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The Book of the Sacred Magic of Abramelin the Mage-originally published in 1900, translated by Samuel Mathers from a 15th-century French document-was purportedly written by Abraham for his son Lamech. Within this volume are three books. The first book is Abraham's autobiography in which he speaks to his son. The second book is an explanation of the purification rituals necessary to bring the magician's personal demon under his control. And the third book details what feats can be accomplished once the practitioner is able to use a form of magic controlled and directed through sigils of magic words written on a grid. Anyone with an interest in the occult will find this an interesting, though perhaps impractical, guide for exploring mystic arts.
This remarkable grimoire was translated by S.L.M. Mathers from a 15th century French mauscript. This text has had a huge influence on modern ceremonial magic, and has been cited as a primary influence on Aleister Crowley. Abraham of Würzburg, a cabalist and scholar of magic, describes a quest for the secret teachings which culminated in Egypt, where he encountered the magician Abramelin, who taught him his system in detail. The procedure involves many months of purification, followed by the invocation of good and evil spirits to accomplish some very worldly goals, including acquisition of treasure and love, travel through the air and under water, and raising armies out of thin air. It also tells of raising the dead, transforming ones appearance, becoming invisible, and starting storms. The key to this is a set of remarkable magic squares, sigils consisting of mystical words which in most cases can be read in several directions. Of course, these diagrams are said to have no potency unless used in the appropriate ritual context by an initiate. Mathers analyzed these words in an extensive set of notes and gives possible derivations from Hebrew, Greek and other languages.
For the first time since its initial translation into English at the turn of the century, Jason Newcomb has reinterpreted the sacred magic of Abramelin the Mage into a completely relevant program for contemporary seekers. In the thirty-one chapters of 21st Century Mage , Newcomb has reinvented the "Knowledge and Conversation of Your Holy Guardian Angel" ritual. He lays out a course of practice and prayer -- and introduces a whole new generation to the Crowleyan esthetic. Thought to be the simplest and most effective explanation of secret Western doctrine, The Book of the Sacred Magic of Abramelin the Mage, a 15th century text, laid the foundation for the nineteenth century occult group, the Hermetic Order of the Golden Dawn, and set young Aleister Crowley on his spiritual quest. This is the book that served as the cornerstone of Crowley's lifelong practice. Newcomb's hip, non-denominational reinterpretation requires only openness to the universe and a yearning for understanding and transcendental knowledge. Describing himself as a skeptical and pragmatic mystic, Newcomb shows how drug abuse, sexual compulsion, overeating, fanaticism in all its permutations, are all misplaced yearnings for the "Knowledge and Conversation of Your Holy Guardian Angel." Jason Newcomb combines ideas and exercises from writers through the ages with the Abramelin techniques he himself has used to lose weight and quit smoking.
The Book of the Sacred Magic of Abramelin the Mage is a 15th-century grimoire, or book of magic, that includes instructions on how an individual can make contact with their Holy Guardian Angel. Few occultists have dared to follow the instructions, known as the "operation," hidden within the text. Fewer yet have been successful. Even the famous Aleister Crowley failed to complete it. Over a six-month period in 1977, Ramsey Dukes attempted the Abramelin operation. The Abramelin Diaries is his account of what transpired when he attempted to contact his Holy Guardian Angel. It provides a retrospective commentary on what the operation did for Dukes, along with its value and significance. It also includes a brief history of The Book of the Sacred Magic of Abramelin the Mage and its magical tradition. This is a book for serious occultists only.
The particular scheme or system of Magic advocated in the present work is to an extent "sui generis," but to an extent only. It is rather the manner of its application which makes it unique. In Magic, that is to say, the Science of the Control of the Secret Forces of Nature, there have always been two great schools, the one great in Good, the other in Evil the former the Magic of Light, the latter that of Darkness the former usually depending on the knowledge and invocation of the Angelic natures, the latter on the method of evocation of the Demonic races. Usually the former is termed White Magic, as opposed to the latter, or Black Magic.The invocation of Angelic Forces, then, is an idea common in works of Magic, as also are the Ceremonies of Pact with and submission to the Evil Spirits. The system, however, taught in the present work is based on the following conception: () That the Good Spirits and Angelic Powers of Light are superior in Power to the Fallen Spirits of Darkness. () That these latter as a punishment have been condemned to the service of the Initiates of the Magic of Light. (This Idea is to be found also in the Kôran; or, as it is frequently and perhaps more correctly written, "Qûr-an".) () As a consequence of this doctrine, all ordinary material effects and phenomena are produced by the labour of the Evil Spirits under the command usually of the Good. () That consequently whenever the Evil Demons can escape from the control of the Good, there is no evil that they will not work by way of vengeance. () That therefore sooner than obey man, they will try to make him their servant, by inducing him to conclude Pacts and Agreements with them. () That to further this project, they will use every means that offers to obsess him. () That in order to become an Adept, therefore, and dominate them; the greatest possible firmness of will, purity of soul and intent, and power of self-control is necessary. () That this is only to be attained by self-abnegation on every plane. () That man, therefore, is the middle nature, and natural controller of the middle nature between the Angels and the Demons, and that therefore to each man is attached naturally both a Guardian Angel and a Malevolent Demon, and also certain Spirits that may become Familiars, so that with him it rests to give the victory unto the which he will. () That, therefore, in order to control and make service of the Lower and Evil, the knowledge of the Higher and Good is requisite
2011 Reprint of 1898 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. This remarkable grimoire was translated by S.L.M. Mathers from a 15th century French mauscript. This text has had a huge influence on modern ceremonial magic, and has been cited as a primary influence on Aleister Crowley. Abraham of Wurzburg, a cabalist and scholar of magic, describes a quest for the secret teachings which culminated in Egypt, where he encountered the magician Abramelin, who taught him his system in detail. The procedure involves many months of purification, followed by the invocation of good and evil spirits to accomplish some very worldly goals, including acquisition of treasure and love, travel through the air and under water, and raising armies out of thin air. It also tells of raising the dead, transforming ones appearance, becoming invisible, and starting storms. The key to this is a set of remarkable magic squares, sigils consisting of mystical words which in most cases can be read in several directions. Of course, these diagrams are said to have no potency unless used in the appropriate ritual context by an initiate. Mathers analyzed these words in an extensive set of notes and gives possible derivations from Hebrew, Greek and other languages.
In this provocative book, Marla Segol explores the development of the kabbalistic cosmology underlying Western sex magic. Drawing extensively on Jewish myth and ritual, Segol tells the powerful story of the relationship between the divine and the human body in late antique Jewish esotericism, in medieval kabbalah, and in New Age ritual practice. Kabbalah and Sex Magic traces the evolution of a Hebrew microcosm that models the powerful interaction of human and divine bodies at the heart of both kabbalah and some forms of Western sex magic. Focusing on Jewish esoteric and medical sources from the fifth to the twelfth century from Byzantium, Persia, Iberia, and southern France, Segol argues that in its fully developed medieval form, kabbalah operated by ritualizing a mythos of divine creation by means of sexual reproduction. She situates in cultural and historical context the emergence of Jewish cosmological models for conceptualizing both human and divine bodies and the interactions between them, arguing that all these sources position the body and its senses as the locus of culture and the means of reproducing it. Segol explores the rituals acting on these models, attending especially to their inherent erotic power, and ties these to contemporary Western sex magic, showing that such rituals have a continuing life. Asking questions about its cosmology, myths, and rituals, Segol poses even larger questions about the history of kabbalah, the changing conceptions of the human relation to the divine, and even the nature of religious innovation itself. This groundbreaking book will appeal to students and scholars of Jewish studies, religion, sexuality, and magic.
In many ways, Arbatel is unique among texts on magic. Unlike the vast majority of writings, it is clear, concise, and elegantly written. The practical instructions are straightforward and undemanding. When it first appeared in 1575, it attracted the attention of people with a surprisingly broad range of agendas, including some of the finest minds of the time. Often quoted and reprinted, both praised and condemned, its impact on western esoteric philosophy has been called "overwhelming."Arbatel's magic is full of wonder and free from the sinister elements usually associated with texts on the subject. But it is about more than magic; filled with gnomic wisdom, it urges us to help our neighbors, be positive and grateful, and use time wisely. Above all, it teaches us to pay attention, looking for the wondrous and miraculous. In fact, to the author this virtually defines the magus. * Included are illustrations, bibliography, index, and original Latin text. * First English translation published since in 1655.
A “deeply researched and brilliantly written” blueprint to the criminal possibilities in the world all around us (Warren Ellis, author of Gun Machine). At the core of A Burglar’s Guide to the City is an unexpected and thrilling insight: how any building transforms when seen through the eyes of someone hoping to break into it. Studying architecture the way a burglar would, Geoff Manaugh takes readers through walls, down elevator shafts, into panic rooms, and out across the rooftops of an unsuspecting city. Encompassing nearly two thousand years of heists and break-ins, the book draws on the expertise of reformed bank robbers, FBI special agents, private security consultants, the LAPD Air Support Division, and architects past and present. Whether discussing how to pick padlocks, climb the walls of high-rise apartments, find gaps in a museum’s surveillance routine, or discuss home invasions in ancient Rome, A Burglar’s Guide to the City ensures readers will never enter a bank again without imagining how to loot the vault, or walk down the street without planning the perfect getaway. Praise for A Burglar’s Guide to the City “This burglar’s guide isn’t for ordinary smash-and-grab burglars, it’s for the rest of us—who steal in, steal out, and get away with glorious dreams. A spectacularly fun read.” —Robert Krulwich, cohost of Radiolab “Who knew that urban studies could be so riveting? Geoff Manaugh excels at finding new, illicit, and fresh angles on a subject as loved as it is overexposed—the city. In his new book, elegant, perverse, sinuous supervillains maneuver and master the city like parkour champions. I see the TV series already.” —Paola Antonelli, design curator, MoMA