Magick in Theory and Practice (Section 1)

and there is a certain magical voice in which they should be recited. This spécial voice was a natural gift of the Master Therion; but it can be easily taught — to the right people. Various considérations impelled Him to attempt conjurations in the English language. There already existed one example, the charm of the witches in Macbeth ; although this was perhaps not meant seriously, its effect is indubitable. * 1 He has found iambic tetrameters enriched with many rimec both internai and external very useful. “The Wizard Way” (Equinox 1,1) gives a good idea of the sort of thing. So does the Evocation of Bartzabel in Equinox I, IX. There are many extant invocations throughout his works, in many kinds of métré, of many kinds of being, and for many kinds of purposes. (See Appendix). Other methods of incantation are on record as efficacious. For instance Frater I. A., when a child, was told that he could invoke the devil by repeating the “Lord’s Prayer” backwards. He went into the garden and did so. The Devil appeared., and almost scared him out of his life. It is therefore not quite certain in what the efficacy of conjura¬ tions really lies. The peculiar mental excitement required may even be aroused by the perception of the absurdity of the process, and the persistence in it, as when once Frater Perdurabo (at the end of His magical resources) recited “From Greenland’s Icy Mountains”, and obtained His resuit. 1 It may be conceded in any case that the long strings of formidable words which roar and moan through so many conjurations hâve a real effect in exalting the consciousness of the magician to the proper pitch — that they should do so is no more extraordinary than music of any kind should do so. Magicians hâve not confined themselves to the use of the human voice. The Pan-pipe with its seven stops, corresponding to the seven planets, the bull-roarer, the tom-tom, and even the violin, hâve ail been used, as well as many others, of which the I. A true poet cannot help revealing himself and the truth of things in his art, whether he be aware of what he is writing, or no. I. See “Eleusis”, A. Crowley, Collected Works, Vol. III Epilogue. — 69