Magick in Theory and Practice (Section 4)

(b) The tendency to perspiration will stop as the practice is continue^ and the body become automatically rigid. Describe this rigidity with minute accuracy. (c) The State of automatic rigidity will develop into a State characterised by violent spasmodic movements of which the Practitioner is unconscious, but of whose resuit he is aware. This resuit is that the body hops gently from place to place. After the first two or three occurrences of this expérience, Asana is not lost. The body appears (on another theory) to hâve lost its weight almost completely and to be moved by an unknown force. (d) As a development of this stage, the body rises into the air, and remains there for an appreciably long period, from a second to an hour or more. Let him further investigate any mental results w’hich may occur. 6. Third Practice. — In order both to économisé his time and to develop his powers, let the Zelator practise the deep full breathing which his preliminary exercises will hâve taught him during his walks. Let him repeat a sacred sentence (mantra) or let him count, in such a way that his footfall beats accurately with the rhythm thereof, as is done in dancing. Then let him practise Pranayama, at first without the Kumbhakam, and paying no atten¬ tion to the nostrils otherwise than to keep them clear. Let him begin by an indrawing of the breath for 4 paces, and a breathing out for 4 paces. Let him increase this gradually to 6.6, 8.8, 12.12, 16.16 and 24.24, or more if he be able. Next let him practise in the proper proportion 4.8, 6.12, 8.16, 12.24 and so on. Then if he choose, let him recommence the sériés, adding a gradually increasing period of Kumbhakam. 7. Fourth fractice. — Following on this third practice, let him quicken his mantra and his pace until the walk develops into a dance. This may also be practised with the ordinary waltz step, using a mantra in three-time, such as iizzküov, étusAÔov, ApTspaç; or Iaoj Iao Sabao; in such cases the practice may be combined with dévotion to a particular deity: see Liber CLXXV. For the dance as such it is better to use a mantra of a non-committal character, such as J 0 aval, lo KaAov, To Ayaôov, or the like. — 406