Categotry Archives: classical

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The Seven Faces of Darkness: Practical Typhonian Magic – Don Webb

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Categories: classical, egyptian, magick, typhonian, Tags:

The Seven Faces of Darkness: Practical Typhonian Magic coverAs a sequel to the December review of Set by Judith Page and Don Webb, we get nostalgic with a look back at the first book from Webb to make it into the nascent Scriptus Recensera library. Published in 1996, the year that Webb would become High Priest of the Temple of Set, The Seven Faces of Darkness identifies itself on the title page as the first volume of the proceedings of the Order of Setne Khamuast, a Temple of Set order that Webb was then the grandmaster of. There doesn’t seem to have been any subsequent volumes to these proceedings, but what is presented here speaks to the order’s raison d’être of combining scholarship with magical practice. The blurb on the back of the book suggests a similar motivation, mentioning Webb’s hope that it will be “a partial antidote to the fuzzy thinking of the occult world,” – wonder how that turned out.

The other intention of The Seven Faces of Darkness, mentioned on the back cover of the book, is to reclaim the wisdom of Late Antiquity, and that is very much what we get here with a focus on authentic examples of Typhonian sorcery, principally from the Greek Magical Papyri. Before getting to those examples, though, Webb begins with a personally-voiced introduction and then provides a broad overview of the source material, focusing, by way of an early example, on three representative rituals: two from papyri (one in Greek and the other in both Greek and Demotic) and one from a curse tablet found in a well in the Athenian Agora. For each of these, Webb highlights how they relate to Set, in particular his syncretisation with the Greek figure of Typhon, a natural figure to appeal to when performing maleficia.

In the third chapter, Webb does a slight jump back by regrouping and focussing on Set; almost introducing him anew despite referring to him multiple times in the previous chapters. He gives a brief history of Set, beginning with what traces there are in the predynastic period and culminating with more recent events deemed significant, like the founding of the Church of Satan, Michael Aquino’s reception of The Book of Coming Forth By Night in 1975, and a Temple of Set heb-sed festival, under the guidance of the Order of Setne Khamuast, in Las Vegas in 1995. Webb then discusses attributes and symbols of Set, and considers his role in three locations: in the Duat, on earth, and in the sky; a fairly standard tripartite cosmological division.

Seven Faces of Darkness page spread

The largest section of The Seven Faces of Darkness contains a selection of spells from the Greek Magical Papyri and a few other sources, which are presented, one assumes, verbatim, usually with a note from Webb at the end. These spells, for the most part, cover the kind of things you come across in any compendium of folk magic, with formulae for creating sexual attraction, breaking up relationships, and restraining enemies. While some of these are only tangentially related to Set, others, though, have a particularly interesting Setian emphasis, such as the Spell for Obtaining Luck from Set from PGM IV 154-285. Here, the practitioners both summons and identifies themselves with Set, describing all of Set-Typhon’s activities as their own. In so doing, it provides a rich Setian liturgy, with Set addressed in all manner of evocative terms.

At just over 100 pages, The Seven Faces of Darkness should feel like a brief volume, but it’s surprisingly detailed. There’s the discussion of Set providing a good cosmological base, another chapter dealing more with modern Setian magickal theory and a guide to ritual, and then the exploration of the various spells from the PGM, which gives examples of genuine Typhonian sorcery and provides a toolkit of forms, tools and techniques drawn from Hermeticism and its Egyptian syncretism that can be adapted for personal use. As such, The Seven Faces of Darkness feels a little bit more essential as a guide to both Set and his magick than the recently reviewed Set: The Outsider. The exploration of Set from a mythological perspective while detailed is not that extensive, but it provides enough for anyone not familiar with him as a neter to get a sense of his complexity. Similarly, Webb’s discussion of ritual hits a lot of useful beats when it comes to setting up a system of magical praxis, including a listing of tool, several ways to approach working with Set, and a schema of festivals to celebrate throughout the year. This worth is somewhat hidden by the formatting, which is very utilitarian, so speaking of which…

Seven Faces of Darkness page spread

The Seven Faces of Darkness is formatted in Rûna Raven’s style of the times, which appears to have involved a sole rudimentary word processor. This means everything is messy and cramped with very little room to breathe. Ugly, archaic underlining is used for emphasis and everything (paragraphs, first paragraphs, subtitles, block quotes) have a first line indent. It’s those now atypical underlines that are the worst though, cutting thickly underneath bits of text, but coming across, such is the brutality of their placement, as if they are strikethroughs correcting copy.

The cover design by Timothy Weinmeister (who also contributes some select internal illustrations) features a striking image of Set against a pyramid and temple peppered horizon. The reproduction, though, is soft and regrettably, it’s clear that a high resolution version of the artwork wasn’t used.

Published by Rûna Raven Press.

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Hekate Liminal Rites – Sorita d’Este & David Rankine

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Categories: classical, goddesses, paganism, underworld, witchcraft, Tags:

Hekate Liminal Rites coverThe goddess Hekate looms large over at Avalonia, and in addition to this colon-deficient title, the Glastonbury-based publishers have released The Temple of Hekate by Tara Sanchez, two anthologies both edited by Avalonia owner Sorita d’Este (the equally colon-wanting Hekate Her Sacred Fires and Hekate Key to the Crossroads), as well as d’Este’s own more recent work Circle for Hekate – Volume I: History & Mythology, yay, colons. If that wasn’t enough, d’Este also founded the Covenant of Hekate and runs the semi-regular Hekate Symposium. Suffice to say, if indeed faith without works is dead, d’Este should be pretty assured of some eschatological rewards from her matron when the time comes.

d’Este and collaborator David Rankine give a hint of their intent with the book’s verbose subtitle: A study of the rituals, magic and symbols of the torch-bearing Triple Goddess of the Crossroads. This is expanded upon in the introduction where they talk of coming across various items relating to Hekate whilst researching other projects, describing this book as part of a long term project that brings together such nuggets as they relate to ritual practices. As such, the book details information on historic charms, blessings, herb and root magic, dreams and divination, effectively providing a toolkit of authentic, referenced magickal items and procedures that can be incorporated into one’s own Hekate-themed modalities; and not just some handheld modern rituals to slavishly follow, as some disappointed reviewers on Amazon were obviously looking for.

Because of this, Hekate Liminal Rites can be a little dry. In places it sometimes feels like an info dump, where research notes have been entered into chapters, without much from d’Este and Rankine to glue them together. That contextual glue can also be absent between chapters, simply because a chapter’s focus on a particular area in which Hekate is documented can be brief and standalone, sharing little with the chapters that precede or proceed it. This is, obviously, inevitable given the style of the book, and as a criticism has little solution, but is mentioned to provide a sense of the content’s style and its resulting reading experience.

Hekate Liminal Rites page spread

One of the most interesting things that d’Este and Rankine draw attention to is the syncretic nature of Hekate, where her associations in the ancient world weren’t monolithically Greek, but instead often placed her in concert with deities from Egypt, Mesopotamia and later even Christianity. In spells for love and protection from the Greek Magical Papyri, Hekate appears alongside Ereshkigal, the Sumerian goddess of the underworld and an obvious cross-cultural equivalent. The same association is found in defixiones, simple binding spells made on lead tablets, with Hekate being joined by Ereshkigal and other names in a string of voces magicae. In other instances, Hekate appears in the company of angels, with a spell from the Greek Magical Papyri addressing her alongside the archangel Michael (as well as Hermes, Mene, Osiris and Persephone), while in others, angels are identified as the minions of Hekate, who is entreated to send them forth to aid the supplicant.

Given their theurgic emphasis, the Greek Magical Papyri plays a large role within Hekate Liminal Rites as a source, as do the Chaldean Oracles. But d’Este and Rankine also draw from the entire classical canon, beginning with Homer, the Greek dramatists, and up to Roman historians and the Early Church Fathers, as well as extending well beyond this to a smattering of occult sources like Heinrich Cornelius Agrippa. As such, there’s a wealth of material to draw from and Hekate’s ritual correspondences, types of ceremonies and procedures, are all covered off magnificently. This ritual framework also allows other areas of Hekate to be touched on, with spells from various sources providing opportunities to consider her animal forms, herbs and potions, associations with the underworld, and even her relevance to Solomonic magic. These are all presented in a brief, utilitarian manner, making for a brisk but pleasant read; with extensive and blessed citing of sources throughout.

Hekate Liminal Rites is available as a 193 page paperback, printed like most, if not all, Avalonia titles by print-on-demand company Lightning Source. There’s not much of the way of internal illustration, with only a handful of statue photographs and reproduced prints. With that said, the cover image of a triform Hekate from Joanna Barnum is pretty great and more of that on the inside would have been neat.

Published by Avalonia

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Distillatio – Orryelle Defenestrate-Bascule

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Categories: alchemy, art, classical, esotericism, hermeticism, magick, tantra, Tags:

Orryelle Defenestrate-Bascule has already had one review this year here at Scriptus Recensera with Time, Fate and Spider Magic from Avalonia. While that work was largely a written one with elements of Orryelle’s art featured throughout, Distillatio is very much a complete showcase of their visual output in various mediums. As its name suggests, Distillatio represents said alchemical stage, and acts as a companion to the other parts of the process documented in Orryelle’s Tela Quadrivum series: Cojunctio, Coagula and Solve. The status of Distillatio as the final volume in this series and the culmination of the alchemical process is reflected in the design, with the book bound in a pure white cloth and wrapped in a weighty white dust jacket with the Cauda Pavonis or Peacock’s Tail in iridescent foil on the front and a similarly rendered fingerprint design on the back.

While the previous entries in the Tela Quadrivum series worked predominantly in black and white, with flecks of gold and silver, Distillatio takes the opportunity provided by the iridescence associated with its alchemical stage and runs with it. Colours, and in particular striking Melek Tausian-blues and a rich ruddy brown, dominate, with the book showcasing Orryelle’s ability as a painter in oils. Orryelle’s characteristic fleshy forms are given an added layer of depth and voluptuousness with the addition of oils, bringing with it a different sense of energy.

Like many of the line-drawn figures in occult art, Orryelle’s phantasmagorical forms usually have an ephemeral and chimerical feel, adrift in a timeless netherworld, but with the addition of oils, they become a lot more present, the line made flesh as it were. With this physicality comes two things, energy and permanence. In The Wild Hunt, participants in the Heljagd pour forth from the centre of the image, reaching across a tumultuous heaven in a furious motion that is mirrored below by the reaching branches of the World Tree. Their source at the centre, which in this case is the gutter of the two page spread, is a zoomorphic figure of Odin and Sleipnir interfused, disappearing into the liminal space created by the formatting of the book. Naturally evocative of Peter Nicolai Arbo’s Asgårdsreien painting from 1872, The Wild Hunt replaces Arbo’s classical forms with more tangible yet still fleetingly elven figures, whose ferocious, otherworldly speed is implicit within the flurry of brush strokes.

Orryelle Defenestrate-Bascule: The Wild Hunt

The World Tree of the The Wild Hunt is a frequent motif within Distillatio, often assuming the same compositionally-central role, with its branches and roots emanating outwards, bringing with it various forms of life. In one, alchemical birds appear in its branches and surrounds: a bloody-breasted pelican feeding its young, a resplendent white eagle that forms the tree’s crown and is mirrored by the shadow of a black eagle in its root, while a peacock claims a branch as its own. Similarly in Cycle of Life, the tree sits at the centre of the only partially coloured and inked image, some of its limb anthropomorphised into grasping hands, while various animals and humanoid creatures emanate from it and circle around the frame as embodiments of Nature, red in tooth and claw.

Orryelle Defenestrate-Bascule: Alchymic Birds on the World Tree

In more static images, Orryelle’s oil paint gives gravity and a luminous power to its subjects, such as the looming figure of Isis in Osiris Embalmed, or the apple-clasping Melek Taus adrift in a sea of peacock feathers and interstellar clouds in Melek Taus and the Path of Venus. Meanwhile, in With the Milk of a Gazelle, Hathor heals Hoor’s Eyes, an asomatous Egyptian landscape hosts Hathor, crowned effulgent, who heals the eyes of a contorted Horus that lies before her, his arms and legs twisted into uncomfortable reversal.

Orryelle Defenestrate-Bascule: With the Milk of a Gazelle, Hathor heals Hoor’s Eyes

As evidenced by the variety of deities featured throughout the works, Distillatio is indicative of Orryelle’s eclectic mythological tastes, with the various divine stars being familiar to anyone who has encountered hir work before. This syncretic quality draws principally on Egyptian, Hindu and Germanic myth, with bits of Greek and Celtic thrown in, sometimes in the same image.

It isn’t only oil paintings that feature in Distillatio and Orryelle also includes a selection of his digital montages. Some of these incorporate elements of his paintings, such as St Michael And/As The Beast which blends the background of a painting with repeating photographic images of Orryelle as the titular and winged saint. There is something a little incongruous about the presence of these montages, and the incredible skill evident in the paintings is not necessarily always matched in their digital siblings. It feels like the book would have been no poorer had they been left out, allowing for the paintings alone to be a more solid and consistent body of work.

Explanations for the images are spread periodically throughout the book, appearing in explanatory blocks before or after several blocks of spreads. It’s not the most satisfactory way of presenting this information, requiring a lot of flicking backwards or forwards, but there’s not many other ways to do it. These legends to the legends are fairly pithy and provide an invaluable aid to understanding Orryelle’s multi-layered images. It is a shame the typography used here does not mirror the beauty of the images, with it all feeling very defaulty due to the body being set in generic Times, save for Orryelle’s typographically-inadvisable tendency to use a goody bag of other typefaces to highlight certain words. Subheadings are also subject to this, centered atop each section and appearing variously in Harrington, Stonehenge and the face that shall not be named; well, OK, suffice to say, I was not best pleased to see the Egyptian-related subtitles being in dreaded, stroke-bolded Papyrus.

Distillatio was made available in standard and deluxe editions, with the standard being 640 hand-numbered copies in white cloth with a white dust-jacket. The deluxe edition of 64 hand-numbered copies signed by the artist came in crushed white quarter morocco, stamped in black with top edge silver in a dust-jacket and slipcase.

Published by Fulgur

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Chthonic Revelations – Alexander Corvus

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Categories: classical, hellenic, underworld, Tags:

Chthonic RevelationsThis slim volume is part of Fall of Man’s Nox Sine Occasu series, in which considerations are given to works too short to be considered full books, but too long to sit as essays in a journal. The focus in this instance is on the Greek oracular demigod Tropohonios, a relatively obscure entity that author Alexander Corvus should be pretty confident in being the sole devotee for, at least for now. Trophonios is presented within this work as an oracular deity of the underworld, a being that when encountered could produce a terrifying but ultimately cathartic and transformative experience.

This is the first published work by Corvus who otherwise runs the occult blog De Occulta Philosophia, and who, his biography informs us, has been actively practicing magic for over two decades. Other than that, there’s precious little available about the author, though one assumes that he is not a native English speaker as the writing suffers from many of those characteristic pitfalls. Though Corvus’ writing remains legible throughout, never losing his intentions in a mess of misapplied words, a little proofing to iron out some of the problematic phrasing would have been beneficial. The same is also true of proofing for spelling which has been rather lax, if not non-existent. This, at least, gifts us with a few wonderfully evocative howlers, such as the one that refers to “those wanting to descend to the groove of Trophonios,” bringing to mind some rather funky underworld endeavours.

Chthonic Revelations is principally divided into twin sections of mythos and the all-important praxis. In Mythos, Corvus surveys Greek literature to provide a comprehensive image of Trophonios that is thoroughly grounded in extant material. There are three authors who contribute to this corpus: the Greek geographer Pausanias, the 2nd to 3rd century sophist Philostratus, and Plutarch with his De genio Socratis. This information is ably compiled by Corvus who paraphrases where necessary and effectively bridges the direct quotes so that they are not left doing all the work. In the chapter that follows, Corvus then takes this surfeit of information and analyses it to isolate the various ritual elements associated with Trophonios.

trophonios-staff

The first-hand account given by Pausanias in his Description of Greece gifts Corvus with a ready-made ritual structure; providing him with the kind of explicit ancient antecedent that many an occult writer would kill for. Pausanias’ structure is fleshed out to create the main ritual operation here, but this is preceded with a less historically dependent and fairly typical draconian themed visualisation, the Ophidic Meditation, which is all very black snakes and surging powers. The Initiation Ritual proper is a five-step, seven-day working of both initiation and visions that mirrors its historical antecedent’s journey from purification, to katabasis, to revelation, to anabasis and ultimately to the interpretation and analysis of the entire process. This is followed by instructions for minor rituals that build upon the initiation: the setting up of a pholeos as a ritual space, and brief instructions for petitioning Trophonios with offerings, spells and curses.

Alen Grijakovic at Opposition Artworks provides the scattering of full page, full bleed illustrations that divide this book into its constituent parts. As one comes to expect with titles from publishers such as Fall of Man, where an intersection between occultism and metal is palpable, these images employ a style of pen and ink drawing that is otherwise almost the exclusive reserve of metal album covers, particularly its most blackest of varieties. Cross-hatching abounds in these densely rendered pictures, with one image being a fairly traditional image of Trophonios bee-hive in hand, while another is considerably more metal, all hooded figures, demonic gateways and a snaked-wreathed being with glowing eyes.

Trophonios

Chthonic Revelations is presented in the same style as other entries in Fall of Man’s Nox Sine Occasu series, such as the previously reviewed Ophidic Essence: Seeking A Return to the Origin. Its 85 pages on 135gsm coated paper are soft cover bound in a faux crushed leather that is hot-stamped in grey with the Chthonic Revelations logo. The hand-sewn spine is a little tight, with noticeable instances in which, at least on my copy, the thread is visible and threatens to tear a hole in the gutter of the pages. Of the 300 hand-numbered copies, the first 70 copies are presented in a black rugged folder bearing the staff of Trophonios sigilised in silver and the Nox Sine Occasu logo as a wax seal. These 70 copies also have a digital version of the book included in the price.

Published by Fall of Man.

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