OF THE GESTURES
This chapter may be divided into the following parts:
1. Attitudes.
2. Circumambulations (and similar movements).
3. Changes of position (This depends upon the theory of the construction
of the circle).
4. The Knocks or Knells.
I
Attitudes are of two Kinds: natural and artificial.
Of the first kind, prostration is the obvious example. It comes natural
to man (poor creature!) to throw himself to the ground in the presence
of the object of his adoration.
Intermediate between this and the purely artificial form
of gesture comes a class which depends on acquired habit. Thus it
is natural to an European officer to offer his sword in token of surrender.
A Tibetan would, however, squat, put out his tongue, and place his hand
behind his right ear.
Purely artificial gestures comprehend in their class the
majority of definitely magick signs, though some of these simulate a natural
action --- e.g. the sign of the Rending of the Veil. But the sign
of Auramoth (see Equinox I, II, Illustration "The Signs of the Grades")
merely imitates a hieroglyph which has only a remote connection with any
fact in nature. All signs must of course be studied with infinite
patience, and practised until the connection {79} between them and the
mental attitude which they represent appears "necessary."
II
The principal movement in the circle is circumambulation.
This has a very definite result, but one which is very difficult to describe.
An analogy is the dynamo. Circumambulation properly performed in
combination with the Sign of Horus (or "The Enterer") on passing the East
is one of the best methods of arousing the macrocosmic force in the Circle.
It should never be omitted unless there be some special reason against
it.
A particular tread seems appropriate to it. This
tread should be light and stealthy, almost furtive, and yet very purposeful.
It is the pace of the tiger who stalks the deer.
The number of circumambulations should of course correspond
to the nature of the ceremony.
Another important movement is the spiral, of which there
are two principal forms, one inward, one outward. They can be performed
in either direction; and, like the circumambulation, if performed deosil<>
they invoke --- if widdershins<> they banish<>. In the spiral
the tread is light and tripping, almost approximating to a dance: while
performing it the magician will usually turn on his own axis, either in
the same direction as {80} the spiral, or in the opposite direction.
Each combination involves a different symbolism.
There is also the dance proper; it has many different
forms, each God having his special dance. One of the easiest and
most effective dances is the ordinary waltz-step combined with the three
signs of L.V.X. It is much easier to attain ecstasy in this way than
is generally supposed. The essence of the process consists in the
struggle of the Will against giddiness; but this struggle must be prolonged
and severe, and upon the degree of this the quality and intensity of ecstasy
attained may depend.
With practice, giddiness is altogether conquered; exhaustion
then takes its place and the enemy of Will. It is through the mutual
destruction of these antagonisms in the mental and moral being of the magician
that Samadhi is begotten.
III
Good examples of the use of change of position are given in the
manuscripts Z.1 and Z.3;<> explanatory of the Neophyte Ritual of the
G.'. D.'., where the candidate is taken to various stations in the Temple,
each station having a symbolic meaning of its own; but in pure invocation
a better example is given in Liber 831<>.
In the construction of a ceremony an important thing to
decide is whether you will or will not make such movements. For every
Circle has its natural symbolism, and even if no use is to be made of these
facts, one must be careful not to let anything be inharmonious with the
natural attributions.<> For the sensitive aura of the magician
might be disturbed, and the value of the ceremony completely destroyed,
by the embarrassment caused by the discovery of some such error, just as
if a pre-occupied T-totaller found that he had strayed into a Temple of
the Demon Rum! It is therefore impossible to neglect the theory of
the Circle. {81}
To take a simple example, suppose that, in an Evocation
of Bartzabel, the planet Mars, whose sphere is Geburah (Severity) were
situated (actually, in the heavens) opposite to the Square of Chesed (Mercy)
of the Tau in the Circle, and the triangle placed accordingly. It
would be improper for the Magus to stand on that Square unless using this
formula, "I, from Chesed, rule Geburah through the Path of the Lion"; while
--- taking an extreme case --- to stand on the square of Hod (which is
naturally dominated by Geburah) would be a madness which only a formula
of the very highest Magick could counteract.
Certain positions, however, such as Tiphareth<>, are
so sympathetic to the Magus himself that he may use them without reference
to the nature of the spirit, or of the operation; unless he requires an
exceptionally precise spirit free of all extraneous elements, or one whose
nature is difficulty compatible with Tiphareth.
To show how these positions may be used in conjunction
with the spirals, suppose that you are invoking Hathor, Goddess of Love,
to descend upon the Altar. Standing on the square of Netzach you
will make your invocation to Her, and then dance an inward spiral deosil
ending at the foot of the altar, where you sink on your knees with your
arms raised above the altar as if inviting Her embrace.<>
To conclude, one may add that natural artistic ability, of you
possess it, forms an excellent guide. All Art is Magick.
Isadora Duncan has this gift of gesture in a very high
degree. Let the reader study her dancing; if possible rather in private
than in public, and learn the superb "unconsciousness" --- which is magical
consciousness --- with which she suits the action to the melody.<>
There is no more potent means than Art of calling forth
true Gods to visible appearance.
IV
The knocks or knells are all of the same character.
They may be described collectively --- the difference between them consists
only in this, that the instrument with which they are made seals them with
its own special properties. It is of no great importance (even so)
whether they are made by clapping the hands or stamping the feet, by strokes
of one of the weapons, or by the theoretically appropriate instrument,
the bell. It may nevertheless be admitted that they become more important
in the ceremony if the Magician considers it worth while to take up<>
an instrument whose single purpose is to produce them.
Let it first be laid down that a knock asserts a connection between
the Magician and the object which he strikes. Thus the use of the
bell, or of the hands, means that the Magician wishes to impress the atmosphere
of the whole circle with what has been or is about to be done. He
wishes to formulate his will in sound, and radiate it in every direction;
moreover, to influence that which lives by breath in the sense of his purpose,
and to summon it to bear witness to his Word. The hands are used
as symbols of his executive power, the bell to represent his consciousness
exalted into music. To strike with the wand is to utter the fiat
of creation; the cup vibrates with his delight in receiving spiritual wine.
A blow with the dagger is like the signal for battle. The disk is
used to express the throwing down of the price of one's purchase.
To stamp with the foot is to declare one's mastery of the matter in hand.
Similarly, any other form of giving knocks has its own virtue. From
the above examples the intelligent student will have perceived the method
of interpreting each individual case that may come in question.
As above said, the object struck is the object impressed.
Thus, a blow upon the altar affirms that he has complied with the laws
of his operation. To strike the lamp is to summon the Light divine.
Thus for the rest.
It must also be observed that many combinations of ideas
are made possible by this convention. To strike the wand within the
cup is to apply the creative will to its proper complement, and so {83}
perform the Great Work by the formula of Regeneration. To strike
with the hand on the dagger declares that one demands the use of the dagger
as a tool to extend one's executive power. The reader will recall
how Siegfried smote Nothung, the sword of Need, upon the lance of Wotan.
By the action Wagner, who was instructed how to apply magical formulae
by one of the heads of our Order, intended his hearers to understand that
the reign of authority and paternal power had come to an end; that the
new master of the world was intellect.
The general object of a knock or a knell is to mark a
stage in the ceremony. Sasaki Shigetz tells us in his essay on Shinto
that the Japanese are accustomed to clap their hands four times "to drive
away evil spirits". He explains that what really happens is that
the sudden and sharp impact of the sound throws the mind into an alert
activity which enables it to break loose from the obsession of its previous
mood. It is aroused to apply itself aggressively to the ideals which
had oppressed it. There is therefore a perfectly rational interpretation
of the psychological power of the knock.
In a Magical ceremony the knock is employed for much the
same purpose. The Magician uses it like the chorus in a Greek play.
It helps him to make a clean cut, to turn his attention from one part of
his work to the next.
So much for the general character of the knock or knell.
Even this limited point of view offers great opportunities to the resourceful
Magician. But further possibilities lie to our hand. It is
not usually desirable to attempt to convey anything except emphasis, and
possibly mood, by varying the force of the blow. It is obvious, moreover,
that there is a natural correspondence between the hard loud knock of imperious
command on the one hand, and the soft slurred knock of sympathetic comprehension
on the other. It is easy to distinguish between the bang of the outraged
creditor at the front, and the hushed tap of the lover at the bedroom,
door. Magical theory cannot here add instruction to instinct.
But a knock need not be single; the possible combinations
are evidently infinite. We need only discuss the general principles
of determining what number of strokes will be proper in any case, {84}
and how we may interrupt any series so as to express our idea by means
of structure.
The general rule is that a single knock has no special
significance as such, because unity is omniform. It represents Kether,
which is the source of all things equally without partaking of any quality
by which we discriminate one thing from another. Continuing on these
lines, the number of knocks will refer to the Sephira or other idea Qabalistically
cognate with that number. Thus, 7 knocks will intimate Venus, 11
the Great Work, 17 the Trinity of Fathers, and 19 the Feminine Principle
in its most general sense.
Analyzing the matter a little further, we remark firstly
that a battery of too many knocks is confusing, as well as liable to overweight
the other parts of the ritual. In practice, 11 is about the limit.
It is usually not difficult to arrange to cover all necessary ground with
that number.
Secondly, each is so extensive in scope, and includes
aspects so diverse from a practical standpoint that our danger lies in
vagueness. A knock should be well defined; its meaning should be
precise. The very nature of knocks suggests smartness and accuracy.
We must therefore devise some means of making the sequence significant
of the special sense which may be appropriate. Our only resource
is in the use of intervals.
It is evidently impossible to attain great variety in
the smaller numbers. But this fact illustrates the excellence of
our system. There is only one way of striking 2 knocks, and this
fact agrees with the nature of Chokmah; there is only one way of creating.
We can express only ourselves, although we do so in duplex form.
But there are three ways of striking 3 knocks, and these 3 ways correspond
to the threefold manner in which Binah can receive the creative idea.
There are three possible types of triangle. We may understand an
idea either as an unity tripartite, as an unity dividing itself into a
duality, or as a duality harmonized into an unity. Any of these methods
may be indicated by 3 equal knocks; 1 followed, after a pause, by 2; and
2 followed, after a pause, by 1.
As the nature of the number becomes more complex, the
possible varieties increase rapidly. There are numerous ways of striking
6, each of which is suited to the nature of the several {85} aspects of
Tiphareth. We may leave the determination of these points to the
ingenuity of the student.
The most generally useful and adaptable battery is composed
of 11 strokes. The principal reasons for this are as follows: "Firstly",
11 is the number of Magick in itself. It is therefore suitable to
all types of operation. "Secondly", it is the sacred number par excellence
of the new Aeon. As it is written in the Book of the Law: "...11,
as all their numbers who are of us." "Thirdly", it is the number
of the letters of the word ABRAHADABRA, which is the word of the Aeon.
The structure of this word is such that it expresses the great Work, in
every one of its aspects. "Lastly", it is possible thereby to express
all possible spheres of operation, whatever their nature. This is
effected by making an equation between the number of the Sephira and the
difference between that number and 11. For example, 2 Degree=9Square
is the formula of the grade of initiation corresponding to Yesod.
Yesod represents the instability of air, the sterility of the moon; but
these qualities are balanced in it by the stability implied in its position
as the Foundation, and by its function of generation. This complex
is further equilibrated by identifying it with the number 2 of Chokmah,
which possesses the airy quality, being the Word, and the lunar quality,
being the reflection of the sun of Kether as Yesod is the sun of Tiphareth.
It is the wisdom which is the foundation by being creation. This
entire cycle of ideas is expressed in the double formula 2 Degree = 9Square,
9 Degree = 2Square; and any of these ideas may be selected and articulated
by a suitable battery.
We may conclude with a single illustration of how the
above principles may be put into practice. Let us suppose that the
Magician contemplates an operation for the purpose of helping his mind
to resist the tendency to wander. This will be a work of Yesod.
But he must emphasize the stability of that Sephira as against the Airy
quality which it possesses. His first action will be to put the 9
under the protection of the 2; the battery at this point will be 1-9-1.
But this 9 as it stands is suggestive of the changefulness of the moon.
It may occur to him to divide this into 4 and 5, 4 being the number of
fixity, law, and authoritative power; and 5 that of courage, energy, and
triumph of the spirit {86} over the elements. He will reflect, moreover,
that 4 is symbolic of the stability of matter, while 5 expresses the same
idea with regard to motion. At this stage the battery will appear
as 1-2-5-2-1. After due consideration he will probably conclude that
to split up the central 5 would tend to destroy the simplicity of his formula,
and decide to use it as it stands. The possible alternative would
be to make a single knock the centre of his battery as if he appealed to
the ultimate immutability of Kether, invoking that unity by placing a fourfold
knock on either side of it. In this case, his battery would be 1-4-1-4-1.
He will naturally have been careful to preserve the balance of each part
of the battery against the corresponding part. This would be particularly
necessary in an operation such as we have chosen for our example.