aleister crowley - magic in theory and practice.pdf

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MAGIC IN THEORY AND PRACTICE
1
Magic in Theory and
Practice
by Aleister Crowley
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MAGIC IN THEORY AND PRACTICE
2
LIMITED LICENSE
Except for notations added to the history of
modification, the text on this diskette down to the next
row of asterisks must accompany all copies made of this
file. In particular, this paragraph and the copyright
notice are not to be deleted or changed on any copies or
print-outs of this file. With these provisos, anyone may
copy this file for personal use or research. Copies may be
made for others at reasonable cost of copying and mailing
only, no additional charges may be added.
***********************************************************
**************
Pages in the original are marked thus at the bottom: {page
number}
Comments and notes not in the original are identified with
the initials of the source: AC note = Crowley note. WEH
note = Bill Heidrick note, etc.
footnotes have been moved up to the point of citation in
the text and set off by <<... >> just before and after the
note.
***********************************************************
***************
Do what thou wilt shall be the whole of the Law
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MAGIC IN THEORY AND PRACTICE
3
MAGICK
IN THEORY AND
PRACTICE
by
The Master Therion
Aleister Crowley
{Based on Castle Books edition of NewYork}
HYMN TO PAN
epsilon-phi-rho-iota-xi epsilon-rho-omega-tau-iota pi-
epsilon-rho-iota-alpha-rho-chi-eta-sigma delta alpha-nu-
epsilon-pi-tau-omicron-mu-alpha-nu
iota-omega iota-omega pi-alpha-nu pi-alpha-nu
omega -pi-alpha-nu pi-alpha-nu alpha-lambda-iota-pi-
lambda-alpha-gamma-chi-tau-epsilon, chi-upsilon-lambda-
lambda-alpha-nu-iota-alpha-sigma chi-iota-omicron-nu-
omicron-chi-tau-upsilon-pi-omicron-iota
pi-epsilon-tau-rho-alpha-iota-alpha-sigma alpha-pi-
omicron delta-epsilon-iota-rho-alpha-delta-omicron-sigma
phi-alpha-nu-eta-theta, omega
theta-epsilon-omega-nu chi-omicron-rho-omicron-pi-
omicron-iota alpha-nu-alpha-xi
SOPH. AJ.
Thrill with lissome lust of the light,
O man! My man!
Come careering out of the night
Of Pan! Io Pan!
Io Pan! Io Pan! Come over the sea
From Sicily and from Arcady!
Roaming as Bacchus, with fauns and pards
And nymphs and satyrs for thy guards,
On a milk-white ass, come over the sea
To me, to me,
Come with Apollo in bridal dress
(Shepherdess and pythoness)
Come with Artemis, silken shod,
And wash thy white thigh, beautiful God,
In the moon of the woods, on the marble mount,
The dimpled dawn of the amber fount!
Dip the purple of passionate prayer
In the crimson shrine, the scarlet snare,
The soul that startles in eyes of blue {V}
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MAGIC IN THEORY AND PRACTICE
4
To watch thy wantonness weeping through
The tangled grove, the gnarled bole
Of the living tree that is spirit and soul
And body and brain --- come over the sea,
(Io Pan! Io Pan!)
Devil or god, to me, to me,
My man! my man!
Come with trumpets sounding shrill
Over the hill!
Come with drums low muttering
From the spring!
Come with flute and come with pipe!
Am I not ripe?
I, who wait and writhe and wrestle
With air that hath no boughs to nestle
My body, weary of empty clasp,
Strong as a lion and sharp as an asp ---
Come, O come!
I am numb
With the lonely lust of devildom.
Thrust the sword through the galling fetter,
All-devourer, all-begetter;
Give me the sign of the Open Eye,
And the token erect of thorny thigh,
And the word of madness and mystery,
O Pan! Io Pan!
Io Pan! Io Pan Pan! Pan Pan! Pan,
I am a man:
Do as thou wilt, as a great god can,
O Pan! Io Pan!
Io Pan! Io Pan Pan! I am awake
in the grip of the snake.
The eagle slashes with beak and claw;
The gods withdraw:
The great beasts come, Io Pan! I am borne
To death on the horn
Of the Unicorn.
I am Pan! Io Pan! Io Pan Pan! Pan! {VI}
I am thy mate, I am thy man,
Goat of thy flock, I am gold, I am god,
Flesh to thy bone, flower to thy rod.
With hoofs of steel I race on the rocks
Through solstice stubborn to equinox.
And I rave; and I rape and I rip and I rend
Everlasting, world without end,
Mannikin, maiden, Maenad, man,
In the might of Pan.
Io Pan! Io Pan Pan! Pan! Io Pan!
-------------
{VII}
{Illustration on page VIII described:
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MAGIC IN THEORY AND PRACTICE
5
This is the set of photos originally published facing
page 12 in EQUINOX I, 2 and titled there: "The Signs of
the Grades."
These are arranged as ten panels: * * * *
* *
* *
*
*
In this re-publication, the original half-tones have
been redone as line copy. Each panel consists of an
illustration of a single human in a black Tau robe,
barefoot with hood completely closed over the face. The
hood displays a six-pointed figure on the forehead ---
presumably the radiant eye of Horus of the A.'. A.'., but
the rendition is too poor in detail. There is a cross
pendant over the heart. The ten panels are numbered in
black in the lower left corner.
The panels are identified by two columns of numbered
captions, 1 to 6 to the left and 7 to 10 to the right. The
description is bottom to top and left to right:
"1. Earth: the god Set fighting." Frontal figure. Rt. foot
pointed to the fore and angled slightly outward with weight
on ball of foot. Lf. heel almost touching Rt. heel and
foot pointed left. Arms form a diagonal with body, right
above head and in line with left at waist height. Hands
palmer and open with fingers outstretched and together.
Head erect.
"2. Air: The god Shu supporting the sky." Frontal. Heels
together and slightly angled apart to the front, flat on
floor. Head down. Arms angled up on either side of head
about head 1.5 ft. from head to wrist and crooked as if
supporting a ceiling just at head height with the finger
tips. The palms face upward and the backs of the hands
away from the head. Thumbs closed to side of palms.
Fingers straight and together.
"3. Water: the goddess Auramoth." Same body and foot
position as #2, but head erect. Arms are brought down over
the chest so that the thumbs touch above the heart and the
backs of the hands are to the front. The fingers meet
below the heart, forming between thumbs and fingers the
descending triangle of water.
"4. Fire: the goddess Thoum-aesh-neith." Frontal. Head
and body like #3. Arms are angled so that the thumbs meet
in a line over the brow. Palmer side facing. Fingers meet
above head, forming between thumbs and fingers the
ascending triangle of fire.
"5,6. Spirit: the rending and closing of the veil." Head
erect in both. #5 has the same body posture as #1, except
that the left and right feet are countercharged and flat on
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