and

makes the transition to the "step into it" type that much easier.

Astral:

Before beginning these Step Three magical schooling of the soul exercises,

the student MUST (!) have first established a rudimentary balance

among the Elements of the personality. In order to avoid any ill effects upon

the psyche and the physical body, the student must be absolutely certain that

there exists no negative excess of any Element in their personality. All of the

most bothersome items found in the negative soul mirror must have been addressed

and transformed.

This caution cannot be stated strongly enough. No matter how eager

you are to progress, please do not, by any means, enter into these exercises

until you have establish this rudimentary balance. If, for example, you still

have strong negative aspects of the Fire Element that influence your personality,

then working in this manner with the Fire Element will do nothing more

than exacerbate that imbalance and cause you grief in the long run. If, on the

other hand, you have transformed your prominent negative traits, then this

work with the Elements will help strengthen the positive aspects of your personality

and cause only joy.

As Bardon states, this work with the Elements is the deepest arcanum

of magic. It forms the root of all true magical abilities and the student should

pay close attention to these exercises.

The system outlined by Bardon in IIH differs from all the rest in that

the student learns how to cause magical effects by their own direct manipulation

of the Elements. The student of IIH does not start out by relying upon

other beings for these effects (e.g., the Beings of the Elements, or rituals empowered

by others, etc.). In IIH, this is seen as later work that is only advisable

once the student has themselves mastered the direct, hands-on manipulation.

This is what, in Bardon terms, distinguishes the true magician from the

sorcerer.

These magical schooling of the soul exercises combine the already

established techniques of visualization, ideation and pore breathing. Simply

put, the student visualizes their body surrounded by an infinite sphere of the

Element at hand (e.g., red for Fire), empowers the visualization with the ideation

of the Element (e.g., expansiveness and heat for Fire), and then inhales

this empowered visualization with the whole body.

Bardon suggests seven inhalations to start, building over time to

thirty inhalations, and it is advantageous to follow his instruction in this regard.

It is important that the student build slowly as this gives time for the

body to acclimatize itself to the Elemental burden and thus the student avoids

any ill effects.

Bardon suggests a particular color for each Element to facilitate visualization:

Fire --red, Air -- blue, Water -- greenish-blue, and Earth -- yellow,

gray, or black. Strict adherence to these correspondences is not absolutely

necessary. Personally, I employ the following: Fire -- bright red, Air -- yellow,

Water -- cyan blue, and Earth -- brown, dark gray, or black. These are

the correspondences that I worked with before I encountered IIH and they are

the most comfortable to me. So, if you have worked with a different set than

that suggested by Bardon, by all means continue with it if it works well for

you.

Of greatest importance in these exercises is the feeling that the Elements

invoke within you. You must feel the heat and the expansiveness of the

Fire and so on. This must become for you a physical sensation.

[Note: Bardon speaks here, and in several other places, about what

can be accomplished with the Elements, etc. But it is important that you realize

these are just examples of what can be achieved after years of effort and

that they are not meant as requirements. These are extreme practices and are

not advised for the student as they tend to divert one from the more important

goal of a balanced magical progress.]

The exercises themselves are very simple. You begin by establishing

the visualization and then empower it with the appropriate ideation. Then you

inhale the Element with the whole body through the now familiar technique of

pore breathing. Again, be careful to avoid altering the normal breathing

rhythm -- take empty breaths as needed. Begin with seven inhalations and

increase by one inhalation with each exercise till you reach a total of thirty

inhalations. Once you have inhaled the proper amount of the Element, spend

some time sensing the Element's attributes and circulating the Element evenly

throughout your body.

When this phase of inhalation and contemplation is complete, you

must then magically exhale (with the whole body pore breathing) the same

amount of the Element that you inhaled. The idea here is that you should rid

yourself of all the excess of the Element that you previously inhaled. Use the

same number of exhales that you inhaled, but be sure that you exhale exactly

the same amount that you inhaled.

This is important because it is unhealthy to walk around with an excess

of the Element for an extended period of time after your exercise. Likewise,

it is unhealthy to go to the opposite extreme and deplete your body of its

normal amount of an Element. In other words, exhale neither more nor less of

the Element than you have inhaled.

Master this exercise first with your eyes closed, and then master it

with your eyes open. Never neglect this habit of working with the eyes closed

and then with the eyes open as it will become an important ability further on

in the training as you apply these techniques in your daily practice.

Once you have mastered the magical inhalation and exhalation of the

Fire Element and increased your capacity to thirty inhalations, then move on

to working with the Air Element. Do not work with the Fire Element in one

sitting and then the Air Element in the next, etc. Instead, master one Element

at a time and work in the order Bardon recommends. This sequencing is important

and the student is well advised to follow it exactly.

The Step Three magical schooling of the soul is complete when you

can draw each of the four Elements into your body with equal ease and with

your eyes open or closed.

Q&A--

1) Is inhaling the Elements any different than inhaling the vital energy?

The technique is basically the same -- surround yourself with a universe

of the Element/energy and then inhale it. The main difference however,

is that the Elements take a little more ideation than does the vital energy.

Each Element feels different and their invocation is less easily sensed than the

vital energy. Generally, the Elements take more concentration and you have

to spend more time building the ideas associated with them.

2) The directions say to slowly increase my inhalations. Does this mean I'm

"dynamically" accumulating the Elements? How is this different from the

Step Four exercise?

In the Step Three exercises of breathing the Elements, there is a degree

of accumulation and it does become dynamic (radiant), but there is no

true "condensation" of the Elements. The "condensation" of the Elements is

relegated to Step Four. More on this difference further on.

3) How clearly do I have to feel each Element? Do I really have to register a

rise in temperature with the Fire Element?

Your sensing of each Element should be crystal clear. You do not

have to actually take a thermometer and measure your bodily temperature, but

you should progress to the point where you definitely feel an increase of your

body's overall temperature. Likewise, you should feel the attributes of each of

the Elements as a physical thing. With the Water, you should feel your body

actually get colder; with the Air, lighter; and with the Earth, heavier.

4) What is the significance of the colors and sensations associated with each

Element?

First of all, these factors help you get in touch with the Element itself.

Secondly, the building up of the image (color and shape) and the sensation

associated with a thing is a large part of future practice. Eventually, you

will learn how to build not only the image and the sensation, but also the musical

tone and the meaning of any force you want to project magically. Later

in IIH and especially in KTQ, Bardon speaks of a "three-sense concentration"

and a "quadrapolar action", based upon the Elemental correspondences.

These Step Three exercises lay the foundation for these future magical abilities.

Physical:

The Step Three magical schooling of the physical body exercises

take the pore breathing technique to a new level. The first stage in this is the

breathing of the vital energy into each body part. This is important for two

reasons. The first, as Bardon points out, is that this will give you a degree of

control over each and every part of your body. The second reason, not

pointed out by Bardon, is that this educates the student about the manipulation

of their own mental body.

As I stated in the "Theory" section, the mental body is very plastic

and can assume any shape it desires and translocate to any place it desires.

Where you focus your mental body (conscious awareness), determines its

shape. Thus, in the exercise which follows, when your concentration is

shifted to a specific body part, you are, in effect, altering the shape and placement

of your mental body so that it assumes the shape and location of the organ

you are working with. This introductory practice exercises an ability

which becomes very important in later Steps involving the transplantation of

consciousness into other objects and beings, as well as the practice of mental

wandering.

I advise that if you do not already know the exact location of the organs

in your body, then buy a book which gives you a visual layout of the organs.

Study this information before you begin these exercises.

The opening exercise involves breathing the vital energy into and out

of each organ or part of your body. This is not an "accumulation" of the vital

energy -- each breath that you inhale of the vital energy is to be followed by

an exhale of the energy. Bardon suggests seven such paired inhalations and

exhalations. The idea here is to learn how to breathe through each organ --

the accumulation of the vital energy in each organ comes later.

It is wise, as Bardon suggests, to begin with the feet and slowly work

your way up to the head. In the body parts and organs that are paired (i.e.,

feet, legs, hands, arms, ears, eyes, lungs, kidneys, etc.) it is good to first

breathe through each side independently and then through both sides simultaneously.

I think it is best if you lie down for this exercise, but sitting is your

usual "asana" will suffice. Invoke a deep sense of relaxation throughout your

body. When you shift your awareness to a particular body part or organ you

must establish a clear, sensory connection with it. For example, when you

shift your attention to your right foot, you should sense each toe, as well as

every spot on the surface and interior of your foot. Only then should you begin

the pore breathing. This is done from the inside of the body part or organ,

so your consciousness must be firmly rooted in its interior.

While this is relatively easy with a foot or hand, it is more difficult

with the internal organs since our sensory connection with them is generally

less developed. Studying an anatomical diagram is very helpful in this regard

and I assure you that, with a little effort, such a connection with your internal

organs is quite achievable.

This first exercise is complete when you are able to breathe the vital

energy in and out of every organ and body part of your body.

The next exercise involves the "accumulation" of the vital energy in

the whole body. An accumulation is different than the mere breathing of the

previous exercise. Here, instead of inhaling and then exhaling each breath of

the vital energy, the vital energy is inhaled several times in succession and

retained. Bardon suggests starting with seven inhalations (increasing by one

inhalation with each exercise until you reach a total of thirty). With each in76

hale, the vital energy is retained and the following exhale is to be an empty

breath. This builds the vital energy into a dynamic, radiant accumulation.

When you have reached the appropriate number of inhalations, spend

several moments (remember to maintain a normal rhythm of empty breaths)

sensing the radiance and the nature of the accumulated vital energy. When

you are ready, then begin to exhale the vital energy (each inhalation should be

empty during this process). Just as with the accumulation of the Elements,

you should make sure that you have exhaled the same amount of the vital energy

as you inhaled.

This exercise is complete when you are able to accumulate a dynamic

charge of thirty breaths of the vital energy within your entire body and

then are able to exhale the same amount of the energy as you have accumulated.

The next exercise should only be attempted after you have mastered

the above. This exercise involves the explosive release of the accumulated

vital energy directly back to the universe. The exhaling breath is by-passed

and this is a much quicker method of releasing an accumulation. But, this

practice requires a certain degree of resiliency as it can be damaging to a body

not used to working with the dynamism of an accumulation of the vital energy.

To begin, accumulate the vital energy through the whole-body pore

breathing. When you are ready to release the vital energy, do so all at once.

It may help to tie this expulsion to a single exhale, but if a single exhale is not

sufficient at the beginning, then by all means exhale whatever vital energy

remains. With practice, you will become able to release the whole accumulation

in one comprehensive explosion.

The final exercise of this section is to learn to accumulate and release

the vital energy from each of your body parts and organs. [Note: It is advisable

that you do not accumulate the vital energy in either your brain or your

heart (especially if you have any heart disease). Simply breathing the vital

energy in and out of these two organs is very beneficial, but accumulating the

vital energy in them is neither beneficial nor necessary. This is due to the

electrical nature of their function.]

Begin by accumulating seven breaths of the vital energy into the

body part or organ (increasing by one inhalation with each exercise) and follow

by exhaling the same number of breaths of the vital energy as you inhaled.

When this has been mastered with all the body parts and organs, then

pass to working with the explosive release of the accumulated vital energy.

The technique is the same as for the whole-body release, but you will need to

take greater care to not abuse your individual organs. Work first with the explosive

release of smaller amounts of accumulated energy and as your plasticity

increases, move to larger, more dynamic accumulations.

Q&A--

1) Bardon seems to use the word "accumulation" to mean two different

things. Please clarify.

There are actually three types of accumulation in IIH. First and simplest,

is what I call a "passive accumulation". This is where you inhale and

then immediately exhale a breath of an Element/energy/Fluid. This does not

cause a build-up of what you are inhaling -- it only bathes you in the substance,

as it were.

The second type is what I call a "dynamic accumulation". Here, you

are taking several inhalations and holding them within your body. This typically

results in a sense of radiance, where there is a certain degree of pressure

felt by the accumulated Element/energy/Fluid.

The third type of accumulation is called "condensation". Here you

inhale multiple breaths and build a dynamic accumulation. Then, you condense

this accumulation into a smaller space. A condensation can also be accomplished

by building up the Element/energy/Fluid into an object or body

part directly to a degree that goes beyond a merely dynamic accumulation. In

some cases, the difference between a dynamic accumulation and a condensation

is subtle, but with practice you will be able to discern between the two.

The work with condensing begins in Step Four. For the purposes of Step

Three, all you need to concern yourself with is the dynamic accumulation.

2) How am I supposed to feel my Pancreas, etc.?

This is not as difficult as it may sound if you have mastered the mental

discipline of the previous Steps. The best method is to get yourself a map

of the internal organs, and with that as your guide, do your best to pinpoint the

location of each organ. Keep trying to locate your organs until you can actually

feel each one.

The basis of this technique is the "transference of consciousness"

described in greater detail in the Step Four material. This work of Step Three

serves as an introduction to the more complex aspects of the transference of

consciousness.

Simply put, what you must do is focus your attention upon the specific

location of the internal organ or body part. Your conscious awareness IS

your mental body, so what you are doing, in more technical terms, is condensing

your mental body into the organ or body part of choice.

Persistence pays off!

3) How clearly do I have to feel each organ and body part?

By the end of Step Three you should be able to sense each organ and

body part with great clarity. Since each organ is different, each will feel

slightly different -- some you will be able to feel very intimately and others

less so. I cannot predict exactly what you will feel with each organ, so it is up

to you to decide when you feel enough.

Since you are moving your own mental body to a part of your own

physical body, it is relatively easy for you to connect your awareness to the

particular astral matrix of the organ or body part and sense what it feels. This

is why the lessons in transference of consciousness begin with your own body

and THEN progress, in Step Four, to transferring your consciousness to external

objects and beings. Once you have mastered this technique within your

own body, it is then easier to do the same sort of projection outward into foreign

bodies.

4) Why is it advised that I should neither dynamically accumulate nor condense

the vital energy into my heart and brain?

The electric nature of the vital energy is such that it interferes with

the electrical functioning of both heart and brain. Thus it is unwise to accumulate

an energy or Element into them. A passive accumulation or bathing of

these organs is safe because there is no actual build-up of the energy/Element.

Likewise, it is safe to accumulate a dynamic charge into the entire head or

chest area, since there is no build-up in the brain or heart alone -- in other

words, the accumulation is spread throughout the region and not focused

solely upon the organ itself.

Addendum to Step Tree --

At the end of Step Three, Bardon introduces the student to the magical

use of the faculties gained from the pursuit of the exercises to date. This is

a very important juncture in the development of a magician and careful consideration

should be given before proceeding in these endeavors.

Of greatest import to the further ascent of the magician is the personal

morality or code of ethics that the magician adheres to. As Bardon

warns, "Whatsoever a man soweth, that shall he also reap." A magician who

wishes to rise steadily must sow only the seeds of goodness and compassion --

anything else will stunt the magician's growth and severely limit their rise.

This is simply an inviolable law of Nature, a way in which the higher Mysteries

protect themselves.

Hidden within Bardon's words regarding the use of one's magical

faculties, is a valuable technique which should not be overlooked by the student.

This is the technique of drawing the vital energy directly from the universe

and instilling it into any object, person or space, without first passing it

through the magician's own body. In healing work, this is the preferred

method in that it avoids any negative impact upon the magician's being (by

passing the vital energy first through one's own body, a subtle connection with

a patient's disease is established).

The student should, by now, be able to design their own regimen of

exercises that will develop the ability to draw the vital energy directly from

the universe and into any object, etc. Please do not neglect to do so as the

benefits will far outweigh the effort required.

Read through this section with care and devise your own ways to use

the magical faculties you have spent so much effort to achieve. The options

available to you are nearly limitless and making use of your abilities will only

improve them. Be creative and inventive and remember to ALWAYS adhere

to your moral code.

Q&A--

1) In the room impregnation or the impregnation of an object, should I use

the same gold-tinged vital energy that I used in Step Two?

This depends upon the purpose of your impregnation and upon the

type of object you are impregnating. If your impregnation is to effect the

health of a living thing, then use the gold-tinged vital energy. If your impregnation

is meant to transfer a specific idea, then you are relying only upon the

Akasha principle of the vital energy and it matters little which type you use.

If you are impregnating an inanimate object, such as a crystal sphere, then the

type you use will depend upon your purpose -- if your purpose is to effect

other inanimate objects, then use the pure-white type, but if it is to effect living

matter, then use the gold-tinged type. This may sound confusing, but

really, with practice, it will become clear.

Step Four

Mental:

With the exercises of the previous Steps, you shall have learned how

to imagine any thing, being or place, and how to concentrate your mental

body (conscious awareness) into any part of your physical body with ease.

Now, with Step Four, you will learn how to transfer your mental body into any

object or being you choose.

This is a very delicate part of the magical training and how strictly

you adhere to your personal moral code will directly influence your degree of

success. If your motive is to supplant your will into another being, then you

will assuredly fail in these exercises. But if your motive is only to increase

your understanding of others, then you will succeed.

The transplantation of your consciousness into another object or being

will provide you with a deep compassion for the limitations and travail of

others. Your understanding of the mineral, plant, animal and human kingdoms

will blossom in a way no other experience can match.

There are four sorts or stages of transplantation of consciousness.

[In a previous post to the on-line discussion board, I outlined three types of

transplantation, but I believe these four types outlined here do a better job of

explaining this topic than the three types I described before.] The first stage is

where you experience the physical limitations and dimensions of the object or

being. Here, there is no connection to the sensations, feelings and thoughts of

the object or being, and your experience is limited to your own sensations,

feelings and thoughts concerning the object of your transplantation. This is

the most primitive and superficial sort of transference.

The second stage is where you feel the actual sensations that the object

or being feels. Still, there is no perception of how the object or being itself

feels emotionally or how it thinks. At best, at this stage, you are able to

surmise the emotions and thoughts of the other, but you do not experience

them directly.

In the third stage of transference, you experience all the attributes of

the object or being you have transplanted your consciousness into. For example,

if you transplant your consciousness into a bird, you will feel the sensations

of the bird's flight, you will perceive the bird's emotional responses, and

you will know the bird's thoughts. The same applies to any object (although

most inanimate objects do not experience emotion or thought) or being you

transfer your consciousness into. At this stage, you are an observer of the entire

being. Of concern with this sort of transference is the personal privacy of

any being you transfer your consciousness into. When it comes to transferring

your consciousness into another human, you should never divulge their inner

emotions and thoughts to another as this would violate their privacy and negate

their right to choose for themselves what parts of their inner life they

want to externalize or share with others. Think for a moment how you would

feel if someone was to violate your privacy in this way -- learn from this to

never cause this sort of injury to another.

With this third type of transplantation, you will have a deep understanding

of the being but you will not be able to directly influence the being

from the inside. What it does provide however, is a deep enough understanding

of the being so that you will know exactly how to influence them from the

outside. In other words, by knowing the sensations, thoughts and emotions of

another, your understanding of them will allow you to predict the consequences

upon them of your advice, healing efforts, etc. This is the stage associated

with "mind reading" and is very advantageous for the healer or the psychotherapist.

The fourth and most complete stage of transplantation of consciousness

can take years of work to master and is attainable only if one has strictly

adhered to the highest moral code. With this fourth type, you switch from

mere observer, to active participant. Not only do you experience the whole

being (physical, astral and mental), but you also become one with the whole

being. In effect, your mental body joins the mental body of the being you are

transferring your consciousness into, and you thereby have access to an absolute

degree of direct influence over the actions, emotions and thoughts of the

being. However, the being into which you have transferred your consciousness

to this degree, will also have access to your being from the inside out.

Usually, the being you would transfer into in this manner, would not have the

magical ability to even perceive your presence and take advantage of the connection

you have established. Nonetheless, the consequences of the mutuality

of such a connection should be considered beforehand.

The true magician will ask permission from the other being before

initiating this most complete stage of transplantation of consciousness. Every

object or being is capable of expressing (in one way or another depending

upon the sort of consciousness the object or being possesses), its willingness

or unwillingness to participate in this most intimate sort of melding. If you

ever try to violate the privacy of another being by overwhelming their unwillingness,

it will be the last time you do so. This is a very high form of magic

and if violated or abused, it will retreat from you and remain elusive till you

redeem [Quite literally, "re-deem" means: to give new meaning to, or return

the original meaning to, something.] the negative karma this act will naturally

incur.

This ability is significant to the advanced magician. The advancing

magician will do well to consider the implications of this ability in regard to

the Step Ten work of merging with (i.e., "assumption of") a chosen god-form;

with healing work of the most intimate level; with the merging at THE most

intimate degree with a lover, friend, or guru/master; with advanced control of

physical substances within the parameters established by Nature (remember,

each physically manifest thing has an astral and a mental body as well, to

which the advanced magician may connect in this manner); and, with the connection

that two (or more) equally advanced magicians are capable of establishing.

The possibilities are truly infinite and when explored to their fullness,

they lead the magician to The Infinite.

At any rate, these exercises are well worth any effort you put into

them. They form the foundation of many of the higher magics that IIH guides

the student towards. For the purposes of Step Four however, the attainment of

at least one experience of the third sort of transference that I described above,

is sufficient, as long as one remains committed to pursuing the transference

without rest, until the third type is mastered. It is even better if you have completely

mastered the third type before passing on to Step Five, as that Step

deals directly with the entry into the fourth type of transference.

The Step Four magical schooling of the spirit exercises follow the

same pattern established in Steps Two and Three. The student begins with a

few simple, inanimate objects and learns to transfer their conscious awareness

into them one at a time. The goal here is to establish the first type of transference

mentioned above wherein the dimensions of the object, its relationship to

its surroundings, and its intended use, are perceived from the inside out.

When this first type is mastered with inanimate objects, the student

shifts to objects from the plant kingdom. Here the goal is to establish the second

type of transference wherein the dimensions as well as the sensations experienced

by the object, are perceived. For example, if you are transferring

your consciousness into a tree, you experience not only the form of the tree,

but also the way in which the tree senses its rootedness and senses its surroundings

through the atmosphere.

Once this second type of transference is mastered with creatures from

the plant kingdom, the student moves on to working with the more animate

beings of the animal kingdom. Start with animals (including insects, etc.) that

you can observe with your own physical eyes. Aim for establishing at least

the second type of transference with them. [Establishing the third type of

transference with an animal at this stage is quite difficult due to how different

the thinking and emotions of an animal are from those of a human. It is best if

you learn the third type of transference with a human before trying it with

something so foreign to your experience as the inner workings of an animal.]

For example if you transfer your consciousness into a bird, you should experience

the limitations and advantages of its form and experience what it feels

like to be in the bird's body. Once you have mastered this basic technique

with animals you can experience first-hand, then move on to animals you

imagine.

When you have mastered the second type of transference into an animal

form, then shift your attention to other humans. Begin with humans who

are familiar to you (preferably with someone you are observing with your own

eyes at the moment you are doing your experiment). At first, establish the

second type of transference wherein you sense the similarities and the differences

of their particular form, and feel what it is like to be in their unique

body. This type of transference should present no problems by now since you

have mastered the exact same degree of transference with other sentient creatures

such as animals and insects, etc. It is best if you begin with stationary

people and then work with people in motion, sensing how it feels to move

about in their bodies. Then do the same with people you imagine.

Once the second type of transference into other humans is mastered,

begin expanding the depth of your transference until you establish the third

type of transference. This comes easiest with someone who is already familiar

to you, as you already experience some degree of mental and emotional connection

with them.

Achieving the expansion of contact from the merely sensorial to the

emotional and mental levels comes differently for each magician. I could say,

"visualize your own consciousness expanding within the other human until it

makes contact with their emotional being and their mental being", or "quiet

YOUR self and listen closely to the interior workings of the other human until

you hear THEIR emotions and thoughts", but this would not begin to cover

the various ways the magician can find to accomplish this third type of transference.

Each student must devise their own best method -- if at first you

don't succeed, try again with a new tact.

It is especially important here for the you to differentiate between

what YOU think the other person is thinking and feeling emotionally, and

what THEY actually are thinking and feeling. It is easy to imagine what they

are experiencing and then falsely assume that our imaginings are actually the

factual perception of their thoughts and emotions. To reach the genuine third

type of transference with another being, the student must look beyond their

own imaginings and perceive the actual thoughts and emotions of another.

Concurrent with this perception of another's present true thoughts

and emotions, comes the perception of all their past experiences, thoughts and

emotions. This is one way to tell the difference between your imagining of

their thoughts, etc., and the actual perception of them. In other words, if you

do not sense the person's past at the same time that you are experiencing their

present moment, then you have not yet attained the third type of transference.

I should mention here that it is important for you to keep track of

your own limits. Do not engage in so deep an empathy that you lose yourself

in the other person's emotions and thoughts. Here, you are to remain an observer

and not involve yourself directly, especially in their emotional state. It

is all too easy to disrupt your own emotional state when you make this sort of

contact with another's. An easy way to achieve this degree of control is to

establish this sort of transference for only brief moments in the beginning. As

you get used to keeping your own emotional being separate from another's,

you can safely increase the amount of time you spend in this state of communion.

Once you have mastered this third type of transference with one person,

begin experimenting with others, even those unfamiliar to you and those

who you only imagine. It is always easiest to achieve this type of transference

with people who are in front of your eyes at the present moment. With practice

you should, for example, be able to sit in the middle of a busy restaurant

and establish this third type of transference with any of the other patrons. Remember

to ALWAYS respect the privacy of others and NEVER reveal the

details of what you have learned about another being in this manner.

When you have achieved this third type of transference with humans,

return to your work with non-human life forms (such as animals and plants).

This is somewhat more difficult because these other life-forms experience

their worlds quite differently than humans do. Thus, experiencing their astral

and mental bodies will reveal things that are foreign to your normal experience

and which may be difficult for you to understand at first. In essence, you

must learn how to translate their emotions and thoughts from animal- or plantterms,

into human-terms. This is no small feat but it is well, well worth the

effort!

This constitutes an important step in the expansion of the advancing

magician's consciousness. The ultimate goal of the magician is to encompass

ALL consciousness or Being within the own consciousness. This is an infinite

expansion of consciousness until one's own consciousness merges with The

Unity of All Being.

This third type of transference into non-human life-forms expands

the human consciousness to a great extent -- it is, so to speak, one finite step

along the way to infinity. But take heart, we cannot encompass an infinity by

taking an infinite number of finite steps -- at some point along the way, one

takes a quantum leap from the finite into the infinite. When and how this occurs

in the life of a magician is in the hands of Divine Providence. It is not

something that can be forced -- all one can do is be patient and persistent.

The work of the Step Four magical schooling of the spirit is truly

complete when you are comfortable with the third type of transference of consciousness

into any human you desire to explore. Some headway should be

made in the same degree of transference into plant and animal forms. At the

same time, you should commit yourself to continuing your exploration of your

fellow beings in this manner.

Q&A--

1) How does the transferal of consciousness work?

The transference of consciousness is actually the relocation of one's

mental body or conscious awareness into an external object or being. In the

first type of transference, your mental body does not make an actual connection

with the mental, astral or physical body of the object or being into which

you have transferred your consciousness. In the second type, your mental

body does make a slight connection with the physical sensoria of the subject.

In the third type of transference, your mental body makes a slight connection

with the mental, astral and physical bodies of the subject. And in the fourth

type, the connection between your mental body and the mental, astral and

physical bodies of your subject is complete and crystal clear.

2) When I transfer my consciousness into another person I feel afraid that I

will lose myself in them. What should I do?

This is a normal sensation with the third and fourth type of transference.

This occurs in the early stages of mental and astral wandering due to

the fact that this action of separating your mental and astral bodies from your

physical body imitates the death process. Thus, the fear stems from a very

primitive part of your physical body's own rudimentary consciousness. In the

transference of consciousness (a form of mental wandering), this presents a

lesser obstacle than it does in the astral separation (which more closely resembles

death to the physical instincts).

In truth, there is really very little chance of your actually losing yourself.

Each of our bodies is connected by a subtle "thread" or "cord" and it is

only when those threads are severed that true dislocation occurs. But this fact

does not negate the physical body's instinct for self-preservation.

The way to overcome any reticence invoked by this sort of bodily

fear is two-fold. First is that you must meditate upon the fact that your fear is

unnecessary in this case. Try to convince your inner self that there really is no

danger even though it reminds your body of the death process. Secondly, you

should approach the third and fourth types of transference incrementally.

Make your first experiences very brief and build slowly from there. This will

introduce your physical body's rudimentary instinctive consciousness to the

idea that this is a safe, unthreatening practice. As your physical body gets

used to the idea that this is not as dangerous as it instinctively suspects, this

fear will recede and will no longer be a barrier to your progress.

3) I'm too empathic. How do I avoid adopting someone else's mood?

True empathy is the result of your mental body establishing a direct

link with another's mental and astral bodies. For some (natural empaths), this

connection is an easy matter to accomplish, but for others, it must be learned.

The intimate link established during true empathy can only be invoked

when the vibrational frequency of your mental body is in sync with another's.

This provides the clue in both how to control and learn empathy.

The ability to establish an empathic link is a great boon to the magician.

Yet to the natural empath who has not learned how to control their empathy,

it can be a great burden. So, if you find yourself adopting another's

mood through your empathic connection, you must learn how to control your

empathy.

The first step in controlling your empathy is to take stock of your

own mood. Clearly define your own state of mind and root yourself there.

This gives you the ability to clearly distinguish between your own mood and

the mood of the person you are empathizing with. As you enter into empathy

with another person, keep a tight hold upon your own mood and act as a mere

observer of their mood. At first, keep your distance and do not establish a

direct link.

Once you have identified the differences between your mood and that

of your subject, slowly begin to alter your mental frequency till it matches that

of your subject. You'll recognize when you reach vibrational parity by the

fact that you will be able to directly feel their mood.

To avoid becoming consumed by their mood, you must make your

time of empathy very brief -- only a second or two at first. I call this

"dipping" as it is a process similar to dipping your finger in to test the waters.

Repeat this dipping until you are comfortable with maintaining the empathic

link without totally merging with another's mood.

Essentially, what you are doing is matching only the exterior of your

mental body with the frequency of the other's mental body while retaining

your own frequency at the core of your mental body. This places you in the

position of being able to directly control how deeply the other's mood penetrates

into your mental body.

If you are a natural empath and find that you are empathic with just

about any person you pass on the street, then you will need to shield or restrict

your mental body during your daily life. A shield is simply an energy vortex

that keeps your mental frequency stable and prevents you from unconsciously

modifying your mental frequency to match that of another person. A shield

acts as a barrier between you and another person's mental body.

To erect a shield you must first take stock of your normal mental frequency.

Then wrap an appropriate blanket of energy around your whole being

and fill it with the idea that it will act to contain, and preserve the frequency

of, your own mental being. Have it constantly replenish its energy by drawing

it directly from the universe and instruct it to remain in place for as long as

you consciously desire it to do so. In other words, make sure it stays intact

until you wish to consciously establish an empathic link with someone.

With practice, shielding will help you regain control over your empathic

ability and preserve your own state of mind. With even further practice

you may be able to retain your shielding of the core of your mental body and

then extend the periphery of your mental body in order to establish a safe empathic

link.

No matter how unwieldy your natural empathy may seem at the beginning,

you CAN learn to control it.

4) How do I prevent someone else from transferring their consciousness into

me?

By this stage of IIH, your will has become quite formidable. No one

can transfer their consciousness into you without your allowing them to do so.

So, if you feel that someone is trying to establish a mental link without your

permission, all you have to do is willfully deny them entry. In extreme situations

or if your natural empathy is untrained, you can always resort to shielding

yourself and this will prevent invasion by another.

I must say however, it is very, very rare that someone else will even

attempt to transfer their consciousness into you without your permission.

There is no need for paranoia in this regard.

Many folks talk about being under "psychic attack", etc., but this too

(when it is an actual attack and not just self-delusion) requires a certain degree

of culpability or consent on the part of the person being attacked. Without

your consent, any true attack will fail. Unfortunately, one has to make sure

that there is no un-conscious consent as well as conscious consent. It is far

easier to deny conscious consent than it is to ferret out any unconscious consent,

and this is why some folks find themselves susceptible to an attack even

though they believe they've consciously rebuked the attack. Again, there is no

need for paranoia in this regard. True psychic attack is a very rare thing -- it

is usually a matter of self-delusion.

5) Can I really control someone else in this way?

Only with the fourth type of transference are you capable of directly

influencing another person or being from the inside. The third type will provide

you enough of an understanding of another that you can alter their behavior

from the outside in much the same way that you do in daily life. In either

way, but especially with the fourth type, you directly share in the karmic consequences

of your interference.

I will warn you now to NEVER attempt to directly influence another

being from the inside without their fully conscious consent -- you do NOT

want to incur the negative karmic debt inherent in such an act. Even if you

are effecting an innocuous, seemingly harmless, sort of influence, to do so

from the inside without their consent is an abuse of your power that will surely

incur some very unsavory consequences. Not the least of these consequences

is that your magical abilities will suffer an extreme set back!

Astral:

With the Step Three magical schooling of the soul exercises, the student

learned how to inhale the Elements into their whole body through the

pore breathing technique. Now, with Step Four, the student learns how to dynamically

accumulate the Elements in the individual body parts and organs.

This is similar to the previous work with the dynamic accumulation of the vital

energy.

At this stage in your development, you must be certain that you have

established a clear Elemental balance, AND you must be able to maintain

your balance. This means that you must by now be able to perceive the state

of your balance at any given moment, and have the ability to correct any transitory

imbalances you encounter. This is of vital importance and you should

not, by any means, proceed with the Step Four exercises with the Elements

until you have achieved your Elemental balance. If you proceed without this

inner balance, you risk great harm to your psyche and your physical health.

As with the accumulation of the vital energy, the student is warned

against accumulating the Elements into the brain and heart. Again, it is only

the 'dynamic' accumulation with its building of pressure that is to be avoided.

Merely bathing the heart and brain with the Elements or vital energy will do

no harm, but when the Element or vital energy is condensed and the pressure

of a dynamic accumulation is invoked, harm can easily be done.

The student begins in much the same manner as with the accumulation

of the vital energy. Begin by accumulating seven breaths of the Element

in the whole body through the pore breathing technique. Then shift the consciousness

to the chosen organ or body part and condense the accumulated

Element into that specific area.

This action of confining the accumulated Element into the smaller

space of the body part or organ, condenses the Element and establishes a more

dynamic accumulation of it. You should feel the attributes of the Element and

a degree of pressure clearly in the chosen organ or body part.

When your contemplation of this accumulation in the chosen organ

or body part is complete, then expand the condensed Element back to the

whole body, spreading it evenly throughout the body and releasing its dynamism

and pressure. When the Element is thus spread again throughout the

whole body, release it back to the universe by means of the magical pore

breathing exhalation.

Starting with the Fire Element, repeat this procedure with each of

your body parts and organs (except your brain and your heart). Then move on

to the Air Element, then the Water Element, and end with the Earth Element.

Seven whole-body breaths will suffice until you have familiarized yourself

with the accumulation of each Element into each body part and organ. Only

then should you increase the number of inhalations and thus increase the pressure

that your dynamic accumulation exerts upon your body parts and organs.

This exercise is significant for a number of reasons, not the least of

which is that it introduces the student to the technique of "condensing" an Element.

This is an important part of the magical use of the Elements.

Once the release of the accumulated Element through the whole body

has been mastered, turn your attention to the technique of releasing the accumulated

Element from the organ or body part directly back into the universe.

This is no different than what you learned regarding the release of the vital

energy. Simply exhale the condensed accumulation from the organ or body

part directly, without first dispersing it throughout the whole body. With

practice, you should eventually be able to release the accumulated Element in

a single explosive expulsion, directly back to the universe from each organ

and body part. This is a faster, more convenient technique and should be mastered

with each Element and each body part and organ.

When the above has been mastered, attention turns to learning how

to inhale the Elements directly into the body's parts and organs, without first

inhaling them into the whole body. This is exactly the same exercise you followed

in the section on accumulating the vital energy.

Beginning with the Fire Element, place your consciousness into the

chosen body part or organ and, from there, inhale the Element directly into the

organ or body part and dynamically accumulate it. Start with seven breaths

and increase from there till you have reached your limit of a comfortable level

of tension. Do not over stress your body by accumulating too much of an Element

at any given time -- work your way slowly as you increase the dynamic

pressure of the condensed Element and stretch your limits carefully. Again,

avoid the dynamic accumulation of an Element in either your brain or your

heart.

When your accumulation is complete, release the Element back to

the universe directly from the organ or body part itself. Start with a paced

exhalation of the Element and work your way up to the explosive release.

Repeat this exercise with each of your body's parts and organs and

with each of the remaining Elements.

The following, final exercise of this section is of immense consequence

to the advancing magician. I urge you to proceed in this exercise with

gentleness. Go slowly and take your time as this exercise should not be

rushed. The healing and balancing effects of this technique cannot be overstated.

The balancing effects of this final exercise are achieved through the

accumulation of the Elements into their corresponding bodily regions. The

main difference in this exercises compared to the work you have already done,

is that here all four Elements are held within the body at the same time.

The technique begins with seven inhalations of the Earth Element,

accumulated in its proper region of the body. This is held and then one inhales

seven breaths of the Water Element into its region, etc. Eventually,

seven inhalations of each of the Elements is accumulated in its own region and

held there.

It is as if you are building your own little planet within your body.

First you set the foundation of Earth. Then you allow the Water to flow over

its surface. Upon this you let the atmosphere built of Air, rest gently. Atop

the Air, the Fire flames, radiating its light out into the depths of space.

Spend several minutes (at least five) in this state and perceive the

balancing effects as your whole, microcosmic being realigns itself with the

universal, macrocosmic balance.

When you are ready, gently release each of the Elements from their

regions, following the reverse order (i.e., Fire, Air, Water, then Earth). At

first, master the release through the seven-breath pore exhaling of the accumulation

and then slowly progress, in the usual manner, to the explosive release.

The question arises, regarding the four bodily regions, of what one

does with the arms and hands. Bardon is silent on this subject so I will relate

to you what I have found best in my own experience with this exercise. I relegate

the shoulder, down to the elbow, to the Air region; the elbow to the wrist,

to the Water region; and, the hand, to the Earth region. This seems to express

their relative use and nature, as well as their interaction. Each modifies the

movement of the next, with the hand (Earth) being the most complex modification

of the initial motion of the shoulder (Air).

When the above seven-breath passive accumulation of the Elements

into their regions has been mastered, it is safe to proceed with working towards

a dynamic accumulation. Increase your accumulation by one inhalation

in each region each time you practice -- retain the balance of the Elements.

Slowly build the condensation and dynamism of the accumulated Elements

and gently stretch the plasticity of the regions of your body.

Again, work with the two types of release: the magical exhalation

and the explosive release.

Aside from the healing, balancing effects of this exercise, the student

will also benefit as it prepares one for the later work of dynamically accumulating

the Elements into external objects.

This exercise Equilibrates the Elements in all three of the magician's

bodies (mental, astral and physical). The implications of this upon the magical

ascent are uncountable. This is one exercise that you will doubtless repeat

with joy throughout the remainder of your life!

Q&A--

1) Is this supposed to be a dynamic accumulation or a condensation of the

Elements?

In these Step Four exercises, you start by establishing a dynamic accumulation

in the whole body, and then you condense the entire accumulation

into the smaller space of an organ or body part. Once this process is mastered,

you turn to condensing the Elements into your organs and body parts

directly, without first passing it through your whole body. Then, in the accumulation

into the four regions of the body, you are working with a dynamic

accumulation directly into each region, followed by a building of the accumulation

into a highly condensed state.

2) Why should I avoid accumulating or condensing the Elements in my brain

and my heart?

These two organs, more so than any other organs in the human body,

depend upon the body's own electrical charge to function properly. Their

electrical balance is fairly sensitive to irregularities and when this is toyed

with, damage can easily occur. Since each of the Elements carries its own

particular electromagnetic charge, accumulating the Elements into either of

these organs risks disruption of their normal electrical balance.

However, when an Element is accumulated in, for example, the Fire

in the head region (in the Elemental balancing exercise), the electromagnetic

charge of the Element is spread throughout all the organs of the region and

there is thus no resulting disturbance of the balance within the brain. The

same holds true when the Air Element is accumulated in the chest region and

when the Elements are accumulated in the whole body.

3) What is the practical use of this work with the Elements?

First of all, the Step Four work with the accumulation of the Elements

into your body opens you to many new options in maintaining your

bodily health.

Secondly, the Elemental balancing exercise will have a great impact

upon your goal of achieving an overall Elemental equipoise.

Thirdly, this work is what makes the finger rituals possible.

Fourthly, these exercises introduce you to the technique of condensing

the Elements. This is a rudimentary part of true magic. Condensing the

Elements into your own body is the first step in learning how to condense the

Elements into external objects.

Physical:

Step Four closes with a section on personal ritual. Here, the student

must be creative and design rituals that are of intimate personal relevance. Of

course, the abilities already learned and the personal morality of the magician

play an integral part in just how effective any ritual may become.

A ritual, for the true magician, is a short-cut. All it does is compress

the hands-on labor into a short gesture. If the magician is not capable of performing

the hands-on labor, then the ritual will be useless. Furthermore, the

compression of the hands-on labor takes a good amount of labor itself. In

other words, creating the short-cut takes repetition. At first, this is not a shortcut,

but given time and effort, it becomes one.

A lot of fancy ceremonial is taught in many of the magical groups,

lodges and schools, but to the well trained "Bardonian" magician these are

relatively unproductive practices. Prewritten ceremony does have its place,

but true magic is spontaneous. It must come from the heart of the magician

and fit the demands of the moment. The true magician has no need for public

display nor theatrics -- there may be times when these are appropriate, but the

magician does not NEED them to effect their will. This is the lesson to be

found here at the end of Step Four.

The magical rituals that you create for yourself, no matter how simplistic,

will serve you far better than those you learn from someone else. Enjoy

yourself, be inventive, and always work for the betterment of all!

Q&A--

1) What is the point of creating these rituals?

The path that Bardon lays out in IIH involves first learning the basic

techniques of magic, followed by combining those techniques in ways that

render them more useful. The idea here is that you must first gain the ability

to do things the slow way, by hands-on, manual labor, and then learn to employ

these techniques in a faster, less labor intensive manner. The creation of

these simple finger rituals represents a faster way of doing the same thing that

you can achieve through hands-on labor. It is a short step from mastery of

these small rituals to the later work of creating beings that will carry out your

will without your immediate attention. Throughout IIH you will see this pattern

of taking simple things and making out of them more complex forms of

magic.

Creating this sort of ritual takes lots of repetitive practice and this is

the primary lesson to be learned through their mastery. Once you've gone

through this process and mastered it, the creation of more complex rituals and

learning the higher magical practices is made just that much easier.

2) How does a finger ritual work?

This is similar to the practice of managing intruding thoughts during

the mental discipline exercises of Step One. By repeating the ideation process

over and over, it becomes quicker and quicker, and eventually it reaches such

a degree of rapidity that it becomes almost automatic. With the finger rituals,

the employment of the Elements at first takes time and extra thought, but with

steady repetition, the whole process becomes so rapid that all you have to do

is move your fingers in the predetermined way and your will is immediately

carried out.

Of course, these rituals are completely useless if you are not already

capable of manipulating the Elements. They are only short-cuts to the performance

of things that you can already accomplish through the slower,

hands-on labor. In other words, a ritual will not give you more power to do

things -- it will only speed up the accomplishment of your will.

The technique itself is very simple. If you condense the Elements

into your fingers as outlined by Bardon, all you then have to do is touch the

appropriate fingers together to release their Elements and thus accomplish

your will. This requires that you predetermine how the Elements will interact

and how they will be directed to carry out the desired effect. So, there is a

combination here of four factors: the condensed Elements; the physical movement;

the building of the ideation; and, the explosive release of the condensed

Elements. In this way, you can very quickly fill your surroundings with an

Element, or combination of Elements, and through their attributes, effect your

will.

Just how effective your ritual will be depends upon your abilities. At

first you will be able to only effect the mental sphere of your surroundings,

but with practice your effectiveness will reach into the astral and eventually,

into the physical sphere.

3) How many rituals should I devise?

Start with one ritual and when that has been mastered, expand your

repertoire by one ritual at a time. Be sure to master each ritual before you

initiate a new one. I recommend no more than four rituals total as this gives

you the opportunity to devise a series of rituals that depend primarily upon

each one of the four Elements, while avoiding the dispersal of power that too

many rituals can incur. It is good to devise enough rituals to meet your needs,

but unwise to devise an endless number of them.

STEP FIVE

Mental (Magical Schooling of the Spirit):

The "Depth Point" and Space Magic --

Bardon begins his discussion of the depth point with a quote from

Archimedes: "Show me a point in the universe [upon which to stand] and I

shall lift the world out of its hinges!" Unfortunately, Bardon's explanation of

what Archimedes was trying to say is not sufficient for the modern reader.

For the convenience of the uninitiated reader, Bardon speaks of the

three standard physical dimensions and posits a fourth, non-physical dimension,

but for the student of Hermetics (and for the modern physicist) this does

not suffice. The Hermetic is conscious of the fact that there are more than just

three dimensions to be contended with in the physical realm. Aside from

length, width and height, there is another dimension that impacts physical

matter directly, namely "duration". Each physical thing exists for a specific

amount of time and this is important since at the level of the physical present

moment, physical matter is not infinite. At any given moment within the

space-time continuum, only a small part of the universe's physical infinity is

expressed. In other words, the physical infinity of the universe exists in its

entirety only outside of the realm of time, in the eternal realm. So, in the

physical realm where the dimensions of length, width and height hold sway,

the duration of a thing's physical form directly effects a thing's existence with

the same magnitude as the standard three dimensions.

Bardon describes time as this fourth dimension but he does not state

it as a physical dimension and therein lies the confusion, for the "point" that

Archimedes refers to is not a physical dimension. Archimedes' point and Bardon's

point are actually a fifth dimension, namely "meaning".

The dimension of meaning directly impacts the physical realm in that

it is a thing's meaning (at the physical level, we see this in a thing's purpose)

which determines the particular details of its appearance. But this is not a

strictly physical dimension like the previous four. Meaning spans all of the

dimensions of existence and impacts each in a similar manner.

In the physical realm, duration is the part of time that holds sway. In

the astral realm, time becomes more than the limited duration of the physical

realm as the whole duration of time opens to the astral eyes. And in the mental

realm, time becomes eternity and the mental eyes perceive the entire infinite

duration of time as a unified whole. The differences sound subtle as I

describe them but they are anything but. The significance of these three ways

of viewing time are difficult to understand from within a time-space perspective.

The conception of the universe in Archimedes' time was that it is an

infinite thing -- not only infinite in spatial terms, but also in terms of thoughts,

ideas, emotions, meaning, and time. Similarly, Hermetic philosophy defines

the three realms (mental, astral and physical) as each being of an infinite nature.

The problem is that in order to perceive the infinity of the physical

realm in particular, you must be able to change your perspective to that of a

higher realm. In other words, you must shift your focus of attention from that

of being centered in your physical body, to that of viewing the universe from

within the heart of your astra-mental body. This removes you from the spatial

restrictions of the present moment's duration and allows you to separate yourself

from your intimate involvement in the physical present moment's life circumstances.

This is the depth point perspective and from here, you can directly

perceive a thing's meaning at an astra-mental level.

Another concept to consider in regard to the depth point is the unique

nature of infinity. This is an important concept to the Hermetic which should

be studied by every serious student.

One of the mysteries of an infinity is that any and every finite point

that can be defined, exists at the exact center of the infinity. For example,

where ever you stand within a truly infinite space, space will still stretch infinitely

in every direction. In other words, infinity has no edges, per se -- it has

only "center". Furthermore, this center point can be of any size and it will still

be a finite center within the infinity.

Consciousness, being the root or Primordial principle, pervades the

entire universe, at every level. At our level as human beings, we manifest this

root consciousness most clearly as our individual awareness. Our individual

consciousness is what ties us directly to the infinite consciousness of Being.

We have, by virtue of this connection, the ability to place the finite center

point of our awareness anywhere within the infinite universe and expand or

contract it as we wish.

By pursuing the depth point, we free our center of awareness from

the ties of the physical present moment and are then able to expand it and

move it around.

The depth point is not a spatial coordinate. In other words, it is not a

physical place or thing. It is not, as some have erroneously assumed, the center

of gravity of a physical form. These are meant only as analogies to enhance

one's visualization and ideation during the process of reaching the depth

point.

There are many was of describing this depth point and the process of

becoming aware of it. In one tradition that I am familiar with, the depth point

is equated with Tiphareth (the kabbalistic sphere associated with Sol, the sun).

In this system, the initiate is instructed to travel mentally to a temple of Ti97

phareth and once there, look down into a pool or a crystal sphere, and view

their own life circumstances as if from above. This causes a certain disassociation

from direct involvement in one's life circumstances and provides the

initiate with a renewed, broadened perspective. The root feeling here is that

one has made contact with one's own inner meaning and is viewing the physical

expression of that meaning from one's own core. Pursued further, this perspective

opens the initiate to viewing the entire passage of their existence

(past lifetimes) up to that point in time.

From the depth point, the initiate can influence the physical manifestation

of any thing from the inside out. Thus it is related to the previous Step's

work of the transference of consciousness. Step Five expands upon the transference

of consciousness and takes it to a new level. The work begins with

the transferal of your consciousness into the depth point of other things and

ends with the reaching of your own depth point.

But, if you work only from the perspective of placing your consciousness

into the spatial center of a thing, you will not discover the true

depth point. You must instead, reach for something deeper than a spatial coordinate.

Another mystery of an infinity is that a finite point within the infinity

cannot encompass the infinity through expansion by finite increments. The

only way to encompass an infinity is to become the infinity itself. This requires,

at some finite point along the way, a quantum leap of expansion where

the center becomes the whole all at once.

The depth point exercises are only one finite step along the way to

encompassing the whole infinity. All they will do is make you a swimmer in

the infinite stream of time. The final step is to become the stream itself, not a

mere fish navigating its flow. But the depth point is the eye of the needle so

to speak, through which you must travel in order to reach the ultimate expansion.

There are many levels or degrees of infinity. The infinity of spacetime

is just the first which the Hermetic magician must needs conquer. When

the human consciousness expands till its center encompasses the whole infinity

of space-time, then this infinity becomes a "closed infinity" and the new

perspective allows one to view other infinities directly. From this perspective,

the entire infinity of time-space is perceived as a unified whole and the consciousness

is free to focus on any part of that continuum at its own discretion.

The leverage that Archimedes spoke of is found within the depth

point of every thing. This equates with the fourth, most complete type or

stage of transference of consciousness I spoke of in the Step Four material.

In order to reach the depth point, the student must have mastered the

emptiness of mind (from Step One) to a high degree. The student must be

able to completely disentangle themselves from involvement with their physical

senses as this is the key to reaching the depth point.

Astral (Magical Schooling of the Soul):

Projection of the Elements --

The Step Five Schooling of the Soul exercises are similar to those

found in previous Steps only now they concern the projection of the Elements.

The techniques are exactly the same as those employed in learning to master

the vital energy, so these particular exercises should present no problem to the

student.

It may truly be impossible for the passive reader to understand what

it feels like to accumulate, condense and project an Element. In the hands of

the magician these Elements become very real, concrete things that can be

condensed to such a degree that they become physically active. When Bardon

speaks of condensing the Fire Element to such a degree that anyone can sense

its heat, he's not exaggerating.

However, care must be taken in reading this section of IIH since in

many places Bardon informs the student of what is possible and then later

says that what is possible is not necessarily advisable. The student of Hermetics

strives for balance, especially in regard to their magical rise. Many of the

possibilities that Bardon mentions can be achieved only after years of focused,

one-sided practice and this often runs contrary to a balanced development.

So, if at the end of reading this section you are left with the impression

that the student must master the Fire Element's condensation to such a

degree that he/she can actually measure an increase in temperature with a thermometer,

then read it again. In point of fact, Bardon explicitly states that this

and similar trickery are not a requirement of Step Five. The reason for this is

that as the magician's abilities increase, higher forms of magic will enable the

student to accomplish these sorts of things very quickly and without the years

of effort it would take to master this ability otherwise.

In this and the following Steps, Bardon says that the projections

(whether they be of an Element, Fluid, etc.) must be clearly perceived by the

magician. They must be so condensed that the magician can actually feel

them. Herein lies a problem for the passive reader in that the impression is

given that anyone should be able to perceive the magician's projection (such

as the heat of a room filled with the Fire Element). But the truth of the matter

is that whether or not another person can, for example, feel the heat in a room

that the magician has condensed the Fire Element into, is secondary. What is

of most importance is whether or not the magician can feel these physical sensations

themselves.

The degree of condensation of a projection is a function of the magician's

own plastic imagination. By Step Five, the magician's creative imagination

has been honed to such a high degree that the sensations accompanying

their visualizations become real things, but the student should not concern

themselves with whether or not their projections are felt by another at a physical

level. The student has nothing to prove (magic is not a game of competition)

and if this is held as a goal, it will interfere with the student's progress.

For the reader, it is important that you keep in mind what I have just

said. In the chapters ahead, be sure to ask yourself whether Bardon means

that it is the magician who must be able to sense a thing or whether another

person must also be able to sense it. Most often, the magician's projection

does not have to be so condensed that it is a physically sensible thing to an

ordinary onlooker.

If we define "high magic" as being that which comes after the merging

with a godform, then what is presented in Step Five would be considered

somewhere between "low magic" and mid-range. At this stage, the condensation

of a projection to such a degree that it becomes sensible to any person

regardless of their magical ability, is a very difficult task. It is not impossible

through these means, but it would require so many years of devoted practice

that it would constitute a diversion from the main goal of a steady advancement.

Physical (Magical Schooling of the Physical Body):

Passive Communication --

The first three of the preparatory exercises listed here are interesting

and their significance may not at first be apparent. The first exercise, which

involves loading the hand with the vital energy and then causing it to move by

will alone, is the most mysterious.

To explain its rationale and its importance will take some backtracking,

so please bear with me. In the normal course of events, to move a specific

muscle requires two things: energy and volition. For example, if you

raise your arm, this requires the will to do so and the muscular energy to contract

the necessary muscles. If either is not present, the arm will not rise.

Within this context, we can define two types of muscular movement or contraction:

voluntary and involuntary. An example of a voluntary contraction is

when you consciously contract your biceps -- this requires a focus of your will

upon a single muscle. An involuntary contraction occurs when for instance,

you raise your arm and as a consequence your biceps contracts. Here, the

contraction of your biceps is not directly willed but is a normal part of the primary

will to raise your arm. More energy and will power are expended in the

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voluntary contraction of a muscle than in its involuntary contraction. The will

to move a muscle comes from within your mind, but the energy required,

comes from your body's own storehouse of physical energy.

In the first preparatory exercise, the body's own energy is substituted

by the accumulated vital energy. Furthermore, the will power is not directed

into the muscle itself but into the vital energy instead. The main function of

this specific exercise is to teach the student the difference between the normal

movement of a muscle (in this case the hand) and a movement accomplished

by an external force. It also shows the student how to sever the connection

between their own mind and their muscles, and still accomplish a movement.

The second exercise involves the accumulation of the Air Element

and the effecting of movement by virtue of its weightlessness. This, of

course, is a type of simple levitation caused by the Air Element. Again, the

mind causes no actual movement of the muscles -- the movement is caused

exclusively by the Air Element's weightlessness and the sensation is one of

floating. This carries what was learned in the first preparatory exercise a step

further and teaches the student how to sever even their will power from movement.

In the first exercise, it was the will power, focused through the vital

energy which caused movement via the muscles, but in this exercise, it is the

character of the Air Element itself (its weightlessness) which causes the movement.

The only will power required in this exercise is that involved in accumulating

the Air Element. Any contraction of the muscles is incidental and

involuntary.

The third preparatory exercise involves the "exteriorization" of the

hand. [Note: Bardon refers to the right hand, but if you are left-handed, then

you should work with your left hand.] The term "exteriorization" means the

conscious separation of your combined astral and mental (astra-mental) hand

from its physical shell. This is the first step towards learning the technique of

astra-mental wandering and here, it is applied to the passive communication

with non-corporeal beings.

The exteriorization is not as simple a matter as it may sound to the

passive reader. For the exteriorization to be complete, the astra-mental hand

must feel exactly like the physical hand. For example, if you exteriorize your

astra-mental hand and then lay it in your lap, you must be able to clearly feel

the fabric of your clothing, the warmth of your own body, and the pressure of

your hand resting on your lap. In other words, your astra-mental hand must be

capable of all the same sensations as your physical hand was.

It is fairly easy to exteriorize only your mental hand, but to truly exteriorize

your astra-mental hand is more difficult. So, to be sure that you have

accomplished this astral exteriorization, you should use the aforementioned

sensory standard.

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When mastered fully, this astra-mental exteriorization completely

severs your will from your physical hand. This is because it is your astramental

hand that conveys your will to the muscles of your physical hand. The

result is that your physical hand is now empty and is thus made available to

the influence of an outside force.

Bardon states that a physical hand thus emptied of its astra-mental

counterpart, is transferred to the Akasha. This is difficult for the passive

reader to understand unless this is connected up with the Step Five mental/

spirit exercises concerning the depth point. Perhaps a better way of stating it

is to say that a physical hand, emptied of its astra-mental counterpart, is noticeable

in the Akasha as a properly prepared environment through which a

being can communicate with the physical realm directly, through the Akasha.

[This is an example of why it is so important in the process of astra-mental

wandering for the practitioner to establish some sort of protection or shielding

for the vacated physical body.]

The depth point plays a big role in the passive communication practice.

The practice consists of three phases. First is the preparation of the material

devices such as the pendulum, planchette, or pen and paper; and, the

preparation of the hand through exteriorization.

The second phase is the reaching of the student's own depth point.

This places the student's mental body in the Akasha.

The third phase is the calling forth, from the Akasha, of the being

you wish to communicate with. This calling forth occurs completely in the

Akasha and you utter nothing with your physical voice. The being is then invited

to use your physical hand for their communication.

Once the being has made its contact with your physical hand, you

must open your eyes (while retaining your trance state) and proceed with your

communication, asking questions of your chosen being and noting their answers.

When the session is complete, you must, of course, re-integrate your

astra-mental hand and remove yourself from your trance state.

Bardon counsels the student to focus mainly upon establishing communication

with their own guardian genius or angel. Much has been said in

the occult literature about the nature of this being, so I will not repeat it here.

There are also many other methods of establishing communication with one's

Guardian Angel. What Bardon presents here is a passive or indirect method

which relies upon an intermediary such as a pendulum, planchette, etc. As

Bardon relates, the point of this passive communication is to lead the student

into a more direct form of communication.

A good supplement to learning the passive communication technique

is to practice a simple direct communication. Let me explain: We each have

access to the guidance of our Guardian Angel in each moment of our lives,

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through the little interior voice of our conscience. By practicing the attentive

listening to your conscience, this communication becomes stronger -- especially

if you adhere to the counsel of your conscience and follow its every dictate.

Eventually, the inner conversation with your Guardian Angel can become

two-way, where you ask questions and receive answers directly. Both

this method and Bardon's method lead to the same place but Bardon's method

teaches the student several important things that the method of listening to

your conscience cannot. Listening to your conscience does not require exteriorization

and mastery of this technique is a prerequisite for the work of future

Steps. Furthermore, listening to your conscience is not a technique that is effective

in the communication with beings other than your own Guardian Angel.

Bardon speaks of the different ways in which the communications

from a non-corporeal being may be perceived by the practitioner. Some will

sense foreign thoughts in their own mind, some will see pictures or hear

words, etc. Some may even establish a direct communication with their

Guardian Angel on the first attempt at the passive communication, so it is vital

that the student not limit their experience by holding too tightly onto their expectations.

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STEP SIX

Mental (Magical Schooling of the Spirit):

Becoming conscious of the Mental Body --

These exercises should remind you of the Step One and Two astral

exercises of introspection and self-analysis, combined with the Step Two and

Three mental exercises with the single- and multiple-sense concentration. In

point of fact, the mental exercises of Step Six replicate this work at a higher

level.

What Bardon describes of the meditations upon one's own spirit or

mental body is, in practice, no where near as simple as it may sound in print.

Little more can be said about these meditations beyond what Bardon has written

since we are each so different and unique. It is up to the student alone to

penetrate to the true significance of this initial exercise.

The exercises which follow, regarding the accustoming of yourself to

the three-part (mental, astral and physical, simultaneously) action, are straight

forward in their nature and should pose no problem for the student who has

progressed this far.

As with all of the previous exercises, these concerning the spirit or

mental body, are essential to further progress. They are rudimentary to future

work with ceremonial ritual, astral and mental wandering, evocation, kabbala,

and many, many other forms of magic.

Learning the three-part action changes the seat of your awareness and

actively connects your three bodies. At a deeper level, these exercises relate

to a subject I've raised before, vis a vis, the mechanisms of human perception.

I hope the importance of this subject is now obvious to the reader.

As I said, these exercises are not as easy as they may sound and Bardon's

warnings about feeling disoriented are sincere. The three part action

requires a very different degree of self-awareness and this takes some getting

used to.

Astral (Magical Schooling of the Soul):

Mastering the Akasha Principle --

Mastery of the Akasha is no easy matter. [Actually one does not

"master" the Akasha, but one can master the techniques for working with the

Akasha.] To begin with, you must first have attained to a very high degree of

control over the Elements themselves. The Akasha will not allow you to do

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anything you are not already able to do by means of manipulating the Elements

directly.

Furthermore, and of special significance here, the quality of your

character, as reflected by the ethics you adhere to, will directly determine your

success with the Akasha. The Akasha will not allow you to create effects

within it if you do not possess a noble character. That is the plain and simple,

completely undeniable, truth.

As Bardon explains the exercises with the Akasha, he states that you

must "imagine that you are in an infinite space where you are at the center." I

want you to think back to what was said regarding Archimedes' fulcrum and

the "depth point" concentration. From this, you will see that Bardon means

that you must begin this exercise by transferring your consciousness into the

depth point of your own body.

You are then instructed to inhale the Akasha into your body using the

same technique you've used for inhaling the vital energy, etc. As Bardon

points out, the Akasha cannot be accumulated by virtue of its essential nature.

What he doesn't say is that this is not actually an exercise where you take in

the Akasha; rather, it is about placing yourself fully INTO the Akasha. This is

accomplished in two phases. The first phase is the transferal of your consciousness

into your depth point (i.e., where 'you' intersect with the Akasha).

The second phase is one of merging your center of awareness with the infinite,

non-centralized Akasha. Bardon accomplishes this through the inhalation of

the Akasha (through its color and its feeling) until the internal Akasha

matches the external Akasha. This is not an accumulation, per se -- it is a

merging.

Bardon states, and quite truthfully, that you will be able to manifest

any desire from within the Akasha. What he doesn't mention, and assumes

you will realize, is that when you reach this stage of development, what you

desire will look very differently than it does now. You will have no petty desires,

and even if you did, you would not be able to manifest them through the

Akasha. Please take heed of this if you are tempted to work with the Akasha

before you are truly prepared, for you would only be wasting your time and

you can easily cause yourself some pretty nasty karmic consequences. Remember,

the fact that the Akasha is the realm of cause and effect is what gives

it its power over the Elements -- and, it is also what makes it so dangerous for

the unprepared dabbler.

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Physical (Magical Schooling of the Physical Body):

Creation of Entities --

With the sixth Step, Bardon leaves off on listing exercises that pertain

directly to the physical body, although what he describes can be said to be

physical in nature. Beginning with this Step, the physical schooling sections

will be devoted to certain magical practices.

In Step Six, Bardon explains the magical creation of Elementals (not

to be confused with Elementaries) and makes the student aware of other similar

creatures, such as larvae, schemata and phantoms. The reader may find

Bardon's analysis surprising, for it certainly does not seem like what others

have written on this subject in the past. Bardon, in his usual manner, penetrates

to the heart of the matter from an Hermetic perspective.

In order to create a truly effective Elemental, the student must possess

a very high proficiency with plastic imagination. It is also necessary that

the student have mastered the depth point exercises since it is from within the

Akasha that an Elemental is formed and sent off to the appropriate realm.

The creation technique that Bardon describes concerns a very simple

Elemental that will be effective upon the mental sphere. From there, its effect

may reach down into the astral and later into the physical realm, if this is the

desire of its creator, but its primary focus will be upon the mental realm itself.

This sort of Elemental is the best place to start. Once success has been

achieved with this simple method, then you will be better able to create more

complex creatures.

Bardon provides several rules that must be adhered to in the creation

of an Elemental -- the shape and color, the name, the purpose or task to be

accomplished, and the duration of its effectiveness. Another important rule to

follow is that you must completely disassociate your mind from involvement

with the Elemental once it has been created. You must be able to release it

and turn your mind firmly to other matters. If you do not, the Elemental will

remain attached to your own sphere and not become fully effective (if at all)

within the realm you wish to send it to. You may, periodically, recall your

creation to your presence and recharge it, but you must again release it completely

so that it may go about its business without your meddling. This may

seem an easy matter to the passive reader but it actually requires great mental

discipline to release something you have created.

Again, your moral development is at issue here. Take care that you

don't create something to meet petty needs for it will most likely turn and bite

you in the butt.

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STEP SEVEN

Mental (Magical Schooling of the Spirit):

Analysis of the Spirit --

The mental schooling of this entire Step is devoted to the establishment

of the mental Equilibrium of the Elements. In Steps One and Two, the

work was with the astral Equilibrium of the Elements as regards the personality.

The mental Equilibrium is a somewhat different matter. The mental

Equilibrium is not expressed in as concrete a way and is not something that

can be itemized like the personality traits. The analysis itself is a major task,

but the rectification of any imbalance is based upon methods the student will

have already learned. Bardon's instructions in this regard will suffice for the

student who has done the work of Steps One through Six. As always, this

work demands inventiveness and a deep insight into one's own self.

The mental Equilibrium has a direct effect upon the astral personality.

The student may find it necessary to once again pass through the work of

the soul mirrors and bring them up-to-date in relation to the improved mental

Equilibrium.

Attainment of the mental Equilibrium roughly equates with the basic

mind-set of a seventh degree initiate in many of the popular Golden Dawntype

systems. This is the grade of Adeptus Exemptus (exempt adept, 7=4)

and without this fully integrated Equilibrium of the three bodies, there can be

no rise to the next level of Magister Templi (temple master, 8=3).

Astral (Magical Schooling of the Soul):

Development of the Astral Senses --

The seventh Step astral exercises serve the special cause of developing

the student's astral senses, namely clairvoyance, clairaudience and clairsentience.

As Bardon points out, this may not be necessary for every student

who has reached this level. Many students will find that they already have a

natural ability with the astral sensoria and others may have developed their

senses to a sufficient degree as a consequence of the Step One through Six

work. Still others, who have done the preceding work, will find that they have

little or no ability with the astral senses, and it is specifically this type of student

for whom the seventh Step exercises are designed.

We each, by course of nature, possess the astral senses and use them

continuously throughout our daily lives. Where we differ is in the degree to

which our use of these senses is conscious. For most humans, our astral per107

ceptions only reach our subconscious mind, but for those who are considered

gifted, our astral perceptions reach our conscious mind and directly impact

our actions, thoughts and emotions.

The reasons for this difference between individuals varies greatly. It

can be due to the work we accomplished in past incarnations, or it can be due

to mere happenstance (e.g., a severe accident or other traumatic incident), or

even something so simple as our basic Elemental composition. The main barrier

however, is the fact that our western cultures generally teach us to ignore

and undervalue our more subtle perceptions.

Clairvoyance, clairaudience and clairsentience can all be learned.

But despite what the passive reader may think, the techniques that Bardon presents

in Step Seven will not work for someone who has not passed through the

previous Steps. For these techniques to be anything more than a waste of

time, the student must already possess the Elemental Equilibrium and must

have gained the full awareness of their three bodies. Again, this is a point

where intimate knowledge of the mechanisms of human perception proves

invaluable. In short, the astral techniques of Step Seven are 'magical' techniques

and require a magician for them to be at all helpful.

The astral senses are difficult to describe. They are more than their

physical corollaries. For example, the astral corollary of sight, clairvoyance,

is essentially visual yet it provides the clairvoyant more than just visual information.

When the clairvoyant observes a thing with their astral sight, certain

information about the thing is revealed at an almost intuitive level. The clairvoyant

will perceive the thing's essential nature along with its current motivation

or 'raison d' etre'. Ultimately, this normally passive sense can lead to an

active form of two-way communication.

Similar things can be said of the other astral senses. For example,

the clairaudiant individual will be able to perceive the meaning of sounds and

the clairsentient person will be able to perceive the meaning and the entire

past of a thing that is touched.

The astral senses are what enables the magician to perceive the astral

realm. This is an essential attribute for the magician who engages in astral

wandering, for without the astral senses, the astral wanderer would walk deaf,

dumb and blind. This is also an imperative faculty for the magician who

wishes to practice evocation, for without it, the evoker has no way of truly

seeing the inner nature of what they have evoked.

It is hard to conceive just how radically the blossoming of the astral

sensoria can effect the initiate's life. At every level, the amount of information

that the initiate will be able to perceive in any given moment will be multiplied

a thousandfold. But along with developing the astral senses the student

must learn to control them. It is not convenient for the magician to always

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have their astral senses active -- sometimes ignorance IS bliss! There are

many who suffer mental and emotional pain because they cannot shut off their

more subtle perceptions. Thus the student of magic should do their best to

avoid this pitfall by learning to develop AND control their astral sensoria.

The exercises of this section are straight forward and well described

by Bardon. One must however, pay close attention to the details for success

to ensue.

Physical (Magical Schooling of the Physical Body):

Creation of Elementaries --

In the sixth Step, Bardon teaches how to create an Elemental. An

Elemental is composed of light or pure energy, impregnated with an idea,

given a form, a name and a specific term of life. An Elementary, the topic of

Step Seven's physical schooling, is different in that it is composed of one or

more of the four Elements. An Elemental's realm of influence is primarily

mental, but an Elementary can be created to immediately effect any realm or

combination of realms that the magician desires. Of course, the degree of its

effectiveness depends upon the capabilities of the magician.

An Elementary has life, whereas an Elemental has only purpose. The

life of the Elementary however, comes from the magician's own life breath.

Thus the relationship between the Elementary and the magician who creates it,

is similar to that of parent and child. Furthermore, a magician is karmically

responsible for all of the actions of their Elementaries. Needless to say, great

care must be taken in the creation of an Elementary.

In order to be able to create a genuine Elementary, the magician must

have complete mastery over the Elements, for an Elementary is created

through the projection and condensation of the Elements. The magician must

follow the pattern of life and create three bodies for the Elementary -- a physical

form or body, an astral body and a mental body -- and, s/he must bind

these bodies together.

In most cases, the physical form of the Elementary stays with the magician

and only the astra-mental form is sent out to accomplish the Elementary's

task. The realm to which it is cast depends entirely upon the task it is to

perform and upon the will of the magician. All of the details are up to the magician

for this is a true act of creation. Even so, certain rules have to be followed

and since these are so well explained by Bardon, I have nothing to add

to them.

An Elementary should be treated with a firm will, with love, respect

and kindness. It should always be empowered with only a good purpose to

fulfill. If you find that you are frustrated by your Elementary's inability to ac109

complish its assigned task within the time you have specified or in the manner

you have specified, then back off. This is never the fault of the Elementary

itself. It is due entirely to an insufficiency in your charging of it, or in your

accumulation of the Elements, or in your impregnation of it with your ideation,

etc. Or, it could be that its task is not allowed by Divine Providence.

Whatever the reason, you can either make modifications (i.e., provide it a

greater density of the Elements or refine its root ideation, etc.) that will make

it more effective, or you can dissolve it and start over.

The termination of an Elementary takes nearly as much care as its

creation. The process mimics exactly that of normal human death. Remember

that an Elementary is connected to its creator in very real ways, so if the

dissolution is too abrupt great harm can come to the magician's own self. In

the rare case where an immediate, violent dissolution is necessary certain precautions

must be taken so as to avoid personal injury.

The magician is free to create as many or as few Elementaries as he

or she desires. But the passive reader would do well to consider the logistics

of managing too large a brood! Unlike an Elemental which can form itself

subconsciously, the creation of an Elementary is a conscious process and requires

the magician's periodic attention once it has been released. A magician

can draw an endless supply of Elementals to him or her self without having to

pay them constant attention, but to create an endless supply of Elementaries is

an entirely different matter.

The only truly practical way to achieve this sort of result is through

still higher forms of magic. Thus the legends of magicians who possessed

hundreds of Elementaries can indicate one of two things: Either -- 1) the legend

confuses Elementals with Elementaries and really indicates a magician

who has figured out how to draw Elementals into their sphere -- or -- 2) the

legend indicates a magician of very advanced capabilities who is able manifest

as many Elementaries as desired by means of higher magical techniques

than those described here.

The possibilities are endless when it comes to what a magician can

accomplish through an Elementary. The creative practice itself will enhance

the magician's inventiveness to unimagined heights. This work will also test

the magician's ethical maturity and may likely purify the initiate through a trial

by fire. It is hard for me to describe to you how deeply this touches the initiate

-- it is MEANT to squeeze out the last shred of ethical imbalance and if it

does not, then no further advancement is possible. The subtlety of these tests

is incomprehensible to one who has not come to this stage of the work and the

specific tests themselves are different for each individual.

I would like to project ahead to Step Ten for a moment in order to

explain the significance of the purifying tests that go hand in hand with Ele110

mentary creation. In Step Ten, Bardon speaks about the communion with

one's own personal god (one of the goals of IIH). Imagine if you will, the significance

of this. Pretend, for the moment, that you actually are your highest

idea of deity. Consider the infinite number of options at your disposal and

think also of the infinite number of consequences, many of them quite terrible,

that each of those options will manifest.

Now return to your normal sense of self and feel how overwhelming

just that little glimpse was. The truth of the matter is that the reality is infinitely

more. Imagine now, from your normal state, what it would be like to

have your conscious awareness permeate every one of that infinite number of

options and their possible consequences, simultaneously and fully. Imagine

that absolutely every thing that is, was, or will be, is encompassed within your

own being. Imagine that amount of responsibility and you will have some

glimpse of why the magician must first pass through these sorts of tests in order

that they may be able to reach so high a magical practice as communion

with deity.

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STEP EIGHT

Mental (Magical Schooling of the Spirit):

Mental Travel --

We each are familiar with a simple form of mental wandering which

we know as daydreaming. In a daydream we can project our imagination any

where and any when. But there are many differences between a daydream and

what Bardon describes here as mental projection, travel or wandering. The

main difference is that in a daydream our projection is entirely imaginary and

has little direct connection to actual events, whereas in mental wandering, we

learn to observe actual events and places. In a daydream, we explore only our

own inner mental landscape of desires, but through mental wandering we are

able to explore the external universe.

Contrary to what the passive reader might assume, the magician does

not simply exteriorize their mental body and right off the bat begin receiving

accurate perceptions of their surroundings. It actually takes long and arduous

practice to make the transition from the daydream-like imagination in which

everything perceived is one's own creation, to the actual perception of what is

real. There is no trick to making this transition other than repeated practice.

For some, the training of previous Steps, combined with a native ability, may

make this transition an easy matter, but for many students, this will take a

great amount of effort and time.

The first exercise of this section involves sitting in front of a mirror

and transferring your consciousness into the reflected image of your body.

Some have assumed that this practice has something to do with a magical land

that lies within a mirror's reflection but this is mere superstition and the student

of magic will immediately see that this is not the case here. The point of

this exercises is simply to accustom the student to the transferal of their mental

body into their own image and the perception of their surroundings from

that perspective. This is only introductory.

For the actual work of mental wandering, the student does not rely

upon the transferal into a mirror image. Instead, the student transfers their

awareness into their own mental body itself. Here you will see the importance

of the Step Six work of becoming conscious of your own mental body. To

begin the mental wandering, the student must sense their mental body with full

consciousness and then step with it, out of the astra-physical shell or body.

This is very different than a mere transferal of consciousness.

Bardon cautions the student against giving in to the feeling of freedom

that is immediately felt once the exteriorization has been achieved and it

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is wise to heed this warning. This is important as it teaches the student control.

The recommended approach is one of incremental steps.

At first the student is to stand very close to their physical body and

observe the details of its appearance. Then the student looks around at their

surroundings. Only when the surroundings are clearly and accurately perceived

is it wise to venture further. This is followed by walking into the next

room or a short distance from the physical body.

At each stage, the student must learn to clearly and accurately perceive

the details of their surroundings. To verify the reliability of their mental

perceptions, the student must examine the same area when in their physical

form and check to see if what they perceive with their physical eyes matches

what they perceived with their mental vision. Again, you will see the importance

of past work, specifically that of developing the subtle senses in the previous

Step.

An important factor in the alignment of your mental vision with that

of your physical eyes are the meditations that Bardon explains. At the beginning

of each mental wandering exercise, the student is instructed to meditate

upon the ability of the mental body to perceive the external universe with accuracy.

The student must be assured, at a very deep level, that this is so. This

is reminiscent of the Step Six exercises concerning the action of the spirit but

here it is taken to a new degree since the mental body is now separate from the

astral and physical forms. Here, the student must learn how to look through

the mental eyes alone and not through the astral and physical eyes as before.

This difference may seem subtle to the passive reader but it is very significant

in the actual practice.

When the student has reached the stage where their mental perceptions

reliably match the physical reality of their immediate surroundings, then

s/he may venture further. At a certain point (distance of travel), the student

will no longer be able to travel physically to the same location and verify with

their physical senses whether or not their mental perceptions match the physical

reality. Thus it becomes necessary to test the accuracy of their mental perceptions

by trying to alter what they see by imagining it differently. If the

imagination alters what is perceived then the student will know that their mental

perceptions do not match the physical reality. With repeated practice the

student will eventually reach the state where their mental perceptions are accurate

and reliable, and they will no longer be able to effect their surroundings

with their imagination alone. This is the crux of the matter when it come to

genuine mental wandering -- it is very easy to project what you want or expect

to perceive and fool yourself that this is indeed real when it is in fact not. It is

also easy to convince yourself that you are unable to change things with your

imagination and thus short circuit your ability to test your perceptions. This is

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especially pernicious and should stand as a warning that the previous Steps

must first have been completed since the preparatory work is what provides

the magician the ability to know when this subtle sort of self-delusion is happening.

When the student reaches, after long practice, the stage where their

mental perceptions are accurate regardless of the distance traveled, then and

only then, is it time to venture into other realms. To where and to when the

mental wanderer may travel is limitless and dependent entirely upon the maturity

of the initiate. The mental wanderer may also be able to cause magical

effects upon their surroundings, from within their mental body, by following

the practices learned in previous Steps.

I have said in the past that there is a way to tell the difference between

a mental journey and an astral journey. The main difference is in the

nature of the sensations that the wanderer can perceive while separated.

When one wanders with the astra-mental form (astral wandering), the sensations

will be very similar in quality and quantity to those experienced by the

physical body. But when wandering in the mental body alone, the perception

of sensations will be of a lesser quality. But I must warn you that the mental

body is capable, through the plastic imagination, to amplify the lesser mental

sensations to such a degree as to be almost like those of astral wandering.

Nonetheless, there is a distinct difference. The true astral sensations invoke a

near physical feeling of ecstasy.

Mental wandering is the magician's most amenable tool when it

comes to exploration of the external universe. With the mental body, the initiate

is capable of travelling to any 'where', any 'when' and any 'why'. This is

not the case with astral wandering where the magician is limited to exploration

of the astral and physical realms -- the astral body is simply not fine

enough to penetrate the mental realm itself. The advantage of astral wandering

is that the magician can cause magical effects from the astral realm immediately,

whereas with mental wandering it takes greater effort to cause an effect

to manifest upon the astral and physical levels. At times, it is advantageous

to be able to manifest an astral density in order to communicate directly

with astral beings, etc. But for most purposes, mental wandering will suffice

and with extended practice, mental wandering can net the magician the same

effectiveness as astral wandering.

The main point of mental wandering is to familiarize yourself with

the universe. This is especially important as a preparation for still higher

work, specifically that of merging with deity (which by its nature is omnipresent).

A part of the preparation for the actual experience of omnipresence involves

getting the feel of the infinite nature of the universe through a thorough

exploration. Furthermore, without the ability to wander mentally, the art of

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evocation is an impossibility for the student.

For the magician who has completed the eighth Step, the universe is

an open book.

Astral (Magical Schooling of the Soul):

Mastering the Electric and Magnetic Fluids --

This section begins with a few words about the magician's character

and achievement. This is a very important matter and what Bardon says

should be considered deeply by the aspiring student before proceeding any

further.

Bardon speaks about the Akasha preventing the unprepared from further

progress and about it "protecting" the Mysteries from those who would

abuse them. I would like to clarify this a bit for the passive reader.

These functions of the Akasha are very real but they are not of the

nature of a parental or demagogic intent per se. They are simply laws of Nature.

In other words, this aspect of the Akasha is not meant as a punishment

for those who would step beyond their true capabilities. There is not genuine,

conscious intent here such as we would think of it in human emotional terms.

The Akasha acts, in this regard, without bias -- this is just the way the universe

is structured. It is not so much that the Akasha consciously prevents the rise

of the unprepared student; rather, these requirements that Bardon speaks of

are, by their very nature, what opens the Akasha and allows for a deeper penetration

into the Mysteries. This is a difficult concept to describe and I can

only hope that my words have clarified the matter for you to some minor extent.

The actual exercises of this section concern the manipulation of the

Electric and Magnetic Fluids. Bardon describes two methods for accumulating

the Fluids -- the inductive and the deductive.

By inductive, Bardon means from the outside in. In other words, the

corresponding Element is visualized as surrounding the student and the Fluid

is drawn from the external Element and accumulated within the interior of the

student's body.

By deductive, Bardon indicates a reverse process. The student accumulates

the corresponding Element, in the normal manner, within their own

body to such a degree that the Fluid itself accumulates on the surface of their

body.

Both of these methods serve different purposes as outlined by Bardon.

The primary purpose of the inductive and deductive exercises however,

is to prepare the magician for the regional accumulation that follows. Here

the student accumulates the Magnetic Fluid in the lower region of the body

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(that of Water and Earth) and the Electric Fluid in the upper region (that of

Fire and Air). This is similar to the accumulation of the Elements into the

four regions explained in Step Four. Once this is mastered, the student extends

the exercise and directs the Fluids from these regions into the left

(Magnetic) and right (Electric) sides of their body, and eventually, condenses

this accumulation into their right and left hands accordingly.

After extended practice of these very complex and difficult exercises,

the student becomes a master of the Fluids and can at any moment charge either

hand (or both) with their appropriate Fluid. This allows the magician to

do many things in a blink of an eye that would otherwise have taken more

time and effort to accomplish through the manipulation of the Elements.

There are two important things for the passive reader to understand

here. First is that the Fluids are the essence of the Elements and thus, the magician

can accomplish things more quickly and effectively through the use of

the Fluids than through the labor of the Elements. The second thing has to do

with the nature of the student's ascent from 'lower' magic to 'higher' magic.

What differentiates 'higher' from 'lower' magic is the degree to which the student

masters the essential nature of the forces employed. Here, the hands-on

labor of the Elements is considered 'lower' because the magician is not working

with the deeper essence of the Elements but with their outer form. The

work with the Fluids however, is considered 'higher' because the magician

wields the true essence of the Elements. There are still higher forms of magic

than the mastery of the Fluids. An example is that of communion or merging

with deity, for deity is the essence of even the Fluids.

Physical (Magical Schooling of the Physical Body):

Magical Influence Through the Elements & Fluid Condensers --

Here again, the exercises listed have nothing to do with the magical

schooling of the physical body. What Bardon presents in this Step are various

techniques that the student can employ for their own purposes. The student of

Alchemy (the physical application of Hermetics) will find these techniques of

great interest.

There is little that I can add to what Bardon relays in this section

other than to comment upon his recommended use of gold in the Fluid condensers.

Many will think that this presents a large expense, but this is not the

case. I purchased a simple homeopathic preparation of gold chloride several

years ago (a little goes a long way) for just a few dollars. This homeopathic

preparation is very effective and I recommend it highly. Contrary to what one

might think, there is enough gold in a gold chloride solution for use in a fluid

condenser.

116

[NOTE: In the introduction to both PME and KTQ, Bardon states

that the student must have completed Step Eight of IIH before beginning the

work of magical evocation and/or kabbala. Please consider for a moment the

degree of training and magical maturity of one who has genuinely made it to

this stage. Such a one will possess an absolute magical equilibrium, be capable

of the three-part action, be able to journey with their mental body with

ease, and have absolute control over the Elements and Fluids. All these attributes

are essential for success with evocation and kabbalistic speech. Anyone

who dares to begin work with PME and KTQ before reaching this stage risks

great harm to their mental, emotional and physical well being.]

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STEP NINE

Mental (Magical Schooling of the Spirit):

Magic Mirrors --

In the introduction to this section of Step Nine, Bardon speaks of the

many common methods for developing the subtle senses. I should hope that

this will explain to the passive reader why many well trained magicians have

so little respect for the seemingly endless number of new-age books written

about clairvoyance, etc. These practices are truly harmful to the untrained

practitioner. Unfortunately it may be years after following these practices that

negative symptoms show themselves and many who suffer will not equate

their illnesses with their past pursuit of these exercises.

Another important factor, from a magical perspective, is that the results

of these practices are uncontrollable by the practitioner. Especially when

it comes to the ingestion of hallucinatory substances. While these may reveal

a broader perspective upon the universe to the practitioner, they do not allow

one to control the "trip" nor do they allow one to determine the length of the

"trip". Both of these factors would be abhorrent to the well trained magician.

The exercises of the magical schooling of the spirit in Step Nine concern

the proper use of the magical mirror. This is a very handy tool for the

magician and is essential for the work of PME.

While Bardon's instructions are explicit concerning the proper use of

the magical mirror, a certain aspect of the practice may be unclear to the passive

reader. This concerns the fact that when projecting into the mirror, it is

with the mental body alone that the magician travels. The magician may explore

the astral realm with the mental body in this manner, but when journeying

with the astral body into the astral realm, the magic mirror is not employed.

Astral (Magical Schooling of the Soul):

Astral Travel & Four Divine Attributes --

With the ninth Step astral exercises, the student begins the work of

true astral separation, commonly known as astral journeys or out-of-bodyexperiences.

Bardon's explanations are very explicit and should, of course, be

followed to the letter. But considering the large number of books written

upon the subject since IIH was first published, I feel it necessary to add a few

words of caution and clarification for the passive reader.

To begin with, I'd like to discuss Bardon's technique. He recommends

that the student first separate their mental body and then draw forth

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their astral body. This is wise considering the course that Bardon has established,

but it is not altogether necessary. It is just as easy to rise out of the

physical body with the astral and mental bodies conjoined. This eliminates

the step of merging the exteriorized astral and mental bodies, but may, at the

same time, present difficulties at first.

The second thing to note are Bardon's concerns about the cessation

of breath and heart beat that occur with his method. Part of what he says

about the dangers this presents in terms of being touched by another person

(or animal) during separation, are phrased for the purpose of dissuading the

uninitiated from pursuing astral separation. But, and here's an important

point, it is possible for the well trained magician to maintain the physical

breath and heartbeat if desired and thus minimize the danger.

The rationale behind this is that during an astral separation, the silver

cord (astral matrix) which connects the astra-mental body with the physical

shell, remains intact. The well trained magician is able to keep this connection

active enough to sustain the physical breath and heartbeat. All that is

transferred to the astra-mental body is the responsibility for the impulse to

breathe, not the physical breath and heartbeat itself. To accomplish this, the

magician must split their conscious awareness to a certain degree and leave

part of it behind to maintain the normal physical functions. When done properly,

this does not diminish the depth of the astral experience. One key to this

is the joint separation of the astral and mental bodies.

Other than that, the only thing I can add to Bardon's instructions is

that it is necessary to afford some degree of protection to the vacant physical

shell once you have separated your astra-mental body from it. Please think

back to the Step Five exercises concerning passive communication. Therein,

the task was to vacate a hand which placed it within the Akasha, so to speak,

and made it available to the possession of other entities. The same holds true

for the entire body when you vacate it. This means that it becomes susceptible

to occupation by another, non-corporeal entity and this should be guarded

against. The simplest way to do this is to erect an energetic shield around

your physical body that is impressed with the ideation that it will prevent any

other being from taking control.

Now, I will move on to other matters that have nothing to do with the

instructions provided by Bardon.

It is important that the passive reader understand the dangers of astral

separation, especially in light of what has been written by others upon this

subject. Many writers assert that astral journeying is a simple matter and can

be accomplished by anyone who makes the sincere effort. The magician however,

will be well aware that this is not the case. Much of what is labeled as

astral journeying is nothing more than a type mental journeying. I have spo119

ken already about the differences between a mental journey and an astral journey

so I will not repeat myself here.

The greatest danger is the fact that a true astral separation is, as Bardon

states, an ecstatic experience. It is stimulating at a near-physical level and

this can be a very addictive undertaking since it so extremely pleasurable. But

this is a merely physical sensation, not a spiritual ecstasy. The well trained

magician is capable of handling physically pleasing sensations in such a manner

as to not allow them to distract from their ultimate goal. This however, is

not the case with an untrained practitioner and the danger of distraction is

very potent. Many have fallen into this pit of pleasure and belayed their progress.

Now I do not mean to belittle physical pleasure as I consider this one of

the advantages of a corporeal existence, but it is not the goal of the magician.

It requires of the magician a very strong will to avoid this pitfall.

The ability to control one's reactions to any given situation is of

prime importance to the magician, especially when it comes to interaction

with the astral realm. Astral beings can easily manipulate the emotions and

perceptions of the magician who does not possess a high degree of selfcontrol.

It is very easy to become self-deluded while within the astral realm,

so it is imperative that the traveler be able to distinguish between their own

desires and expectations and the objective reality. This is one reason why astral

wandering is placed so late in IIH.

The astral traveler who has not previously developed their astral

senses to a high degree of reliability will find themselves deaf, dumb and

blind once they separate from their physical form.

Astral travel serves a limited function when compared to mental

travel. In the solitary mental body, the magician can reach into nearly every

realm, but with the astra-mental body, only the astral and physical realms can

be reached and explored. The one advantage is that while in the astra-mental

form, the magician can interact directly with astral entities. When in the solitary

mental body however, some astral entities will not be able to perceive the

mental body of the traveler. Also, the magician can more readily cause effects

upon the astral realm directly from within the astra-mental body. It is also

easier for the magician to condense their astra-mental form to such a degree

that it becomes physically apparent to other physical beings, than it is to do

the same with the solitary mental body.

As a final note, it should be said that there is a big difference between

astral wandering and lucid dreaming. Many maintain that lucid dreaming

is a form of astral wandering but this is not the case. Granted, lucid

dreaming involves the astral body, but the difference is that in lucid dreaming

all one can explore is one's own inner psyche -- there is no journeying beyond

this realm into the broader astral realm itself. The dream state is a specific

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state that is very personal in its focus. It can lead to genuine astral wandering,

but when it does, one is no longer in the dream state itself.

The Step Nine astral exercises end with a section describing a series

of meditations that must be undertaken concerning the nature of deity. This is

very, very, very important work and is an absolute necessity before beginning

the work of Step Ten and the merging with one's personal deity. Bardon, of

course, specifies four basic attributes of deity corresponding to the four Elements.

Each of these aspects must be understood from the inside out, as it

were. Please note that when Bardon speaks of "God", he is not referring to

the lesser gods of which their are an uncountable number, but to the Unitary,

highest form of deity imaginable.

Physical (Magical Schooling of the Physical Body):

Magical Healing Through the Fluids, Loading of Talismans, & Volting

Here again, these are not specifically "schooling" exercises but more

in the line of suggestions for practice.

Bardon begins with the subject of healing. It should be clear that this

is not the sort of healing that is learned from the study of books on treatment

modalities and human physiology. The magician who has progressed to Step

Nine will have the ability to perceive the cause and the ramifications of any

disease with their own subtle senses and there will be no doubt in the mind of

such a healer as to how to best effect a cure. As to the occult anatomy of the

human body that Bardon speaks of, this too will be evident to the eyes of the

initiate who has progressed to this Step and they will have no need of a listing

of what organ is composed of which Fluid, etc.

Every healer is limited, by the will of Divine Providence, as to the

scope of what they may cure. Seldom will the magician be allowed to extinguish

a disease that is essential to the karmic fulfillment of another individual.

This factor will also be evident to the eyes of the magician who has reached

this level of development. Karmic debt is the responsibility of each individual

and it is only through the will of Divine Providence that the Step Nine magician

is allowed to interfere in this regard.

The section on healing methods is followed by a discussion of various

techniques for the loading of objects such as talismans, crystals, etc.

There are a nearly infinite number of methods to achieve such a loading and

Bardon introduces a few of them merely to spur the initiate's creativity.

Step Nine closes with a discussion of magical "volting". This is a

very advanced technique and a truly effective one. Needless to say, only the

magician of a very high ethical maturity will be allowed to enact their will by

these means.

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STEP TEN

Mental (Magical Schooling of the Spirit):

Ascent to Higher Planes --

This, of course, is the final Step of IIH. Reading it may give the impression

that it is just like any other Step, but this is far from the case. The

completion of this Step, above all the other Steps, is in the hands of Divine

Providence. It may take lifetimes for an initiate to complete this Step or it

may take only the blink of an eye, or anywhere in between. There is no way

to predict what course the initiate might face in this part of their journey, as

this depends entirely upon the particular maturity and accumulated karma of

the individual.

But just because the realization of a thing may be beyond our ultimate

control, doesn't mean that we cannot succeed if we try. In fact, the only

way to succeed in this case IS to try. The initiate who patiently persists will,

without a doubt, eventually reach their goal. There must be a fearless caution

and a willingness to see it through to its ultimate end, regardless of what may

come along to test the initiate. Knock and you shall be answered, to paraphrase

an ancient bit of wisdom.

At this stage in the magician's advancement, the responsibility for

seeing to it that their process of initiation continues forward, is in the hands of

the magician alone. No corporeal being will be able to assist the magician

through this stage. Even the initiate's own Holy Guardian Angel is limited in

what it can do to aid the magician in this regard. By knocking, the magician

may get an answer, but it is up to the initiate to open the door and enter.

In western kabbalistic terms, the work of Step Ten corresponds to the

final approach to the Abyss -- which lies between Chesed and Binah (the Jupiter

and Saturn planes) -- culminating in a successful crossing of the Abyss (i.

e., the reaching of Binah/Saturn which confers Unity). The Abyss marks the

barrier between the kabbalistic "worlds" of Yetzirah and Briah, of the sequentialized

realm and the non-sequential realm (also known as "chaos"). In spite

of the symbolism used in my description, this Abyss is not a spatial thing -- it

is composed entirely of MEANING. The crossing of this Abyss completely,

and forever, transforms the consciousness of the initiate, for from the "other

side" of the Abyss, the initiate perceives eternity.

The work of this section of Step Ten concerns the exploration of the

various spheres and planes of existence through mental wandering. The student

begins with an exploration of the realms inhabited by the beings of the

Elements.

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The passive reader may easily think at this point that Bardon is completely

out of his mind and has wandered off into fantasy land, but this is not

the case at all. Granted, what he describes sounds exactly like a fairytale, but

there is a reason for this. The realms of the Elements visited by these means

are perceived in a highly symbolized manner. Symbols are the matter which

composes this particular plane. Thus the experiences of this plane are described

in a symbolic manner that approaches the fairytale. However, the actual

experience itself far exceeds the description and with the "visual" perception

of each symbol, the magician will also perceive many other levels of information.

Finite words can only capture a small portion of the experience, so

when we describe our experiences in these realms we must resort to metaphor

and story telling.

In my discussion of a past Step, I mentioned that it is difficult for

some astral beings to perceive the mental body of the magician. That is not

the case with the Elemental realms for a couple of reasons. The first is that

though these realms are astral, per se, they are a very fine vibration of the astral

materia. Remember in my discussion of the astral realm in the "Theory"

section of IIH where I said that the three realms actually merge into one another?

Well, the part of what we define as the astral realm that we are concerned

with here can be said to lie in its upper reaches. Thus, the beings

which inhabit this realm have little difficulty in perceiving the mental body of

a magician.

The second reason that the beings of the Elements are capable of perceiving

the mental body of the magician in this case is that the student is instructed

to carefully craft an image of their mental body that is recognizable

by the being at hand. For instance, when exploring the Earth realm, the student

takes on the appearance of a gnome. This adds a layer of symbolism to

the student's mental body. Furthermore, the student builds the density of this

body by filling themselves with the Element and merging with the Element

itself. Together, this creates a density of the mental body that is easily perceived

by the beings of this plane.

Once this special body is prepared, the student projects into the appropriate

realm. The passive reader should at this point consider the amount

of training required to accomplish these things for real and will, hopefully,

realize the necessity of the work of previous Steps.

Bardon lays down a few very specific rules for the exploration of the

Elemental realms. The first, of course, is the aforementioned building of an

appropriate body. The second rule is that of not speaking first. This is very

important and perhaps an analogy or two will help you to better understand

the rationale behind the rule.

One good analogy comes from the myths concerning a spirit's need

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to be invited into a person's home before gaining entry. If permission is

given, then the entity will have free reign, but if the rule of permission is violated,

then the entity risks capture. In the case of the magician wishing to converse

with the beings of the Elements, it is the magician who is seeking entry

into a new realm and must receive permission before gaining full rein. The

magician who violates this rule and forces him or her self upon the beings of a

foreign realm, risks capture as Bardon points out.

Another good analogy is that of the human immune system. The magician

is a foreign substance entering the realm ruled by the respective beings

and if any threat is perceived, the beings of that realm will respond in a protective,

defensive manner. If, on the other hand, the magician shows that they

are no threat by being respectfully patient, they are then integrated into the

Elemental realm.

A third rule regarding exploration of the Elemental realms is that the

magician must display their "superiority" to the Elemental beings they encounter

in order for these beings to become willing to converse with the magician.

I fear that for the passive reader, "superiority" will be misunderstood in

this context. This is not the sort of common superiority that comes from the

end of a bigger stick! The magician does not enter the realm at hand and start

bragging about their achievements or enact displays of their prowess, pushing

the beings there around at their whim. Rather, the sort of superiority meant

here is not the kind you have to prove to another. The only way the magician

communicates their superiority is by openly being exactly who they are. This

is the sort of superiority that these beings comprehend. It is not forceful -- it

is honorable and respectful. The mental body that the magician has crafted

for their explorations will communicate who they are, in no uncertain terms,

directly to the Elemental beings. The initial reticence of these beings is only

natural for they have learned not to trust humans and so they wait awhile to

see if the magician is consistent in who they are. Again, I hope you will see

the importance of the training of the previous Steps.

The magician will encounter many different types of beings in these

realms. In spite of the male oriented description that Bardon provides, the

same sort of attractions can occur for a female adept and for those of an otherthan-

hetero sexuality.

A magician must be able to understand the symbolic nature of the

experience of the Elemental realms. In these realms it is not the form that is

the core issue here, it is the meaning symbolized by that form that should concern

the magician. The adept must be able to remain steadfast within their

own central self in order to avoid the pitfall of getting stuck in these realms.

These experiences can be very enticing and it can truly take forever to thoroughly

explore their every nook and cranny and learn everything there is to

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learn. All of Bardon's warnings about getting too emotionally involved with

the beings of these realms is very truthful. The magician must always remember

that this is only a stop along the way and that there are higher, less transitory

goals to attain.

The magician must make choices and decide when they have explored

enough to continue further. I should add for the passive reader, that

the experience of exploring these realms is not exactly linear. In other words,

one can experience a large portion of each realm within seconds of elapsed

clock-time. Thus, exploring "enough" does not necessarily entail years and

years of effort to achieve.

The next task of Step Ten, once the Elemental realms have been explored

sufficiently, is to seek out direct, face-to-face, contact with one's own

Holy Guardian Angel (HGA). In Step Five, Bardon gave instruction on how

to achieve a passive form of communication with the HGA, and this Step represents

a quantum difference in the depth of this communication.

To fully explain the nature of this HGA would require an extensive

treatise on the subject of the overall occult anatomy of consciousness and I'm

unwilling to present such a diversion here. So, it will have to suffice when I

say that the HGA has its root in the sphere of Saturn or, in kabbalistic terms,

Binah. Also in kabbalistic terms, Yesod, or the Lunar sphere, is the "throne"

of Binah. Thus it is before the student engages in rising to the Lunar plane

that one encounters the FORM of one's HGA. Please note that I've said "the

form of". The HGA itself, is formless, but for this sort of direct communication,

the perception of a form is essential. At this level of communication the

student does not merge with their HGA and there is no knowing of the HGA

from the inside-out, as it were -- this comes later. At best, the experience is

like when two very dear friends, who can read each other's minds, meet and

converse.

Bardon's description of how this meeting transpires is actually very

accurate. The density of symbolism at this level, with this particular entity, is

very minor and communication is direct and generally not intensely pictorial.

This guide will not fail the magician so long as the magician has

achieved true Equilibrium. Otherwise, this can be a very disturbing experience

and the imbalanced person can easily be led astray by their own ego.

Many have returned from this encounter with the impression that they have

been endowed with some sort of grand mission to save the world, etc., and

have then gone about embarrassing themselves to no end by announcing just

how important they are to the overall scheme of things. The reason for this is

that they have not seen through the delusions of their own psyche and reached

deeper into the genuine contact with their HGA. In reality, the HGA is ruthlessly

honest and never deceptively builds nor diminishes the ego of the magi125

cian. To do so would run contrary to its essential purpose as the most intimate

guide.

Beyond this point, the adept needs no other guide, but for the passive

reader Bardon instructs that the student must then proceed to explore the other

planes of existence. He lists them in the established planetary order, beginning

with Luna and ending with Saturn. There are realms beyond Saturn (this

refers to the philosophical realm, not the physical planet) but this subject is

beyond the scope of the present discussion.

As a final note, I will add that Saturn represents three things: 1) The

appearance of what lies beyond the Abyss as it is seen from THIS side of the

Abyss. 2) The Abyss itself -- the veil that separates the sequential realm from

the non-sequential realm. 3) The non-sequential realm that lies beyond the

Abyss.

Consequently, the exploration of the realm of Saturn has three

phases. The first phase involves the image presented of the Saturn realm as it

is approached from below. This is as much of this realm as can be perceived

through the medium of sequentialized symbol. In other words, it is a representation

and is not the realm itself. This aspect of Saturn can be explored in

a manner similar to the lower planetary realms and this brings the initiate faceto-

face with the veil of the Abyss itself..

The second phase involves the penetration of this veil. Only Divine

Providence, through the agency of the magician's HGA, can offer guidance in

this regard. The experience is different for each individual.

The third phase occurs simultaneously with the penetration of the

veil. Here the initiate enters the realm of eternity and once this realm is entered,

complete oneness with The Unity is made available to the initiate. It

may take the initiate many years to fully integrate this experience of Unity into

their daily lives, but the experience itself is eternal.

This is the ultimate goal of the path of Hermetic Magic. It correlates

exactly with the merging with one's own personal god ('merging', not just

'communion with') elucidated in the next section of Step Ten.

Astral (Magical Schooling of the Soul):

Communion With a Personal God --

The astral exercises of Step Nine culminated in the impregnation of

the astral body with the four divine attributes. With Step Ten, this process is

taken further and a direct link between the magician and deity is established.

While Bardon describes the basic Hermetic approach to this subject

well, he really gives the passive reader no idea of its ultimate implications.

His explanation may suffice for the serious student, but for the passive reader,

it is perhaps too simplistic.

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To begin with, I should clarify some of the terms I will be using. I

do not like the term "God" with a capital 'G'. To me it seems too involved in

religious conceptions and when it is used it generally brings a very specific

religious image of deity to the reader. In order to avoid this, I will be using

the term "Unity" to designate the ultimate, All encompassing deity, instead of

'God'.

I will use the term "god" or "gods" (with a small 'g') to designate the

familiar religious concept(s) of deity. For example, when referring to the pantheon

of lesser, more limited deities, such as the Greco-Roman or Kabbalistic

deities, I will say "the gods". I feel it is important to differentiate between

these two levels or forms of deity as each presents a different sort of work for

the magician.

It is also, in this context, important to differentiate between the

"communion" with deity and the "merging" with deity. With communion,

there remains a separation between the consciousness of the magician and the

deity itself. This is a form of face-to-face communication. With merging

however, there exists an at-one-ness between the magician's consciousness

and that of the deity. Here, the magician experiences no separateness from the

chosen deity and in fact, the magician functions as the deity; or rather, the magician

and the deity become one and function as one.

Bardon is not very clear in his description as to what level of deity he

is speaking of where. The magician can commune or merge with the lesser

gods from below (i.e., THIS side of) the veil of the Abyss. These forms of

deity are sequentialized and are thus somewhat limited in their scope when

compared to the Unity. These are the deities that Bardon refers to when he

speaks about communicating with the various gods or deities.

While the Unity can be communicated with, on a face-to-face basis,

below the veil of the Abyss, it is only when one has crossed the Abyss and

entered the non-sequential realm that the Unity can be merged with. Once this

merging with the Unity has occurred, the initiate is also instantly merged with

all of the lesser gods.

Where confusion arises in what Bardon presents is that the four divine

attributes apply more correctly to the Unity than they do to the lesser

gods. But this confusion dissipates when the reader considers the previous

mental exercises of this Step. Therein, the student was directed to rise along

the planes. During that rise up to the edge of the Abyss, the magician will be

able to work with the lesser gods at both a communicative and a merging

level, and with the Unity, only on a basis of communion. Once the initiate

reaches through the veil to the essential Saturn, then there is a merging with

the Unity.

The communion with deity is similar to prayer, except that here there

is a direct and immediate, real time (so to speak) reply. While prayer occurs

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in an upward, from-below-to-above direction, the actual communion with deity

occurs at a more equal level, because the magician is impregnating their

own form with the same attributes as the chosen deity.

The merging with deity, however, is a different matter. Here, the

magician's consciousness must be skillfully brought into a state which exactly

matches that of the chosen deity. Below the Abyss, the deity will, as Bardon

states, meet the initiate half-way. This is part of the normal function of the

lesser gods -- they mediate between the Unity and the human level of consciousness.

The merging with the Unity however, cannot occur below the Abyss.

It is not so much that the Unity will not meet the initiate half-way (the Unity

permeates All things, after all); rather, it's that the magician's consciousness is

not capable of encompassing the Unity until she/he has passed into the nonsequential

realm. Only the mental body or spirit of the initiate is capable of

this journey.

Even though the ultimate realization of the Unity occurs at a purely

mental level, Bardon places these exercises under the astral or soul heading.

The reason for this is because his technique begins at that level. The building

of an image of deity and the impregnation of that image with the four divine

attributes is an astral work. This practice eventually leads the student to manipulating

the four attributes or qualities, independent of form or image. At

that point, it becomes a purely mental operation and it is this transition to the

mental realm that enables the initiate to conceptualize the Unity in its otherwise

formless state.

I must caution you at this point that due to the finite nature of words,

it is impossible for me to accurately describe either the Unity or the experience

of merging with the Unity. Non-sequential experiences simply don't fit

into such sequentialized things as words! Consequently, each thing I say in

this regard will be only partially true and will convey things in a sequential

manner that belies the essential non-sequentialized reality of the Unity.

But even in saying this I have implied things that are inaccurate.

Case in point is when I say that the Unity is non-sequential. The deeper mystery

is that the Unity encompasses both the sequential and the non-sequential

realms, simultaneously. When I say it is non-sequential, I am referring more

to how the Unity appears to our sequentialized human consciousness and not

to its essential nature. Often, how we attempt to describe the indescribable

involves pointing more to the differences between these things and "normal"

things, than it does to their similarities. The greatest problem with this is that

pointing out only differences seems to limit our understanding of the essential

Unity of Being. In the hopes of avoiding that obfuscation, I will try to point

out as many similarities as I can in what follows.

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The first thing I should say in terms of describing the merging with

the Unity, pertains to the sense of self that the magician experiences. The

self-awareness of the Unity is often described as an "I am" state, but what is

often overlooked is the fact that this deific sense of self-identity is of the same

quality as that experienced by a normal human being. The only difference is

in quantity as the Unity encompasses every thing that has existence and the

individual human encompasses only a minute portion of that infinite expanse.

It is, in fact, this continuum of alikeness that the magician follows in the ascent

or expansion of the quantity of consciousness. In simplistic terms, the

magician stands firmly rooted in the quality of self-awareness and expands the

quantity of that awareness until it encompasses the Unity of All Being.

The implications of this in practice are that the magician, once

merged with the Unity, experiences the entire universe as if it were in fact a

part of their own self. There is no part of the infinite universe of which the

Unity is not aware.

This brings us to the four attributes of deity, which I think will serve

as a good foundation for further describing the ramifications of merging with

the Unity. Please note that the four attributes listed in Step Ten vary slightly

from those listed in Step Nine. It is the Step Ten list that I will concern myself

with here, though it pays to compare the two on your own.

The four attributes are --

1) Omnipotence (All powerfulness): This is associated with the Element

Fire. The sort of omnipotence experienced by the Unity, and by one

merged with the Unity, is not akin to the popular conceptualization of a god

"up there" who points down at us mere mortals and, poof!, things change according

to "his" will. The Unity's omnipotence works from the inside-out of

EVERY thing, all at once. There is no splitting of consciousness at the level

of the Unity proper -- the splitting of consciousness is only a manifestation of

the Unity.

Within the Unity, there is also no willing akin to human willing. Instead,

the Unity exists all at once, as a unified whole, and what we think of as

divine will is merely the Unity being what it naturally is. When initiates speak

about merging with the divine will and say things like "let Thy will be my

will", an incorrect impression is given that the individual will is somehow

transplanted by a higher will. This is not the case. The individual will is

transformed by the experience of merging, not replaced. Again, an initiate

follows the continuum of similarity as they rise to the divine. The thread of

similarity here has to do with the fact that the human will is an aspect or manifestation

of the divine will. And once again, the difference is a matter of

quantity not of quality.

The omnipotence of the lesser gods is more limited that of the Unity.

Because they exist below the Abyss, they are finite, sequentialized creatures.

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Thus they are of limited, specific use to the magician. For example, in modern

ceremonial magic, one must carefully choose the appropriate "god form"

for the task at hand. But if one can merge with the Unity, then nothing is impossible.

But having said that, I should note that the magician capable of

merging with the Unity will not be willing petty things nor things that violate

the universal lawfulness. You must keep in mind that this transformation

touches the individual adept at EVERY level of his or her being.

2) Omniscience (All knowing): This is associated with the Element

Air. The root essence of the Unity -- the stuff of which it is composed -- is

consciousness. Every thing that exists (mentally, astrally and physically) is a

manifestation of this consciousness. The consciousness of the Unity is selfaware

within all of its parts or manifestations, simultaneously and fully. In

other words, the Unity knows EVERY thing, from the inside-out. This is not

just the knowing of an external observer; rather, it is the knowing of a participant.

I wish for you to carefully consider the implications of this for the

magician who merges with the Unity. Truly, any thing the magician wishes to

know or explore is made instantly available. But this knowing will be from

the inside-out in a most intimate manner. It is similar in quality to the sort of

knowing we experience in our daily lives as we pass through a specific event.

The difference is, as usual, in the quantity of the knowing. For example, we

all know how to tie our shoes because we have experienced it numerous time,

but in relation to the Unity we are like a small child who has never tied a shoe

and our understanding of this mysterious art comes from the descriptions of

our parents. In other words, the Unity knows EVERY thing from the insideout

and the normal human knows only a relatively few things from this perspective.

I must say that the conceptualization of this sort of all knowing is

quite different from the actual experience. The magician who merges with the

Unity is not only ABLE to know everything, she/he DOES know everything

*while in the merged state*. Few magicians, however, choose to bring this

knowledge back into their normal consciousness used for daily life. Knowing

too much tends to take all the fun out of life -- there is no longer any surprise.

3) All-Love or Mercifulness (Divine benevolence): This is associated

with the Element Water. Please note that in Step Nine, Bardon associates

Immortality with Water.

The divine Mercy is similar in quality to human love, except that in

the human manifestation of love we tend to direct it at specific persons, ideas

and things. Thus our human love is more limited than the divine love and it is

a projection from ourselves to something external (self-love aside). The dei130

fic love of the Unity comes from a broader perspective that includes EVERY

thing and it works from within each thing. It is without bias and is shared

equally with All that exists.

It is common for us to wonder how the unpleasant aspects and events

of life can exist in a universe permeated by a Benevolent deity. The answer to

this lies within the quantity aspect of the divine benevolence or Mercy. The

Unity permeates the whole of the infinite universe all at once and completely,

thus it has an eternal perspective from which every event is seen as conforming

to the universal lawfulness of things. In other words, from the eternal perspective

of the Unity, benevolence is an undercurrent in All events, even the

most unpleasant ones.

Suffering exists for a reason. It teaches us lessons that we have not

been able to otherwise learn through more pleasant means. So at the core of

each unpleasant situation lies the divine benevolence that knows this is the

way in which we must learn -- it is the root lesson that holds the benevolence,

the manifestation of events is itself secondary. The only way sometimes, to

perceive the divine benevolence behind unsavory events is to broaden one's

perspective to include lifetimes instead of single moments.

An adept who has merged with this divine Mercifulness may at times

seem very stern, but this should not be mistaken for a lack of caring. At its

root is the awareness of a much broader perspective on things than the ordinary

human consciousness is able to achieve.

Such an adept will feel a deep love and concern for all creatures and

will manifest their loving kindness willfully and in the most appropriate manner

befitting the occasion.

4) Immortality (The same as Omnipresence in this case): This is associated

with the Element Earth. In Step Nine, Bardon lists Omnipresence

here, but if you think about it, this is essentially the same as Immortality in

that the Unity is an immanent thing and thus it exists throughout the whole of

space-time. The divine Immortality is not the same thing as what we consider

when we think about the immortality of a human form. Theoretically, human

immortality (if such a thing were to exist) is strictly a moment-to-moment

matter of prolonged duration. In other words, the immortal human would pass

through time moment-by-moment. While the quality of this is similar to divine

Immortality, the quantity is quite different. The Immortality of the Unity

occurs at an eternal level -- the moment-by-moment duration is only a manifestation

of the eternal Immortality.

But, and here's a big but, nothing that is either astral or physical in its

nature is eternal or immortal. True Immortality exists only at the level of the

eternal, non-sequential realm.

I compare the Immortality of the Unity with its Immanence and say

that they are the same thing because the Unity's Immortality is eternal. It has

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no beginning and no ending and there is no 'who', 'what', 'why', 'where' or

'when' that does not partake of the Unity. The connection between these two

may be easiest to perceive when you consider the space-time continuum.

From the eternal perspective, the whole infinite span of space-time is perceived

as one single present moment or as a grand, infinite "Now". But, since

the Unity is Immortal and eternal, this perspective is not just a from-afar sort

of experience; instead, it is experienced simultaneously from the inside-out --

from the perspective of each thing involved with the minute details of the

physical manifestation of space-time, to the most ephemeral and comprehensive

experience of space-time.

While the feeling or quality of Immanence is similar to what the student

experienced in Step Six with the practice of being aware of their mental

body within their astral and physical bodies, there is a difference in terms of

quantity. For the Unity, there is no separateness -- there is no immediate

sense of being WITHIN a body. Instead, the Unity completely fills the embodiments

of its Immanence. The entire infinity of the manifest universe IS

the Unity -- it is not the mere shell which houses the Unity. There is no separation

between the "body" of the Unity and the Unity itself. When we look at

a rock or a leaf or through an electron microscope at a single molecule, we are

looking directly at the Unity. When we look at each other or within our own

selves, we are looking at the Unity.

I will now close my comments upon the merging with the Unity with

one final note. This pertains to the process the adept must undergo in order to

integrate the experience of merging into their daily lives. Many fail to successfully

re-cross the Abyss and return to their normal functioning consciousness.

I presume you are aware of the many tales of mystics who have returned

from an especially deep experience only to become raving lunatics. Here is

where preparation and a proper training come into play for the Hermetic magician.

In many ways, the integration into the normal day-to-day consciousness

of an experience of the non-sequential eternal realm is an even more difficult

task than the achieving of such an experience. The experience of Unity

is so foreign to our normal level of self-awareness that it, in effect, doesn't fit,

in its entirety, within the confines of normal human consciousness. Thus it is

of vital importance that the adept have a thorough working knowledge of their

mechanisms of perception. Essentially, the adept must translate and interpret

the non-sequential experience into terms understandable to the normal, sequentialized

consciousness. Only in this way can such an experience be integrated

at a normal functional level.

Upon the return to normal waking consciousness, the adept will be

inexorably transformed. So deep and pervasive a transformation requires a

reassessment and a readjustment of the adept's personality and individuality

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akin the Step One and Two work with the soul mirrors, but on a much broader

level.

The adept will not be able to retain full consciousness of the infinite

details encountered in the merging experience once he/she has returned to a

normal state of awareness. These details (the fullness of the experience) must

be compressed in the memory and be made available so the adept can draw

upon them at any moment desired. But to experience the fullness of a merging

experience, the adept must be within the non-sequential realm and be

functioning with their higher mind. This dichotomy of being so close, yet so

far, from Unity, can at first be very disorienting even for the most advanced

adept. Once again, the training of the previous nine Steps is essential for success

in this matter.

Furthermore, the adept must balance the transformational experience

of Unity with their mundane lives in such a way that their internal changes are

not laid bare for all to see. This may sound odd and you might ask "why?".

The reasons for this are not esoteric; rather, they are extremely practical and

are due to the circumstances of our present location along the continuum of

space-time. In other words, considering the present state of affairs, it behooves

the adept to not reveal their achievements because if they were to do

so, they would be inundated by people demanding their wisdom or presenting

themselves for the satisfaction of other needs. There have been, and there will

again be, times when the adept can safely reveal themselves openly, but now

is not one of those times. As a consequence, there are many adepts who have

achieved Unity but keep this a well hidden secret.

As I mentioned earlier, Bardon has the student work with the four

attributes from the outset of these Step Ten astral exercises -- even though

they apply more strictly to the Unity than to the lesser god forms and even

though it is the lesser gods that the student encounters first. The reason for

this is that these four attributes will eventually lead the student to awareness of

the Unity. While working with the lesser gods, the student must employ the

four attributes in an uneven ratio appropriate to the nature of the chosen god

form. Working with these varieties or flavors of godhood expands the adept's

consciousness and prepares it for union with the Unity.

I hope that by this point you have become well aware of the importance

of each Step of IIH. If any single Step has been overlooked, the ultimate

goal of this Great Work will remain unattainable. I also hope that you

see how the whole course comes together at the end and creates a complete

circuit.

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Physical (Magical Schooling of the Physical Body):

Various Magical Abilities --

In this final section of Step Ten, Bardon describes a few possibilities

for the magician to consider in regard to their magical practice. I see no point

in adding my thoughts to this section as Bardon is perfectly clear.

EPILOGUE --

In his own epilogue to IIH, Bardon states: "Occult abilities are mere

side effects; you could consider them a compass for spiritual development,

designated for noble purposes only, and as aids to your fellow man; that is

why they are reserved only for the true magician." Many people have the impression

that a highly advanced magician will, by necessity, be constantly

practicing the magical abilities that they have acquired. But this is not always

the case. Just because you possess the ability to accomplish something, does

not mean that you must do so. With initiation, the acquiring of magical abilities

is not the point -- the point is to learn them as a path to higher achievements.

An interesting, rather ironic, part of the Mystery is that the attainment

of great magical powers (and here I do not refer to mundane powers which are

usually abused by those who possess them) renders the magician uninterested

in needlessly altering the universe. As the magician passes a certain point in

their ascent, she or he may actually initiate fewer and fewer mundane magical

actions.

The goal of Hermetic initiation is essentially spiritual, but the path to

that goal involves the acquiring of many mundane abilities. Without learning

those abilities and going through the transformations that their learning brings

to the initiate, the ascent would halt at a very low level.

I would hope, through my many remarks that you have so patiently

read, to convey to you the manner in which the sincere student must consider

the attainment of the many, seemingly glamorous, magical abilities that Bardon

describes throughout IIH. These are not the goals to strive for -- they are

only interesting scenery along The Way.

One can spend decades or lifetimes, learning abilities that will

greatly impress others, but in doing so one will only be delaying their ultimate

realization. This is the Long Way. The Short Way is found when one does

not become too involved in (attached to) the magical trickery and instead focuses

upon the ultimate goal. There is no less achievement in this Short

Way -- rather, the achievement is greater, sooner. This is The Way that Bardon

directs the sincere student toward in IIH.

Part Three

Commentary Upon

The Practice of Magical Evocation

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Introduction

As I begin my comments upon Bardon's second book, "The Practice

of Magical Evocation" (PME), I must reiterate that I will not be offering practical

advice to the student in regard to the actual work of evocation. Instead,

my comments will focus upon, hopefully, making the oftentimes obscure remarks

made by Bardon, more understandable for the passive reader. For the

student who is properly prepared for this work, no advice that I could give

would be necessary for their own advancement in this art.

The comments I offer here come from my direct experience with the

work of evocation and are not based upon theory or speculation.

As Bardon states in this book and elsewhere, only the student who

has completed Step Eight of his first volume, "Initiation Into Hermetics"

(IIH), or who has received an equivalent level of initiation by other

means, is to be considered properly prepared for the work of evocation.

Even so, the magician who has completed only the eighth Step of IIH

will face some difficulties with evocation. At the very outset of any operation

of ceremonial magic, the magician must first be able to raise their consciousness

sufficiently to act as a deity, but the actual communion with deity is not

addressed until the tenth Step. So, for a magician to be capable of exploring

the full potential of this art, they must have reached Step Ten. However, this

does not preclude a Step Eight initiate from being capable of at least beginning

work with evocation.

The reason for this is that the magician who has completed the eighth

Step will be master of mental wandering and of the Elements, the Akasha and

the Fluids. Having reached this stage, the magician will possess all the rudimentary

abilities required to function at a level similar to deity. Thus the magician

will know enough about what it means to be at one with deity so as to

at least function at the level of mental and perhaps astral evocation. As the

student progresses through Step Nine, and especially through Step Ten, their

facility with evocation will steadily increase.

Many choose to ignore Bardon's warning in this regard and their results

are indeed dubious. I hope, in the comments which follow, to make it

plainly clear to you, dear reader, just why this is so.

To begin, I think it important that you understand the difference between

the terms "evocation" and "invocation" as these two are often transposed

incorrectly. Invocation means to draw a thing into one's own consciousness

or into the magical circle itself. Evocation, on the other hand,

means to draw forth a thing externally or into the magical triangle. An evoked

thing is never drawn into either the magical circle or into the magician's own

consciousness.

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Many ceremonial rituals begin with an invocation of deity. In this

way, the ritualist draws the presence of an external deity into their own consciousness

and into their ritual circle. The reason for this act is that the ritualist

supposes that this will afford a greater amount of power for enacting their

ritual. In other words, an invoked thing is always an external thing which has

been drawn into the practitioner's own self. Thus, for example, the exercises

in IIH dealing with the accumulation of the Elements are a form of invocation.

PME does not concern invocation. Its only concern is evocation or

the bringing of an external being into external manifestation. At no point are

such beings drawn into the magician's own consciousness.

This point may seem minor at this stage, but I hope to clarify exactly

how truly significant it is throughout the whole practice of evocation. At no

point in magical evocation does the magician invoke -- not even deity -- but I

will explain this more fully further on.

There have, of course, been many books written about evocation and

many occult schools teach a version of this art. But never before have so

many details of the true practice been revealed and never in so plain a manner.

The main reason for this is a lack of understanding -- that of the authors and

that of the audience to their books. For the passive reader, it is nearly impossible

to understand evocation except at a very superficial, purely intellectual

level. So, I warn you now, it will do little good to read PME or my commentary,

if you have not at least read Bardon's first book, IIH -- no matter how

many other books on the subject you've read.

One school of thought holds to the idea that evocation is nothing

more than an ancient form of psychotherapy. Unfortunately, it is difficult to

refute this premise given the fact that if one follows the standard approach to

evocation this is all that it will be. The reason for this is that when an uninitiated

person tries to practice evocation, all that they will possibly evoke is the

contents of their own psyche. While this can be therapeutic, it most usually is

not since the evoker is deluded into thinking that the evoked entities are actually

external beings and not evoked from their own imagination.

The true magician however, is not fooled by their own psyche and is

capable of recognizing self-delusion. Only such a one can truly evoke an external

being.

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PART ONE

Magic:

Here Bardon tries to give the reader an understanding of what is

meant by the term "magic". There are two points in this section that I'd like to

explain a bit further.

The first is his differentiation between "black" and "white" magic,

good and evil. As he points out, the concepts of good and evil will not hold

sway over the magician since such a one understands that the universe is a

unified whole, not a dualistic opposition of parts. From the Hermetic perspective,

the defining of things into opposite camps of good and evil is secondary

to the personal distinction between right and wrong. Both good and evil are

subjective judgments we make in order to navigate through the twists and

turns that life presents, but neither exist as objective, inherent qualities. Every

thing that exists, exists because it is the will of Divine Providence that it exist.

It is important that the magician understand this before they begin the

work of evocation as this knowledge will effect how they relate to the many

beings that they will encounter. Some of those beings will be unpleasant and

troublesome but it does no good in relating to such beings if the magician

holds to the bias that the being is "evil" by nature. This only puts up a barrier

that the being will likely rebel against and which the magician will be unable

to penetrate.

The evoker must understand that every creature is equal in the eyes

of Divine Providence.

The second point I'd like to speak to is Bardon's distinction between

a "sorcerer" and a true magician. Many have adopted the word 'sorcerer' as an

honorific and so this distinction is often difficult for the modern reader to understand.

To Bardon, a sorcerer is less than a true magician for the simple

reason that a sorcerer is not in command of the forces he or she wields. An

example of what Bardon means by sorcery is when a novice learns a ritual or

ritual words and employs them without having first learned either their significance

or the way in which they effect their results. In other words, the sorcerer

relies upon the knowledge and work of others for the effectiveness of

their "magic".

The true magician on the other hand, knows the universal laws and

works directly with the forces of nature to effect their own magic.

This distinction is very important when it comes to the art of evocation.

Even among the circle of modern students of IIH, there arises instances

of sorcery. For example, many students have been told to make for themselves

a talisman corresponding to a spirit named Emrudue. This is nothing

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other than sorcery (especially considering “Stejnar's "discovery" about the

encoding of names that Bardon employed) since the student has no genuine

understanding of what they are doing or of its consequences.

[Historical Note: Several years ago someone suggested

(erroneously) that Bardon had instructed that students of IIH should make, for

themselves, an amulet of “Emrudue” to help further their progress. In point of

fact, this is NOT what Bardon said. In PME, under the heading for

“Emrudue”, Bardon states: “If a person not initiated into magic wears the seal

of the seventh head of the Moon sphere, manufactured during the astrological

period of the seventh moon station and engraved on silver plate, he or she will

have good luck and success, and, above all, have any earthly desire fulfilled.”

This is not a suggestion that the uninitiated attempt to make their own seal;

instead, this is suggesting that the uninitiated wear a magically prepared seal,

crafted by an initiate. An initiate would know that the name “Emrudue“ is

useless in this regard and would have the trained ability to craft a truly magical

seal of the “seventh head of the Moon sphere“.]

Likewise, the occult schools and books that teach the novice complex

rituals that rely upon special words and movements are also nothing other than

a form of sorcery. For any word that is not fully understood by the magician

is not to be employed during a ritual act. Fortunately for the novice, these

practices border upon theater more so than they do upon actual sorcery.

Another important distinction is that the sorcerer seeks only power

and glory instead of spiritual advancement. Consequently, the way of sorcery

results in little, if any, spiritual rise.

As a final note to this section, it is good for the reader to understand

that when Bardon refers to "jugglery", he means the slight-of-hand tricks performed

by stage magicians.

The Magical Aids:

Here Bardon seeks to explain the rational basis of the various magical

aids or tools. There are some very significant things for the reader to consider

here.

First is that a magical tool has no power of its own, generally speaking.

The power or effectiveness of a tool comes directly from the magician.

Thus, a tool one inherits will have no special power until the inheritor instills

it with their own power. Nor will another person be able to tap into and use

the power that a magician instills within their tool.

The second important point is that a magically prepared tool must be

treated in a respectful manner. For instance, many groups say that one can use

a kitchen knife as a magical Athame and then return it to the kitchen drawer

for regular use. While this may technically be so, it is of little practical appli141

cation since the knife would have to be recharged each time it is used ritually.

A magical tool grows in power each time it is used. But this power

can never exceed that of the person who wields it. All that a tool can do is

save the ritualist time.

To the student of IIH, there is no particular mystery to the charging

of a magical tool. It is simply a matter of filling the tool with the appropriate

ideation, Fluid, energy or Element, following the techniques learned in IIH.

The specific details of the construction of the tools will be dealt with further

on, but the important consideration at this stage is that each tool must meet the

specific understanding and abilities of the individual magician.

All the previous books that delineated exactly what the shape and

color of the tool must be and which exact sigils and words must be inscribed

thereon, are all full of misinformation. These things depend entirely upon the

desire of the individual and will in no case infer special powers upon the tool

if the magician does not fully understand the significance of each aspect.

In essence, the tool is an extension of what is already present within

the magician and it must reflect this, with accuracy. Thus each magician's

tools will, by nature, be different from those of another magician. The only

necessary similarity will be in the nature of their specific functions.

It is always best if the magician constructs their own tools from

scratch. While this may be an easy matter with some tools, it does present

difficulties for others. For instance, the making of a magic sword may be beyond

the ability of the magician and s/he will have to purchase one pre-made.

But this is of little essential consequence since it is in the charging of a tool

that it gains its real power. If a tool is purchased however, it must first be

cleansed of the residue of thoughts and emotions that it has absorbed during

its manufacture, prior to its actual charging.

The final point I wish to raise concerns the magician's attitude toward

their ritual tools. The tool is used to quickly bring the magician's consciousness

up to a certain level. The magician does not invoke the tool's power or

ideation into their own consciousness. Instead, the tool acts as a key to the

rapid raising of the magician's own consciousness to the required level.

For instance, when the magic wand is applied, the energy is not

drawn from the wand itself; rather, the energy is drawn from the magician and

projected through the wand once the wand has served to raise the magician's

awareness of the specific energy to be used. The magician does not invoke

the awareness of this energy from the wand, but instead raises their consciousness

to the energy and manipulates it from there, through the wand. This may

be a difficult concept to understand (it certainly is difficult to describe) but as

you read further its significance will become more evident.

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The Magic Circle:

As I said earlier, the magician does not invoke anything during an

evocation, not even deity. But here Bardon describes the magical circle in

terms that sound similar to the invocation of deity that opens many popular

ceremonial rituals.

Indeed, the magic circle is meant to be a representation of the magician's

individual understanding of deity and of the universe, but this is not employed

as an invocation of same. Instead, and here's where the training of IIH

is important, the magic circle acts only as a key for the magician's own rise of

consciousness. In short, the magician, instead of invoking deity, must raise

their consciousness till it merges with deity. This is what is meant by the magician

acting as deity while within the magic circle. This is not invoked from

outside; rather, it is built up from within.

As Bardon points out, there are as many ways to draw a magical circle

as there are magicians. The books and schools that tell the student exactly

how the circle is to be constructed are useless to the Hermetic magician. The

magician's circle must exactly match the magician's own understanding of the

universe or deity. Thus, as the magician's understanding matures, so will their

circle change.

A mundane circle, like you would draw on paper, has no intrinsic

value. A Magical circle, on the other hand, does have intrinsic power. It has

the specific power of affording protection or shielding for the magician who

stands at its center. Essentially, it acts as a barrier to any unwelcome external

force. I can think of no circumstance where the magician might want to invite

another entity into their magic circle other than the fellow humans they may

be working with during a specific ritual. In other words, a magic circle allows

no entry once it has been cast.

This does not however, limit the magician. Effectively, the magician

can travel within their magic circle to any realm whatsoever.

Bardon suggests constructing a physical circle, but while this may be wise for

the beginner, it is not strictly necessary. A magic circle can just as readily be

constructed entirely within the mind of the magician, but such a circle is less

reliable for evocation.

A magic circle is, more properly speaking, a sphere. This shape is a

perfect physical representation of infinity and thus deity. The magic circle is

a multidimensional sort of thing and the physical circle is merely where the

magical sphere intersects the present moment of space-time.

"Casting" a magic circle denotes two operations. First is the mental

operation wherein the magician raises their consciousness to the level of deity.

This is accomplished during the drawing of the components of the circle, such

as a physical circle, appropriate names, canticles, and figures, etc. The sec143

ond operation is the actual projection of a sphere of energy that intersects the

physical outline of the circle. This is not, strictly speaking, a mental operation

as it involves the actual projection of a specific (astra-mental) energy.

Bardon mentions this energy with a single, very interesting sentence:

"The binding force of the circle is generally known in magnetic magic." In

the neo-Wiccan tradition with which I am familiar, the energy used for casting

a circle is described as the "blue fire". With eyes that can see such things, it is

the same energy one sees surrounding the full moon at midnight.

There are, of course, many methods for creating a magic circle. If

one is fortunate enough to have a spare room that can be devoted to a temple

space then it is possible to create a permanent circle, so to speak.

The essence of a magic circle is not the physical trappings. Its essence

is the consciousness of the magician. Thus it is possible to create a

magic circle without any paraphernalia at all. But this takes long practice to

master. The magician's circle casting will evolve with practice and may eventually

become a very simple operation.

When a properly trained magician casts a true magic circle, then the

magician has indeed become at one with deity and therefore stands at the exact

center of the universe. Without this ability, a circle casting is not magical.

The magic circle is the primary and most important tool of the ceremonial

magician. Second, especially for the practitioner of evocation, is the

magic triangle. All other tools it is possible for a trained magician to do without.

The Magic Triangle:

As I have said, the magic triangle is the second most important tool

for the evocationist. It is similar in nature to the magic circle in that it also

forms the foundation of the evoker's working space. While the magic circle

encompasses infinity and acts to keep all unwanted external influences from

reaching the magician's person, the triangle, on the other hand, acts to both

confine and to accommodate the evoked entity. This confinement is important

during an evocation ritual since it is unwise to allow an evoked being free

reign in our realm. Besides, it is nearly impossible to get an evoked entity to

materialize without these confines.

Like the geometric form of a circle, the geometric form of a mundane

triangle has no inherent power. But, as before, the magical triangle does possess

its own specific power. Through the law of analogy, the magic triangle

represents the cohesive power of manifestation or form. This does not just

refer to forms composed of physical substance but also to forms composed of

mental and astral substance.

Similar to the relationship between the magic circle and the sphere, a

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magic triangle is, more properly speaking, a tetrahedron. The physical magic

triangle is merely where the tetrahedron intersects physical space-time.

As Bardon points out, the essence of the magic triangle's effectiveness

is due to its relationship to the number three. An important aspect of the

magic triangle that is not all that clearly stated in Bardon's description is that

the triangle is drawn AFTER the magic circle has been erected. In other

words, it must be drawn while the magician is at one with deity for it to be of

any effect at all. These two factors (the magician's level of consciousness and

the analogy of number three), plus the energy projected while drawing (or retracing)

the triangle, are what make it magical.

One thing that Bardon neglects to mention here is that the magic triangle

is never placed within the circle. It is to be placed within easy reach of

the circle, but outside of it, and in whichever quarter is most appropriate.

Bardon recommends placing the triangle in the East.

As Bardon points out, the magic triangle should be constructed of the

same material as the magic circle. This may seem irrelevant, but I assure you

that in practice it is not. Furthermore, the triangle can be constructed in whatever

manner of detail the magician desires. The only rule is that it have three

unbroken sides. An equilateral triangle is best for most uses and it is always

situated so that it points away from the center of the magic circle.

Both the magic circle and the magic triangle serve to contain the two

atmospheres relevant to the evocation. The magic circle holds the atmosphere

suitable for the magician-as-deity, and the magic triangle contains the atmosphere

relevant to the being evoked.

During a ritual of evocation, the magic triangle may be used to house

the magic mirror, a Fluid condenser, the sigil of the being that is to be evoked,

or any other such aid.

The Magic Censer:

The magic censer is one of two tools that pertain to the atmospheric

requirements of the magic triangle and to the being that is evoked therein.

The other tool is the magic lamp, but as you will see in my discussion of the

magic censer, the lamp is not strictly necessary. Actually, even the censer is

not strictly necessary -- all that is essential is the atmosphere itself.

For the censing to be truly effective, the magician must still retain

their unity of consciousness with deity. To begin the censing operation (i.e.,

the building of the appropriate atmosphere regarding the triangle) the magician

must first charge the space accordingly. When evoking a being of the

Elements, the room or space must be filled with the corresponding Element

and/or Fluid. When evoking an extraterrestrial being from one of the planetary

spheres, then the room must be filed with the appropriately colored Light,

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etc. Without an appropriate charge such as this, a true evocation would be

impossible.

The second phase of the censing operation is less of a necessity.

Here is where the censer itself comes into play through the burning of an appropriate

incense. This is a great aid in the physical condensation of an

evoked being if one wishes to achieve a visible physical appearance. In effect,

the incense provides the necessary physical substance for the being to

combine into a physical form. It also serves as an aid to the magician's consciousness.

Choosing the correct incense is entirely up to the student -- there are

numerous books on the subject. The penultimate method for determining the

correct incense for any occasion is to ask, through mental wandering, the being

one wishes to evoke, which scent they prefer.

The specific form of the censer itself is irrelevant. It can be a simple

dish if that satisfies the magician. Most prefer something more ornate, but

here, practicality is the main determining factor. The censer's ability to

strengthen the magician's concentration through its symbolism is secondary.

The Magic Mirror:

If we consider the magic circle and triangle as the primary evocational

tools, and the censer and other regalia concerned with the atmosphere

as secondary, then the magic mirror is among the tertiary class. This class of

tool primarily concerns the actual drawing of the evokee into the magic triangle.

Also among this third class of tool are the sigils of the various beings.

A secondary use of the magic mirror is as a doorway for projecting

one's mental body into the realm of the being that will be evoked. [This use of

the magic mirror is discussed in Steps Eight and Nine of IIH.]

A magic mirror can also be employed as a supplement for the maintaining

of the proper atmosphere. In fact, a practicing evocationist may want

to employ more than one mirror, each of which will always serve the same

single function. For example, the magician may choose to use one as a platform

for the being to appear upon and a second mirror to maintain the atmospheric

charge. However, a magic mirror is by no means a necessity since all

of its functions can be carried out by the properly trained magician without the

aid of any tool.

During an evocation, the evoked being may be asked to materialize

through the magic mirror, but only if it is placed within the confines of the

magic triangle. Bardon speaks about placing it at the apex of the triangle --

outside of the confines of the triangle -- but this is only done when its function

concerns either the atmosphere or if it is providing an extra boost of energy

for the evoked being. For most atmospheric uses, it can be placed anywhere

within the ritual space.

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The type of mirror used is up to the magician. A solid Fluid condenser-

based mirror (such as Bardon describes in IIH) is, of course, best, but

for most occasions, a simpler one suffices.

The Magic Lamp:

The magic lamp belongs to the second class of tool as it pertains to

the ritual atmosphere. Bardon explains well the use of such a lamp and speaks

highly of its usefulness. I agree and have found it to be very helpful in maintaining

the color of the atmosphere while freeing up my consciousness for

other matters during the ritual.

One can employ numerous lamps during a single ritual if desired.

For example, the magician could arrange seven green lamps around the triangle

(or elsewhere) when evoking a being of Venus.

As with the censer, the shape of the magical lamp is determined more

by its functionality than its aesthetic.

Even though they may seem to be the most convenient, Bardon

warns against using electric lights. He raises a very valid point here for the

modern magician. Electro-magnetic fields DO exert an interruptive force

upon many delicate magical operations and evocation is no exception. For

any magician who lives in a house that has electrical wiring within their walls,

this must be taken into consideration.

The Magic Wand:

The magic wand belongs to a fourth class of tool each of which expresses

the magician's own power. Other tools in this class are the sword,

knife (dagger or Athame), trident, bell, magical wardrobe, etc.

The wand is the most common tool associated with the magician in

popular lore and it is indeed a handy tool. But, it is not strictly necessary as in

most cases a finger will do for directing any energy the magician desires. The

shape of the wand symbolizes the straight line; i.e., the extension of will.

This tool should be made by the magician's own hands and it must

never be allowed to fall into another's possession. The magical wand(s) of a

magician should, if at all possible, be destroyed before their death.

The shape and composition of the magical wand is dependant only

upon the magician's needs and great creativity must be employed in its crafting.

Here, function is just as important as esthete. The average evocationist is

likely to have several wands, each devoted to a specific practice or need.

Bardon does an admirable job of describing a few of the possibilities,

so I will not belabor the point further.

The Magic Sword, Dagger and Trident:

These three tools are actually variations upon the same theme,

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namely, to act as a symbol of the magician's authority. These belong to the

aforementioned fourth class of tools which extend or express the magician's

will.

Primarily, these weapons are employed when evoking the lower,

"demonic" beings which tend to be unruly. But it does no harm to always

have the sword passively displayed as a symbol of one's authority whether it is

wielded during the ritual or not.

It is generally more difficult to make a sword, dagger or trident with

one's own hands. If this tool is purchased, then it must be thoroughly cleansed

of any astra-mental residue remaining from its manufacture, before it is decorated

and charged by the magician's own hand.

The charge for these implements is one of Light, sufficient to clearly

represent the magician's own authority. If the magician is incapable of properly

charging a sword in this manner or does not truly possess the authority

the sword implies, then such an implement should not be made nor should it

under any circumstances be used. Any being upon which the magician may

find occasion to use their sword will be able to instantly see whether or not the

magician actually possesses the authority they are representing. If this authority

is not actually present, then the being will see this as a goad and will double

their rebelliousness.

As Bardon mentions, these implements may also be used as defensive

weapons. They, when properly charged, will be able to repel, and possibly

destroy, any bothersome influences that may invade the sphere of ritual

operation. Indeed, the knife or dagger, is the proper tool for all banishings.

The shape of the sword and dagger is similar to the wand in that it

represents a straight line. With the wand, the emphasis is upon the ends of the

line; but here, the symbolic emphasis is upon the edge of the line -- its sharpness

and its ability to cut. In this regard, the wand is Solar and the sword/

dagger is Martian. Both express power, just in different ways and to different

degrees.

The Magical Crown, Cap or Magus-Band:

This is the uppermost part of the magician's ritual wardrobe (i.e., that

which is worn on the body of the magician throughout the ritual) and partakes

of the fourth class of tool. The function of the crown is two-fold: one is as a

statement of the magician's authority for all to see, and second, is as an aid to

the magician's raising of their own consciousness.

In terms of the sequence of an evocation, the magician begins by first

arranging the necessary accouterments and then puts on their magical wardrobe.

The adornment of the body is the preparation for the actual ritual work

of casting the circle, etc. It begins the process of putting the magician in the

correct state of mind.

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The crown or magus-band, represents the maturity of the magician

and is most always associated with an oath on the part of the magician, swearing

them to always follow the highest of ideals. A magician may have, if desired,

more than one such head dress, but it is better if only one is made in

such a manner that it serves all purposes.

This should be constructed by the magician's own hand and made

with the finest materials within the magician's means. It should be an object

of great beauty, filled with all the symbols pertinent to the magician's understanding

of deity. The magician must be cognizant of every symbol that appears

on their head dress, otherwise it should not be employed.

The magician's head dress should be treated the same as a holy relic

for this increases its power considerably. Never should the magician wear it

inappropriately. This, and all the other articles of the magical wardrobe,

should also be destroyed before the magician's death.

The Magical Garment:

This is perhaps the most intimate of all the magical regalia. It is the

magician's second skin, as it were. Every effort should be taken to make this

with one's own hands. For the beginning seamster, buttons are not necessary

as a pull-over robe will do just as well.

If at all possible, the raw fabric, the thread and needle, should be

cleansed of all astra-mental residue remaining from their manufacture, before

the garment is constructed. During the construction itself, the magician's mind

should be absolutely focused upon the task at hand and upon the magical significance

of the robe. In this way, the root ideation will be sewn into each

stitch.

As Bardon warns, this garment should not be touched nor seen by

another individual other than those working directly with the magician during

ritual. It should be worn only during magical operations. For practical purposes,

the magician will want to fashion at least two robes: one for normal

magical operations and one reserved solely for evocation. Violet silk (only

silk should be used -- raw silk being the easiest to work with) will do admirably

for almost all purposes.

The magic robe symbolizes the magician's purity, both to other beings

and as an adjunct to the magician's own rise of consciousness. Similar to

the magus-band, the robe should be treated like a holy relic, and should always

be carefully stored when not in use.

The Magic Belt (or Cincture):

This completes the magic wardrobe proper. The symbolism of the

magic belt is of the straight line that has, through the will of the magician,

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been bent into a circle with the ends joined by tying. This is the Ouroboros,

the snake eating its own tail.

The magic belt represents the Elemental Equilibrium of the adept,

won though hard labor. If this equilibrium has not been attained then the

magic belt will be nothing other than a pretty adornment, suitable more for

theater than ritual magic.

The magic belt cinches together all of the magician's own powers and

abilities, thus it too is sworn to an oath when consecrated. In many ways, it

corresponds to the Element Earth and its power to condense things and join

one thing to another.

So long as the magic belt is made with one's own hands, it matters

little what specific substance it is composed of. Of course it must be an aesthetic

fit with the rest of the magic wardrobe, but the details of this are entirely

up to the individual. It does not hurt to make the magic belt out of material

that will also serve as a sort of Fluid Condenser, but this is not strictly necessary

since its main significance will be to the magician's own mentation.

Whether it is to be buckled, buttoned or tied is of little consequence.

I prefer to tie it since this is more fitting with the symbolism I wish it to express.

With a tied belt, you can even use where you place the dangling ends

to further strengthen its symbolism (i.e., in front, in back, or to either side).

Further Magical Aids:

Here Bardon lists several other opportunities for the construction of

magical tools. Some of these are supplemental and have nothing to do with

the ritual of evocation itself and others are of great value.

These tools are:

1) Pen, ink, engraving pencil, needles, thread, fabric, paper, colors,

and consecration oil. This category concerns the implements necessary for

construction of the other tools, sigils, etc. Each of these items is consecrated

and empowered, and reserved solely for ritual use.

2) Salt, incense, chalice (cup), paten, whip, and bell. These are actual

ritual tools. Although they are not strictly necessary for an evocational

operation, they are of great value in other ceremonial (especially in the consecration

of the major magic tools). While the first four a fairly well known, the

last two deserve some explanation.

The whip need not be too large and it is best, of course, if you can

fashion it with your own hands. Its function is similar to a magic sword or

dagger, but it does not threaten death in order to manifest authority.

The magic bell is a very fascination tool. I use several in conjunction

with my ritual pursuits and find them to be extremely effective. The sound of

a bell is penetrating and can completely transform the tenor of a ritual space.

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A bell of the proper note and resonance can easily be used as a quick method

of summoning a specific entity once such an agreement has been made between

the magician and the being in question.

Bardon states that the bell must be made of electro-magicum but in

my experience this is not necessary. I employ bells made of either brass or

silver and these have always served me to my satisfaction.

3) The magic chain. This belongs to the category of the ritual wardrobe.

Also in this specific sub-category, belongs ritual jewelry such as fingerrings,

bracelets, pendants, brooches and ear-rings. Each of these is meant to

symbolize the magician's accomplishments such as with the magic chain and

its symbolism of membership in the brotherhood of magicians.

There comes a point of overkill with the ritual adornment. Unfortunately,

many modern magicians fall into the delusion of thinking that wearing

all kinds of fancy jewelry will somehow increase their power. In reality, all

this does is inform the spirits evoked by the magician that the magician is not

as truly powerful as they would like to pretend. In my opinion, the simpler the

better. Any being that is evoked will be able to immediately perceive the magician's

true status, and excessive (especially unwarranted) adornment will not

positively influence the being's perception of the magician. This form of

adornment is strictly for the maintenance of the magician's own state of mind.

One tool not mentioned by Bardon, is the magic staff. This tool is

similar to the magic lamp in that it symbolizes the magician's wisdom. The

lamp expresses this through its power of illumination, but the staff expresses

wisdom as a solid, practical force. The magic staff also represents the long

labor of the adept and implies a degree of maturity. It is the wisdom-based

grounding strength of the adept.

As with the bell, the magic staff can be employed as an instrument of

rhythm during a ritual. It can also be used as a guide for the consciousness as

it rises through the planes. For example, a series of tamps with the magic staff

can correspond to the numerical kabbalistic sphere to be traveled to.

There are of course, an nearly endless number of possibilities when it

comes to the construction of magical aids. How many and for what purpose is

entirely up to the needs of the individual.

The Pentacle, Lamen or Seal (Sigil, Talisman, etc.):

While these things have been grouped together by Bardon, they are

really separate things that serve separate functions.

The magic pentacle serves to represent a universal power, and is usually

displayed during ritual when the magician feels the need for greater

power or influence over the evoked being. The pentacle is kept handy within

the magic circle.

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The lamen is another symbol of the magician's authority, belonging

to the category of the magic wardrobe. It is similar to the sword/dagger and

the whip, but on a more spiritual, mental level and with less actual threat. The

lamen is worn by the magician and is thus kept within the magic circle during

the actual ritual.

The talisman, however, is displayed when the magician feels the

need for protection. It evokes the protective power of a specific entity, deity

or ideation. It too is kept within the magic circle and within convenient reach

(in a pocket is good).

The sigil, which Bardon does not actually list here, is used as one

means of calling forth the evoked entity into the magic triangle. The sigil is,

so to speak, the signature of the being and it may act as a gateway through

which said being may be called forth into our realm. During such an operation,

it is drawn magically upon paper or some other medium and placed in

the center of the magic triangle.

The Book of Magic Formulae:

This is a misnomer. A better title would be "The Magical Diary", for

this is truly no more than a journal of the magician's experiences. Some call it

their "Book of Shadows". I cannot stress sufficiently how important it is to

keep such a journal. This is where the magician writes down an exact telling

of the construction and consecration of each tool, of the plans and preparation

for each ritual, plus a detailed outline of the ritual, and a retelling of the experience

of each ritual enacted.

The value of this sort of note taking is that the magician can then easily

go back and examine what's been done. It's also like an address book

should the magician ever want to go back and reestablish contact with an entity

worked with before.

As Bardon notes, the magical diary is a very personal thing and great

care should be taken to assure that it does not fall into the wrong hands. This

is another thing that should be destroyed prior to the magician's death.

In the midst of speaking about how past authors of grimoires, etc.,

have resorted to obfuscation in their writings, Bardon states: "In order that the

real truth, true ideas and spiritual facts might never be known by the public,

many code-words and secret formulae have been introduced, the deciphering

of which has been reserved to the mature." This is very important in regard to

Bardon's own writing of PME. Since the cat has already been let out of the

bag, so to speak, I feel free to alert you to the fact that Bardon also used a

code when he named the beings of the spheres.

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I suspect the reason Bardon did this was because he wanted to afford

some protection to the uninitiated dabbler. This reinforced his warning that

the magician must have first reached the end of Step Eight of IIH, before pursuing

PME. For truly, any person who has reached such a level will, on their

own, very quickly realize that a code was used and that the names as published

are useless.

Whether or not the magician chooses to encode the writings in their

magic diary is totally up to the discretion of the individual. Encoding has

many advantages, not the least of which is that a code can act as a sort of

short-hand and make the taking of notes an easier process.

Near the end of this section, Bardon provides an outline of an evocation

ritual. I have only one disagreement with his outline and that has to do

with the order of things. Once I have all the necessary accouterments in

place, I prefer to put on the ritual wardrobe (robe, belt and cap) before I cast

the magic circle. In other words, I would put items 13 through 16, after item

In the Domain of the Spirit Beings:

Here Bardon provides a well written expose upon the various planes

or spheres that the evocationist will be working with.

The first zone to be contended with is our normal sphere of every

day existence. This physical realm is explored during the IIH Step Eight work

of mental wandering and is thus considered preparatory to PME.

It is important to note here that one can neither evoke a being from a

sphere higher than one's own level of maturity, nor travel to such a sphere. In

other words, someone who is mature enough to reach the Mercury sphere cannot

genuinely reach the Venus sphere until they have thoroughly explored the

Mercury sphere. The exploration and the interaction with the beings of the

sphere are what raise the magician's level of maturity.

The first zone concerning the evocationist is the "zone girdling the

Earth". In the kabbalistic cosmology, this zone equates with Malkuth --

"Kingdom". [Malkuth comprehends the physical realm but only at its lowest

point.] Many kabbalists state that all ten spheres (Sephirot) are reflected

within each sphere. Thus in Malkuth there would be a Malkuth-of-Malkuth, a

Code/Decoded Code/Decoded Code/Decoded Code/Decoded

A E F V LH SCH R T V D

B R G W M L S N W P

CH H I O N G T B Y J

D M K Z O U TZ K ZH CH

E A L S P F U I Z C

Code/Decoded

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Yesod-of-Malkuth, a Hod-of-Malkuth, etc. These are the levels of density

that Bardon refers to.

Bardon states that for the beings of this realm, as well as for the

adept who explores this realm, the "ideas of time and space do not exist."

This is not altogether accurate in an absolute sense. Time -- sequence and

duration -- and space -- specific location -- do still exist, but one is not bound

by these factors in the same way we are in the normal day-to-day world. In

other words, the magician can travel to any time or place within this realm but

cannot encompass the whole of either time or space from within this realm.

The magician may travel to any specific moment/location of time/space but

cannot be in more than a single moment/location of time/space at once. Eternity

belongs to the realm of Saturn and beyond.

In several pagan traditions, it is believed that when a person dies,

their soul becomes a part of the natural surroundings and spreads itself evenly

throughout the material realm. From an Hermetic point of view this is an accurate

analysis and can be easily related to what Bardon describes of the eventual

place of residence of a departed soul.

All the beings within the zone girdling the Earth are tied, in a direct

way, with the physical universe. Thus we find departed spirits awaiting their

next incarnation. This is the realm in which the astral body slowly decomposes.

Furthermore, we find the Elemental beings and the zodiacal spirits that

rule over the natural functions, etc.

This is the closest and easiest astral realm for the magician to reach.

Since this is the realm where the soul resides after physical death, it

behooves the magician to explore it fully and especially to seek out the place

they will end up after death. A well trained magician will be able to transfer

many of their ritual regalia, etc., to their place of final residence and can, if

they so choose, continue to influence the physical realm from there after they

have passed over. Some have been know to maintain an astral presence such

as this for an extended period of time, enacting their own special mission. But

eventually, even this form must be abandoned and the adept will either reincarnate

or will free themselves, with the grace of Divine Providence, from the

wheel of rebirth and merge totally with the Divine.

At the end of his discussion of the zone girdling the Earth, Bardon

states: "The earth-zone is by no means bordered in any way; it stretches out

over the cosmos, not only over the ball of the earth." This may be a difficult

idea to comprehend, especially since it's called the "earth" zone. But this title,

along with the other planetary titles for the spheres, have nothing to do with

the physical planets themselves. These are merely analogies.

We say "earth-zone" in order to signify the manifest universe. As

Bardon states, the zone girdling the earth, pertains to the whole manifest cos154

mos. The other, higher zones are connected to this earth-zone through the

spheres-within-spheres I mentioned earlier. Thus, as the evocationist calls

forth a being from the Venus zone, for example, this being will have to descend

through the Venus level of the earth-zone, in order to appear in the

physical realm. Conversely, a magician must have reached the level of maturity

signified by the Venus-of-Malkuth level of density, in order to be able to

travel to the Venus zone or to evoke a being from that zone.

Bardon goes on to name the remaining seven zones. Their kabbalistic

equivalents are:

Moon = Yesod (Foundation) = #9

Mercury = Hod (Splendor) = #8

Venus = Netzach (Victory) = #7

Sol = Tiphareth (Beauty) = #6

Mars = Geburah (Severity) = #5

Jupiter = Gedulah/Chesed (Mercy) = #4

Saturn = Binah (Understanding) = #3

There are however, two kabbalistic spheres beyond Binah

(Chokmah/Wisdom and Kether/Crown), but these are not of concern to the

evocationist since the "beings" of these spheres do not have forms in the common

sense and thus cannot be evoked. There are, of course, "realms" beyond

even Kether, referred to in the kabbalistic cosmology by the name

"Ayin" (translated into English as "naught" or "no thing"), but these "realms"

are so far beyond the ken of our realm of Being that they are truly incomprehensible

to us as human beings. Only The Unity is capable of comprehending

these "realms".

Advantages and Disadvantages of Evocational Magic:

This entire section really has nothing to do with a discussion of the

advantages and disadvantages of evocation. A better title might have been

"WARNING". Here Bardon speaks about necromancy, sorcery, contracts,

and all the reasons why he warns against dabbling in this art if you're not truly

prepared. To my mind this shows how concerned Bardon was for the safety

of the average reader.

The Spiritus Familiaris or Serving Spirits:

This is an interesting discussion since most past books on the subject

hold that the having of a hoard of serving spirit (familiars) is to be the goal of

the evocationist. Many grimoires even go to the length of listing how many

servants such and such a demon has under their command, etc.

But as Bardon points out, this is not a necessary part of evocation. It

is good for the evocationist to experience the service of a familiar at least

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once, but it is not a practice that must be taken to extremes. A familiar can be

quite handy at times for the accomplishment of simple tasks and may save the

magician a great deal of time, however it also comes with its own responsibilities

and the magician may instead decide to handle things for themselves. If

you consider the time and effort an evocation ritual takes, the net savings in

time must be carefully evaluated.

I would like to note that some of the higher beings will place serving

spirits into the magician's sphere on their own as a blessing to the magician.

This takes none of the magician's own attention and is never an intrusive

thing.

Magical Evocation:

Here is where Bardon actually talks about the advantages and disadvantages

of magical evocation, with an emphasis on what the true prerequisites

are. I'll go through these prerequisites one at a time:

1) Well honed astral (and mental) senses. Without these senses, the

magician would be unable to gauge the truthfulness of any being evoked, let

alone perceive them in their astral form within the triangle.

2) The magical implements or regalia. These are necessary for the

beginner. They may, however be dispensed with once the magician has mastered

a certain realm, and then the evocation of the beings of said realm can

be achieved very easily and without ceremony. But each time the magician

advances to a new realm, the magical tools must once again be employed.

Evocation is a cyclic process of graduation from novice-to-master-to-noviceto-

master, etc.

3) The ability to create the appropriate atmosphere suitable to the

entity evoked. This refers to the abilities learned through the first eight Steps

of IIH. Specifically, the ability to condense the Elements, Fluids and Lights.

4) Facility with mental wandering. Without the ability to mentally

travel to the sphere of the relevant being, a true evocation would be impossible.

This is the first step (after the casting of the circle, etc.) of an evocation

proper. This is how the magician 'invites' the being to appear in the magic

triangle. Also, any mystery as to the being's correct name, shape, powers and

sigil will be clarified at this point.

5) The magical authority. This is the most essential ingredient of a

true magical evocation. By authority Bardon does not mean mundane powerover.

The true magical authority comes from the inner maturity of the magician

and is made manifest through the magician's unity with deity. The communion

and merging with deity is, as I've said before, more properly a part of

Step Ten of IIH, but by the end of Step Eight, the student will know enough to

effect this sort of contact with deity -- at least enough to work with the evocation

of the beings of the Elements.

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6) The three-part action. This is not mentioned here specifically by

Bardon, but I think it's worth listing. By three-part action I mean the ability to

work with full consciousness of one's mental, astral and physical body, simultaneously.

Bardon speaks of this in the Step Six, mental exercises when he

instructs the student to become cognizant of their spirit working within the

glove of the astral body and the physical body. This is a heightened state of

awareness wherein each movement is supremely intentional. Without this

ability, ritual movements are mere theater.

Following this discussion of prerequisite abilities, Bardon mentions a

few things about the evocation ritual itself. The first issue concerns the need

to have the entire ritual planned out, everything from what sort of incense, to

exactly what sort of oration (if any ) is planned. This must all be committed

to memory BEFORE beginning the ritual. Especially if the magician plans

any sort of pre-written oratory -- such things should not be read, they should

be spoken from the heart or they will have no appreciable effect.

As Bardon points out, there should be no unfilled pause in a ritual.

No stumbling for lack of remembering what comes next. An evocation is like

a maestro's concerto: there may be pauses designed into the flow, but they are

PREGNANT pauses, filled with meaning and intent. It should be the same

with the evocation -- it too is an art.

Next, Bardon mentions that the conversation with an evoked being

occurs in the language most deeply known by the evocationist. If the evocationist

speaks several languages, then the conversation will occur in the language

that the initiate uses internally. This does not mean that an evoked being

speaks or understands the specific language of the evocationist. On the

astral and mental planes all communication occurs at the level of un-worded

meaning. There really is no "angelic language" in the common sense -- no

language filled with words that are strange and difficult to pronounce as some

would have you believe.

As I said, the universal language is that of pure meaning. It is in the

perception of this meaning that human language comes into play. Essentially,

the translation from root meaning, into the evocationist's own language, transpires

within the subconsciousness of the initiate. Conversely, the spoken

words of the evocationist are translated by the initiate's subconsciousness into

pure meaning. This two-way translation occurs spontaneously and without the

will of either the initiate or the evoked being.

One can, with long practice, set aside spoken words and communicate

directly by means of pure meaning. Another method is to converse with

visual and audible symbols, but this is less efficacious than either words or

pure meaning.

So much of the reality of the art of evocation has been shrouded in

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superstition and fear. As an example, Bardon mentions that for the true magician

there will be no poltergeist-like phenomena -- no elevating table, shattering

mirrors, nor howls in the night. There must also be no surges of emotion

during an evocation, nor any extreme physical sensations. Such things are the

mark of an unprepared dabbler, not of a true magician.

A truly prepared magician is in total control of an evocation or any

other ritual operation. Both the evoked spirits and the magician him or her

self, are under the vigilant control of the evocationist. Here again, the absolute

necessity of a proper training makes itself clear.

Next, Bardon raises the issue of how effective an evoked being might

be when directed by the magician to carry out a specific task. At first, all that

the magician will be able to carry out through the agency of an evoked being,

will pertain strictly to the mental realm. In other words, the being will be able

to effect only the mentation of either the evoker or others. With time, the

mentation thus effected will, of its own accord, manifest upon astral and,

eventually upon physical levels, but this occurs in the due course of nature

and is not a direct, immediate effect. The energy that the evoked being uses in

the fulfillment of such a task generally comes from the magician's own self. It

may also come from the universal storehouse of energy, but access to this

storehouse must first be commissioned by the magician. In some cases, an

evoked being may be persuaded to employ their own energy for the accomplishment

of the magician's appointed task, but this should never be a complex

task. It is far friendlier to provide the fuel for the evoked being than to demand

it of the being itself. It's like paying for the gasoline when someone offers

you a ride. :)

With continued practice and as the magician's abilities mature, one

will be able to by-pass the natural mental-to-astral-to-physical descent into

manifestation and cause an effect directly upon the astral sphere. This requires

a greater condensation of energy for the evoked being to work with.

Simultaneous with the projection of an effect upon the astral sphere, a coherent

cause is created in the mental sphere. But here again, it will take some

time for the effect to naturally descend into a physical manifestation.

Eventually, the magician may be able to cause a physical effect

through the agency of an evoked being. Similar to an astral effect, there will

be a simultaneous creation of a fully formed mental and an astral causation.

This requires a great facility with the condensation of the Elements.

Generally, it is easier for the magician to cause physical effects directly,

for themselves. Remember, no evoked being is able to do anything for

the magician that the magician cannot already do through their own hands-on

labor. The only exception to this is when the dabbler meets up with a negative

being who is trying to get the person involved in some sort of parasitic

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"contract". But such an encounter will never transpire for the truly prepared

magician. In the hands of a properly trained magician, the art of evocation

poses no threat whatsoever.

Near the end of this section, Bardon repeats the old injunction about

how the stars influence but do not compel. This is absolutely true. For the

magician, astrological considerations will be a valuable adjunct but not a necessity.

If convenient, a ritual may be timed so that it coincides with favorable

astrological aspects, etc., but never does the absence of this sort of synchronization

preclude an evocation.

Astrological influences effect only those things that have corporeal

existence. It is geo-centric. It does not matter one wit in the astral or mental

realms, what position a certain planet is in on the physical realm. The only

effect the magician might experience in regard to ritual timing is that the

physical circumstances surrounding the ritual will be eased if the astrological

influences are deemed favorable, or made more difficult if they are unfavorable.

This (whether positive or negative) will be seen in the preparation of the

ritual space and in the ease with which any physical effect, or any effect pertaining

to the astral or mental body of a corporeal entity, will be accomplished.

But to the well trained magician, these effects can be easily overridden.

Bardon concludes by saying that at the end of the evocation ritual,

the magician must lead the evoked entity back to its own, native realm. This

is rarely mentioned in detail in other books on evocation, other than to provide

the practitioner with all sorts of exorcisms and fairly abusive orations

which threaten dire consequences if the entity does not immediately return to

its realm. This is like rudely shoving a visitor out the door immediately after

coffee and without a warm farewell. What is the motivation then to return or

even to remain friends?

Kindness is the solvent used by the evocationist and it dissolves all

resistance. Evocation is similar to courtship -- it never hurts to walk your date

home. ;-) Thus the magician will always escort the evoked entity back to its

appointed realm. This not only cultivates a good relationship with the spirits

of the realm being explored, but also assures the magician that the entity has

indeed found their way home.

It is vital for the evocationist to ascertain that the entity has truly departed

at the end of any ritual working. This is a big part of the final conclusion

of a ritual during which the magician must completely sever their

thoughts from the past magical work. Bardon raises this issue in IIH when he

speaks about the creation of an Elemental. Once the Elemental has been sent

off to perform its appointed task, the magician consciously stops thinking

about the Elemental and in this way frees the Elemental from the magician's

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own sphere. This same rule holds true for most works of ritual magic -- the

ritual must be ended completely before the magician leaves the ritual area.

This is done by severing one's thoughts of the ritual; cutting them off entirely

for a period of time so that the ritual and its work may gain some degree of

independence. This is yet another instance where a good training is essential.

Of course after the ritual, the evocationist will spend some time taking

detailed notes of the experience, and will thus have to engage in thinking

about the ritual. It is best if there can be a period of several minutes

(completely bereft of thoughts about the ritual) between the end of the ritual

and the note taking, allowing for the immediacy of the connection to weaken.

When note taking, and later, when merely remembering the ritual, the magician

will have to take care that they do not become so involved with their

memory of the ritual that they, in effect, reenact it magically in their mind. At

first, this may be difficult, but for a well trained magician it will be quickly

mastered.

The Practice of Magical Evocation:

Here Bardon describes the itinerary of an actual evocation ritual. He

does not go into minute detail and describes only a very easy, uncomplicated

evocation. He does however, do an admirable job of informing the passive

reader of what the bare-bones of an actual evocation ritual would be like.

As he points out, the practicing evocationist will adapt this basic

model to fit their own individual preferences. Since anything I could add by

way of description would be useless to the passive reader and unnecessary for

the trained practitioner, I will refrain from elaborating upon what Bardon says

in this section.

PART TWO

Hierarchy:

In this section, Bardon describes the various planes of the planetary

hierarchy and lists a sizable number of the entities one may encounter there.

There is nothing of value that I can think of to add to this section other than to

say that Bardon's descriptions are accurate and truthful. The only difficulty is

that he encoded the names for many of the spirits of the hierarchy, as I've discussed

earlier.

Intercourse with Beings, Genii and Intelligences of all

Spheres by Mental Travelling:

In the course of IIH, mental travel comes before astral travel. This

may seem odd considering the popularity of supposedly astral "out of body

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experiences". The reason for Bardon's sequencing is that astral travel is more

difficult, more limited and more dangerous. As Bardon points out, one cannot

travel beyond the earth-zone while wearing one's astral body -- the astral body

is simply to dense to exist within the purely mental realm.

In essence, a body must be either an exact match, or lighter than, the

medium of the plane to which it travels. For example, you cannot pass with

your physical form into the zone girdling the earth. Likewise, you cannot enter

the moon-zone wearing your earth-zone body. Conversely, you can venture

into the earth-zone wearing your moon-zone body, but in order to cause a

direct effect in a lower zone, you must condense it to the specific vibration of

that lower zone.

Mental wandering is a primary tool for the magician and is essential

to the evocationist. Here, Bardon describes its application in exploring the

planes of the planetary hierarchy.

Magical Talismanology:

This section covers items of practice that have already been addressed.

Epilogue:

This is a lovely epilogue to PME. I would like to close with the following

excerpt:

"Even if only a few human beings are able to go through this course,

my second work will have fulfilled its intended purpose. For my books do not

belong to the literature which is only read and which afterwards is left to get

covered with dust in libraries and corners of bookcases; quite the contrary,

my works are destined to serve as a guide and aid to those who have grown

up to hermetics and high Adeptship through the coming centuries. In the

course of time, millions of human beings will keep to the indicated methods of

teaching, putting them into practice to promote their own development and

strive steadily after perfection."

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PART THREE

Illustrations:

Here Bardon displays the sigils (seals) for each of the entities of the

hierarchy that he has described previously. This may aid the evocationist at

the initiation into a new sphere, but soon after, the magician will find these

things out through their own mental travel. In any case, it is wise, when using

another's sigil, to verify whether or not it is the one most preferred by the entity

to be evoked.

The sigils that Bardon gives are quite different from those given by

other grimoires. Many of the older sigils were derived by connecting the various

elements of planetary squares or other ciphers, but Bardon's sigils were

not derived in this way. His sigils come directly from the beings involved and

are, in this way, the being's own signature. They are thus ultimately more effective

for evocation. This is not to say that sigils derived by other means are

ineffective; it's just that they are less direct and rely more upon the ideation of

the evocationist. The ability of these other sigils is a "built up" thing, fed by

repeated, traditional use.

For the most part, Bardon's sigils are composed of expressive lines,

curves, squiggles, etc. Some of the more complex sigils however, also contain

recognizable figures and letters. These too are expressive marks. It should be

noted that, especially with the sigils of higher beings, these sigils should not

be relied upon since their expressiveness has been translated through the psyche

of Franz Bardon -- the evocationist will want to make a sigil that translates

this expressiveness through symbols more relevant to their own psyche.

The majority of Bardon's sigils are delivered as black lines, while

some of the more complex ones are delivered in color. These colors signify

certain planetary, Elemental or Fluidic influences. The ones given in color are

reproduced as shown, on a white background, with the planetary color surrounding

or outlining the sigilic form (decagon/earth-zone, octagon/Mercuryzone

or square/Jupiter-zone). The sigils given in black are actually drawn in

the color appropriate to the being's realm or Element. Alternately, they may

be drawn in black upon an appropriately colored paper.

Bardon has listed only a small few of the entities one can meet. The

ones he chose to list here are ones that he contacted personally and who consented

to having their sigils printed for all to see. These beings have also

committed to looking favorably upon the sincere students of Franz Bardon's

works. Essentially, when one first uses one of these sigils, one works under

the personal aegis of Bardon. In this way, Bardon has given a benefit or advantage

to the beginning evocationist.

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RAWN'S EPILOGUE —

I hope that, through my comments, I have in some small way helped

you to better understand the significance of PME and of the true nature of the

art of magical evocation.

Part Four

Commentary Upon

The Key to the True Quabbalah

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(Commentator's) INTRODUCTION

Writing this commentary upon Franz Bardon's third book, "The Key

to the True Quabbalah" (KTQ), has been a struggle of sorts for me. In the

past, I have been extremely reticent to discuss the actual practice of this Art

openly. To me, kabbalah is a very sacred thing and it pains me to see how

often it is misunderstood and its concepts abused. So I have historically refused

to say too much about it for fear of promoting the sort of disrespect that

is everywhere rampant.

Yet many have asked, quite sincerely and respectfully, for some insight

or at least some guidance toward a truer understanding. So I have been

torn between, on the one hand, wanting to oblige the sincere student, and on

the other hand, maintaining the integrity of this sacred tradition.

On the occasions that I have written about kabbalah, my thoughts

have been met with an interesting variety of reactions. For some, my ideas

were too radical, especially for those involved with the Western Hermetic sort

of kabbalah popularized by the likes of the Golden Dawn. The reason for this

discomfort is that I speak openly about how the Western understanding of

kabbalah is so very different from the original Jewish tradition, and this is

usually perceived as a criticism and a personal affront. In other words, to

most Western Hermetic kabbalists, I'm too Jewish in my approach. And unfortunately,

to most Jewish kabbalists, I'm too Western in my approach! ;-)

I recognize that my understanding of kabbalah is neither strictly Jewish

nor Christian. In fact, my study of kabbalah has not been shaped by any

specific religious perspective -- I am neither a Jew nor a Christian. I am an

Hermetic, through and through, and my analysis is thus unhindered by religious

dogma. Granted, my understanding also lacks something that only someone

who has been raised in Judaism can achieve with Jewish Kabbalah, but

then again, it matches that lack, point for point, by the fact that I am thus able

to view kabbalah from a variety of perspectives freely.

Even though my understanding of kabbalah is not a religious one,

this Art is no less sacred to me and I am no less protective of its essential

truth, than is a Rabbi who has spent his or her life immersed in its study.

With these things in mind, I grappled with the idea of writing a commentary

upon Bardon's KTQ. Should I say all of what I want to say, or

should I, instead, increase the confusion and protect these sacred mysteries

from those who would treat them as playthings? Seeking some counsel in this

regard, I conferred with my inner guidance and sought out the spirit of Franz

Bardon. From this experience I received clear permission to follow the middle

course. Thus I will say what I want to say, but I will also leave some

things unsaid that are truly the responsibility of the magician to discover for

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themselves. As Bardon points out, anything that one can say or write about

kabbalah will mean nothing to one who is unprepared to understand it. Ultimately,

these mysteries protect themselves.

Throughout the writing of this commentary, I sought out the guidance

of the spirit of Franz Bardon. Each time that I sat down to write, I

touched my favorite photo of Franz until I felt the appropriate tingle up and

down my spine that indicated contact, and then I asked that he guide me to

write something truly useful to the student of Hermetics. I feel that I have accomplished

this and hope that you will feel the same.

Prior to beginning the actual writing, I had expected my commentary

to be rather brief, but as it turns out, this commentary rivals my IIH commentary

in length and thoroughness.

Like my own, Bardon's Quabbalah is neither strictly Jewish nor

strictly Western Hermetic. Bardon blends a Jewish understanding with an

essentially Western Hermetic methodology. His correspondences come directly

from the Sepher Yetzirah and some of his techniques mirror the works

of ancient Jewish kabbalists, but the remainder of his approach is Western.

What is most new in Bardon's KTQ is his explanation of how one makes a

word truly a matter of kabbalistic speech. Never before has this been so

plainly stated. This same technique is hinted at in the Sepher Yetzirah, but it

is done in so symbolic a language as to be hidden from view. Bardon however,

explains this mystery much more plainly and in terms comprehensible to

the modern reader.

At the same time, Bardon leaves certain things unsaid that I think the

sincere student will benefit from reading. Primarily, these have to do with the

relevance of kabbalistic cosmology or philosophy; explaining the sequence of

truly kabbalistic "formation" or at least relating Bardon's sequence to that displayed

in the Sepher Yetzirah; and, the specifics of what the student just starting

out along the path of Hermetics can begin doing in regard to the practical

study of kabbalah. My goal with this specific commentary is to express my

thoughts concerning these matters and to encourage the reader to look beneath

the layers of frivolous speculation found in most books on the subject of kabbalah,

and thus excavate the truth. You, dear reader, must still do the digging,

but I hope the shiny new shovel I'm loaning you will make your labor easier.

[NOTE: I will be employing the 1986, Third Edition of KTQ, by

Dieter Ruggeberg, throughout this commentary.]

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THE KEY TO THE TRUE QUABBALAH

(Author's) Introduction:

Bardon begins his introduction with a warning similar to that found

in PME. Namely, that only the person who has done the work of his first

book, IIH, is considered properly prepared for the work of KTQ. Here, he

implies that the student must have first mastered the entire ten Steps of IIH,

but further on, he modifies this to say that only the first eight Steps must have

been mastered. The truth lies somewhere in between, for the magician who is

beginning Step Nine of IIH, can indeed begin the Steps of KTQ, but will not

be able to use the second, third and fourth keys until well after completing the

tenth Step of IIH. The first seven Steps of KTQ will likely take just as long to

accomplish as the final two Steps of IIH and will, in fact, facilitate the final

Steps of IIH and the work of PME.

Bardon cautions that beginning with KTQ, without having first done

the work of IIH and PME would be of little benefit. This is a very accurate

statement since the basic techniques of kabbalah require certain magical abilities

that would take longer to learn through this particular practice than

through the work of IIH. Furthermore, the first seven Steps of KTQ prepare

the student's own microcosm for truly creative speech, and if the student's microcosm

has not already been matured to a certain degree by the work of Hermetics,

then this preparation would take, literally, decades to achieve.

Contrary to popular occultism, where the student begins with supposedly

kabbalistic practices immediately, in the Jewish tradition from which

kabbalah arises, this is a very late study. One must at least master Torah and

Talmud as a prerequisite to kabbalah. This translates as decades of study and

practice before beginning the work of kabbalah. It is commonly said that one

must be at least 40 years old to begin kabbalah and many have mistaken this

as an age requirement. In truth it is merely a symbolic way of expressing the

need for a certain degree of maturity that is usually related to being 40 years

old.

Bardon uses the remainder of his introduction to explain that this

book is like no other book on kabbalah available. If you are expecting a book

on kabbalistic cosmology, philosophy or on the proper religious observances,

you will be sorely disappointed. Essentially, Bardon uses the term 'kabbalah'

to indicate the cosmic language or creative speech, and not the corpus of Jewish

kabbalah. He does however draw upon the Jewish kabbalah, but states

that an understanding of kabbalah is not a prerequisite to the practice of creative

speech. While this is true, I would argue that such knowledge surely

doesn't hurt and may in fact make all the difference in the ease with which one

will ultimately master this Art.

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If you are well versed in kabbalistic philosophy, then KTQ will present

you with a deeper understanding that will likely cause you to reconsider

many of the conclusions you've drawn from your prior studies. This is especially

true if you are familiar with the root document of Jewish kabbalah,

know as the "Sepher Yetzirah" (Book of Formation).

Bardon also argues that you do not need to have studied biblical Hebrew

in order to master creative speech. This is true, but is untrue if you wish

to understand Jewish kabbalah. In Jewish kabbalah, the Hebrew Letters are of

paramount importance, and English translations of Hebrew are ALWAYS incomplete

and lead to misunderstanding. In this regard, one does not need to

be able to speak the Hebrew language, but one must be able to read it and understand

its structure, etc. Without this ability, one can penetrate only so far

into the mystery of kabbalah. Yet even then, there is much in the way of confusion

to be navigated since many kabbalistic texts seem to contradict one another.

Needless to say, kabbalah is a difficult and consuming study.

Kabbalistic texts are very similar to Alchemical texts. Both are

cloaked in so dense a symbolism as to be penetrable only by those who already

know enough to recognize what the author is speaking about. Many

instances where readers have thought that one author is contradicting another

are nothing more than instances where the separate authors are speaking of

slightly different perspectives and are not in fact disagreeing with each other.

But there are also many instances where authors do disagree and one must, in

these cases, discern which is speaking from direct experience and which is

speaking only from theoretical knowledge. Many books concerning kabbalah

have been written by the latter and are completely useless.

[Note: In my commentary, I will be referring to the Sepher Yetzirah,

so if you are not familiar with this text, my comments may be of little use to

you.]

PART I: THEORY --

The Quabbalah:

Here Bardon briefly explains what distinguishes kabbalah and a kabbalist,

from magic and a magician. Briefly, kabbalah is the cosmic or divine

language through which creation was/is enacted. This is not an intellectual

language such as English, French, Chinese, etc. It is not used for purposes of

communication between separate beings. Instead, it communicates intent and

meaning directly into manifest substance, be it mental, astral or physical substance.

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The phrase "the word of g-d" should not be taken literally when relating

it to kabbalah. Kabbalah is not based upon the silly idea that some fellow

in a white robe and long hair, sat in his throne and spoke a bunch of

words, and poof!, the world was created. This is meant only as a symbolic

representation by way of the "as above, so below" law of analogy (i.e., alikeness).

What it represents is the natural descent of spirit (Mind) into matter,

which on a cosmic, divine level, occurs outside of time-space (i.e., in eternity).

Where kabbalah differentiates from magic is that in kabbalah, the

connection between intent and manifestation occurs outside of time-space and

all the natural processes of descent are bypassed. With magic, on the other

hand, the magician works from within the realm of time-space and the transition

from initial intent into manifestation does follow the natural processes of

descent. Only when the magician has succeeded in consciously uniting with

the divine, are these natural processes circumvented. Thus, only one who can

truly merge with the divine is capable of kabbalistic speech. The kabbalist is

the highest form of magician.

Yet I should be clear that kabbalistic speech is not the equivalent of

the "original" divine creative use of the word. The "original" (the use of the

word 'original' is problematic since this act occurs at a level beyond the realm

of time-space) divine creation made "something out of nothing" or "existence

out of non-existence", to paraphrase the sages. Whereas human kabbalistic

speech works at the next lower level and makes something new by combining

things that already exist. In other words, we modify the original creation and

are a part of its evolution -- we do not make "something out of nothing".

The kabbalist, by way of analogy, connects with the original divine

creative force and, through the use of kabbalistically spoken letters, mimics

the macrocosmic creativity in a microcosmic manner. Consequently, only the

individual who has achieved the highest level of ethical maturity is capable of

true kabbalistic utterance.

To illustrate the student's path into this sacred science, Bardon says:

"To achieve this maturity and height of quabbalistic initiation, the theurgist

must first learn the letters like a child." This is born out in the Sepher Yetzirah

(S. Y.) which mainly concerns the preparation for true kabbalistic speech.

In the S.Y., one begins by integrating the Sephirot at the most subtle level and

then slowly introduces them as progressively denser expressions. Then one

begins "learning" the letters and integrating them into the Sephirotic structure.

Only when the entire structure of Sephirot and letters is built, does one begin

using the letters creatively.

In KTQ, Bardon focuses upon the integration and the use of the letters

and mentions the Sephirot only briefly as the ten primal numbers/ideas. I

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believe the reason for this is that the work of IIH and PME fairly well accomplishes

the integration of the Sephirot in ways equivalent to what the S.Y. describes.

Bardon goes on to state that KTQ does not concern itself with the

mantic (predictive) or numerological (in the modern sense) kabbalah so popular

in occult literature. While true kabbalah has nothing to do with these practices,

it does have much to do with numbers -- as symbols for ideas. Hebrew

itself has several levels of meaning. Each letter represents an idea, a numerical

value, and a physical sound.

It is important to note that Hebrew numbers are not the same as modern

numerals. In the Hebrew language, the numbers are spelt out and are not

shown as integers such as '1', '2', etc. But when it comes to the individual letters,

each has its own value. For example: Aleph=1, Beth=2, Gimel=3,

Yod=10, Kaph=20. To signify the numerical value and ideological significance

of 13, one could combine Gimel and Yod (3+10=13). However, in Hebrew

there is often more than one way to symbolize a specific numerical

value. With 13, one can also use ABY (1+2+10=13), ABGZ (1+2+3+7=13),

HCh (5+8=13), DT (4+9=13), GDV (3+4+6=13), etc. The higher the numerical

value, the more options there are for expressing it through letter combinations.

Thus one can express many nuances of meaning depending upon

which, and how many, letters one uses.

This doesn't become important until much later in the practice (Step

Five: The Ten Quabbalistic Keys) when the fourth pole of the quadrapolar

concentration is encountered. This is where Bardon speaks about the numbers

1 through 10 which represent the ten primordial ideas underlying the creation.

What Bardon leaves out is the manner in which these 10 ideas relate to the

letters themselves.

Man as Quabbalist:

This is a lovely essay on what it means to be a kabbalist. Bardon

says more here than actually meets the eye, but this, I think, would be apparent

only to one who truly understands the path of the kabbalist.

One passage I'd like to elaborate upon is where Bardon writes: "The

functioning and working between body, soul and spirit comes to pass automatically

with every human being, no matter whether he has been initiated

into the secrets of hermetic science or not. For the quabbalist this is the multiplication

table: he knows all the processes and is therefore able to arrange

his life in accordance with the universal laws."

This says two important things. One is that the natural processes,

which are generally subconscious in the average person, are conscious and

willful within the kabbalist. Second is that these processes, developed into

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conscious faculties, are the material that the kabbalist works with (the

"multiplication table"). This means that the kabbalist must first integrate the

multipliers (the Letters and numbers) into their own three bodies, and then, in

the act of kabbalistic speech, project these attributes from within themselves,

outwards. It is this projection outwards from within that establishes the connection

with the divine creative word.

Therefore, the kabbalist must be conscious of their three bodies

(mental, astral and physical) at a most intimate level and must also be able to

manifest the universal qualities within them. In KTQ, this is accomplished

(assuming that the student has indeed worked through at least the eighth Step

of IIH) through the work of Steps One through Five. Steps One through Four

build the universal qualities into the initiate's three bodies. Step Five introduces

the fourth pole of the quadrapolar concentration -- the numbers -- which

further integrates and orders the universal qualities. Only then is the initiate

truly prepared for the first key of kabbalistic speech.

Another passage I would like to note is: "The genuine quabbalist

thus is a representative of the Creation, but he remains the most obedient servant

of the universal laws, the more he becomes an initiate, the humbler he is

towards Divine Providence. He is, indeed in possession of the greatest

power, yet he will never use his power for his own purposes, but only for the

welfare of mankind."

Many have sought the knowledge and use of the true kabbalah

merely for the purpose of gaining great power, but none of these have succeeded.

This will always be the case. Part of the Mystery is that in order to

achieve this high a degree of initiation, one naturally outgrows all petty desires.

Another part of the Mystery is that power this great is bound by the universal

laws and can never violate those laws. In other words, even if the kabbalist

could wish to use this art for a mundane purpose, he or she would not be

able to.

I would like for you to carefully think about the deeper significance

of this. Consider for a moment all of the truly horrific things that occur in our

world daily. Throughout every moment of our human existence, these things

have been occurring to one degree or another. Simultaneously, there have

always been individuals among us who have wielded the great power of the

creative word or kabbalistic speech, any one of which would, in theory, have

had the power to rectify these tragedies. But herein is another part of the

Mystery -- they have not rectified these wrongs because this would violate the

universal lawfulness. The kabbalist does not work 'against the darkness'; instead,

the kabbalist works 'for the Light'. There is a difference here that

should be carefully considered, for the kabbalist realizes that the darkness is

just as lawful a thing as is the Light.

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One final comment for this section concerns the passage: "On the

way to perfection there should not be any haste. Everything takes time and

needs the necessary maturity for its perfection."

I know of at least one group who is taking the KTQ and having their

novices (folks with little or no magical training) begin the practices with the

tripolar concentration exercises. I think this and similar approaches arise out

of a basic impatience with the prospect of a long magical development. This

is a great failing in our modern world for it misses so much of the richness of

life and especially of magic. Truly, someone who approaches kabbalah in this

manner looks forward to decades, if not lifetimes, more effort than one who

begins with IIH. But there is little that can be said to dissuade this approach --

how many of us as children truly listened to our elders?

For those of you who are willing to listen to your elders, then please

do heed Bardon's words and take your time. Starting with KTQ before you've

passed through the work of IIH is The Longest Way. Truly, the shorter,

quicker Way is to do the work of IIH first. Even so, the true kabbalist will

still take lifetimes to reach perfection -- but don't short-change yourself since

many who come to this work with a serious intention have already spent lifetimes

along The Way. To the kabbalist -- one who has attained an eternal perspective

-- time is of no concern.

The Laws of Analogy:

The difference between an intellectual understanding of the laws of

analogy and a magical understanding is significant. The magician not only

knows the laws intellectually but also experientially. The work of IIH integrates

the macrocosmic laws directly into the magician's own microcosm.

This is what enables the magician to actually manipulate those laws.

If you have not read the seminal document known as "The Emerald

Tablet of Hermes", then I suggest that you do so since it forms much of the

basis of the Hermetic approach. It is from the "Emerald Tablet" that the oft

repeated phrase "As above, so below; as below, so above" is derived. This is

the most rudimentary statement of the law of analogy.

In kabbalistic cosmology, this is found in the doctrine of emanation.

Accordingly, Kether (the highest, primordial Sephirot) contains within itself

the remaining nine Sephirot, in a state of unrealized potential. Each successive

Sephirot contains both the realization of those that precede it and the potential

for those that follow. Thus the universal qualities exist throughout

every level of the creation either in potential or in manifestation.

Bardon mentions "chaos" in passing but I'd like to comment further.

To say that there is no such thing as chaos is, on the one hand, an accurate

statement, but on the other hand it doesn't afford any insight into why people

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think that such a state exists. Chaos is a term that expresses a certain degree

of ignorance and merely identifies a state of existence that supersedes timespace

(i.e., sequence). In the eternal realm, things exist without the ordering

of sequence and from the normal human sequentialized perspective, this realm

appears chaotic. This is because, as sequentialized beings, we have no reference

points by which to understand the non-sequentialized realm. Chaos exists

only in the minds of humans.

Next, Bardon refers to the "Sepher Yetzirah" and I must say a few

things in this regard. The S.Y. does not speak of the "original" creation -- it

speaks of the "formation". This is a bit complex so please bear with me while

I explain.

In the kabbalistic cosmology, there are four "Worlds". The first

world is called "Atziluth" and this is the "original" archetype within which all

the manifest universe exists in a state of unrealized potential.

The second world is called "Briah" (creation) and this is the

"original" creation. The book (sepher) that describes this phase (in VERY

symbolic terms) is the first chapter of Genesis (i.e., the creation story). It is

from this passage of the Torah that the "32 Paths of Wisdom" were derived

(from the 32 times that the Name "Elohim" is mentioned). At the stage of

"creation", the entire universe exists as manifest, yet un-realized, potential.

This is the nadir of the non-sequentialized realm, known commonly as

"chaos".

The third world, known as "Yetzirah" (formation), is the concern of

the S. Y. At this stage, the lower mental and higher astral aspects of the universe

are manifest AND realized. It is this level of "formation" that the kabbalist

employs, but in order to employ formation, the kabbalist must first

achieve a Briatic level of consciousness. This Briatic consciousness is the

same as union with divinity. Creation, whether it be divine or mundane, is

always a downward/outward projection of self. Thus it is from the higher

level of the Briatic/creative consciousness that one engages in "formation".

The fourth world of the kabbalist is "Assiah" (making). This encompasses

the lower astral at its apex and the material realm at its nadir. The S.Y.

does not refer to "making", but only to "forming". Yet from our normal Assiatic

perspective, "formation" is "creation".

The S.Y. refers to "formation" but this is also the first step in

"making". Bardon draws out what the S.Y. has to offer the kabbalist and extends

it into the realm of "making". This is what I meant earlier when I said

that the S.Y. concerns mainly the preparation for true kabbalistic speech.

It is important, when considering these four worlds and the four types

of creation, to understand that the realms of Atziluth and Briah exist outside

of time-space, so these creative acts do not occur in any sequence. In other

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words, it is not proper to say that they "did" occur or in what sequence. Much

time and intellect has been wasted trying to specify which part of the

"original" creation occurred first, second, third, etc. The "original" creation

occurred all at once.

The levels of Yetzirah (formation) and Assiah (making) on the other

had, do occur with sequence and are what constitute the realm of time and

space. This is the level at which the kabbalist works.

In closing this section, Bardon mentions the analogies pertaining to

the letters and numbers, without going into any detail. In fact, no where in

KTQ does he explain the numerical analogies of the letters. I presume it is

because of space considerations and the fact that it is up to the student to investigate

these things on their own. Further on, I will be providing the numerical

corollaries for most of the letters Bardon uses based upon their relationship

to the established numerical values of the Hebrew Letters. There are

however, similar numerical systems in existence for the English, Greek and

Latin alphabets that run contrary to the one I will provide. It is my contention

that Bardon's kabbalah relies upon the Hebrew analogies and not upon these

more recent developments.

Where number comes into play in KTQ is with the fourth pole of the

quadrapolar concentration. Bardon is a bit vague about this, but basically the

fourth pole is the ideation conveyed through number. This must be taken into

consideration because it is the final key that unlocks the universal lawfulness

and allows for material effectiveness. The four poles are: Fire/Color, Air/

Tone, Water/Feeling, and Earth/Number. Each pole is part of the complete

analogy of each letter. Only when all four poles are perfectly integrated is

true kabbalistic speech possible.

Esoterics of the Letters:

Here Bardon delves a little more deeply into the analogy of the letters

which form kabbalistic speech. Yet still he gives no specific corollaries.

One thing the reader must understand is that these analogies are not

applied to mundane words, or as Bardon puts it, intellectual language. It does

little good to examine the analogies to the letters that compose the English

word "dog". The analogies have no relationship to the meaning of this word

since it is only an intellectual word and not a kabbalistically composed word.

It may be difficult to comprehend exactly what significance letters

may have in terms of actual creation. To do so, one must distance oneself

from taking the concept too literally. Do not assume that "god" literally spoke

a language in the human sense and thus effected the creation. But as a symbolic

statement, it bears close examination.

In human terms, speech is our primary form of communication.

Through language we externalize an inner meaning and through this expres175

sion we give this inner meaning shape and some degree of concrete manifestation.

With kabbalistic speech, each letter or group of letters expresses a specific

idea or meaning that we wish to externalize and bring into manifestation.

The letters act as a conduit for this particular meaning.

Now, meaning is no simple thing, especially the expression of it, so

we combine the atoms of meaning (the individual letters) and form more complex

molecules (words), then we put these molecules together to form concrete

substance. Furthermore, each letter is expressed in each one of the three

realms (mental, astral and physical), giving it even more depth of meaning --

fleshing it out, as it were. Ultimately, the kabbalistic language can encompass

a truly infinite variety of meanings. This is what transpired with the "original"

creation which is infinite.

Analogy is a microcosmic thing. In other words, at a macrocosmic

level there is no need for analogy since all meaning exists directly in its raw or

primordial form. It is only in the expression of meaning that requires analogy.

Thus the analogy or esoterics of the letters mimics the divine creative

expression in human terms. And since we are humans, we use letters kabbalistically

to creatively express our inner meaning.

Bardon mentions the analogy between the ten fingers and toes of the

human body, and the ten primordial ideas that serve as the foundation of the

manifest universe. In the kabbalistic cosmology of the S. Y_ however, there

are more analogies than just this drawn between the human form and the cosmic

form. For example, there are three (the number of kabbalistic Elements)

"Mothers in the breath filled soul": head, womb, and respiring chest. There

are seven (the number of planets) "apertures in the breath filled soul": two

eyes, two ears, two nostrils, and the mouth. There are twelve (the number of

the zodiac) "directors in the breath filled soul": two hands, esophagus, stomach,

spleen, liver, intestines, gall, two kidneys, and two feet.

Thus we find that each letter also corresponds to a body part, while

the ten primordial ideas or Sephirot correspond to the fingers (positive) and

the toes (negative).

As an aside, I think it is important to note at this point that in the S.

Y. there are only three Elements, expressed through the "Mother Letters".

These Elements also correspond to the three Hermetic realms of Mental, Astral

and Physical.

The uppermost Element is Fire, represented by the Hebrew Letter

Shin. This roughly corresponds to the Mental realm. The middle Element is

Air, represented by the Hebrew Letter Aleph, which corresponds to the Astral

realm. The lower Element is Water, represented by the Hebrew Letter Mem,

corresponding to the lower Astral and Physical realms. In the Genesis, chapter

one, creation story, the Shin/Fire is referred to as the "upper Waters", and

176

the Mem/Water as the "lower Waters". Needless to say, the Hermetic conception

of the Elements and realms differs slightly from that of the Hebrew kabbalists.

The idea of Earth as an Element comes later in the development of

kabbalistic philosophy and can be seen, in an obscure way, in the arrangement

of the "32 Paths of Wisdom" tradition. Here, Aleph/Air is the eighth Path,

Mem/Water is the sixteenth Path, Shin/Fire is the twenty-fourth Path, and

Tav/Earth is the thirty-second Path. Thus each Element is a multiplication of

the number eight, and this, in an esoteric manner, signifies that the Letter Tav

corresponds to the Element Earth.

One can also draw parallels between the four kabbalistic worlds and

the four realms of the Hermetic. Thus: Atziluth=Akasha, Briah=Mental, Yetzirah=

Astral, and Assiah=Physical. Of course these are rather loose associations,

but they are close enough for the purposes of this present work.

The Cosmic Language:

Here Bardon clarifies the difference between the cosmic language of

kabbalah and that spoken between non-corporeal beings such as the beings of

the Elements and of the various planes. This latter, Bardon calls the

"metaphorical language". Simply put, it is a matter of quadrapolarity versus

monopolarity. Each being speaks with the single pole of its realm, whereas

the cosmic language is spoken with all four poles simultaneously. Thus the

metaphorical language is not creative throughout the whole cosmos as is the

quadrapolar language.

Only a being capable of uniting itself consciously with deity can

achieve a quadrapolarity akin to deity, and thus speak creatively. This may be

difficult to comprehend, but the key to it is that we are beings which span the

entire gambit of creation. We are composed, in the terminology of metaphysics,

in the divine image and thus we are able to untie ourselves consciously

with the whole of the creation. A being of one of the higher, non-corporeal

planes, is not able to encompass the whole of the creation since it cannot truly

encompass the physical realm. We are unique in this regard. Which is not to

say that we humans are the only corporeal beings capable of this, but rather,

that only a corporeal being of a certain basic structure is capable of this. In

other words, there are other physical, non-human beings capable of quadrapolar

expression.

The Magic-Quabbalistic Word -- Tetragrammaton:

Bardon's explanation of the Tetragrammaton ("four-part word") is

problematic for a number of reasons. The most glaring of which is his association

of the individual Letters to the Elements. Unfortunately it is a bit more

177

complex than Bardon implies. Please bear with me as I try to better explain

the significance of the YHVH.

First of all, YHVH is "unpronounceable" because it has never been

given vowel points in the Hebrew language. It is the vowel points that make a

Hebrew word utterable. [All of the Hebrew Letters are consonants which require

separate figures called "vowel points" in order for them to be spoken.]

This tradition arose out of the esoteric idea that this is The Name of g-d, and

as such, it deserves the utmost respect. Therefore, it is never spoken aloud --

except in kabbalistic speech.

A Jew reading aloud from the Torah will never vocalize YHVH.

Instead, the word Adonai (ADNI = "lord") is substituted. Later renderings of

YHVH, such as the Christian Jehovah or the modern Yaweh, are merely inaccurate

conveniences of intellectual language and have no true power.

The fact that YHVH is not vocalizable presents difficulties when the

Torah is translated into another language. Most often the word "lord" or simply

"god" is used, but in the Hebrew Torah, the YHVH is very important.

YHVH is often combined with other indicative terms such as ADNI or ALHIM

or TzBAVTh, and in each case will mean something different.

There are kabbalistic practices, such as those of Abraham Abulafia,

which do speak the YHVH by inserting vowel points, but this relies upon

quadrapolar, kabbalistic speech and is not a matter of intellectual language.

Now, regarding Bardon's association of the Elements to the Letters

of YHVH, his attributions as given are profoundly incorrect. I cannot explain

why this is so other than to suggest that the difficulties with the manuscript

that the publisher notes may be a contributing factor. I don't imagine that Bardon

so misunderstood as to have really believed what is printed in KTQ.

At any rate, Bardon puts the correspondences as follows: Y=Fire,

H=Air, Vav=Water, and the final H=Earth. In reality the correspondences

should read: Y=Fire, H=Water, V=Air, and the final H=Earth. Yet even this

is a twisting of the deeper meaning. It is convenient for the Hermetic, but it is

not strictly accurate from a kabbalistic perspective.

In the S.Y., 1:13 it says: "He chose three letters from among the Elementals,

in the Mystery of the three Mothers: Aleph, Mem, and Shin. And He

set them in His Great Name." Thus, through a few twists of esoteric logic,

Y=Shin/Fire, H=Mem/Water, and V=Aleph/Air. As in the Genesis, chapter

one, creation story, where there are upper and lower Waters, the H of YHVH

serves in two capacities, and at the end it signifies the Element Earth and the

nadir of the lower Waters.

From an Hermetic standpoint, the YHVH represents the sequence of

the Elements thus: First the two primordial polarities of Fire and Water come

into existence -- Y & H. This is followed by the product of the polarization,

178

Air, the mediating influence -- V. The final interaction of Fire and Water,

through the continuum of Air, results in coherent manifestation, Earth -- the

final H. Since this is 'Form', it is more akin to Water, thus it is represented by

the letter H.

When working with the YHVH kabbalistically per Bardon, the

Y=Akashic realm, H=Mental realm, V=Astral realm, and the final H=Physical

realm.

Thus Bardon uses the YHVH to signify both the quadrapolar concentration

pertaining to the four Elements, and the four realms within which the

kabbalist must work.

Toward the end of this section, Bardon mentions the Shemhamphorash.

For clarity's sake, I should point out that this Name is not composed of

72 letters as Bardon infers. Rather, it is composed of 72 three-letter names,

which in combination make up the 72-Fold Name. The shemhamphorash is

derived from three lines, containing 72 letters each, found in Exodus and

which, with a little trickery, are broken down into 72 three-letter groups. This

belongs to the third key and is seldom used in its total as a 216th key conglomerate.

The Mantras:

The Tantras:

Since these two sections really have nothing to do with kabbalah and

since I know little of either, I will not comment upon them.

Magic Formulas:

Here Bardon clarifies the difference between the common magic formulas

such as "Abracadabra", which fill many popular books, and those referred

to later as kabbalistic formulae. Kabbalistic formulae are nothing other

than the Letters spoken in a kabbalistic, quadrapolar manner, either singly or

in combination. The lesser magic formulas, are not of the same ilk and their

effectiveness, if any, comes from either the entity involved or from a volt built

up by repeated use.

Theory of Quabbalistic Mysticism:

Bardon makes the point that over the centuries, many mystical writings

have been misinterpreted; either taken too literally or not literally

enough. This is very much the case with kabbalah and each student must

wrestle with the interpretation of these ancient writings. What Bardon offers

in the following sections on practice, seems to cut through this confusion and

penetrates to the heart of the matter.

179

I will now diverge a bit from the thread Bardon is developing in this

section and will concentrate on a few matters that I think are important to the

student of the true kabbalah.

As I mentioned previously, Bardon speaks of a quadrapolar concentration:

Fire/Color, Air/Tone, Water/Feeling and Earth/Legality (Number).

With this quadrapolar concentration, the kabbalist must work tripolarly: Mentally,

Astrally and Physically. In other words, one uses the quadrapolar concentration

within each of these three realms, through one's own three bodies,

simultaneously. This is similar to the Alchemical philosophy which posits

three philosophical principles (Mercury, Sulphur and Salt) and four Elements

(Fire, Air, Water and Earth).

When Bardon mentions the uttering of a kabbalistic letter, he speaks

of three phases or modes: mental or silent, whispering, and aloud. The first is

effective only upon the mental plane and occurs solely within the mind of the

kabbalist. The second mode, whispering, occurs aloud but with only the

breath and mind, and without any vibration of the vocal cords. This is effective

only upon the astral plane. The third mode, aloud, involves mind, breath

and vibration of the vocal cords, and is effective upon the physical plane.

When uttering a letter kabbalistically, whether with mind, breath or

vibration of the vocal cords, great care must be taken in pronouncing only the

letter involved and not the vowels associated with the common pronunciation

of the consonants. For example, when we pronounce the letter 'B', we say

"bee". This means that we pronounce both the consonant 'B' and the vowel

'E'. In kabbalistic speech however, only the 'B' itself is to be pronounced.

In kabbalah, the consonants are divided into groups according to the

way in which they are formed in the mouth:

Dentals: Z, S, Sh, R, Tz

Palatals: G, I, K, Q

Gutterals: A, Ch, H, O

Linguals: D, T, L, N, Th

Labials: B, V, M, P

The vowels, on the other hand, do not fit into any of these groups and

are therefore of an entirely different nature, dependant only upon breath and

the shape of the mouth, etc.

The best way to understand these consonantal groupings is to carefully

practice with each letter in a whispering mode. Once you have mastered

the correct pronunciation with breath alone, then integrate the vibration of the

vocal cords. As you work with the various letters, you will notice that some

are explosive and of short duration, such as the 'K' or the 'T' sounds, and oth180

ers can be extended, such as the 'S' or the 'R' sounds. The vowels, of course,

can also be extended to the limit of the breath.

Each of these features correspond to the meaning of the letters and

must be mastered before one begins the actual practice of the quadrapolar

concentration. This is especially important when speaking them mentally. As

anyone who has done the work of IIH will know, the exact sound must be reproduced

in the imagination.

True kabbalistic speech is a very complex matter. First there is the

quadrapolar concentration, then the tripolar action, then the placement or projection

of the letter into the appropriate realm, and then the actual pronunciation

of the letter as noted above. All of which must occur simultaneously.

The question will arise as to where Bardon got his correspondences

and why there are other sets of correspondences that seem to contradict these.

For example, there is a system of colors used in the Golden Dawn and its derivatives

known as the "Scale of colors for the four worlds". These colors

have absolutely no relationship to those offered by Bardon yet they are an effective

scheme.

Essentially, there are many such valid systems and what Bardon offers

here is merely one such. However, it is important to understand that each

of these systems nets a different result. Similar to mathematics, different components

result in a different sum. For example, the use of the color sky-blue

for the letter 'A', combined with the tone 'G', the feeling of 'ease' and the legality

of the number 'one', will result in the effect noted by Bardon. But, if one

uses instead, the color 'bright pale-yellow' and the tone 'C' for the same letter,

a different effect will result.

Ultimately, there is no absolutely correct correspondence. But, there

is a correct correspondence for each effect one wishes to incur.

The question will also arise as to how one will know if one has

achieved the correct color or the correct tonal value. The key to this is the

kabbalist's own intuition. For example, the correct tone, when achieved will

be apparent to the practitioner in much the same way as when one tries to

match tone with a song on the radio. When you reach harmony, it feels right.

Thus it is for the kabbalist when they reach the correct tone or color and the

sensation of harmony occurs. In other words, you will know with certainty

when you reach this harmony and if you do not feel this certainty, then you

must continue practicing and refining until you do.

For kabbalah to truly reflect the infinite nature of the creation, it must

be capable of an infinite variety of expression, This occurs not only through

combination of the letters but also through the infinite variety possible within

each letter. At first the kabbalist learns just one set of correspondences for the

letters and then, with long practice, learns a greater variety of expressions for

each letter. This, after all, is an art form, not a science.

181

Bardon reproduces the equivalent of only 21 of the 22 Hebrew letters

-- only the Tav (Th sound) is unaccounted for. He also lists two letter

sounds that are not, strictly speaking, in accord with the Hebrew alephbet --

Bardon's 'J' and 'U'. Although, Bardon's 'J' may be considered a phonetic aspect

of the Hebrew Gimel (in its secondary, soft form) or a symbolic equivalent

of the Hebrew Tav; and his 'U' may be the equivalent of one of the Hebrew

vowel points. [At a symbolic level, Bardon's 'U' is most likely Chirik

and I have indicated it thus in the upcoming charts that you will encounter in

my discussion of Step I.]

Bardon lists only 27 letter sounds, but there are many more, all of

which have creative value when spoken kabbalistically. But in practice, at

least in the beginning, this is unimportant.

Towards the end of this section, Bardon writes the following: "It corresponds

with the construction of genuine quabbalah, of true quabbalistic

mysticism, that these four basic qualities of the spirit [i.e., the quadrapolar

concentration] be first kept apart by the quabbalist to enable him later to project

a letter, with its powers and analogies, practically into the spheres of the

spirit, the soul and the physical matter within himself and outside of himself,

now using all four basic qualities of the spirit." What this rather long sentence

means is that the training must by necessity occur in parts and each part must

be developed fully and separately before they can be effectively combined.

Thus Bardon follows the same pattern as he does in IIH of gradual and balanced

training. The student learns the speaking of all 27 letters, integrating

one pole at a time, and once each letter is mastered, the four poles of a letter

are then combined kabbalistically as the first, single-letter key. Then, once

the quadrapolar use of all the single letters is mastered, within the mental, astral

and physical realms, the student begins to work with the second, twoletter

key, etc.

Quabbalistic Magic:

Here Bardon defines the difference between the preparatory work of

kabbalistic mysticism and true kabbalistic magic. By kabbalistic magic he

means the actual kabbalistic speech. By kabbalistic mysticism, he means the

work of IIH and that of the first five Steps of KTQ. This latter prepares the

three bodies of the kabbalist and integrates the universal qualities to such an

extent that they may then be used creatively. This process utterly transforms

the entire being of the kabbalist and makes of her or him a true reflection of

the macrocosm.

Bardon states the following: "To speak quabbalistically means to

create something out of nothing." This is not strictly accurate although Bardon

does not mean it to be taken absolutely literally. As I hinted previously,

182

only once was "something made from nothing" and that was during the

'original' creation of the macrocosm. The kabbalist however, works within the

microcosm and therefore merely reshuffles the already established

"something" into new forms. Figuratively speaking, this seems like making

something out of nothing, but strictly speaking it is not the same. It is important

that the student of kabbalah realize this from the outset otherwise there is

danger of self-delusion. The kabbalist is only the agent of Divine Providence,

not the fullness of Divine Providence herself.

Near the end of this section Bardon makes the following, somewhat

premonitory, statement: "It is reserved to Divine Providence alone to decide

whether I shall be allowed to publish systematically any further keys relating

to the micro- and macrocosm. This, of course, depends, above all, on the

question of how much longer I shall have to remain on this planet."

Shortly after the writing of this book, Bardon was incarcerated for

the final time and eventually died in prison. His statement gives us an interesting

insight into this amazing person. One thing it tells us is that he declined

the available knowledge of his own fate. In other words, he chose to not

know his exact future even though such knowledge was readily available to

him.

I suspect that what we have of KTQ is a first draft of a manuscript

that Bardon had hoped to refine. It certainly has its rough spots, and as Dieter

Ruggeberg notes, the original manuscript no longer exists. There are parts of

KTQ that, on the surface, contradict other parts -- although these seeming

contradictions resolve themselves with further study -- and there are some passages

where it seems Bardon tried out several ways of saying a certain thing

and thus repeated himself. All of these things would, I presume, have been

rectified in a rewriting of the text.

183

PART II: PRACTICE

Preconditions:

Here Bardon once again stresses the fact that the student must have

already done the work of IIH, at least through the eighth Step. Without this

training as a precondition, the student will be wasting a great deal of their time

and effort.

One must, at the very least, be able to work in a tripolar manner, i.e.,

with one's spirit, soul and body, simultaneously and with full consciousness.

One must also have achieved the unshakable Elemental equilibrium. One

must also have trained their senses (mental astral and physical) to such a degree

that they can project any image, sound or feeling with absolute clarity.

One must also be able to transfer their consciousness into the Akasha, into the

mental realm and into the astral realm.

However, the training through Step Eight of IIH will take the student

only so far into kabbalah. The training of the two final Steps of IIH must be

mastered before the initiate can use the keys and speak kabbalistically. This is

because the true kabbalist must be able to merge their consciousness with divinity.

It is also wise for the serious student to confer with a being of the

zone girdling the earth and confirm all of the information provided in KTQ.

This can be easily accomplished through mental wandering. Having done this

myself, I can honestly say that there are no serious errors in the information

provided in Part Two of this book. The only real error is in regard to the anatomical

attribution given to the letter 'Z', but this may easily be an oversight

common to a first-draft manuscript. However, there are problems with some

of what is presented in Part Three. I assume this was intentional and meant as

a means of protecting this sacred art. It is up to the serious student to find

these things out for themselves.

Bardon mentions the nature of the Step One exercises. These concern

the first pole of the quadrapolar concentration; that of Fire or the visualization

of color. As Bardon points out, the individual variations in the perception

of color is not an issue here. These are not, strictly speaking, physical

colors. They are mental colors and as one who has passed through the work

of IIH will realize, mental and astral colors are quite different than physical

colors. For one, they have a broader spectrum, and second, they express

meaning more directly than do physical colors. Thus, when one practices the

light blue of 'A', the correct hue and intensity will reveal itself to the student.

As I mentioned previously, the student's own intuition will alert them when

harmony is achieved. Once again, the importance of a proper training makes

itself evident.

184

To a great extent, the mental perception of color is a function of the

magician's maturity. Thus each magician will harmonize with a light blue that

is appropriate to their own maturity. Regardless of maturity, it will still be a

light blue, but what gets communicated by that color will vary with the level

of maturity and this will be reflected in the quality of the light blue one harmonizes

with.

The same can be said of the later Steps or other poles of the quadrapolar

concentration. Thus the quality of the Air/Tone will depend upon the

student's maturity, as will the quality or depth of the Water/Feeling. So too

will the depth of understanding of the Earth/Number (legality).

STEP I -- Mysticism of the Letters:

Thus begins the actual work with the letters. This Step pertains

strictly to the Fire pole of the quadrapolar concentration. As in IIH, Fire relates

to the capacity of visualization.

When working with the Fire pole in this Step, the actual speaking of

the letter occurs only at a mental level. In other words, you will be neither

whispering the letter, nor speaking it aloud. The point here is to bind the

color oscillation to the ideation of the letter at a mental level.

Nonetheless, one must still work tripolarly; i.e., with the unified

mental, astral and physical bodies. This was discussed in Steps Five and Six

of IIH. Briefly, this entails being conscious of the fact that your astral and

physical bodies encase your mental body and act as a single unit.

As with the similar exercises of IIH, you must be cautious that you

avoid extending your normal breathing rhythm. Each exercise should be accomplished

within the span of your normal breath. There should be no inhaling

more deeply and no holding of the breath either in or out. If your process

of ideation and visualization does not, at first, fit within a single breath, then

take "empty" breaths while your ideation catches up to your natural breathing

cycle.

The exercises of this Step will be familiar to anyone who has done

the work of IIH. There are no new techniques here.

Here are two charts. I will be referring to them frequently throughout

the remainder of my commentary. Take a few minutes now to familiarize

yourself with them.

185

FIRE POLE -- AIR POLE -- WATER POLE --

LETTERS:

Bardon/Hebrew COLOR ELEMENT /

REGION ANATOMY TONE ELEMENT /

FEELING

A / Aleph Light Blue Air / Chest Lungs G Air / Ease

Ä / Kametz Light Brown Earth / Legs Anus C Akasha & Earth /

Pen. & Wt.

B / Beth Light Violet Water / Abdomen Right Eye A Earth / Weight

C / Tzaddi Vermilion Fire / Head Stomach D Fire & Air /

Heat & Ease

D / Daleth Dark Blue Earth / Legs Right Ear C Fire / Heat

E / Tzere Dark Violet Fire / Head Spine D Akasha /

Penetrating

F / Vav Light Green Water / Abdomen Left Hand F# Earth / Weight

G / Gimel Grass Green Earth / Legs Left Eye F Water / Cold

H / Heh Silvery Violet Water / Abdomen Right Arm A Fire / Heat

Ch / Cheth Violet Akasha / Plexus Left Leg D# Water / Cold

I / Yod Light Opal Earth / Legs Left Kidney G Earth / Weight

J Dark Opal Earth / Legs Diaphragm G# Water / Cold

K / Kaph Silvery Blue Fire & Air /

Head & Chest Left Ear B Fire / Heat

L / Lamed Dark Olive Green Air / Chest Spleen F Air / Ease

M / Mem Blue-Green Water / Abdomen Hollow of

Abdomen D Water / Cold

N / Nun Dark Flesh-Red Fire / Head Liver A Water / Cold

O / Ayin Dark Ultramarine Fire / Head Pharynx C Earth / Weight

Ö / Cholam Dark Orange Fire / Head Testicles /

Ovaries D# Akasha & Earth /

Pen. & Wt.

P / Peh Dark Gray Earth / Legs Right Nostril B Earth / Weight

R / Resh Bright Gold Akasha & Water/

Plexus & Abd. Left Nostril C Earth / Weight

S / Samekh Purple (Brick) Red Fire / Head Gall Bladder G# Fire / Heat

Sh / Shin Blazing-Red Fire / Head Brain C Fire / Heat

T / Teth Brown-Black Earth / Legs Right Kidney F Fire / Heat

U / (Chirik?) Shining Black Akasha & Earth /

Plexus & Legs Pancreas B Akasha /

Penetrating

W / Qooph Lilac Akasha & Air /

Plexus & Chest Intestines G Water / Cold

Y, Ü / Shurek Pink Fire / Head Heart C# Akasha & Earth /

Pen. & Wt.

Z / Zayin Light Yellow Air / Chest (Right Leg) G Air / Ease

CHART #1 PER BARDON:

186

CHART #2 Per S. Y. --

[Short Version]

Per 32 Paths of

Wisdom

HEBREW

LETTER

NUMERICAL

VALUE

LITERAL

MEANING

S. Y.

KINGDOMS

S. Y.

ETERNITY

S. Y.

NEPHESH

BRIATIC

INTEL.

A -- Aleph 01 Ox Breath Air Chest Perfect

B -- Beth 02 House Life / Death Saturn Right Eye Overflowing

G -- Gimel 03 Camel Peace / Battle Jupiter Left Eye Transparent

D -- Daleth 04 Door Wisdom / Folly Mars Right Ear Luminous

H -- Heh 05 Window Sight Aries Right Hand Illuminating

V -- Vav 06 Nail Hearing Taurus Left Hand Root

Z -- Zayin 07 Sword Smell Gemini Right Foot Mediating

Ch -- Cheth 08 Fence Speech Cancer Left Foot Pure

T -- Teth 09 Snake Taste Leo Right Kidney Scintillating

I -- Yod 10 Hand Coition Virgo Left Kidney Disposition

K -- Kaph 20 Cupped Hand Wealth / Ruin Sun Left Ear Influence

L -- Lamed 30 Ox-Goad Action Libra Liver Will

M -- Mem 40 Water Waters Earth Womb Eternal

N -- Nun 50 Fish Motion Scorpio Spleen Faithful

S -- Samekh 60 Prop Anger Sagittarius Gall Bladder Exciting

O -- Ayin 70 Eye Mirth Capricorn Esophagus Natural

P -- Peh 80 Mouth Grace/Ugliness Venus Right Nostril Fulfilled Desire

Tz -- Tzaddi 90 Fish-Hook Thought Aquarius Stomach Corporealizing

Q -- Qooph 100 Back of Head Sleep Pisces Intestines Perpetual

R -- Resh 200 Head Seed / Desolation

Mercury Left Nostril Trial

Sh -- Shin 300 Tooth Fire Heavens Head Imaginative

Th -- Tav 400 Cross Dominance/

Servitude Moon Mouth Serving

VOWELS SOUND GROUPS LETTERS

Kametz -- a "ah" as in "father" Dentals Z, S, Sh, R, Tz

Tzere -- e long 'a' as in "bay" Palatals G, I, K, Q

Chirik -- i

long 'e' as in "seen"

Gutterals A, Ch, H, O

or, short 'i' as in 'pin'

Cholam -- o long 'o' as in "old" Linguals D, T, L, N, Th

Shurek -- u long 'u' as in "tune" Labials B, V, M, P

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You will notice, in the first chart, that at the far left I have listed Bardon's

letters and assigned corresponding Hebrew Letters (consonants) and

vowels to the most of them. I derived these correspondences based upon the

relationship of the later correspondences (such as the "Anatomy" and the Water

Pole's "Element/Feeling") to those found in the Sepher Yetzirah (Short

Version, per the Ravaad).

The first two letters of the list deserve some explaining. In Hebrew

the Letter Aleph, commonly given in English as 'A', is a consonant and is actually

silent in the spoken language. Aleph is ALWAYS accompanied by a

vowel point and this is what makes it pronounceable. Some have argued that

it was originally a consonantal vowel, but in regards to the Hebrew of the kabbalah

it is always silent and strictly consonantal.

Each consonant has what is called a "natural vowel". This natural

vowel is found in the word for each consonant. Thus with "Aleph", the word,

the natural vowel is Kametz ("ah" as in "father").

But you will note that the second letter is Umlaut Ä, to which I have

assigned the correspondence of the Hebrew vowel point Kametz (the natural

vowel of Aleph). Thus both Aleph ('A') and Umlaut Ä, have the same essential

sound in this context. But -- and this pertains to what I said earlier about

each letter sound having the possibility of encompassing many different meanings

depending upon the correspondences attached to it -- only at the level of

their sound and legality do these two letters match. Each of their further correspondences

are different. For example, the color of 'A' is light blue, but the

color of Umlaut Ä is light brown. This is what differentiates between them,

not their basic sound.

To assist you in differentiating between the two in practice, I suggest

that you give the 'A' of Aleph the long 'A' sound ("a" as in "same"), and the

Umlaut Ä of Kametz, the short "ah" sound proper to it.

A similar distinction belongs to the difference between the 'O' and

the Umlaut Ö. To the plain 'O', I have assigned the Hebrew Letter Ayin. This

also is usually a silent consonant which usually requires a vowel point to be

spoken. At first I was uncertain where to assign the Ayin in Bardon's lettering,

but based upon the later correspondences, the 'O' proved to be the correct

assignment.

Some of the remaining letter assignments may seem illogical (such as

'C' with Tzaddi or 'W' with Qooph) but each of these was rectified based upon

the match between Bardon's later correspondences and those of the Sepher

Yetzirah. I will explain each oddity when I come to it.

At this initial stage however, these considerations of which of Bardon's

letters match with which of the Hebrew Letters has little relevance other

than as a guide to pronunciation or sound. There are no know sources for the

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color and initial Elemental regions of the Fire pole, within the corpus of Jewish

kabbalah. Not until we come to the anatomical correspondences is there

substantiating evidence from the kabbalistic literature.

You will note that the Elemental regions of the Fire pole seem to

conflict with those of the later Water pole. Do not worry, this is not an error.

This is merely due to the difference in level to which these two poles correspond.

With the exercises of the Fire pole, the task is to begin the process of

integrating these universal qualities into your own microcosm, but when you

come to the exercises with the Water pole you will have already made some

progress in this task of integration and thus you will be integrating at a new

level.

Now, to get down to business. ;-)

The first exercise involves learning how to bind the color oscillation

to the letter sound at a purely mental level. Remember, you must work tripolarly,

which means that even though this is a purely mental operation, you

must perform it with your whole being. Your mental body pervades both your

astral and physical bodies simultaneously.

In practice this translates into the fact that you are to fill first the

room, then the universe, and then your own body, with the light blue color as

you mentally speak the letter 'A'. This simple operation must be mastered

both deductively and inductively, similar to the work with the Elements, the

Lights, and the Fluids in IIH.

Please note that at this stage you are not to give the color a specific

shape. Granted, it does have color and thus, to a certain degree, form, and

you do fill the room, the universe and your body with it, thus giving it some

degree of shape. But make no mistake, this is different from what comes next.

What comes next, once you have mastered the deductive and inductive

method of the above, is that you must now give it a specific shape. The

actual shape is up to you, but generally a simple, condensed sphere is the easiest

to work with. This gives the color oscillation some degree of astral density.

This is an exercise in condensation.

Once you have mastered the above, you can then move on to the next

letter and master its color oscillation deductively and inductively, first without

regard to shape and then with a specific shape.

In each section, Bardon seems to list the Umlaut vowels in different

places, In some cases they follow their whole vowels and in others, he places

them at the end of the alphabet. In my charts, I have put them in an order that

integrates the Umlaut vowels into a more natural order. It is best, especially

with the Fire pole, to follow the order given by Bardon. Thus the letter 'B'

would come next in this exercise.

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Practice exactly the same regimen with each of the letters in succession.

Master each one completely before progressing to the next. This integrates

the universal qualities at a specific level of your microcosm and forms

the foundation for all further work.

The next series of exercises with the Fire pole consist of invoking the

color oscillation into the respective Elemental region of your body. First, as

you mentally speak the letter 'A', you must evoke the light blue color directly

into your chest. The 'A' in your chest must be condensed until it is almost

bursting with the light blue color. Once again, this must not disrupt your normal

breath nor may it cause inordinate muscular tension. These things are to

be avoided from the outset.

Next, you must work with the 'A' deductively. That is to say, you

draw the light blue color from the universe, into your chest region. For example

you inhale the 'A' into your chest from the universe by the breath and then

through a species of pore breathing. Here, it is not just through the pores of

the skin that you inhale the light blue color, but with the entire chest itself.

This technique is the same as that learned in the early Steps of IIH.

The next exercise is a bit more complicated. Here you must learn to

project the light blue color outward into the universe. At first you fill the universe

with the light blue color directly by exhaling it from your chest. Then

you must condense it into a specific shape as before, but the difference is that

in this instance it comes from your chest and is then condensed externally.

Once you have mastered all of the above with the 'A', you can then

move on to the next letter. Each successive letter must be mastered in the

same manner as the 'A' by following the exact same regimen of exercises.

Here, Bardon lists the Umlaut Ä as the next in order and the 'B'

comes third instead of second. Again, I urge you to follow the order given by

Bardon and not that given in my chart. It may not matter much in the end result,

but Bardon did this for a reason, so it is wise to follow his lead in any

case.

Here Bardon reminds the student that there should be attention paid

to the thorough elimination of the letter's color oscillation at the end of each

exercise. This is exactly the same advice he gives in IIH during the exercises

with the Vital Energy, the Elements and the Fluids, and is based upon the

same reasoning. Never neglect this step.

When all of the letters have been mastered in this manner, you will

have reached the first discernible level of your kabbalistic practice. This

marks a significant integration of the universal qualities of the letters into your

microcosm, at least as regards the Fire pole.

The next stage of practice involves the infusion of each organ or

body part with the color oscillation of the letters. This still pertains to the Fire

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pole, but here you are using the letters to directly influence the various aspects

of the occult anatomy. In other words, here you are using the letters kabbalistically

for the first time.

This is an important step in fully integrating the fire pole of the universal

qualities into your own microcosm. This is just as transformative as the

similar exercises found in IIH.

The following exercises require two basic things. Number one is a

familiarity with human anatomy. In other words, you have to know the precise

position of your own organs within your body. Anyone who has done the

work of IIH will be familiar with this already and if you have not done the

work of IIH then you have, plainly put, no business doing THIS work.

The second requirement here is a facility with the transference of

consciousness, for you must be able to transfer your consciousness into each

and every organ or body part of your own body. Now, strictly speaking, this

is not JUST a physical operation. Granted, you do transfer your consciousness

into your physical organs, but it is not only your physical organs that you

are impacting and transforming. You are simultaneously transforming the

mental and astral components of these organs.

If you compare the first chart with the second chart, you will notice

that the "Anatomy" listings of the first chart equate to the "S.Y. Nephesh" listings

of the second chart. At first this may be hard to discern, but if you compare

the Hebrew Letters associated with Bardon's letters in the first chart, to

the Hebrew Letters listed in the second chart, you will clearly see the commonality.

Here is where the similarity between what Bardon presents and that

presented in the S.Y., first becomes apparent and important. In kabbalah the

"Nephesh" is an important distinction and it does not mean "physical body".

The Nephesh, which translates roughly as "breath filled soul", equates more

closely to the Hermetic's astral body. Although it also pertains to the mental

body, it more clearly points to the connection between the astral anatomy and

the subsequent physical anatomy. Thus the present exercise focuses upon the

physical organs and not upon the astral organs, but by doing so, the astral and

mental organs are simultaneously effected.

The exercise begins with the letter 'A' and its light blue color oscillation.

First you must transfer your consciousness, this time into just your lungs

instead of your entire chest region. Then you must inhale the light blue color

of 'A' from within your lungs. Which is to say, that you are not outside your

lungs, breathing the light blue color into them, but rather, you are within your

lungs themselves, drawing the light blue color into them from the outside. At

first, this is done with the breath and then it is done through the sort of pore

breathing I mentioned previously; i.e., with the whole body of the lungs themselves.

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At first this is a fairly passive accumulation but once this has been

mastered, you must then work at condensing the light blue color until it

reaches a very dynamic state.

You must always remember that it is from within the organ itself that

you are to work. This is different from the preceding exercise with the Elemental

regions since in that exercise there is no actual transference of consciousness.

In most cases, the Elemental Region has no direct relationship

with the organ of the occult anatomy.

Once you have thoroughly mastered this exercise with the letter 'A',

then you may proceed to the remaining letters, one at a time, and in the order

given.

Since Bardon's letters match in an often odd manner to the Hebrew

Letters, I will speak of each odd one in the order given by Bardon.

A = This corresponds to the Hebrew Letter Aleph. In the S.Y. and elsewhere,

Aleph is always associated with the Element Air and thus, with the chest.

Bardon simply extends this analogy to the lungs.

Ä = Here I have given the association of the vowel point Kametz. There are

no anatomical associations to the vowel points given in the S.Y..

C = Here I have given Tzaddi as the Hebrew Letter. Though they don't

match in a strictly phonetic sense, at least in American English [however, the

letter 'C' is used in the phonetic 'tz' sense in the word "czar"], they do match in

so far as their anatomical and Elemental correspondences. The designation

"stomach" in the S.Y. is problematic due to the fact that the Hebrew word actually

refers to an organ found in a cow. But, this has been determined by

past sages to refer to the human stomach nonetheless.

E = I have given this letter the association of the Hebrew vowel point Tzere.

Again there are no anatomical associations given for the vowel points in the S.

Y..

F = Here I have associated the Hebrew letter Vav. If you have practiced the

pronunciation of the letters as I suggested, you will see how these two sounds,

the 'f' and the 'v', are identical. The only distinction is that the 'f' is pronounced

only by the breath, and the 'v' with vibration of the vocal cords.

H = The S.Y. gives "right hand" instead of "right arm". There is no essential

difference and this is a pattern Bardon follows -- hand becomes arm for Bardon

and foot becomes leg.

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Ch = Cheth has a guttural sound and is not formed at the teeth like the 'ch'

sound is in English. Again, Bardon gives left leg and the S.Y. gives left foot.

I = This is the Hebrew Letter Yod. Bardon sometimes uses 'J' when he means

to indicate Yod (such as in the Tetragrammaton) and this causes some confusion.

J = This is not the Hebrew Letter Yod. In Hebrew there is no direct phonetic

corollary to this sound except possibly in the soft form of the Letter Gimel.

But generally, the soft forms of the double, planetary Letters are not given a

separate set of correspondences.

In terms of its Water pole correspondence (Water / Cold) and of its

Earth pole correspondence (the legality of #400), it relates to the Hebrew Tav.

I will mention more in this regard further on.

However, Tav does not relate directly to what Bardon gives as the

anatomical correspondence. In the S.Y., Tav is assigned the Mouth, but Bardon

gives Diaphragm (for 'J'). Yet if you make an esoteric leap of irrational

logic, then it is fairly easy to relate these two since the diaphragm controls the

breath necessary for the vibration of the vocal cords during speech, hence

mouth.

K = The 'k' sound has two corollaries in Hebrew: the Kaph and the Qooph.

The Kaph is given here for two reasons, one of which I will speak of further

on and the second of which pertains to the match in anatomical and Elemental

correspondences.

L = In the S.Y., Lamed is associated with the Liver and not the Spleen. For

some reason Bardon switches the associations between Lamed and Nun.

Whatever his reasoning, it works!

M = In the S.Y., Mem is given the association "Womb". In essence this

matches Bardon's "hollow of the abdomen".

O = I have associated the Hebrew Letter Ayin here for two reasons. Number

one, the Ayin is frequently given the "oy" sound and this is reasonably close

to the 'O' sound. Secondly, the correspondences for Ayin found in the S.Y.

match those attributed by Bardon to the 'O'.

Here again there is some confusion in the S.Y. in that the text refers

to an organ of a cow. But this is equivalent to the human Esophagus, and the

Esophagus is, for all intents and purposes, equivalent to Bardon's Pharynx.

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S = Once again, the S.Y. uses a word appropriate to the anatomy of a cow.

Many different interpretations of this have arisen over time but the one that

makes the greatest sense to me, and which has proven itself in practice, is the

gall bladder, to which Bardon agrees.

Sh = In the S.Y., Shin is the "Mother Letter" of the pristine Element Fire. In

all of the Hebrew images of the Tree of Life, Shin is always the uppermost of

the three horizontal paths, and is consistently associated with the head in human

anatomy. Here Bardon gives brain instead of merely head, and this is, in

fact, closer to the true significance of Shin than head.

T = Based upon the anatomical and Elemental correspondences, this is definitely

Teth and not Tav. In Bardon's system of letters there is no phonetic

equivalent to the Hebrew Letter Tav.

U = There is no direct equivalent of this letter among the Hebrew vowel

points, so I have not assigned one. Nevertheless, I believe, based upon practice,

that this is the equivalent of the vowel point Chirik, at least so far as its

correspondences are concerned. In the case of each vowel point equivalent,

the Water pole Elemental association involves the Akasha, and this is no exception.

W = This is perhaps the oddest attribution and the most difficult to comprehend.

Bardon comments that the 'Q' sound is an equivalent of the 'K' and so

he does not list it as a usable letter. But, he does list the 'W' which has no Hebrew

equivalent. The clue is found in his particular spelling of "Quabbalah".

One cannot pronounce this without inserting the 'w' sound, yet this is clearly

not how is spoken in the Hebrew language. Thus for Bardon, the 'Q' infers the

'W'. In practice, the 'K' or Kaph sound is the equivalent of the Qooph, but the

correspondences are quite different. Bardon's attributions for the 'W' match

those listed in the S.Y. for the Qooph.

The anatomical attribute of Intestines is again one of those words in

the S.Y. that actually describes an organ found in a cow. Consensus seems to

lean toward this signifying the intestines in human anatomy and since this

matches what Bardon gives, and has proven itself in practice, I feel quite comfortable

with this rather odd seeming assignment of Qooph to Bardon's 'W'.

Z = The Hebrew Letter Zayin clearly matches with Bardon's 'Z'. However,

Bardon lists "Heart" as the anatomical corollary. This is an error. I presume

it is one of those little errors that pop up in any first-draft of a manuscript. Or,

it could be a problem in the publication. Either way, the correct correspondence

is the "Right Leg". This attribute is missing otherwise in Bardon's list,

whereas "Heart" is already given to the 'Y/Umlaut U'.

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At the end of the exercises of this Step, you will have mastered the

Fire pole of the quadrapolar concentration, in its solitary form. As I said before,

this Step will completely transform you at every level of your being. But

this is not the final transformation along the way to becoming a true kabbalist.

STEP II -- Quabbalistic Incantation:

This Step concerns the second, Air pole of the quadrapolar concentration.

As the Element Air corresponds to the acoustic sense, these exercises

pertain to the musical note or tone appropriate to each letter.

There are those who question Bardon's assignment of notes to the

letters. It is, of course, best if you check with a being of the zone girdling the

earth and verify the note given for yourself. All I can say is that in my own

practice I find Bardon's assignations sufficient.

Bardon uses a scale composed of 10 notes, some of which belong to

more than a single letter. This matches with the Jewish tradition, but unfortunately

there no longer remains any written text that explicitly states which

note goes with what letter. Many hints remain but these are in a very obscure

symbolic language and so there is uncertainty.

In Hebrew kabbalistic practice, there are not only notes associated

with each letter (by way of the vowel points) but also a specific movement

that accompanies each vowel's pronunciation. This however is not a part of

the kabbalistic practice suggested by Bardon, but it does make for an interesting

adjunct if you eventually wish to explore this additional dimension of kabbalistic

utterance.

As Bardon points out, the tonal quality does not, in practice, have to

be exact. It helps if you have access to a tuning fork or similar musical aid,

but it is not strictly a necessity. Just take your natural highest note and your

lowest comfortable note, and divide between them accordingly until you end

up with ten distinct notes. This will suffice. However, if your notes are exactly

pure and accurate, all the better. If nothing else, this will increase your

confidence.

With the Air pole, the physical pronunciation (whispering and vocal

vibration) becomes important and you will need to integrate the three modes

into your practice. Begin working only with the mental utterance, reproducing

the specific note in your mind as in the IIH exercises with the auditory

concentration.

Then proceed to master the same through the whispering (breath

only) mode of utterance. With whispering it is difficult to produce a variation

of tone since this is normally a function of the vibration of our vocal cords.

Nonetheless, I urge you to experiment with the shaping of your mouth as you

whisper the letters. As anyone who has studied the vocal art of singing can

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inform you, the shaping of the mouth is important in the reproduction of tone.

So, your tones may ultimately display only subtle differences in the whispering

mode, but it is well worth the effort to learn the difference. This will also

help guide you to the correct vocal pronunciation of the letter sounds. At any

rate, when whispering the tonal quality is expressed primarily at a mental

level.

Once the whisper mode has been mastered, you should begin working

with the vibration of your vocal cords. This requires the reproduction of

the correct mental tone, the issuance of breath as in whispering and the appropriate

vibration of the vocal cords. In other words this is a combination of

modes. Simply speaking the letters aloud will not have the same effect as uttering

them mentally and with the breath simultaneously. This tripolarity of

action is what makes them kabbalistically effective upon the physical plane.

In short, the solitary mental utterance is directly effective upon the

mental plane. The whispering mode which combines the mental utterance and

the breath utterance, is directly effective upon the astral plane. And the vocal

utterance, which combines the previous two modes with the vibration of the

vocal cords, is directly effective upon the physical plane.

The exercises of Step II are meant to bond together the color oscillation

of the Fire pole and that of the tonal oscillation of the Air pole. The procedure

is similar to that of the Fire pole in that you must master each letter's

color and tone, both deductively and inductively, in the whole body, the Elemental

regions of the body, and in the specific organs of the body. You must

be able to give it shape and density in the same manner as you did with the

color oscillation alone.

Bardon instructs that you may either master each letter completely, in

all these ways, in succession; or you may master each separate task with all of

the letters in succession. In other words, you can either master the 'A' in the

whole body, and then the 'B' in the whole body, etc., and the move on to mastering

the 'A' in the Elemental region, and then 'B' in the Elemental Region,

etc. Or, you can master 'A' in the whole body, then in the Elemental region,

then in the organ, and then move on the 'B'. Either way suffices though I prefer

to follow the same pattern as the Fire pole exercises.

When the tonal oscillation has been fully integrated with the color

oscillation within your microcosm, you will have come one more step toward

your goal of a true kabbalistic utterance. This act will once again completely

transform your whole being. Although this time the transformation may not

seem as dramatic as was the Fire pole transformation.

The integration of each of the four poles obliterates all of the dross

from your being. It's as if you are within the Alchemist's crucible, being

purged by the fire and transformed into the purest Gold.

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STEP III -- Aqua Vitae Quabbalisticae:

This Step introduces the third pole of the quadrapolar concentration,

namely that of Water and sensation or feeling. You will note that for the most

part, the Elemental attributions of this pole do not match up with the Elemental

regions of the Fire pole. There are very valid esoteric reasons for this, the

primary of which is that these two poles represent very different aspects of the

universe. Fire and Water are, after all, polar opposites. So please do not fret

over this seeming inconsistency for it is no inconsistency at all.

The Elemental correspondences here are of an interesting derivation

and they match exactly the S.Y. in all but one case (and there it is a tangential

match). All three Hebrew Mother Letters, A-M-Sh (which correspond to the

three pure, kabbalistic Elements), match exactly their S.Y. attributes. Five of

the planetary Letters, B-D-K-P-R, match to the Elemental significance of their

zodiacal signs of rulership. The Letter G (Gimel) which corresponds in the S.

Y. to Jupiter (per Ravaad), is not associated with the sign of its rulership, but

with the sign and Element of its exaltation. The Tav (Moon) has, as I mentioned

previously, no phonetic corollary in Bardon's letter system. However,

if one takes it as the symbolic equivalent of Bardon's 'J', then the Elemental

correspondence matches the zodiacal rulership of the Moon. And Bardon's

equivalents of the twelve zodiacal Hebrew Letters (H, V, Z, Ch, T, I, L, N, S,

O, Tz, Q) match with their sign's Element.

The zodiacal and planetary correspondences for the Hebrew Letters

are found in the second chart, under the heading "S.Y. Eternity". In the S.Y.,

the word for "eternity" is "Olam". This word is often translated as "Universe"

but in my opinion this is an oversimplification of its essential meaning. Literally,

it translates as "the whole span of time" or "eternity". This is laid in contrast

with the word commonly translated as "year" which means literally, "the

measured passage of time". The attributes designated by "eternity" concern

the universal attributes symbolized by the seven philosophical planets, the

Elements and the zodiacal signs. The attributes designated by "year", on the

other hand, pertain to the universal qualities of the seven days of creation, the

seasons, and the lunations or months. These are meant as levels of the same

philosophical thing and do not pertain to their physical corollaries.

With the Water pole you will find that some of the letters pertain to

more than a single Elemental feeling. The only consonant that has this double

attribute is 'C' or Tzaddi (Fire and Air). Three of the vowels (Umlaut Ä, Umlaut

Ö, and Y/Umlaut Ü) combine Akasha and Earth. The Akasha as a solitary

factor pertains to the remaining two vowels ( 'E' and 'U').

The practice of the integration of the Water pole is similar to that of

the Air pole except that this time there is the addition of the appropriate feeling.

Thus with the letter 'A', you must utter it with the color oscillation of

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light blue, the tonal oscillation of G, and the feeling oscillation of ease, all at

the same time. However there is a difference between the exercises of this

Step and the last two in that you do not yet work with the Elemental regions

nor the organs of the body. In other words, you will be working only with the

body as a whole and with the external space and universe.

Here it is good to master each letter completely (i.e., deductively and

inductively, in the whole body, the room and the universe) before moving on

to the next letter. Likewise, it is wise to follow the sequence given by Bardon.

Once this pole has been mastered with all of the letters in the manner

given above, you are then prepared for the next Step which also pertains to the

Water pole. The next Step however, employs the letters tripolarly and in a

kabbalistic manner, similar to how you used them monopolarly and bipolarly

within your organs in order to transform your being. Only in the next Step

you transform yourself by way of the Water pole's Elemental regions instead

by way of the organs.

In the following I will be noting the rationale behind the Water pole's

Elemental attributions. I will go through the consonants one by one. I will

not address the vowels since there are no S.Y. corollaries given for these.

A = Aleph, the Mother Letter of Air.

B = Beth / Saturn, which rules Capricorn, an Earth sign.

C = Tzaddi / Aquarius, an Air sign.

D = Daleth / Mars, which rules Aries, a Fire sign.

F = Vav / Taurus, an Earth sign.

G = Gimel / Jupiter, which is exalted in Cancer, a Water sign.

H = Heh / Aries, a Fire sign.

Ch = Cheth / Cancer, a Water sign.

I = Yod / Virgo, an Earth sign.

J = No Hebrew phonetic corollary, but in practice this equates symbolically

to the attribute of Tav. Therefore, J = Tav / Moon, which rules Cancer, a Water

sign.

K = Kaph / Sun, which rules Leo, a Fire sign.

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L = Lamed / Libra, an Air sign.

M = Mem, the Mother Letter of Water.

N = Nun / Scorpio, a Water sign.

O = Ayin / Capricorn, an Earth sign.

P = Peh / Venus, which rules Taurus, an Earth sign.

R = Resh / Mercury, which rules Virgo, an Earth sign. [According to Dieter

Ruggeberg, the correspondence for 'R' is missing from the manuscript, but if

one checks with the next Step you will find the proper attribution.]

S = Samekh / Sagittarius, a Fire sign.

Sh = Shin, the Mother Letter of Fire.

T = Teth / Leo, a Fire sign.

W = Qooph / Pisces, a Water sign.

Z = Zayin / Gemini, an Air sign.

STEP IV -- Quabbalisticae Elementorum:

With the last Step you learned the rudiments of the final pole of the

three-sense concentration. These are the first three poles of the quadrapolar

concentration, the fourth pole not being a type of sensory concentration, per

se (the fourth, Earth pole is covered in the next Step).

Yet this Step is, in many ways, an extension of the last. It seeks to

integrate the three-sense concentration into your microcosm and transform

you yet again. That Bardon placed this Step separate from the last should

give you some indication of its importance.

This is the transformational work of the Water pole. It transforms in

a manner similar to the initial transformation of the Fire pole (i.e., by way of

the Elemental regions), but here, the Elemental regions are of a different nature.

If you have not gone through the transformation of the Fire and Air

poles, then the transformation of the Water pole will not take.

The work of this Step is similar to the work with the Elements in the

regions of the body as given in Step Four of IIH. Here, this Elemental balance

is achieved kabbalistically instead of with the accumulation of the Ele199

ments directly. If the IIH balancing work has not been accomplished then this

work here will not only be impossible, but actually quite dangerous to your

well-being.

The work of this Step can be extended further than Bardon indicates.

You can, once you have mastered the rudiments, treat it in a similar manner as

the IIH exercise of Elemental balancing and fill each region with a letter and

retain it until all four regions are similarly filled. This is even more balancing

than the IIH exercise. You can even take it so far as to invoke all of the letters

relevant to each region and retain them. This gives an entirely new dimension

to the exercise, but should not be attempted until such time as this Step is

completely mastered. Of course, at the end of each exercise the letters should

be dismissed and one should never walk around with the letters filling the Elemental

regions for prolonged periods of time.

In the IIH, Step Four exercise, the student begins with the Earth Element

and works upwards through the regions, ending with Fire. In other

words, the student begins with the solid foundation and layers ever more

ephemeral substances upon this until the Fire itself dances at the top, firmly

anchored by what lies below it.

The exercises here however, approach this from the opposite angle,

by beginning with the Fire region and working downward. This effects a sort

of descending condensation instead of an ascending liberation. Without having

first achieved the transformation that the ascent brings, the descendant

transformation is impossible, for it has nothing to descend into.

Kabbalistic creation is essentially a downward matter of the descent

of force into form. The exercises of this particular Step are crucial to the

learning of this sort of creative descent. They also establish a certain structure

within your own microcosm that is essential to the ability to create in a kabbalistic

manner.

Yet even with the completion of this Step you will not possess all of

the abilities necessary to work with the first key, since this is only 3/4 of the

quadrapolar concentration necessary for this work.

Unlike the Fire pole exercises with the Elemental regions, this exercise

requires the transference of consciousness. In other words, here you must

transfer your consciousness to the relevant region and perform your exercise

from there. This is not an exercise where your consciousness fills your whole

body and you condense the letter and direct it to flow into the relevant region.

Unlike the exercises with the bodily organs, you are not to go

through the letters in an alphabetical order. The reason for going in alphabetic

order instead of working through the organs in descending order, was to

avoid inducing too great a congestion of the blood in the areas of your body.

But that is not an issue with this Step's exercises. You are not to work with

the three-sense concentration in your individual organs -- this is not safe.

200

The exercises of this Step begin in the Fire region -- the head. Each

of the letters associated with the Fire region are to be mastered, one at a time,

before moving on to the next, Air region, etc. In the four true Elemental regions,

you must work both deductively and inductively, but in the Akasha region,

you work in neither manner since the Akasha cannot be accumulated.

The order of work is not alphabetic even within the Elemental group

of letters. Bardon gives a very specific order of the letters that must be followed

exactly. Thus the order for the head region is: Sh, S, H, D, K, T.

Please note in Bardon's explanation of this region's letters that he

makes reference to the difference in each letter's sound: 'S' and 'Sh' as

"hissing sounds"; 'H' as "hot breath"; 'D' as "expansive"; and both 'K' and 'T'

as "explosive". These instruction relate directly to the nature of how these

letter sounds are formed mentally and in the mouth.

Each letter must be mastered in the mind, the breath, and the vocal

vibration modes. Also each letter must be uttered with the three-sense concentration

and in the manner of the tripolar action (mentally, astrally and

physically, simultaneously). Thus the first letter of the Fire region, 'Sh" must

be pronounced in its color oscillation (blazing red), its tonal oscillation (C),

and its feeling oscillation (heat), simultaneously -- at first in the mind only,

then whispering, and finally, aloud.

This is, as you can imagine, a difficult operation when you consider

the fact that you're also tossing in the factor of a transference of consciousness.

To further complicate things, Bardon reminds the student that the

tree-sense concentration must be maintained during the dismissal of the letter

that has been invoked. I would add to that this concentration must be maintained

throughout the entirety of the operation, as must the tripolar action. If,

during the operation, you lose track of this double triplicity or of your transferal

of consciousness, then you must at any cost reestablish it before you dismiss

the letter. Otherwise, you will not completely dismiss the letter and will,

in this way, cause yourself harm.

When all the letters of the Fire region have been mastered, then you

may move on to the Air region or Chest. The order of letters in this region

are: A, Z, L. Remember, you must master each individual letter completely,

in all three modes, before progressing to the next.

When the Air region has been mastered, then you begin with the Water

or Abdominal region. The order in this region is: M, N, W, J, Ch, G.

Next follows the Earth region from the coccyx down to the tips of the

toes. The order here is: I, O, F, R, B, P.

Next follows a double region -- the Fire and the Air regions, conjoined.

This means that you must transfer your consciousness into the region

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from the top of your head, down to the bottom of your chest. Thus the feeling

is one of heat and ease joined together -- you do not work with one Elemental

feeling and then the other. The letter for this double-region is 'C. This particular

letter sound is an explosive (like the 'T') that hisses (like the 'Z').

The next region is that of the Akasha, specifically the plexus. This

however is a bit of a misstatement since in reality what is meant is the "depth

point" described in Step Five of IIH. While the plexus is the physical corollary

of this depth point, it is the true depth point to which you must transfer

you consciousness. If you merely transfer your consciousness into the region

of your plexus, you will not be able to achieve the true manifestation of these

important letters. Once you transfer your consciousness to your depth point,

you fill your whole body with the relevant letter.

These specific letters are very important. Each of Bardon's letters

that pertain to the Akasha are vowels and correspond to the Hebrew vowel

points. Here, as with the Hebrew language itself, the vowels are what tie the

consonants together and empower them for true kabbalistic speech. In other

words, without the Akasha you attain nothing. This does not mean that with

each kabbalistic utterance you must adjoin a vowel, for in many subtle, esoteric

(i.e., unexplainable) ways the vowels are implied in the utterance of a

letter. What I mean to say here is that without the true integration of these

Akashic vowels into your own microcosm, true kabbalistic speech is impossible.

The letters of this (solitary) Akasha region are 'U' and 'E'. They both

have Akashic colors. The 'U' is a shiny black that reflects a violet tinged light,

while the 'E' is so dark a violet as to be almost black in appearance. The main

difference is that the 'E' is an absorptive black and the 'U' is reflective. In this

region they both exhibit a violet nature.

The final three letters are bipolar in that they pertain to both the Akasha

and the Earth Element. Essentially, they are manifest qualities of the Akasha.

The trick with these letters is to once again transfer your consciousness

to your depth point, but this time you will fill only the Earth region with the

letter. You will not be able to accumulate these either and you must work

with them in the same manner as the solitary Akasha letters. The letters of

this region are the three umlauts: Umlaut Ö, Umlaut Ü (Y), and Umlaut Ä.

Once you have completely mastered each of the 27 letters, you may

then experiment with the Elemental balancing I suggested earlier. I recommend

you employ the first letter of each region (Sh, A, M, I), then both of the

solitary Akashic vowels (U & E), and finally, the dual Akasha/Earth Umlaut

Ä. Once all seven letters are formed within you, retain them for a few seconds

and then thoroughly dismiss them in their reverse order.

At the close of this Step Bardon states: "These exercises make man

achieve the perfect consciousness of the micro- and macrocosm, which in the

202

Orient is often called the 'nirvi-kalpa-samadhi'." This is very much the case

but I must say that this alone does not empower one to use the first key in a

truly kabbalistic manner. What lacks here is the fourth pole of the quadrapolar

concentration so essential to kabbalistic utterance. This fourth, Earth pole

is the subject of the next Step, at the end of which one will be completely fit

for the practice of the first key.

STEP V -- The Ten Quabbalistic Keys:

Although Bardon does not explicitly state it anywhere in KTQ, this

Step concerns the fourth, Earth pole of the quadrapolar concentration. The

first three poles are easily related to the senses but the fourth pole is not. Yet

this is a sense, just not a sense in normal terms. Or, more accurately phrased,

this must become a sense.

The fourth pole concerns the perception of the universal legality as

expressed by number. Each of the universal ideas upon which the creation is

founded can be expressed by the numbers 1 through 10. Thus the attainment

of this final pole of the quadrapolar concentration involves the integration of

these numbered ideas into one's own microcosm to such as degree that one

can immediately perceive the universal ideation underlying each idea, event

and thing.

Bardon saves this fourth pole till Step Five of KTQ because it pertains

to the Earth Element. In other words it is what ties the other poles together

as is the nature of the Earth Element. Even so, the learning of the ten

numbers should actually start years prior to picking up KTQ. The reason is

that it literally takes years to effectively integrate the numbers into one's perspective

to a sufficient degree for kabbalistic speech.

It is difficult to explain the manner in which the integration of these

numbers is so important. I suppose the simplest way to put it is that the numbers

give structure. From this structure, all else flows and multiplies itself

unto infinity. No matter how complex a thing may be in its final, most dense

manifestation, it can still be resolved back to its original idea or number. By

doing this with a thing or an idea, you connect yourself with the universal

structure and thereby gain access to a specific level of influence over the created

thing.

Without this cognizance of the universal ideas represented by the

numbers, there is no inner connection to the essential structure and thus no

possibility of true kabbalistic speech. To utter a letter without cognizance of

the ideation underlying it is not true kabbalistic utterance and will have little

effect.

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Kabbalistic numbers have absolutely no relationship to the currently

popular fad of numerology. These numbers are not used for mantic purposes,

instead they are like a filing cabinet where you categorize things by number.

In other words, they are analytical tools for increasing one's understanding.

In the Hebrew kabbalah, the science of the relationships of numbers

is called "gematria". It is not absolutely necessary that you learn this science

(but it doesn't hurt) since this mostly concerns the analysis of Hebrew words.

Much of what passes for gematria is actually just a mental exercise of a dubious

nature.

What is important is that you inculcate these ten universal principles

into your consciousness and build a clear structure with them. They must become

not only conscious, but also subconscious aspects of your own mentation.

Bardon repeatedly states that it is not necessary to study the Jewish

kabbalistic cosmology, but here I must respectfully disagree, especially since

so much of Bardon's quabbalah is based upon the Sepher Yetzirah. I think

this is an especially wise study when it comes to the ten numbers and the universal

structure they imply. So I personally recommend to you that you study

kabbalah, and furthermore, that you begin your study early on as it takes years

to grasp even the rudiments at a level suitable for kabbalistic utterance.

Bardon offers a brief outline of the significance of each of the numbers

from 1 through 10. This certainly does not suffice for practical application

and will undoubtedly require further study on your part. One of the best

tools for gaining an understanding of the numbers is a small ditty provided

decades ago by Paul Foster Case in his book titled "The Tarot". This is a series

of 11 brief statements pertaining to the numbers zero through ten, titled

"The Pattern on the Trestleboard". [A trestleboard is a table upon which the

mason would put the architectural plans for the structure being constructed.]

Here, Case lists eleven numbers instead of just ten. This is handy

since the canticle for zero helps one to understand the significance of the multiples

of ten. In other words, if you combine the meaning of 'zero' with the

meaning of 'one' you receive the deeper significance of 'ten'. However, the

ancient way of signifying numerical values in the Hebrew system does not

include the use of the zero and thus the value 'zero' is not a part of kabbalistic

speech -- zero is not considered to be one of the universal ideas pertinent to

the manifest creation.

At any rate, here is the text of "The Pattern on the Trestleboard":

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THIS IS TRUTH ABOUT THE SELF:

0. All the power that ever was or will be is here now.

1. I am a center of expression for the Primal Will-to-Good

which eternally creates and sustains the universe.

2. Through me its unfailing Wisdom takes form

in thought and word.

3. Filled with Understanding of its perfect law, I am guided,

moment by moment, along the path of liberation.

4. From the exhaustless riches of its Limitless Substance,

I draw all things needful, both spiritual and material.

5. I recognize the manifestation of the undeviating Justice

in all the circumstances of my life.

6. In all things, great and small,

I see the Beauty of the divine expression.

7. Living from that Will, supported by its unfailing Wisdom

and Understanding, mine is the Victorious Life.

8. I look forward with confidence to the perfect realization

of the Eternal Splendor of the Limitless Light.

9. In thought and word and deed, I rest my life, from day to day,

upon the sure Foundation of Eternal Being.

10. The Kingdom of Spirit is embodied in my flesh.

I recommend that you commit these eleven statements to memory.

Take them one at a time and over a span of several days build each one into

your memory. Once this is achieved and you can recite the eleven statements

by heart, then begin meditating upon each one. When you are faced with a

certain task or problem, go through these eleven statements and contemplate

their significance in regard to your concern. This will not only inculcate them

more deeply into your mind, it will also provide you with significant insights

into your concern.

205

The numbers relate to the Sephirot of the kabbalah thus:

0 = Ain Soph Aur = "Limitless Light"

1 = Kether = "Crown"

2 = Chokmah = "Wisdom"

3 = Binah = "Understanding"

4 = Gedulah = "Mercy" or "Loving Kindness"

5 = Gebruah = "Severity" or "Justice"

6 = Tiphareth = "Beauty"

7 = Netzach = "Victory"

8 = Hod = "Splendor"

9 = Yesod = "Foundation"

10 = Malkuth = "Kingdom" (or, just as easily, "Queendom")

Here now is Figure #1 which is a diagram of the basic structure of

the kabbalistic Tree of Life, representing the universal structure. This shows

the essential relationship of each number to the others. While there are at

least three major versions of the Tree of Life in the Jewish mystical tradition,

this is the one most pertinent to the work of KTQ.

The next important issue in regard to the numbers is the relationship

of the letters to the numbers. Bardon gives no information in this regard.

However, since he adheres so closely to the S. Y. it is possible to draw the

The Tree of Life

3 2

5 4

8 7

Figure #1

206

numbers from their Hebrew corollaries. These are the numbers I use in my

own practice and I will vouch for their accuracy. The one difficulty with this

approach is that in the Hebrew the vowel points are not clearly associated with

number. At a practical level, they generally equate to the number

'zero' (which is to say that they encompass all ten of the universal ideas), but

on occasion it is necessary to associate them with the Sephirot and thus one of

the whole numbers.

One such system is as follows:

Ä = Kametz = Kether = 1

E = Tzere = Binah = 3

Ö = Cholam = Tiphareth = 6

U = Chirik = Netzach = 7

Y, Ü = Shurek = Yesod = 9

Thus the numerical value of Bardon's letters are as follows:

A = 1

Ä = 0 or 1

B = 2

C = 90

D = 4

E = 0 or 3

F = 6

G = 3

H = 5

Ch = 8

I = 10

J = 400 [This is the legality of the Hebrew Letter Tav. In

practice, I find that this is proper.]

K = 20

L = 30

M = 40

N = 50

O = 70

Ö = 0 or 6

P = 80

R = 200

S = 60

Sh = 300

T = 9

U = 0 or 7

W = 100

Y, Ü = 0 or 9

Z = 7

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As Bardon points out, single digit numbers (1 through 9) represent

mental effects, double digit numbers represent astral effects, and triple digit

numbers represent material effects. Yet they can all be resolved into one of

the simple numbers by adding their digits and thus one finds their root ideation

in its purest form.

But please understand that just because a numerical value is in the

two and three digit range does not mean that they are ineffective at higher levels.

The number of digits in the numerical value simply points out the level at

which they are most effective or most significant. For example, the letter 'R'

which has a value of 200, is quite effective upon the mental and astral planes,

but is most effective upon the material plane in a manner reflective of its reduced

number '2'.

I will warn you now that if you seek a direct linear and logical connection

between the numbers as represented by the letters and that of the primal

ideas represented by the Sephirot, then you will become quite frustrated

in short order. This is a very complicated matter and rational logic applies to

only a small degree. To truly penetrate to the depth of the relationship between

these two you must set aside rational logic and reach into the realm of

intuition and inspiration.

Essentially, what interferes with a rational comprehension of this is

the fact that the letters represent a different level or aspect or manner of creation

than the Sephirot. This is impossible for me to elucidate in this commentary

so all I will be able to do by way of assisting your comprehension is to

offer the following Figure #2.

Figure #2

The Gra Tree

3 2

5 4

8 7

D G

F H

Ch Z

I T

L K

P O S

W C

The Hebrew Tree

3 2

5 4

8 7

B G

F H

Ch Z

I T K L

O S

W C

The Ari Tree

8 7

5 4

3 2

G B

F H

I K

P C

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This figure takes some explaining. Figure #2 depicts three Tree of

Life images drawn from the Jewish tradition. These are not the same as the

common Western Hermetic Tree of Life popularized by the Golden Dawn and

its derivatives.

Each Tree is composed of 10 numbered Sephirot and 22 paths connecting

the Sephirot which are attributed to the Hebrew Letters. The lettered

paths are given in black with their respective letters in Bardon's English characters

(thus for example, the Hebrew Letter 'Tzaddi' is given as Bardon's 'C').

Behind these lettered paths, drawn in white, are also some connections between

the Sephirot that are not associated with the letters. These are called

the "Hidden" or "Secret" paths. In the Tree on the left, there are 14 of these

Hidden paths and in the other two Trees there are 16.

The first Tree (on the left) comes from the Gra's (Rabbi Eliahu, Goan

of Vilna) 18th century commentary on the S. Y.. Though this image comes to

us from very late in the evolution of kabbalah, I think it is THE most descriptive

image of the Tree as it is described in the S.Y.. As you will see, it has a

more pristine, archetypal shape than the other two. By my way of thinking, it

refers to how the Tree appears within the kabbalistic world of Briah

("Creation"). The parts of the S.Y. that refer specifically to the structure of

the Tree result in this specific image of the Tree as it exists within the realm

of Briah. In practice, this is the structure best used if you are working within

the mental realm and wish to cause an effect there.

The second or middle image of the Tree is what I call the "Hebrew

Tree". This is the image of the Tree used throughout most of the evolution of

kabbalah. It predates the Ari Tree and is the one that he "rectified" so that it

would be in accord with the Zohar. Here you will notice that there is now a

greater amount of space between the #1 and the #6 and that the #10 is less

integrated into the whole. This represents the appearance of the Tree within

the kabbalistic world of Yetzirah ("Formation"). This is the Tree structure I

recommend for work within the astral realm.

The third image to the right is the Ari's (Rabbi Yitzchak Luria, late

16th century) image of the Tree. This is the epitome of Lurianic kabbalah

which is reflective of the Zohar. Here again, there is a further disconnection

of Malkuth and the lettered paths take on new shape. In practice, I use this

Tree structure for work within the material realm as it refers most clearly to

the kabbalistic realm of Assiah ("Making").

The reason I offer these three images of the Tree to you is because

they very accurately reflect the relationship between the ten numbers and the

manner in which the letters mix and express the universal ideas. Most commonly,

the Hidden paths are not depicted when the Tree image is given. But I

have included them here because they are significant clues as to how the num209

bers relate to one another. That these paths are not given letters is significant

as they are not "spoken". In other words, they are a matter of personal experience

and are unique to each individual, thus they cannot be described by universal

symbols such as number and letter.

The Tree of Life image is the structure you must inculcate into your

three bodies, most especially into your mental and astral bodies, in order to be

a truly effective kabbalist. A very effective method for doing this is to visualize

the Tree within your mental and astral bodies. For example, with your

eyes closed, sense the size and shape of your mental body, and then back into

the graphic image of the Gra Tree. This places Chokmah at your left temple

and Binah at your right, etc. Build your visualization out of light, first establishing

the ten Sephirot and then adding the paths, both lettered and unlettered.

As your understanding of the Tree's components deepens, bind these to

your visualization so that each part has significance and not just form.

The same can be done with the astral body and the Hebrew Tree, and

with the physical body and the Ari Tree. Eventually, this structure will completely

permeate your being and your ability to utter kabbalistically in accordance

with the universal legality will become automatic.

There also exist other good techniques for penetrating to the deeper

meaning of the numbers and letters. One good technique comes from the

Western Hermetic tradition and is know as sphere- and pathworking. This is a

process of mental and/or astral wandering of the Sephirot and Paths. Since

there are plenty of books already in print which describe this practice in detail,

I will not write further about it here.

Unfortunately, Bardon does not explain how one is to incorporate

number into the quadrapolar concentration. To fill this gap, I offer the following.

In practice there are two levels at which you employ legality. The

first is the cognizance of the specific legality represented by the numerical

value of the letter(s) you are dealing with.

Second is the numerical legality of the intent with which you use

each letter. In other words, each letter can be used for different purposes

which exist within the bounds of its specific legality. For example, Umlaut Ö

can be used within the physical realm to either learn about Alchemical transmutation

or to effect any number of Alchemical transmutations -- which aspect

you wish to manifest depends upon your intent, yet each will concern Alchemical

transmutation and thus fall within the legality of Umlaut Ö.

So, if you wish to incorporate the fourth pole of the quadrapolar concentration

into your utterance of the letter 'A', you will first connect with the

essential legality of 'A' (i.e., 1) and then with the legality of your intent in the

use of the letter. However, to master the fourth pole with each of the letters,

210

prior to their actual use, you should consider only their essential legality and

confine your intent-legality to the number zero.

To learn the use of the fourth pole, you should practice each letter in

the standard order, pronouncing it quadrapolarly only into your whole body.

Do not fill either the Elemental regions nor the organs, by themselves. Master

the quadrapolar use of each letter, both deductively and inductively, and in

each of the three modes (mentally, whispering and aloud)..

Thus, for example, with the letter 'A' you will pronounce it with a

light blue color oscillation, a tonal oscillation of G, the feeling oscillation of

'ease', and the legality oscillation of #1, simultaneously. First you master it in

the mind-only mode, then in the mind+breath mode, and finally, in the

mind+breath+vocal vibration mode.

Progress through each of the letters in sequence until you have mastered

them all.

If you have previously integrated the numerical legalities into your

psyche, then this process with finalize this integration. This is the final transformation

that enables you to utter the letters in a truly kabbalistic manner.

This step is what brings your own microcosm into accord with the universal,

macrocosmic qualities.

Once you have mastered the fourth pole of each letter in this manner,

you are ready to begin work with the first (single letter) key.

211

STEP VI -- The Tetragrammaton, The Quabbalistic Fourfold

Key:

In this Step, Bardon describes the basic rules of kabbalistic utterance

concerning the first four keys. Here is a short list of the basic rules of thumb:

Mental Effect: In order to create an effect upon the mental plane,

you must not give any shape or any time limit to your utterance. You must

utter quadrapolarly only in the mind-only mode. Your intention must be absolutely

clear.

Astral Effect: In order to create an effect upon the astral plane, you

must give a specific shape (i.e., spatial dimension) to your utterance. It must

have no time limitation imposed. You must utter quadrapolarly in the

mind+breath mode. Your intention must be absolutely clear.

Physical Effect: In order to create an effect upon the physical plane,

you must give a specific shape and a time limit to your utterance. You must

utter quadrapolarly in the mind+breath+vocal vibration mode. Your intention

must be absolutely clear.

With the first, single-letter key, you must transfer your consciousness

into your depth point, i.e., into the Akasha. All work with the first key originates

in the Akasha. Whichever realm you want your effect to occur directly

in, you simply follow the standard rule of thumb pertaining to that realm.

For clarity's sake I will describe the utterance of the letter 'A' as a

single-letter key.

To begin you must clearly define your intention and perceive its legality.

Then you transfer your consciousness into your depth point (the Akashic

realm). Then you utter the letter 'A' quadrapolarly, giving it a light blue

color oscillation, a tonal oscillation of G, a feeling oscillation of 'ease', and a

legality oscillation of #1. If you desire this utterance to be effective directly

upon the mental plane, then you must utter the 'A' in the mental-only mode ,

giving it neither shape nor specific duration. If you desire a direct and immediate

astral effect, then you utter the 'A' in the mind+breath whisper mode,

giving it shape but no duration. And if you desire a direct and immediate

physical effect, you utter the letter 'A' in the mind+breath+vocal vibration

mode, giving it both shape and duration. You must build the density of your

utterance and when you are satisfied, you must release it into the realm concerned.

It is at this point of release that the effect actually occurs. When your

utterance is complete, you must return to your normal waking consciousness

and turn your attention elsewhere.

If you wish for an effect to be manifest directly into the astral or the

physical realm, your utterance will by-pass the intermediate realms and occur

directly in that realm, by simply following the appropriate rule of thumb. You

212

can also set up a mental effect that will eventually act as the cause for an astral

and, ultimately, a physical effect if you so choose, but the immediate effect

will occur in the mental realm. The direct effect occurs in whichever realm

you design your utterance to accommodate. For example, if you insert your

effect upon the astral realm, there will be no direct effect upon the physical

realm, and within the Akashic and the mental realms, there will be a simultaneous

causation created, but this will be spontaneous with the astral effect,

and will not require reliance upon the natural descent of causation.

The disadvantage of the first key is that it requires a transference of

consciousness into the Akasha. The second, two-letter key, requires a transference

into the mental realm and this is somewhat more convenient. The

third key requires that you transfer your consciousness into the astral realm

and the fourth key requires no transference at all, and is thus the most convenient.

The mastery of each successive key further transforms you. You

cannot simply begin with the utterance of the fourth key, since the ability to

create a direct causation of an effect upon the physical plane -- from within

the physical plane -- requires a complete transformation of your being. This

is the ultimate integration of your own microcosm and the macrocosm.

The first key must be mastered completely before progressing to the

next key. This is a longer process than it sounds, for you must master the single

key use of each letter (27), in the four planes (x4), thus you face 108 operations

-- at least. Often it will take more than just one attempt to master a

letter, so I would multiply this by two at the very least (=216).

With the second, third and fourth keys, you do not need to master all

of the letter combinations that are possible. The more the merrier, but the

mastery of the first key will enable you to immediately master any combination

you choose. I suggest you work with at least twelve of the two-letter

combinations and six of the three-letter combinations, before beginning work

with the four-letter combinations. Ultimately, the fourth key is the most advantageous,

so you may end up mastering several of these, but this depends

entirely upon your own specific set of needs and appointed tasks.

The rules for the use of the second, third and fourth keys are more

complex than those of the first key. This is a reflection of the greater number

of options each of these keys present.

For example, with the second key, one can work in two manners.

The first involves the projection of both letters into the mental realm or body

and the second manner involves the projection of the first letter into the Akasha

and the second letter into the mental realm. Either operation is done with

the consciousness firmly rooted in the mental realm.

Likewise the third key can be projected in its entirety into the astral

realm, or the letters can be split by projecting the first letter into the mental

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realm, the second into the astral realm, and the third into the physical realm.

Or you may even group the letters into two plus one, and project the first two

into the astral realm and only the last one into the physical realm, etc. Each

successive key presents with a significant increase in the number of options.

Once you have mastered the first key all of these thousands of options

will be self-evident.

STEP VII -- The First Key , The Simple Letters:

As I said previously, the first key is enacted from within one's own

depth point -- the Akasha. It is, as Bardon points out, best to employ this key

only for the purpose of your own spiritual development. If you use this key

for another person or being, you will, since you are working from within your

own depth point, be incurring the karmic debt (which is a consequence of any

causation rooted in the Akasha) associated with the effect you are causing for

this other person. In other words, the karma is tied directly to you. This is

okay when you are working for yourself since this would be the case in the

normal course of events, but when you work from within the Akasha for another

person, you will be taking on a burden whose resolution you would not

otherwise incur. I warn you that this can quickly get out of hand. It's like prescribing

a second medication to counteract the negative side-effects of first,

and then a third to counteract the negative effects of the second, etc., ad infinitum.

If you wish to cause an effect upon your own mental, astral or physical

body, then you will need to project the letter into your relevant body. This

sort of projection will be very familiar to anyone who has worked their way

through IIH, so I will not elaborate further.

However, if you wish to create a causation within the Akasha itself,

then you will not project -- you will only release it into the Akasha proper,

without regard to its manifestation throughout the other planes. In this case,

just like when causing an effect on the mental plane, your utterance must be in

the mind-only mode.

Bardon gives no specific order of exercises for mastery of the single

key. There are several options which will be self-evident by now, but here is

what I recommend.

Begin with the utterance at the Akashic level and master each letter,

one after the other, in this mode. I suggest that you master all those with the

(reduced) legality of #1, then those of #2, etc. That would establish the following

groups: #1=A, Ä , I , W. #2=B, K, R. #3=G, E, L, Sh. #4=D, M, J.

#5=H, N. #6=F, Ö, S. #7=Z, U, O. #8=Ch, P. #9=T, Y/Ü, C.

Once each letter has been mastered in the Akasha, then move on to

the mental projection of each letter in the same order. Following this, master

the astral projection of all the letters and then finally, the physical projection.

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You could just as easily master the mental, astral and physical projection

of an individual letter after you have mastered all 27 in the Akasha,

but whatever you decide to do, it is best to master them all in the Akasha first.

You can, of course, master each letter in all four phases (Akasha,

mental, astral and physical) individually before going on to do the same with

the next letter, but in my opinion, this presents an uneven development -- remember,

this work transforms you. It is far better to layer this transformation

and bring it forth in stages.

Bardon finishes out this Step with a description of the effectiveness

of each of the single letters in all four of the pertinent realms. It so happens

that this list is the basis from which the guides to the two-, three and fourletter

combinations derive. So, I offer Chart #3, which abbreviates this list.

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Use in the Keys --

LETTER AKASHA

(First Key)

MENTAL

(Second Key)

ASTRAL

(Third Key)

PHYSICAL

(Fourth Key)

A Wisdom Enlightened Mind Mastery of Air Mastery of Air

Ä Cognition of Life and

Death Mastery of Thoughts Mastery of Desires Mastery of Physical Matter

B Perception of Polarity Mastery of Fluids Volting Mastery of Polarization

C Eucharist Mental Influence Astral Influence Physical Influence

D Creation Mastery of Mental

Matrix

Mastery of Love /

Eroticism Fertility

E Cosmic Consciousness Intuition Mastery of Astral

Matrix Materialization

F Legality and Harmony Mental Legality Astral Equilibrium Quadrapolar Magnet

G Divine Grace and Mercy Mental Peace Happiness Abundance

H Power of the Word Understanding Influence Over Fate Understanding of the

Word

Ch Clarity and Purity Understanding of All

Languages Rhythm and Life Mastery of Water

I Karma and Evolution Memory and

Conscience

Mastery of Astral

Matrix Mastery of Analogy

J Cosmic Love Mental Ecstasy Sympathy and

Attraction Progeneration

K Omnipotence Manifestation of Faith Courage and Endurance Treasures

L Divine Virtues Morality Magic Equilibrium Mastery of Vitality

M Mastery of Water Mastery of Life and Feelings

Mastery of Water &

Magnetic Fluid

Mastery of All Fluid

Things

N Supreme Happiness Mastery of Mental

Matrix Self-Preservation Movement and

Coherence

O Justice and Legality Legality of Harmony Contentment and Poise Success and Happiness

Ö Transformation Quabbalistic Alchemy Astral Projection Alchemical

Transmutation

P Mystic Longing Devotion and Humility Longing for Purification Reproductive Instinct

R Freedom and

Independence Absolute Security Ingenuity Comprehension

S All-Penetrating Power Mastery of Electric Fluid Clairvoyance and

Prophecy

Control of

Consciousness

Sh Original Fire and Light Highest Enlightenment Mastery of Fire Mastery of Electric Fluid

T Divine Inspiration Inventiveness Mastery of Astral Magic Mastery of Analogy

U Comprehension of

Akasha

Intuition and

Inspiration

Transfer of

Consciousness Mastery of Akasha

W Cosmic Intuition Clairsentience /

Concentration

Clairaudience and

Mysticism Discrimination

Y or Ü Original Rhythm Intuition and

Inspiration Prophecy Condensation

Z Cognition Intellect and Talent Artistic Faculties Endurance

CHART #3 PER BARDON:

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PART III -- MAGIC OF FORMULAS

STEP VIII -- The Twofold Key -- Double Letters:

STEP IX -- The use of the Threefold Key:

STEP X -- The use of the Fourfold Key:

STEP XI -- Quabbalistic Use of Divine Names and Beings:

STEP XII -- The Quabbalist as Absolute Master of the Microcosm

and the Macrocosm:

I choose to not comment upon these Steps. Primarily this is because

anyone who makes it through the seventh Step of KTQ will definitely not

need anything more than what Bardon gives. Secondarily, the use of the letter

combinations is often alluring to the unprepared person who may be tempted

to experiment before they are ready to do so with safety and I have no wish to

further encourage such an error.

Epilogue:

Bardon's epilogues are always a treat. To a certain degree, he steps

out of his role as sage teacher and reveals a side of himself otherwise hidden.

Yet even here he conveys a deep and profound sagacity. I suppose it is impossible

to fully separate the message from the man.

At any rate, I would like to leave you with the following brief quote

from Bardon's epilogue: "On earth every human being has two teachers:

firstly, him- or herself and, secondly, fate. What man is not able to achieve

by his own diligence, practice, renunciation, pain, grief, etc., will be served

up to him by disappointments and buffets of fate. Life is a school, not an

amusement fair."

Note of the Publisher (by Dieter Ruggeberg):

At the end of KTQ, the publisher adds a note warning the reader that

KTQ "contains some mistakes, particularly concerning the relation of the Elements

to some letters." I must strongly disagree with this statement. There

are no errors as far as the Element-to-letter correspondences go. There is one

error regarding the anatomical correspondence to the letter 'Z', a few errors in

the third and fourth key Steps, and in the Step XI material concerning the use

of the 72-fold name. But as Mr. Ruggeberg points out, the student should, in

any event, first verify these things with a being of the zone girdling the earth

before beginning practice.

Appendix

An Essay on “Shielding”

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Shielding

The first thing to be said on this subject is that there is no need for

paranoia, especially if you’re following a balanced path such as Bardon’s.

The universe is NOT out to get you! ;-) Many folks have put forth the idea

that there is danger around every corner when you’re pursuing a magical path,

but this is simply not so — unless of course this is what you are always expecting

in the back of your mind. The thing is, when you set yourself up in

this way for continual difficulty, that is exactly what will be drawn to you, but

this has nothing to do with the following of a magical path.

Therefore, it is important as you work with shielding, to stay away

from the inclination to paranoia. A shield is not a thing which should merely

serve to assuage your fear; instead, it is to be a thing which promotes your

self-confidence.

There is no avoiding the inevitable, so if you think that a shield will

forever keep you from encountering unpleasant experiences you are just plain

wrong. Even the strongest shield will not buffer you from the karmic consequences

of your actions.

What a shield can protect you from are impersonal, stray influences

and influences that are directed specifically at you by others. While the latter

is rare, the former is quite common. For example, as you move throughout

your day, you will inevitably encounter the foul moods of others or the emotional

residue resident in particular places, etc. Repelling these influences is

where a shield is most effective.

The philosophy (quality) that underpins a shield is important. Personally,

I prefer a shield that alerts me to any incoming or ambient negative

influences and then gives me the option to either let them in, or reject them

entirely, as I see fit. We can learn many important lessons from our encounters

with negative forces and unpleasant circumstances, so avoiding them entirely

misses the point. It would be like living your life with your head buried

in the sand — it gets awfully hard to breathe and you miss so much of what

goes on around you. ;-)

The influences that a shield can protect you from are, by nature, of

mental and/or astral density, therefore a shield is composed of similar material.

The best shield is energy based AND impregnated with a specific ideation.

By extension, such a shield can protect you from much physical harm

since by erecting a wall through which mental and astral influences cannot

pass, you therefore avoid the physical consequences of those forces. But here

again, this is only effective so long as these consequences are not of a personal

karmic nature.

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There are three basic types of shielding which I will now discuss: 1)

Drawing down the Kethric Light. 2) Surrounding oneself with the Vital Energy.

3) Working with the Akasha.

1) Using the Kethric Light.

By this term I mean to indicate any shield that employs energy

(Light) drawn down from “above”. An example of this is the Golden Dawn’s

“Middle Pillar” exercise or the “Rose Cross”. Both of these effectively draw

down energy from a higher source than the individual and use it for the individual’s

protection.

This can, of course, be done in less formal ways. For example,

merely through visualization the same effect can be caused.

Before engaging in any sort of shielding, a banishing of negative influences

should be undertaken. Whether that be done through a ritual such as

the Golden Dawn’s “Lesser banishing ritual of the pentagram” (LBRP) or

through other magical means, is of little importance, so long as it is done. A

simple visualization will also suffice. The reason this is necessary is that it

does not pay to bind any negativity to yourself, inside of the shield you will be

taking such care to create. It is far wiser to wrap your shield around a

cleansed space.

When crafting a shield from this higher Light, it should always descend

from above your head and slowly wrap itself around your entire body,

from head to toe. The Light should descend in a clockwise direction (i.e., it

starts from your left side and rotates around your front, over to your right side,

and then around your back to your left side, etc.). Your shield should stay in

this constant circular or spiral motion.

Your shield MUST be impregnated with its underpinning ideation.

Namely, that it protect you in the manner you desire and that it stay put for as

long as you desire it to.

Unless you are establishing a very temporary shield, you will need to

arrange for its replenishment. This can be accomplished in two primary ways:

1) You can keep it connected to its source. 2) You can disconnect it from it

origin and direct it to replenish itself from the universal storehouse of Light.

The latter is preferable.

2) Using the Vital Energy.

This is the type that I use for my permanent shield as it is the most

versatile and is the easiest to maintain. By ‘Vital Energy’ I mean the energy

that Bardon describes in Step Two of IIH.

In my experience, the best form of the Vital Energy to use for shielding

is not the golden tinged variety but the clear, white variety. This seems to

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have less of an affinity to the human body and therefore is not disturbing to

the nerves when surrounding the body for extended periods of time. However,

it should be pointed out that creating a shield out of the Vital Energy is

not exactly the same thing as accumulating the Vital Energy since here one

does not permeate one’s entire body with the Vital Energy as one does in the

accumulation.

The initial procedure is as follows:

Sit comfortably, lie down or stand erect, as it suits you, and completely

relax your body from head to toe. Banish all negativity from your

mind and body, and concentrate upon the feeling of harmony.

Draw the Vital Energy to you so that it surrounds your entire body.

Do not let it permeate your body, only let it surround you. If you are able,

condense the Vital Energy to a very high degree.

Now set the Vital Energy in motion and let it rotate clockwise as before.

Be sure that it surrounds your entire body, even under the soles of your

feet.

Next, you must impregnate it with your ideation. Give to it its predetermined

purpose.

And finally, arrange for its duration. Here you are faced with many

alternatives. I recommend that you bind it to the universal storehouse of Vital

Energy by directing it to constantly replenish itself from this source. If you do

not do this, then it will dissipate once you redirect your attention away from it.

As for the duration of your shield itself, you can either make it a permanent

thing or make it so that it will materialize only when you think of it, or

anything in between. Don’t forget that you can always change your mind later

and modify it so that it better suits you needs.

Once these things have been taken care of, you can then return to

your normal everyday awareness or you can proceed further. If you stop here,

take a moment occasionally to sense your shield. The “further” steps require

a bit more training than this simple procedure.

The first “further step” is to extend your shield to your astral body.

This is done by first sensing the dimensions of your astral body and then creating

the same shield of Vital Energy for it as you just did for your physical

body. All of the same rules apply as regards rotation of the Vital Energy, impregnation

with your ideation, replenishment and duration. End this step by

joining your physical shield with your astral shield.

The final “further step” is to erect a shield around your mental body.

The procedure is exactly the same except that here you must be able to sense

the dimensions of your mental body. All of the same rules apply and you end

the operation by joining your three shields together so that they act in unison.

As I said previously, I employ this sort of triple-shield for my own

permanent shield. Within my underpinning ideation is the idea that this shield

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will alert me of ANY incoming influence. This provides me the opportunity

of either accepting it or rejecting it at will.

For the most part, I am seldom conscious of my shield. But when I

am entering a situation or space that I expect will be filled with stray influences

of an unfavorable or unwanted nature, I have simply to focus on my

shield and there it is, ready and able.

Until I had perfected the connecting of my shield to the universal

storehouse of Vital Energy, I had to periodically replenish it. I suggest that

you check the status of your shield periodically, especially in the beginning.

As you work with shielding, this process of replenishing will become easier

and much faster, and eventually, unnecessary.

If you care to, this sort of shield may be bound to a physical object

and/or a spoken phrase. For example, my triple-shield is bound to three pinky

rings that I always wear: my physical shield is bound to a simple silver band;

my astral shield, to a simple yellow-gold band; and, my mental shield, to a

not-so-simple white-gold band. All I have to do to ignite my shield to its

strongest force is touch these rings.

I have also bound my shield to a simple phrase that I learned during

my Wiccan studies. This phrase is: “I cast out all negativity [the banishing]

and in its place let harmony be [the blessing]. I now invoke the law of three

[this is where the three parts of my shield are ignited] and as I will, so mote it

be.”

I highly recommend this sort of Vital Energy shield to all students of

IIH. It does not interfere with the training and it will help preserve you from

harm. Of course, the greatest preservation from harm is the attainment of the

Elemental Equilibrium, so it should never be assumed that mere shielding will

do in its place.

3) Using the Akasha

This is a more “advanced” technique that requires great facility with

the Akasha. It also serves a somewhat different function than the previous

two types of shielding. Here, the greatest advantage has to do with avoiding

negative influences that are directed specifically at you. It does also offer protection

from those pesky stray influences, but one who is capable of working

with the Akasha in this manner is generally impervious to such influences already.

As before, this technique is of no use in attempting to avoid one’s

karmic debt. This is because karma resides within the Akasha and there is

therefore NO escape from one’s karma.

The particulars of this technique are very difficult to describe to

someone who has no facility with the Akasha, and for someone who does un223

derstand the Akasha, any explanation I could offer would be unnecessary, so I

will not be going into the particulars. Instead, I will speak only in general

terms — hopefully not too enigmatic!

Essentially, this technique involves wrapping oneself with the Akasha,

but it is not the body that one wraps. Instead, it is a specific level of

one’s being that is encapsulated. I call this level “beads and threads”, since

that is how it appears to me. The “thread” is the individual lifeline and the

“bead” is the present moment of the individual incarnation. Another appropriately

descriptive name might be “spheres and rods”.

At a perceptual level in this realm, incoming influences are seen as

threads or lines that intersect the individual sphere/bead at an angle different

than the individual lifeline. The degree of angularity indicates the temporal

relationship of the incoming influence. For example, if the influence intersects

on the horizontal (the individual lifeline runs vertical) then it is coming

from a very recent source, but when the influence intersects at a nearly vertical

angle, then the influence is very old and may even be karmic in nature.

At any rate, if you’re capable of finding this “place” you will recognize

my meaning.

At first, it is only possible to encase one’s own sphere/bead with the

Akasha, but with time, it also becomes possible to encase the rod/thread as

well. Eventually, it is even possible to encase the beads and threads of others,

and thus afford them a similar degree of protection.

Here’s how it works: By encasing yourself, at this specific level,

with the Akasha, you are, in effect, removing yourself as a target for any incoming

influence. When such an influence finds no target, it dissipates.

Therefore, this sort of shielding is NOT a rebuff of the force, nor is it a

“return to sender” sort of mirror-shield. Instead, it totally and permanently

dissipates the incoming force and the original energy behind the force is absorbed

into the undifferentiated storehouse of raw energy.

I recommend this sort of shielding as being essential for any magician

doing very advanced work, especially those doing the kind of work that,

by its nature, elicits a strong negative, opposing response from those that are,

by their nature, prone to such responses to extremely strong positive works.