#Babalon and the beast

[apoloadonisandnarcissus]

“Orlok is an abuser! And vampires have always been representations and metaphors for sexual predators!”

No, you dumb, ignorant fucks. Robert Eggers’ Orlok occult and metaphysical role is a combination of the original 1922 Nosferatu as created by Albin Grau (member of the magical order Fraternitas Saturni) and the philosophy of Thelemite occultist Kenneth Grant, disciple of Aleister Crowley.

Where Bram Stoker saw the vampire as a symbol for Victorian moral panic and of absolute evil; Albin Grau reinterpreted it as a figure of Saturnian initiation; where the predatory nature serves the higher symbolic purpose of forcing those who encounter it to confront their own limitations and mortality, and initiate profound spiritual transformation through the engagement with the shadow side of life. In esoteric tradition, Saturn represents restriction, death and rebirth, and Grau’s Nosferatu is a shadowy force that compels the initiate to face mortality, fear and their own inner darkness.

The vampire, then becomes, a metaphysical figure, whose appearance and bloodthirst evoke existencial reflection, and its behavior embodies Saturnian ideals of disruption and challenge, serving both as a destroyer and a guide for spiritual growth. Saturn has strict, disciplinary and uncompromising energy which purpose is to test the initiate. It’s usually seen as a Karmic planet (“you reap what you sow”), whose energy either punishes or rewards. Those who master themselves and are aligned with collective consciousness and physic energy reach a higher spiritual development (reward). At the end, the Saturnian figure of Nosferatu is destroyed by the Sun (the opposite planet to Saturn) and the New Age of Aquarius is born.

To Thelemite occultist Kenneth Grant, the vampire is a symbol for humanity engagement with primordial, elemental and extraterrestrial female energies. The vampire, then, embodies forbidden knowledge, liminal spaces of existence and extraterrestrial intelligence; and is a emissary of the “Nightside”, the subconscious realms of existence and magical practice. To Grant, the source of vampiric force is the Qliphoth (The Tree of Night) the dark, chaotic inverse of the Tree of Life. These spheres represent the realms of shadow and dissolution, holding potential for profound spiritual transformation. The vampire then becomes a liminal figure, a intermediary between conscious and unconscious realms, human and alien, terrestrial and cosmic.

Grant saw the vampire as a figure of Divine feminine initiation, as an avatar of repressed feminine energy, tied to lunar and stellar mysteries, the Dark Side of the Moon, both empowering and annihilating. The consuming and bloodthirsty nature of the vampire mirrors the psychic demands of the Nightside path; destructive and transformative, and compels those who encounter it to confront their own female shadow self. It represents the yearning for higher and darker female forces, the aspiration to transcend human limitations and descent into a vortex of madness, hallucinations and cosmic insight. As the vampire feeds, it eats away sanity and vitality, and lures its victims deeper into the mysteries of the Qliphoth.

The goal is to balance the allure of dark female cosmic forces and the dissolution into madness, mastering oneself and reaching spiritual transformation, after confronting the unknown (fear and desire) within and beyond. Those who do not master it, lose their individuality, and risk psychic dissolution, becoming trapped in destructive cycles of desire and fear.

Robert Eggers’ Nosferatu is both a initiator and a destroyer, who forces those who encounter him to face their own inner darkness, mortality, repressed female energy, fears and desires. As a Saturnian figure, he destroys and creates severe obstacles, to test others and impulse their spiritual transformation. He’s not here to compromise; he punishes those in the wrong, and rewards those in right, because he’s a karmic catalyst force. Orlok was cursed by Ellen herself, symbolizing her vengeance and punishment upon Victorian society. Because she’s the manifestation of another figure of Thelema occult tradition; Babalon, and Orlok is her Beast, her sacred consort, fully embodying her role as “mother of abominations” and Goddess of vengeance who punishes when life is out of order.

But Ellen is out of touch with her own female energy and spiritual path, and so, she fears and considers herself a victim to the monster of her own creation; she’s trapped in the destructive cycles of fear and desire. As karmic catalyst force, Nosferatu will create obstacles connected to what prevents her from reaching higher spiritual development (Victorian society), forcing her to confront her inner darkness (Nosferatu), to master herself, and when she does, at end, she’s rewarded with hidden knowledge, and the secrets of life and death, and immortality.

Orlok himself is being tested by the Saturnian figure of Nosferatu, because he didn’t chose this. Ellen cursed him. He’s also reaping what he sow, and getting punished by this karmic force; as he seeks to free himself from this curse, and reach higher spiritual development because his soul did not ascend, it was trapped in the “darkest pit”. To him, Ellen is Divine feminine initiation figure, and only through her, can he reach spiritual evolution, and the dissolution of his own shadow (Nosferatu). When Ellen accepts him, he’s rewarded with spiritual ascend.

Both Ellen and Orlok are each others’ pathway to spiritual enlightenment. And, at the end, to break the curse of Nosferatu, they both accept their sacred roles of Babalon and the Beast, as the figures of the priestess and the hierophant, the enchantress and the enchanter, as their Sex Magick ritual gives birth to the New Age of Aquarius. In the original “Nosferatu” (1922), Grau focused in Orlok in specific (due to his own occult beliefs), Robert Eggers included the Divine feminine.

The non-initiates (like Thomas Hutter and Anna Harding) collapse before Orlok’s presence because they do not possess the spiritual preparation to confront their own inner darkness nor master their own fears and desires, and instead of achieving spiritual enlightenment, their path is that of insanity, psychic dissolution and being devoured by their own shadow, trapped in the destructive circles of fear and desire. Thomas has to be exorcised because he can’t cope, at all. They are in the darkness of ignorance and lower spiritual development stages, and perfectly content to be there, and, as such, are punished by this karmic catalyst force.

[cantva190]

[reno-matagot]

Yehrin Tong • Babalon & the Beast with 7 heads.

[beastsovrevelation]

@halobearerhavoc that's such an interesting take I never thought of and my heart skipped a beat when I read it

“The Whore of Babylon” by William Blake (1809).

[astra-ravana]

A Manifesto Of Apocalyptic Witchcraft

1. If the land is poisoned, then witchcraft must respond.

2. It is not our way if life, it is life itself which is under threat.

3. Witchcraft is our intimate connection to the web of life.

4. We are the Witchcraft.

5. Our World has forever changed. The trodden paths no longer correspond. Witchcraft thrives in this liminal, lunar, trackless realm.

6. We are storm, fire and flood.

7. We will not be denied.

8. Witchcraft is the recourse of the dispossessed, the powerless, the hungry and the abused. It gives heart and tongue to stones and trees. It wears the rough skin of beasts. It turns on a civilization that knows the price of everything and the value of nothing.

9. If you have no price you cannot be bought. If you do not want you cannot be bribed. If you are not frightened you cannot be controlled.

10. Witchcraft is folk magic, the magic of the people and for the people.

11. We call an end to the pretence of respectability.

12. We will not disarm ourselves.

13. The war is upon us.

14. Choose then to become a Mask.

15. Those with nothing left to lose will dare all.

16. There is one Witchcraft under many names. There is one Grand Sabbat on one mountain. There are many ways to fly. There is no witness present at the Sabbat.

17. Witchcraft is a force, not an order. Witchcraft is rhizomatic, not hierarchic. Witchcraft defies organisation, not meaning. We simply bear the marks.

18. Witchcraft is power and possesses this in ekstasis, sex and ordeal.

Witchcraft is unbridled sexuality.

19. In witchcraft it is the woman who initiates. We challenge man to be the equal of this woman.

20. Witchcraft is the art of inversion.

21. Witchcraft is the beauty which is terror.

22. Witchcraft is a myth, which drawing on the past, clothes itself in the symbols of (its) time.

Witchcraft does not mistake myths for history, it harnesses them to transform the future.

Witchcraft knows the ground upon which it stands.

23. Witchcraft honours the spirits. Witchcraft enchants for the lost. Witchcraft will not forget.

24. Witchcraft embodies our ancestors and saints, they carry us with them.

25. To Her is offered the blood, to use the care of the ask and bones.

26. The example we follow is our own.

27. The practice of witchcraft is one of revolution and of the power of woman.

28. The Goddess who speaks through us is known among men as Babalon.

29. Witchcraft concerns itself with mystery. Through the gates of mystery we come to knowledge. Knowledge enters us through the body. The highest form of this knowledge is Love.

30. Every drop of blood is sacrificed to the grail. Love cannot be bought with any other coin.

31. We seek and drink this wine together.

32. Will is finite, passion infinitely renewed.

33. Witchcraft is present, its is ensanguined and vivified. Witchcraft is prescient, it gazes on the future. Witchcraft is oracular, it will not hold its tongue.

Our time has come.

[talonabraxas]

"She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon." -Aleister Crowley

Babalon Riding the Beast Talon Abraxas

[ssjkamui-digitalphoenixug]

A rather short analysis. I already briefly touched on that symbolism. Anthy is heavily associated with the colors of scarlet/red and purple.

Sailor moon also most prominently uses these colors for their villainesses. In final fantasy 7, there is a villainess named Scarlet and in marvel, there is Wanda maximoff which is called the scarlet witch and who sometimes acts very morally dubious. And many Disney villainesses wear scarlet and purple. One example here is maleficent.

But what is the significance of these 2 colours? This refers to a certain woman mentioned in the book of revelations in the Bible.

Here the relevant verses:

Then the angel carried me away in the Spirit into a wilderness. There I saw a woman sitting on a scarlet beast that was covered with blasphemous names and had seven heads and ten horns. 4 The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries. 5 The name written on her forehead was a mystery:

That is the reference behind these colors. And you see, this woman is associated with the "beast". In sailor moon, these types of women were always connected to a monster character like queen metallia, Wiseman, Pharaoh 90 etc.

The connection with Babylon in that verse is partly rooted in the fact that Babylon sounds like Babalon and Babalon is an ancient sumerian word for whore/prostitute.

And according to several Roman authors and Julius Evola, Babylon heavily supported prostitution and basically was big on occult prostitution and sex trafficking. In a way, Jeffrey Epstein continued Babylonian practices. That is another reason why Babylon is called "the mother of all whores"

The following is my personal theory, but I think it's likely that the extremely rigid Sexual morality of Islam was basically an answer to Babylons practices.

Aleister Crowley turned the whole thing on its head and turned Babalon into a love godess and said "babalon is the biggest prostitute because she loves all humans and rejects none". (You need to know that Crowley liked to provoke Christians but at the same time he was often astonishingly close to Christian ideas.)

In thelema, babalon is used in a similar way to rhe Hindu idea of shakti and has some parallels to the Virgin Mary as well. If you do potentially dangerous spiritual practices, you can ask for babalons divine protection before.

Rocket Scientist Jack Parsons (who was important for the foundation of Nasa) tried an occult ritual to invoke Babalon on earth. This ritual was basically a threesome between him, Marjorie Cameron and scientology founder L Ron Hubbard.

Interestingly, that ritual happened close to Rosswell new Mexico, a short time before the roswell incident occurred. And crowley warned that if Parsons would do something wrong in his ritual, this could result in something "extraterrestrial" getting drawn to earth. Crowleys British successor Kenneth Grant thought that this is what probably happened and the roswell ufo crash was caused by a sex accident by one of Nasas "founders"😅 no joke.

(So, remember kids, always use condoms. Or some nasty results can happen. For example HIV, chlamydia, alien invasions😂)

Parsons was politically between New left and libertarianism and thought the hippies and the Sexual revolution were signs of babalons rise to power.

[sovaghoul]

A Ghoul Creation Story

@the-moon-in-the-gutter

In the beginning, the Heavens, the Earth, and the Underworld came into being. No one knows how or why, though everyone has their own ideas. What is known, among our kind, is that out of some Magick came the Beast With Many Names; Satan, Lucifer, Iblis, Beelzebub, Atamenoch. We've known Him as Therion, simply the Beast. He approached the first humans with an offer of Knowledge, contained in a fruit, and was punished and cast out from the Heavens, a long way down, to the Pit. He took up Kingdom there, a Prince in Exhile. This is our First Day.

Lifting His gaze to the cosmos, Therion beheld Babalon, the Scarlet Woman, Succubus Upon Her Throne, and did so desire Her. He fell to His knees in prayer to Her, singing and drumming Her praises. And She saw and accepted His devotion, looking down from Her place among the stars, shining marble-white under the blinding light of the Moon. His songs stirred Her cold and rigid heart, and She looked upon Him with love. From that moment forward, She pledged to stand by Him. And this was our Second Day.

They came together as One, because a Magick from the Deep and another from on High, created a Third Day, and so Babalon, the Queen, became the Mother. Their children, some called Abominations, monstrous Giants, who should be shunned and perish. Yet They sent Their children to the Earth, renewing the offer of Knowledge, this time from Them both. Their children imparted great Wisdom and Skills, of smithing and glamoury, and the stars and sorcery, to human men and women alike. And from these visits sprang Lust, and coupling, and from there a new kind of creature, who held great power but were just as feared and scoffed at. They were given names such as Faery, Witch, and Demon. But as you know, we call ourselves Ghoul.

This tale of our Fourth Day, has been retold as the source of actions and identities that are now reviled by some humans. They reject certain forms of love, certain pairings, certain expressions. One that is common among our kind, though their ideas of gender and sexuality are strange and confining, not inspired by the reality of the world around them. If our expression of love exists, and we are all formed from the same Nature, then it must be natural. To restrain love, to restrain what you are, that is what is unnatural.

The humans were given the message to be fruitful and multiply, and so with more of them upon the Earth, it meant more of them would die, and end up in our realm, our Underworld. These sons and daughters of the Nemesis, we learned, were cursed, for the smallest and slightest of transgressions, and sent Below instead of Above. Nostro Dis Pater, Nostro Alma Mater, They welcomed each of them, and told them they are loved, that their souls were not tainted. And so on the Fifth Day, the Pit was no longer a place of punishment. And while we still enjoyed insatiable carnal Lust, it was no longer necessary for gestation and birth to occur. We gained all the numbers we needed. Their deaths became our life.

Now on the Sixth Day, the Nemesis gave life to, and then slaughtered, and then resurrected his own begotten son. The claim was that he would save humankind from ever being sent to us again. But humans, like us, have free will. Some of them chose to make this their reality. Others looked back to other, older ways, and sought us out, by our many names, Faery and Witch, Demon and Ghoul. Some came to call Therion by the Witchfather, and Babalon, the Queen of the Witches, honoring Them as teachers and catalysts for a shift in awareness, in consciousness, in belief. Those humans sought to heal the wound, the open sore, they saw their world had become.

The Seventh Day came only recently, when the original Ministry formed, and called out to us. The first Papa didn't know what he was doing really, but through trials gained much more Knowledge, which he imparted to his own son. It took many decades of time Topside for this Knowledge to be applied effectively, but once it was, the Monstrance Clock reset, and later a hymn would be written to honor this accomplishment, this partnership that was established, exhalting our Father, Who began this all on the First Day.

Welcome, Year Zero.

[adracat]

Law of Casuality Write-Up (Pt.1?)

Warning!!: the following contains self-indulgence to the likes you’ve never seen before

Law of Causality: The proposition that everything in the universe has a cause and is thus an effect of that cause

Happy Sulemio week! Since it’s Fantasy Day, I decided to finally get cracking on this freeform analysis of my G-Witch series— Law of Causality. I’ve mentioned before this may be my favorite thing I’ve ever written. I was in a manic ADHD-fixation trance while writing this series. If you want the literary version of a triple-layer myth cake, this may be for you. I was considering an essay-style dissection but that’s taking too long. So here are my loose insights into this series as a whole!

Art by my friend Tay, or @TaruhtQarineXiV on Twitter

As Above, So Below: Where it all began. I’ve mentioned in the A/Ns that this was spawned from my deep looks into what the show was taking inspiration from (imo). It’s my little love letter to Sulemio and gwitch, which quickly grew into something more.

Queen in White/King in Red—Beyond the alchemy, I wanted titles that sounded fairytale-esque while also hinting toward another mythos. Hastur or the King in Yellow (Signalis and True Detective enjoyers know that name) The initial King in Yellow appears in Haïta the Shepherd as the benevolent god of shepherds; a domain Hastur shares with Mercury. The short story is about the impermanence of happiness and how it can only be found once you stop seeking it. It’s a theme I ran with for the entirety of LoC, particularly Elnora. The later incarnations of Hastur are malicious eldritch figures. Suletta vs Prospera 😊

On Faerytales: LoC is obsessed with cycles and the rhyming of history. To me, fairytales embody that perfectly. The oral traditions of them are never the exact same, flavored with variations throughout the years. It’s how we got mythology to local folklore to Brothers Grimm to Disney renditions. That’s why I used Eros and Psyche and Sleeping Beauty for Suletta and Miorine (I’m convinced the show does this too but ymmv)

The latter is inspired by the former with Psyche placed under a sleeping torpor Eros breaks. In Sleeping Beauty, the offending curse is a spindle and she’s barricaded by a witch in the form of a dragon. The Hawthorn serves as Mio’s ‘spindle’ as she suffers depression and isolation in the wake of her mother’s vanishing. Prospera (coded as witch Satan) is the dragon. Notrette is the fairies bearing gifts. In a twist, Suletta wakes her with Love as Anteros in the place of Eros. Yes I layered this cake excessively. It’s probably still confusing; I’m sorry.

Tldr; I used Sleeping Beauty alongside Greek myth.

Chaos and Night: Paradise Lost twisted into a toxic witch romance. One of the most insane ideas I’ve had, but I adore it to bits. Both Prospera and Notrette are vested to the teeth with mythology and theology.

Notrette: Besides Thelema’s Nuit/Babalon and cuing her as ‘God’, as a being of creation, opposed to the Devil, I fit so much into her character. She’s Lilith, Pandora, Circe, Ceres, Virgin Mary, the Morrigan, Ariadne, a deconstruction of the Mother Goddess from neopaganism, and the capricious Queen of Elphame from folklore.

Another figure I styled her after is White Boann, the Dagda’s mistress and wife to Nechtan (cognate with Nuada or the silver-hand) which is where you get the hazel tree link. Boann names her son Aengus because the Dagda was her ‘one desire’.

Circling back to Paradise Lost, she also plays the willing Eve who falls to Satan’s temptation in place of Miorine. There’s likely things I’m forgetting; I was so normal plotting her character.

Elnora: What can I say about this glorious wreck that wasn’t in the text? Venus, The red dragon Satan, the Beast from revelation, pagan Horned God, Neptune to Ceres, Theseus and Bacchus to Ariadne, Prometheus to Pandora, every Phosphoros, etc I’d be here all day. She’s coded as Orion the hunter who’s undone by Gaia and also the Teumessian fox to Suletta’s Laelaps. I mentioned she’s the riders of the apocalypse at the end too. White Rider is Suletta but her mom fulfills the rest; ‘Riding’ Vim as War, Riding Belmeria as Famine while wielding the ‘scales’ (Notrette as Libra) Finally, she wears the visage of death to bring Pestilence to the kingdom. I squeezed in the other omens of revelation with symbolism such as the crown of wormwood (Revelation 8:11)

When it comes to her role as Prometheus, I coded both Delling and Mio as birds of Venus (swallow and dove respectfully.) It’s meant to symbolize the ‘eagle’ devouring her was primarily herself all along. She was the architect of her ruin, lampshaded by Notrette from the beginning.

Remember Haïta the Shepherd? In the story, there is a maiden whom embodies the ephemeral nature of happiness. Notrette is Elnora’s transformative destruction into cathartic acceptance/happiness. In Paradise Lost, Satan succeeds at banishing Eve and Adam from the garden but similarly fails when he’s turned into a snake. She’s lucky I was more metaphorical.

I liberally used Revelation 12, the woman and the dragon, as well. Look at me shipping crackships from the Bible. This is mostly self-explanatory, ofc Christ is genderbent and a role shared by Sulemio. Mio’s allergy to iron doubles as a nod to this, since she doesn’t take her father’s kingdom in this universe.

There is more, such as Dionysis/Bacchus being a many-faced god with younger and older versions paralleling the Horned God’s dual aspects and the Dagda’s relationship to Aengus which led to me pitting Suletta as a lighter mirror of Elnora. But I’ll leave it here for now.

Writing this all out has me questioning what I was on, and how I can reproduce it. If you got this far, thank you for humoring my unabahed love for this world. Happy Fantasy Day, Sulemios! ❤️

[covn]

Star of Desire (8/19), Babalon.

Whereas the traditional star of Babalon has seven points and is closed, the emanant void magick system assigns her the numbers 8 and 19. Her star is open rather than a closed loop.

The number 8 evokes as well the star of chaos. The 19, being the eighth prime is one step beyond the sum of thrice 6, or 6,6,6, making her number suitable compliment to the beast.

[apoloadonisandnarcissus]

Folks asking for “sources” on the occult themes of “Nosferatu” (2024): there’s a reason the occult is called “the occult”.

My knowledge in these themes is academic (I’m an Art History and Heritage researcher, and what’s considered occult themes are present in many artwork throughout the centuries), but you’ll find that many occult practitioners have the philosophy “we don’t discuss the occult in public”, and creators won’t confirm they are using occult themes nor explaining/identifying what they are. Obviously. Many of these occult themes are only made public knowledge (confirmed) after these creators’ deaths (like with the original 1922 “Nosferatu”). In the meantime, they are only recognized by the knowledgeable in these themes.

In an interview to Script Magazine, Robert Eggers discussed how he started his research for his own version of “Nosferatu”, and he talks about Albin Grau: “I started trying to understand the filmmakers’ intentions and their love for German Romanticism. Albin Grau, the producer, was a practicing occultist and I wanted to understand his views.”

Albin Grau was associated with Aleister Crowley, and even sided with the Thelema occult system during the occult leaders crisis in the early 20th century. It’s not surprising to find Crowley Thelema in Eggers’ “Nosferatu”; Sex Magick (way older than the 19th century, but Crowley developed it, on a philosophical/theorical level); Book of Laws (dove vs. serpent), and Babalon and the Beast; as an homage to Albin Grau occult views.

The “coming of the New Age of Aquarius” was already the occult meaning behind the original 1922 “Nosferatu”, because of Albin Grau (producer and set designer), and even the design of Nosferatu was similar to visual representation of concept of GOTOS of the Fraternitas Saturni (Grau was a part of). GOTOS was the egregore that embodies the collective psychic energy of its members.

If you are familiar with the Thelema and with Aleister Crowley biography, and you see witch/wizard archetypes involved in a Sex Magick ritual which ends with “bringing peace to the land” and the most glorious golden sunrise, you know what this means and what figures these characters are meant to represent. Crowley re-branded himself “the Beast”, and every one of his lovers was the “Scarlet Woman”, the earthly manifestation of Babalon (the sacred consort to the Beast).

There are many clues in the film itself; Ellen is the one who “created” Nosferatu, by resurrecting Orlok at the prologue (“mother of abominations”), and he goes to Wisburg because of her (Goddess of vengeance). You have a man yelling a passage from the “Book of Revelations” (Apocalypse) while the camera lingers on Ellen, returning home with Thomas (Whore of Babylon and her Beast = Babalon and her Beast = Ellen and Orlok), among other things.

“She [Babalon] rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon.” (Aleister Crowley, The Book of Thoth”)

Babalon and the Beast: Ellen and Orlok

“Cup, the Holy Grail”: womb

“Aflame”: Orgasm

“Love and death”: sex with undead Orlok

“Sacrament of the Aeon”: aeon is a spiritual era. In this case, the New Age of Aquarius.

[cantva190]

[peacefield-ministry]

Ghoul Paganism

Follow a Wheel of the Year type calendar, observing the Solstices and Equinoxes and the cross-Quarter days between (see Sabbat Ghouls)

Honoring a polarity of Divine power, specifically Therion (the Beast) and Babalon (Mother of Abominations)

Each individual also having patron/tutelery Deities specific to their Element and interests

The Ghulehs hold ritual orgies every Full Moon. Transfem and other fem-identifying Ghouls (gn) most welcome

Masc-presenting Ghouls have their group orgy when the Zodiac sign changes. The Element of the incoming Sign "leads" said orgy (Air for Aquarius/Gemini/Libra, Fire for Aries/Leo/Sagittarius, Water for Pisces/Cancer/Scorpio, Earth for Taurus/Virgo/Capricorn). Quints are viewed as leaders in mundane life, so in spiritual pursuits, they get a bit of a break

╰┈➤ If the boys' orgy coincides with a New Moon, the Hybrids (two Element) and Multis (two or more Elements but one must be Quint) lead it. If on a Full Moon, that's when the Quints take the lead

Ghouls reverse where Earth and Spirit (Quintessence) usually fall; Quint is North, as in the North Star, and Earth is center, as in Centering and Grouding, the altar being placed in the center

Ghouls cast circles for their ceremonies, but each Element does it slightly differently. They begin casting in the direction of their Element (Air in the East, Fire in the South, Water in the West, Quint in the North). Earth Ghouls stand at the altar in the center, and push the energy outwards towards the borders of the space in an expanding sphere, reflecting the shape of the planet itself. Multi/Hybrid starting direction for circle casting depends on the dominant Element. If a Ghoul has a balance of Elements, it's determined by the purpose of the ritual and/or whatever the Ghoul(s) involved feel is appropriate

Sentry Ghouls stand in the compass directions during formal rituals. They are Psyche in the East, Venus in the South, Tellus in the West, and Pyxis in the North. Reasoning for these placements is below the cut

Tellus is named with a word that means Earth, and he was the first Sentry Ghoul to be summoned. We initially had him in the North, but his placent needed to change as our lore developed.

Greek philosophers have linked the soul, or psyche, to the Element of Air. So the second Sentry, named Psyche, was placed in the East. In some Pagan practices, Air is also the second Element called in ritual.

Venus was the third to be summoned. The planet Venus is also called the Morning Star, a name further associated with Lucifer. If we accept the Pit is analogous to common ideas about Hell, that is a place of fire. But even if we reject that imagery, as North can be above, like the North Star, South can be below, as the Earth's fiery core. So Venus is representative of Fire and South.

Many aspects of Pyxis' namesake tie him to ships and wayfaring, which initially placed him with Water in the West. But that method of navigation relies heavily on the stars, especially in relation to Polaris, so he is more appropriately in the North representing Quintessence. Additionally, he is non-verbal, and in some Pagan traditions, North bears the Power of Silence.

And that leaves us only with West. Tellus is a-spec, so his bond with his mate is far more emotional than physical. So Emotional West is more fitting for him than (traditionally) Physical North.

These placements put Tellus and Psyche across from each other, with Venus and Pyxis both between them. Tellus and Psyche were the parental figures among the Sentries, and these positions allow them to still have contact with and access to the younger Ghouls placed in their charge.

Additionally, the classical polarity associations are flipped; Air and Fire are usually considered masculine, and Water and Earth, feminine. With Ghulehs in the East and South, and Ghouls (m) in the West and North, it creates further balance and potency (like connecting the positive and negative nodes on a battery to the proper receptors).

[the-chronicle-of-holy-days]

Day 15

Liber Cheth

vel

Vallum Abiegni

sub figurâ CLVI

A∴A∴ Publication in Class A

1.

This is the secret of the Holy Graal, that is the sacred vessel of our Lady the Scarlet Woman, Babalon the Mother of Abominations, the bride of Chaos, that rideth upon our Lord the Beast.

2.

Thou shalt drain out thy blood that is thy life into the golden cup of her fornications.

3.

Thou shalt mingle thy life with the universal life. Thou shalt keep not back one drop.

4.

Then shall thy brain be dumb, and thy heart beat no more, and all thy life shall go from thee; and thou shalt be cast out upon the midden, and the birds of the air shall feast upon thy flesh, and thy bones shall whiten in the sun.

5.

Then shall the winds gather themselves together, and bear thee up as it were a little heap of dust in a sheet that hath four corners, and they shall give it unto the guardians of the abyss.

6.

And because there is no life therein, the guardians of the abyss shall bid the angels of the winds pass by. And the angels shall lay thy dust in the City of the Pyramids, and the name thereof shall be no more.

7.

Now therefore that thou mayest achieve this ritual of the Holy Graal, do thou divest thyself of all thy goods.

8.

Thou hast wealth; give it unto them that have need thereof, yet no desire toward it.

9.

Thou hast health; slay thyself in the fervour of thine abandonment unto Our Lady. Let thy flesh hang loose upon thy bones, and thine eyes glare with thy quenchless lust unto the Infinite, with thy passion for the Unknown, for Her that is beyond Knowledge the accursèd one.

10.

Thou hast love; tear thy mother from thine heart, and spit in the face of thy father. Let thy foot trample the belly of thy wife, and let the babe at her breast be the prey of dogs and vultures.

11.

For if thou dost not this with thy will, then shall We do this despite thy will. So that thou attain to the Sacrament of the Graal in the Chapel of Abominations.

12.

And behold! if by stealth thou keep unto thyself one thought of thine, then shalt thou be cast out into the abyss for ever; and thou shalt be the lonely one, the eater of dung, the afflicted in the Day of Be-with-Us.

13.

Yea! verily this is the Truth, this is the Truth, this is the Truth. Unto thee shall be granted joy and health and wealth and wisdom when thou art no longer thou.

14.

Then shall every gain be a new sacrament, and it shall not defile thee; thou shalt revel with the wanton in the market-place, and the virgins shall fling roses upon thee, and the merchants bend their knees and bring thee gold and spices. Also young boys shall pour wonderful wines for thee, and the singers and the dancers shall sing and dance for thee.

15.

Yet shalt thou not be therein, for thou shalt be forgotten, dust lost in dust.

16.

Nor shall the æon itself avail thee in this; for from the dust shall a white ash be prepared by Hermes the Invisible.

17.

And this is the wrath of God, that these things should be thus.

18.

And this is the grace of God, that these things should be thus.

19.

Wherefore I charge you that ye come unto me in the Beginning; for if ye take but one step in this Path, ye must arrive inevitably at the end thereof.

20.

This Path is beyond Life and Death; it is also beyond Love; but that ye know not, for ye know not Love.

21.

And the end thereof is known not even unto Our Lady or to the Beast whereon She rideth; nor unto the Virgin her daughter nor unto Chaos her lawful Lord; but unto the Crowned Child is it known? It is not known if it be known.

22.

Therefore unto Hadit and unto Nuit be the glory in the End and the Beginning; yea, in the End and the Beginning

art credits: https://www.artstation.com/artwork/DANmBy

[talonabraxas]

"O Babalon! Babalon! Thou mighty mother That ridest upon the crowned Beast and no other! Drunk on the wine of Your fornication, I raise up the cup and adore Babalon!" - The Vision and the Voice (12th Aethyr)

Ave Babalon!

Babalon Rides the Beast Talon Abraxas

Babalon bears this title because she denies no one, and yet she extracts a great price—the very blood of the adept and his ego-identity as an earthly individual. This aspect of Babalon is described further from the 12th Aethyr:

This is the Mystery of Babylon, the Mother of Abominations, and this is the mystery of her adulteries, for she hath yielded up herself to everything that liveth, and hath become a partaker in its mystery. And because she hath made her self the servant of each, therefore is she become the mistress of all. Not as yet canst thou comprehend her glory.

Beautiful art thou, O Babylon, and desirable, for thou hast given thyself to everything that liveth, and thy weakness hath subdued their strength. For in that union thou didst understand. Therefore art thou called Understanding, O Babylon, Lady of the Night!

[ophelia-network]

section of 'Babalon on the Beast' by Orryelle