C. Imagery
The adolescent boy who takes great care in carving, on a tree, a heart containing his
and his love object's initials; the little chap who sits by the hour drawing his conception of sleek automobiles; the tiny girl who rocks a scuffed and ragged doll in her arms, and thinks of it as her beautiful little baby - these capable witches and warlocks, these natural magicians, are employing the magical ingredient known as imagery, and the success of any ritual depends on it.
Children, not knowing or caring if they possess artistic skill or other creative talents, pursue their goals through the use of imagery of their own manufacture, whereas "civilized" adults are much more critical of their own creative efforts. This is why a "primitive" magician can utilize a mud doll or crude drawing to successful advantage in his magical ceremonies. To HIM, the image is as accurate as needs be.
Anything which serves to intensify the emotions during a ritual will contribute to its success. Any drawing, painting, sculpture, writing, photograph, article of clothing, scent, sound, music, tableau, or contrived situation that can be incorporated into the ceremony will serve the sorcerer well.
Imagery is a constant reminder, an intellect-saving device, a working substitute for the real thing. Imagery can be manipulated, set up, modified, and created, all according to the will of the magician, and the very blueprint that is created by imagery becomes the formula which leads to reality.
If you wish to enjoy sexual pleasures with the one of your choice, you must create the situation you desire on paper, canvas, by the written word, etc., in as overstated a way as possible, as an integral part of the ceremony.
If you have material desires, you must gaze upon images of them - surround yourself with the smells and sounds conducive to them - create a lodestone which will attract the situation or thing that you wish!
To insure the destruction of an enemy, you must destroy them by proxy! They must be shot, stabbed, sickened, burned, smashed, drowned, or rent in the most vividly convincing manner! It is easy to see why the religions of the right-hand path frown upon the creation of "graven images". The imagery used by the sorcerer is a working mechanism for material reality, which is totally opposed to esoteric spirituality.
A Greek gentleman of magical persuasion once wanted a woman who would satisfy his every desire, and so obsessed with the unfound object of his dreams was he, that he went about constructing such a wonderful creature. His work completed, he fell so convincingly and irrevocably in love with the woman he had created that she was no longer stone, but mortal flesh, and alive and warm; and so the magus, Pygmalion, received the greatest of magical benedictions, and the beautiful Galatea was his.
D. Direction
One of the most overlooked ingredients in the working of magic is the accumulation and subsequent direction of force toward an effective end.
Altogether too many would-be witches and warlocks will perform a ritual, and then go about with tremendous anxiety waiting for the first sign of a successful working. For all intent and purpose, they might as well get down on their knees and pray, for their very anxiety in waiting for the desired results only nullifies any real chance of success. Furthermore, with this attitude, it is doubtful that enough concentrated energy to even perform a proper ceremony could be stored up in the first place.
To dwell upon or constantly complain about the situation upon which your ritual would be based only guarantees the weakening of what should be ritualistically directed force, by spreading it thin and diluting it. Once the desire has been established strongly enough to employ the forces of magic, then every attempt must be made to symbolically give vent to these wishes IN THE PERFORMANCE OF THE RITUAL - NOT before or after!
The purpose of the ritual is to FREE the magician from thoughts that would consume him, were he to dwell upon them constantly. Contemplation, daydreaming and constant scheming burns up emotional energy that could be gathered together in a dynamically usable force; not to mention the fact that normal productivity is severely depleted by such consuming anxiety.
The witch who casts her spells between long waits by the telephone, anticipating her would- be lover's call; the destitute warlock who invokes Satan's blessing, then waits on pins and needles for the check to arrive; the man, saddened by the injustices wrought upon him, who, having cursed his enemy, plods his way, long of face, and forrowed of brow - all are common examples of misdirected emotional energy.
Small wonder that the "white" magician fears retribution after casting an "evil" spell! Retribution, to the guilt-ridden sender, would be assured, by their very conscience-stricken state!
E. The Balance Factor
THE Balance Factor is an ingredient employed in the practice of ritual magic which
applies to the casting of lust and compassion rituals more than in the throwing of a curse. This ingredient is a small, but extremely important one.
A complete knowledge and awareness of this factor is an ability few witches and warlocks ever attain. This is, simply, knowing the proper type of individual and situation to work your magic on for the easiest and best results. Knowing one's own limitations is a rather odd bit of introspection, it would seem, for a person who should be able to perform the impossible; but under many conditions it can make the difference between success and failure.
If, in attempting to attain your goal through either greater or lesser magic, you find yourself failing consistently, think about these things: Have you been the victim of a misdirected, over- blown ego which has caused you to want something or someone when the chances are virtually non-existent? Are you a talentless, tone-deaf individual who is attempting, through magic, to receive great acclaim for your unmusical voice? Are you a plain, glamorless witch with oversized feet, nose, and ego, combined with an advanced case of acne, who is casting love spells to catch a handsome young movie star? Are you a gross, lumpy, lewd-mouthed, snaggle-toothed loafer who is desirous of a luscious young stripper? If so, you'd better learn to use the balance factor, or else expect to fail consistently!
To be able to adjust one's wants to one's capabilities is a great talent, and too many people fail to realize that if they are unable to attain the maximum, "a half a loaf can be better than none". The chronic loser is always the man who, having nothing, if unable to make a million dollars, will reject any chance to make fifty thousand with a disgruntled sneer.
One of the magician's greatest weapons is knowing himself; his talents, abilities, physical attractions and detractions, etc., and when, where, and with whom to utilize them! The man with nothing to offer, who approaches the man who is successful with grandiose advice and promise of great wealth, has the alacrity of the flea climbing up the elephant's leg with the intention of rape!
The aspiring witch who deludes herself into thinking that a powerful enough working will always succeed, despite a magical imbalance, is forgetting one essential rule: MAGIC IS LIKE NATURE ITSELF , AND SUCCESS IN MAGIC REQUIRES WORKING IN HARMONY WITH NATURE, NOT AGAINST IT .
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