Showing posts with label social. Show all posts
Showing posts with label social. Show all posts

Friday, November 11, 2016

Lest We Forget



As World War I ended, Abel Gance premiered his epic J’Accuse in Paris. The actors themselves were soldiers fighting in the trenches and by the war's end all of them were dead.  Gance later explained. “I asked the local HQ if I could borrow two thousand. These men had come straight from the front …. They had seen it all, and now they played the dead knowing they would die themselves. In a few weeks or months."

All of the men who appear in the film would die at the front.

In this remarkable film, it's as if the dead themselves rise up one last time to accuse the living: "How could you let this happen?"

Lest we forget!

Tuesday, November 1, 2016

Techniques of Consciousness Change by Robert Anton Wilson


The possibility of changing consciousness was discovered in the Orient 2500 years ago, at least. Techniques were discovered to quiet the mind, pacify the mind, remove emotional compulsions. These were organized into the science of Yoga. As John Lilly says, “Yoga is the science of the East. Science is the Yoga of the West.”

Science is a yoga, too. Science is a way of trying to reach an objective level in which your emotional compulsions and prejudices aren’t twisting all the facts to fit in with your reality tunnel.

The scientific worldview grew up in the west between 1500 and 1750, largely due to mystics who were known as Hermeticists. This Hermetic scientific revolution saw theology as its enemy, and there was no conflict between Hermeticism and science. They were both based on experiment, find out what happens if you “do this,” and they were both opposed to the authority of the Church.

Shortly after 1600 this began to split, and this Hermetic tradition faded into the background, and we developed for the first time in history a science that had absolutely no connection to anything except pure reason. The hermetic tradition was that there is no such thing as pure reason, you have to first work on your own perceiving apparatus to correct your prejudices, and the scientist is not separate from what the scientist observes.

The general yogic attitude, “you are the master that makes the grass green,” –western science lost that insight, and from Newton onwards we have the idea that it doesn’t matter who you are, if you follow scientific procedure you’ll find the truth.

This began to break down after 1900, due to Sigmund Freud, who pointed out that even scientists, they’re human beings, they may have neurosis, and they may have elaborate rationalizations for neurosis. The influence of Karl Marx also pointed out that no matter what you’re theorizing about it’s a mirror of your economic status.

Anthropologists started coming back with reports of alternative reality tunnels, and that no matter what reality tunnel you live in, the world will organize itself in your perception to be compatible with that reality tunnel.

So, science began to have data to look at science itself critically. That’s how intelligence increases, when intelligence looks at intelligence and criticizes intelligence. So we got to the point where we could look at science and say, “science is the product of people!”

People are doing this, and their prejudices are getting into it. It’s not just enough to say you will be objective, you’ve got to learn to change yourself from the inside out before you can even approximate towards objectivity.

When Albert Hoffman, after accidentally ingesting LSD, when through a profound experience… It took him 40 years to figure out what LSD meant. In 1982 he wrote an essay in which he said, “There is no objective reality separate from us.”

This became obvious to others due to quantum physics. Physicists discovered that the atomic world is just not describable in terms of Aristotilean logic. You can’t describe anything on the quantum level accurately unless you include the observer in your picture. So quantum physics turned out to be saying exactly the same thing as the psychedelic revolution was saying: that there is no objective reality separate from us, all we know is the reality that we are co-creators of. The reality perceived, conceived and put together by our nervous systems.

At this point it becomes obvious that intelligence can be raised, consciousness can be altered, all we have to do is learn how to change our nervous system and we can go to wider and wider reality tunnels, and bigger and bigger levels of perception.

Nobody has made pranayama illegal yet because it is impossible to enforce. You just have to read a book on yoga, learn how to breath, and you find you go into an entirely different consciousness state. Then you go back into your ordinary consciousness, think about that state, then go back into that state and think about ordinary consciousness. Already you’re in I- squared, you’re finding out how your nervous system works.

We are moving more and more to the place where we can change our nervous system, change our reality tunnels. Once you look down on your reality tunnel, whether Methodist, Jewish, hippy, capitalist, or Iranian Muslim fundamentalist… you can compare reality tunnels, and then you’re on a higher level of intelligence already. Because you’re no longer a conditioned mechanism just following the reality tunnel that was accidentally imprinted or conditioned, and you can start choosing between reality tunnels.

Saturday, October 29, 2016

Dancing With The Devil: A History of Satanic Burlesque by Haleigh Schiafo


Many women are drawn to both burlesque and the occult for very similar reasons. Occult practices encourage personal expression, indulgence, and freedom of sexuality. This is so attractive to women in a world that shames them for their bodies and sexual expression. Burlesque praises this expression in very similar ways. People of all shapes, sizes, races, and genders are encouraged to take their clothes off and celebrate themselves. Satanic burlesque is the perfect embodiment of empowerment, unapologetic hedonism, and sexual glorification.

It comes as no surprise then, that there is a long history of occult reference in burlesque. From devil-themed costuming to the dark nature of neo-burlesque, dancers have been referencing the strange and macabre for years.

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Tuesday, October 18, 2016

Stand Up For Heresy by Jamie Palmer


Postmodernism might have had a liberating effect on the arts. Skepticism about the objectivity of truth provided artists with limitless imaginative possibilities, while a critical analysis that privileged subjective interpretation over authorial intent opened the doors to a bracing new iconoclasm.

Postmodernism, in other words, seemed to herald a democratization of form, meaning, and value. It would rescue the arts from the dusty irrelevance of the traditionalist canon, and the pointy-headed elitists who presumed to decide what was of worthy of greatness and study and what was not. Hitherto neglected artists and their works were disinterred and reappraised (some of which turned out to be good and some of which did not), while sacred cows were gleefully slaughtered and gutted (some of which deserved it and some of which did not). And some exciting and vibrant new art got produced in the process — hip, ironic, self-referential, irreverent, and smart.

But then postmodernism began a precipitous slide into reductio ad absurdum that ought to have been a foreseeable consequence of its premises. Skepticism about objectivity petrified into a paradoxical dogma that the only objective truth is that nothing is objectively true. The democratization of merit, meanwhile, raised new and perplexing questions about how to evaluate art. If artistic value is merely a matter of personal interpretation and taste, then by what standard is critical judgement possible? If subjective response is the true measure of value then, independent of interpretation, art is all of equal worth. And if all art is of equal worth then it is all equally worthless. So now what is art for?

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Friday, August 12, 2016

Pharmako/Poeia: Plant Powers, Poisons, and Herbcraft by Dale Pendell (PDF)


This is the first volume of North Atlantic Books updated paperback edition of Dale Pendell s "Pharmako" trilogy, an encyclopedic study of the history and uses of psychoactive plants and related synthetics first published between 1995 and 2005. The books form an interrelated suite of works that provide the reader with a unique, reliable, and often personal immersion in this medically, culturally, and spiritually fascinating subject. All three books are beautifully designed and illustrated, and are written with unparalleled authority, erudition, playfulness, and range.

"Pharmako/Poeia: Plant Powers, Poisons, and Herbcraft "includes a new introduction by the author and as in previous editions focuses on familiar psychoactive plant-derived substances and related synthetics, ranging from the licit (tobacco, alcohol) to the illicit (cannabis, opium) and the exotic (absinthe, salvia divinorum, nitrous oxide). Each substance is explored in detail, not only with information on its history, pharmacology, preparation, and cultural and esoteric correspondences, but also the subtleties of each plant s effect on consciousness in a way that only poets can do. The whole concoction is sprinkled with abundant quotations from famous writers, creating a literary brew as intoxicating as its subject.

The "Pharmako" series is continued in "Pharmako/Dynamis" (focusing on stimulants and empathogens) and "Pharmako/Gnosis "(which addresses psychedelics and shamanic plants)."

Download:
http://sh.st/XAvZ9

Monday, July 18, 2016

Metaphysics of War by Julius Evola (ePUB & AZW3)


This is the thoroughly revised edition of a collection of essays that Julius Evola originally wrote for Italian periodicals during the 1930s and '40s, having to do with the transcendental aspects of combat. It represents the development of Evola's thinking on war during the period of the Second World War and its aftermath.

These essays constitute what is certainly the most radical attempt ever made to justify war. This justification takes place essentially on two levels: one profane, the other sacred. At the profane (meaning simply “non-sacred”) level, Evola argues that war is one of the primary means by which heroism expresses itself, and he regards heroism as the noblest expression of the human spirit. Evola reminds us that war is a time in which both combatants and non-combatants realize that they may lose their lives and everything and everyone they value at any moment. This creates a unique moral opportunity for individuals to learn to detach themselves from material possessions, relationships, and concern for their own safety. War puts everything into perspective, and Evola states that it is in such times that “a greater number of persons are led towards an awakening, towards liberation” (p. 135).

According to Evola, the ancient Vedas held that there are two paths to enlightenment: contemplation and action. In traditional Indian terms, the former is the path of the brahmin and the latter of the kshatriya (the warrior caste). Both are forms of yoga, which literally means any practice that has as its aim connecting the individual to his true self, and to the source of all being (which are, in fact, the same thing). The yoga of action is referred to as karma yoga (where karma simply means “action”), and the primary text which teaches it is the Bhagavad-Gita. Evola returns again and again to the Bhagavad-Gita throughout The Metaphysics of War, and it really is the primary text to which Evola’s philosophy of “war as spiritual path” is indebted. The work forms part (a very small part, actually) of the epic poem Mahabharata, the story of which culminates in an apocalyptic war called Kurukshetra. On the eve of battle, the consummate warrior Arjuna (the Siegfried of the piece) surveys the two camps from afar and realizes that on his enemy’s side are many men who are his friends and relations. When Arjuna reflects on the fact that he will have to kill these men the following day, he falters. Fortunately, his charioteer–who is actually the god Krishna–is there to teach him the error of his ways. Krishna tells Arjuna that these men are already dead, for their deaths have been ordained by the gods. In killing them, Arjuna is simply doing his duty and playing his role as a warrior. He must set aside his personal feelings and concentrate on his duty; he must literally become a vehicle for the execution of the divine plan.

One might well ask, what’s in it for Arjuna? The answer is that this following of duty becomes a path by which he may triumph over his fears, his passions, his weaknesses–all those things that tie him to what is ephemeral. Following his duty becomes a way for Arjuna to rise above his lesser self and to connect with the divine. This is not mere piety or “love of God.” It is a way to tap into a superhuman source of power and wisdom. The result is that Arjuna becomes more than merely human.

In fact, Krishna puts Arjuna in a situation in which he must fight two wars. One, the “lesser” war is external–it is the one fought on the battlefield with swords and spears. The other, “greater” war is internal and is fought against the internal enemy: “passion, the animal thirst for life” (p. 52). Evola places a great deal of emphasis on this distinction. What Krishna really teaches Arjuna is that in order to fight the lesser war, he must fight the greater one. Really, unless one is able to conquer one’s weaknesses, nothing else may be accomplished. This opens up the possibility that there may be “warriors” who never fight in any conventional, “external” wars. These would be warriors of the spirit. Evola believes that one can be a true warrior without ever lifting a sword or a gun, by conquering the enemy within oneself. And he mentions initiatic cults, like Mithraism, which conceived of their members on the model of soldiers.

In combat one is lifted out of one’s ordinary self and, more specifically, out of one’s concern with the mundane cares of life. One enters into a state where one ceases even to care about personal survival. It is at this point that one has ceased to identify with the “animal” elements in the human personality and has tapped into that part of us that seems to be a divine spark. This is not, however, an intellectual state or “realization.” Instead, it is a new state of being, which pervades the entire person. The ancient Germans called it wut and odhr. And from these two words derive two of the names of the chief Germanic god: Wuotan and Odin. Odin is not, however, conceived simply as the god of war; he is also the god of wisdom and spiritual transformation.

Evola never was particularly interested in biological conceptions of race, because he believed that human nature as such was irreducible to biology. He opposed reductionism, in short, and believed in a spiritual (i.e., non-material) component to our identity. What Evola was most concerned to combat was a racialism that reduced heroism or mastery to simple membership in a race defined by certain biological characteristics. For Evola, heroism is really achieved in a step beyond the biological, and in mastery over it.

Download:
http://www32.zippyshare.com/v/BRu90pid/file.html

Sunday, July 17, 2016

Aleister Crowley: The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic by Tobias Churton (ePub & mobi)


A biographical history of Aleister Crowley’s activities in Berlin from 1930 to 1932 as Hitler was rising to power

• Examines Crowley’s focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with magical orders

• Explores Crowley’s relationships with Berlin’s artists, filmmakers, writers, and performers such as Christopher Isherwood, Jean Ross, and Aldous Huxley

• Recounts the fates of Crowley’s friends and colleagues under the Nazis as well as what happened to Crowley’s lost art exhibition

Gnostic poet, painter, writer, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic religion “Thelema,” he wanted to be among the leaders of art and thought, and Berlin, the liberated future-gazing metropolis, wanted him. There he would live, until his hurried departure on June 22, 1932, as Hitler was rapidly rising to power and the black curtain of intolerance came down upon the city.

Known to his friends affectionately as “The Beast,” Crowley saw the closing lights of Berlin’s artistic renaissance of the Weimar period when Berlin played host to many of the world’s most outstanding artists, writers, filmmakers, performers, composers, architects, philosophers, and scientists, including Albert Einstein, Bertolt Brecht, Ethel Mannin, Otto Dix, Aldous Huxley, Jean Ross, Christopher Isherwood, and many other luminaries of a glittering world soon to be trampled into the mud by the global bloodbath of World War II.

Drawing on previously unpublished letters and diary material by Crowley, Tobias Churton examines Crowley’s years in Berlin and his intense focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley’s colleagues under the Nazis as well as what happened to Crowley’s lost art exhibition--six crates of paintings left behind in Germany as the Gestapo was closing in. Revealing the real Crowley long hidden from the historical record, Churton presents “the Beast” anew in all his ambiguous and, for some, terrifying glory, at a blazing, seminal moment in the history of the world.

“As soon as I opened this book I knew I was in for an exceptional treat, and I was right. This is Churton at his best. His book focuses, with some broader contextualization, on Crowley’s intermittent sojourns in Berlin between 1930 and 1932, which climaxed in a sensational exhibition of his paintings in October 1931. We follow Crowley as he strolls through the city, dressed in a knickerbocker suit, proclaiming his gospel of Thelema, exploring Berlin’s extensive demi-monde, playing chess, painting, writing, fornicating, spying for British intelligence, and mingling with a remarkable constellation of artists, writers, philosophers, and occultists. One of his friends at the time was Christopher Isherwood, who fictionalized his own Berlin experience in the novel that later became the musical Cabaret. Churton, in his vivid, witty style, superbly captures the atmosphere of the city during that feverish, decadent, but immensely vibrant and creative era, which ended abruptly with the catastrophe of 1933. Move over, Isherwood. From now on we should be talking about ‘Crowley’s Berlin.’” (Christopher McIntosh, Ph.D., author and Honorary University Fellow and Western Esotericism lecturer)

“Yet again, Tobias Churton shows a unique ability to combine an approachable writing style with scholarly research and the result is an authoritative book on Crowley, the artist, a person who deserves to be re-assessed rather than be relegated to the dustbin of history.” (Sanda Miller, Ph.D., research fellow, History of Art, Southampton Solent University)

“A remarkable account of Baphomet in Berlin, full of fascinating new information on Crowley’s decadence and discipline as a Berlin Boy as Germany spiraled down into its apocalyptic picnic. Tobias Churton has uncovered much that is new and marvelously expands on and clarifies that which was already known. A wonderful evocation of the darkness becoming visible--a truly Manichæan history.” (David Tibet, founder of Current 93)

“Aleister Crowley: The Beast in Berlin is magic! Churton opens box after box of secrets in a dazzling display of research, erudition, and insight. Aleister Crowley is revealed in all his jaw-dropping splendor, plus warts. A genius forced to suffer fools, able to transcend misfortune, an adventurer in the worlds of art and war. His wisdom is both light and deep; the book is thrilling.” (Vanilla Beer, artist)

“It’s hard not to empathize with Crowley as portrayed in the book—a man possessed of more radical intelligence than most before or after, who probably came off a bit autistic in his time, dealing with constant trouble, power games and consistently overestimating both people’s intelligence and integrity. Though he stands so far above both the Theosophical movement and its heirs in the New Age and Neopagan Revival, much of Crowley’s life was overshadowed by his troubles with money, students, the press and local governments—all of which consistently seem to thwart him in his latter years. Despite all that, he left a body of work, and philosophy, of unparalleled clarity and value. But in Aleister Crowley: The Beast in Berlin—Art, Sex and Magick in the Weimer Republic, we get a better look at Crowley not as a symbol, but as a man of his time. Highly recommended.” (Ultraculture, Jason Jouv, August, 2014)

“The Beast in Berlin is an inspiring and engaging narrative of Aleister Crowley in the turbulent and cathartic years of Berlin in the early 1930s. Meticulously researched and filled with just enough biographical fact, informed speculation, dirty gossip and esoteric philosophy to keep you riveted from first word to last, Crowleyan scholar Tobias Churton has spun an entertaining and eye-opening tale documenting the reckless life of outsider artists living on the edge in a city on the brink of Apocalypse. Along the way we see the Beast play chess with Fernando Pessoa, correspond with Aldous Huxley, night crawl with Christopher Isherwood, spy, paint, incant, exorcise and interact artistically and sexually with a wide range of colorful, bizarre and nondescript characters—the absolute dregs of Berlin society. Perhaps the most readable and interesting book to catch the true spirit of Frater Perdurabo.” (John Zorn, Musician, July 2014)

Download:
https://yadi.sk/d/Cc8MPl0PtN2PS

Saturday, July 16, 2016

Season of the Witch: How the Occult Saved Rock and Roll by Peter Bebergal (ePUB)


This epic cultural and historical odyssey unearths the full influence of occult traditions on rock and roll -- from the Beatles to Black Sabbath -- and shows how the marriage between mysticism and music changed our world.

From the hoodoo-inspired sounds of Elvis Presley to the Eastern odysseys of George Harrison, from the dark dalliances of Led Zeppelin to the Masonic imagery of today’s hip-hop scene, the occult has long breathed life into rock and hip-hop—and, indeed, esoteric and supernatural traditions are a key ingredient behind the emergence and development of rock and roll.

With vivid storytelling and laser-sharp analysis, writer and critic Peter Bebergal illuminates this web of influences to produce the definitive work on how the occult shaped -- and saved -- popular music.

As Bebergal explains, occult and mystical ideals gave rock and roll its heart and purpose, making rock into more than just backbeat music, but into a cultural revolution of political, spiritual, sexual, and social liberation.

Download:
https://yadi.sk/i/OBIObrd9tMNnS

Lords of Chaos: The Bloody Rise of the Satanic Metal Underground by Michael Moynihan and Didrik Søderlind (ePUB)


“An unusual combination of true crime journalism, rock and roll reporting and underground obsessiveness, Lords of Chaos turns into one of the more fascinating reads in a long time.”—Denver Post

Chronicling the rise of the Black Metal subculture and the terrifying violence by its fans, "Lords of Chaos" takes readers on a tour of this antisocial, occult-influenced ideology that encourages violence and murder.

The 2003 edition of LORDS OF CHAOS is revised and expanded, adding fifty new pages, detailing outbreaks of Black Metal crime in Finland, Germany and the United States; and includes the secret history of occult Rock, a new section on Varg Vikernes’ promulgation of bizarre Aryan UFO theories, and material on the career of Hendrik Mobus, an international neo-Nazi fugitive. This award-winning exposé features hundreds of rare photos and exclusive interrogations with priests, police officers, Satanists, and leaders of demonic bands who believe the greater evil spawns the greatest glory.

Download:
https://yadi.sk/i/A6vL6pj5tMNjh

Thursday, March 31, 2016

The Flowers of Evil: Satanic Feminists of Bohemian Paris Part 1 - Berthe de Courrière


Fin de Siècle Paris was a city in the midst of transformation. Life was in transition and nothing could hold its mercurial energy at bay. The previous century had seen the French Revolution and the Industrial Revolution, and what would come to be known as the first wave of feminism was in full swing. The so-called “New Women” were becoming increasingly visible, feminists striking out to claim their independence. The old notions of religion and morality were being turned on their heads and progress left no convention untouched.

In the midst of this maelstrom of social upheaval there could be found a darker, more esoteric current. At the end of the age of Enlightenment a new-found devotion to the esoteric and the occult welled up from the popular consciousness. This was the age of the Symbolists, the Decadents, Spiritualism, Rosicrucianism, and Satanism. From this milieu a new type of woman emerged, a woman who would not be defined by piety and obedience. These were women who embraced the spirit of the rebel angel; these were satanic feminists.

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Friday, January 22, 2016

Sex, Drugs & Magick by Robert Anton Wilson (PDF)



An excellently scanned copy.

This book can be considered a "scholarly" appraisal of both the historical and modern use (and misuse) of drugs in conjunction with sex and "occult" practices. But don't let the word "scholarly" put you off. Done in Wilson's inimitable style, this is a book filled with humor, cynicism, wonder and essential information for those who would pursue what can be an immensely rewarding path, potholed with an array of social and physical dangers.

Download:
http://www39.zippyshare.com/v/XOXS0ZrV/file.html

Sunday, January 10, 2016

The Greatest Fake Religion of All Time


Over fifty years ago, a group of pranksters founded a satiric religion devoted to creating conspiracy theories so insane that nobody would ever believe uncritically in conspiracies again. They called themselves the Discordians. And their weird ideas are still influencing us today.

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Wednesday, December 30, 2015

RE/SEARCH #6/7: Industrial Culture Handbook


Essential library reference guide to the deviant performance artists and musicians of the Industrial Culture moment: Survival Research Laboratories, Throbbing Gristle, Cabaret Voltaire, SPK, Non, Monte Cazazza, Johanna Went, Sordide Sentimental, R&N, and Z’ev…

Table of contents:
 – Throbbing Gristle
– Mark Pauline
– Cabaret Voltaire
– Non
– Monte Cazazza
– Sordide Sentimental
– SPK
– Z’ev
– Johanna Went
– R&N

Why Churchill Used Crowleys V For Victory


During World War II symbolism played a bigger role than most of us are aware of. The Nazis chose the swastika because it traditionally wielded immense power of Sun and solar energy. Aleister, having the ear of Winston Churchill at the time, advised him to use the “V for Victory” sign. The “V for Victory” was created by Crowley because of its association with Apophis and Typhon made it the perfect choice. Crowley claimed that this symbol was as powerful as the swastika and it left the Nazis very much afraid. So afraid in fact that the OT.O. was the first 'Masonic' order to be banned in Nazi Germany.

Thursday, December 24, 2015

How a Rebellious Scientist Uncovered the Surprising Truth About Stereotypes


At the back of a small room at Coogee Beach, Sydney, I sat watching as a psychologist I had never heard of paced the room gesticulating. His voice was loud. Over six feet tall, his presence was imposing. It was Lee Jussim. He had come to the Sydney Symposium of Social Psychology to talk about left-wing bias in social psychology.
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Sunday, December 6, 2015

Ladies & Gentlemen of A.D. 2088



Back in 1988, as part of an ad campaign to be printed in Time magazine, Volkswagen approached a number of notable thinkers and asked them to write a letter to the future—some words of advice to those living in 2088, to be precise. Many agreed, including novelist Kurt Vonnegut; his letter can be read below.

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Friday, July 24, 2015

In Defense of Prejudice: Why Incendiary Speech Must Be Protected by Jonathan Rauch


In the past year, groups and factions that agree on nothing else have agreed that the public expression of any and all prejudices must be forbidden.  This is dangerous.

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Thursday, July 16, 2015


Who needs direct repression when one can convince the chicken to walk freely into the slaughterhouse?
—  Slavoj Žižek

Tuesday, July 14, 2015

Man by Aleister Crowley


                                             What is man, that thou art mindful of him?

Man being the subject of these Essays, it is first proper to explain what will be meant therein by the word.

Man is a microcosm: that is, an image (concentrated around the point of consciousness) of the macrocosm, or Universe. This Theorem is guaranteed by the hylo-idealistic demonstration that the perceptible Universe is an extension, or phantasm, of the nervous system.

It follows that all phenomena, internal and external, may be classified for the purpose of discussing their observed relations, in any manner which experience may show to be the most convenient. (Examples: the elaborate classifications of science, chemical, physical, etc., etc. There is no essential truth in any of these aids to thinking: convenience is the sole measure.) Now for the purposes of analysing the spiritual nature of man, of recording and measuring his experiences in this kind, of planning his progress to loftier heights of attainment, several systems have been devised. That of the Abhidhamma is on the surface alike the most practical, the most scientific, and the most real; but for European students it is certainly far too unwieldly, to say nothing of other lines of criticism.

Therefore, despite the danger of vagueness involved in the use of a system whose terms are largely symbolic, I have, for many reasons, preferred to present to the world as an international basis for classification, the classico-mathematical system which is vulgarly and erroneously (though conveniently) called the Qabalah.

The Qabalah, that is, the Jewish Tradition concerning the initiated interpretation of their Scriptures, is mostly either unintelligible or nonsense. But it contains as it ground-plan the most precious jewel of human thought, that geometrical arrangement of names and numbers which is called the Tree of Life. I call it the most precious, because I have found it the most convenient method hitherto discovered of classifying the phenomena of the Universe, and recording their relations. Whereof the proof is the amazing fertility of thought which has followed my adoption of this scheme.

Since all phenomena soever may be referred to the Tree of Life (which may be multiplied or subdivided at will for convenience' sake) it is evidently useless to attempt any complete account of it. The correspondences of each unit—the Ten Sephiroth and the Two-and-Twenty Paths—are infinite. The art of using it consists principally in referring all our ideas to it, discovering thus the common nature of certain things and the essential differences between others, so that ultimately one obtains a simple view of the incalculably vast complexity of the Universe.

The whole subject must be studied in the Book 777, and the main attributions committed to memory: then when by constant use the system is at last understood—as opposed to being merely memorised—the student will find fresh light break in on him at every turn as he continues to measure every item of new knowledge that he attains by this Standard. For to him the Universe will then begin to appear as a coherent and a necessary Whole.

For the purpose of studying these Little Essays, it will be sufficient if a bare outline of the Cosmic Theory which they imply be given: but it may be added that, the fuller the comprehension of the Tree of Life which the reader brings to them, the clearer will their thought appear, and the more cogent their conclusions.

(1) Jechidah

This is the quintessential principle of the Soul, that which makes man at the same time identical with every other spark of Godhead, and different (as regards his point-of-view, and the Universe of which it is the centre) from all others. It is a Point, possessing only position; and that position is only definable by reference to co-ordinate exes, to secondary principles, which only pertain to it per accidents, and must be postulated as our conception grows.

(2) Chiah.

This is the Creative Impulse or Will of Jechidah, the energy which demands the formulation of the co-ordinate axes aforesaid, so that Jechidah may obtain self-realisation, a formal understanding of what is implicit in its nature, of its possible qualities.

(3) Neschamah.

This is the faculty of understanding the Word of Chiah. It is the intelligence or intuition of what Jechidah wishes to discover about itself.

These three principles constitute a Trinity; they are one, because they represent the being, and apparatus which will make the manifestation possible, of a God, in manhood. But they are only, so to speak, the mathematical structure of man's nature. One might compare them with the laws of physics as they are before they are discovered. There are as yet no data by whose examination they may be discerned.

A conscious man, according, cannot possibly know anything of these three principles, although they constitute his essence. It is the work of Initiation to journey inwards to them. See, in the Oath of a Probationer of A∴A∴ "I pledge myself to discover the nature and powers of my own Being."

this triune principle being wholly spiritual, all that can be said about it is really negative. And it is complete in itself. Beyond it stretches what is called The Abyss. This doctrine is extremely difficult to explain; but it corresponds more or less to the gap in thought between the Real, which is ideal, and the Unreal, which is actual. In the Abyss all things exist, indeed, at least in posse, but are without any possible meaning; for they lack the substratum of spiritual Reality. They are appearances without Law. They are thus Insane Delusions.

Now the Abyss being thus the great storehouse of Phenomena, it is the source of all impressions. And the Triune Principle has intended a machine for investigating the Universe; and this machine is the fourth Principle of Man.

(4) Ruach

This may be translated Mind, Spirit, or Intellect: none of these is satisfactory, the connotation varying with every writer. The Ruach is a closely-knitted group of Five Moral and Intellectual principles, concentrated on their core, Tiphareth, the Principle of Harmony, the Human Consciousness and Will of which the four other Sephiroth are (so to speak) the feelers. And these five principles culminate in a sixth, Daäth, Knowledge. But this is not really a principle; it contains in itself the germ of self-contradiction and so of self-destruction. It is a false principle: for. as soon as Knowledge is analysed, it breaks up into the irrational dust of the Abyss.

Man's aspiration to Knowledge is thus simply a false road: it is to spin ropes of sand.

We cannot here enter into the doctrine of the "Fall of Adam," invented to explain in parable how it is that the Universe is so unfortunately constituted. We are concerned only with the observed facts.

All these mental and moral faculties of the Ruach, while not purely spiritual like the Supernal Triad, are still, as it were, "in the air." To be of use, they need a basis through which to receive impressions, much as a machine requires fuel and fodder before it can manufacture the article which it is designed to produce.

(5) Nephesch.

This is usually translated the "Animal Soul." It is the vehicle of the Ruach, the instrument by which the Mind is brought into contact with the dust of Matter in the Abyss, that it may feel it, judge it, and react to it. This is itself a principle still spiritual, in a sense; the actual body of man os composed of the dust of Matter, temporarily held together by the Principles which inform it, for their own purposes, and ultimately for the supreme purposes of self-realisation of Jechidah.

But Nephesch, devised as it is with no other object that the direct traffic with Matter, tends to partake of its incoherence. Its faculties of perceiving pain and pleasure lure it into paying undue attention to one set of phenomena, into shunning another. Hence, for the Nephesch to do its work as it should, it requires to be dominated by the severest discipline. Nor is the Ruach itself to be trusted in this matter. It has its own tendencies to weakness and injustice. It tries every trick—and it is diabolically clever—to arrange its business with Matter in the sense most convenient to its inertia, without the smallest consideration of its duty to the Supernal Triad, cut off as that is from its comprehension; indeed, unsuspecting as it normally is of its existence.

What then determines Tiphareth, the Human Will, to aspire to comprehend Neschamah, to submit itself to the divine Will of Chiah?

Nothing but the realisation, born sooner or later of agonising experience, that its whole relation through Ruach and Nephesch with Matter, i.e., with the Universe, is, and must be, only painful. The senselessness of the whole procedure sickens it. It begins to seek for some menstruum in which the Universe may become intelligible, useful and enjoyable. In Qabalistic language, it aspires to Neschamah.

This is what we mean in saying that the Trance of Sorrow is the motive of the Great Work.

This "Trance of Sorrow" (which must be well-distinguished from any petty personal despair, and "conviction of sin," or other black magical imitations) being cosmic in scope, comprehending all phenomena actual or potential, is then already an Opening of the Sphere of Neschamah. The awareness of one's misfortune is itself an indication of the remedy. It sets the seeker on the right road, and as he develops his Neschamah he soon attains other Experiences of this high order. Her learns the meaning of his own true Will, to pronounce his own Word, to identify himself with Chiah.

Finally, realising Chiah as the dynamic aspect of Jechidah, he becomes that pure Being, at once universal and individual, equally nothing, One, and All.

It is of the essence of the Ideas of the Supernal Triad that the Laws of Reason which apply to intellectual functions are no longer operative. Hence it is impossible to convey the nature of these Experiences in rational language. Further, their scope is infinite in every direction, so that it would be futile to attempt to enumerate or to describe them in detail. All that one can do is to note the common types in very general language, and to indicate what experience has shown to be the most useful main lines of research.

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