The Cosmic within the Crystal

atu-ii-high-priestess

 

She felt her crystal, many miles distant, begin to respond and draw power from the Abyss beyond. The power came to her, slowly, through the gate in the fabric of space-time, a chaos of energies from the dimensions of darkness. (Deofel Quartet, ONA)

She let this power build within her before trying to transfer it by an act of will to her crystal but even she was surprised at the ease of this and the extent of the power she had stored. The crystal began to glow, and in her orgasm she felt possessed of the power of a goddess. (Deofel Quartet, ONA)

It was as he stood up that he remembered that she was the Masters’ daughter. She led him
from the chamber into the dimness of the Temple. There were no candles on the altar, no
naked priestess, no congregation gathered to greet them, indeed nothing magickal except the crystal tetrahedron, glowing as it stood on a plinth. Only the Master and Tanith awaited them. “The season and time being right,” intoned the Master, “the stars being aligned as it is written they be aligned, this Temple conforming to the precepts of our Dark Gods, let us heed the angles of the nine!” He gestured toward the crystal, chanting “Nythra Kthunae Atazoth!” as he did so. The light that seemed to emanate from within it darkened and then began to slowly change colour until only a dim blue glow remained. (Deofel Quartet, ONA)

The beautiful painting by Christos Beest (R. Moult) was specifically created for the Sinister Tarot. It depicts the Mistress of the Earth with two crystals next to her. The left one is clearly a tethrahedron. This particulary shaped crystal is an important ritual ‘tool’ within the Sinister Tradition and more specifically for the Order of the Nine Angles. Underneath the explanation you can find some excerpts from the Deofel Quartet manuscript (fictional content) of the ONA in which you can find important elements of the Sinister Tradition. As you can see the crystal is indispensable to the Tradition’s specific rituals.

I will not go into the specific symbolism yet, but I will get back to it. First I would like to focus on the occult significance of crystal with a specific emphasis on the alchemical tradition and the crystal’s application in the Sinister Tradition. But instead of providing a summary of various Wikipedia-posts of several occult traditions, I will focus on the arts and more specifically on literature, namely two important representatives of American romantic literature, namelijk Emerson and Thoreau.

The Sublime

The Sublimebeing at the heart of Romantic (and my personal) aesthetics – is actually what has driven me to write down my thoughts on the esoteric nature of crystal. The white frozen landscape has always inspired me to meditate, to create, to read, to listen to Black Metal because I experience this as the most sublime of all types of landscapes. I must say that we do not enjoy these that much in Belgium, but when we do experience such weather   I am overwhelmed by its sheer beauty, its mysticism, and also the cruelty of its cold temperatures. I remember the frozen peaks when I was young and my parents and I visited Switserland and this year I witnessed the magical white landscape of the North, namely Finland. The beauty of winter is something grand, and its Sublime natures denotes that it cannot be grasped or put into words. Confronted with the Sublime, man becomes humble and speechless. For instance the wonderful paintings of the Romantic painter Caspar David Friedrich:

caspar_david_friedrich_-_wanderer_above_the_sea_of_fog

Caspar David Friedrich: Wanderer above the Sea Fog (1818)

Empathy

That is exactly the reason why I enjoyed Eric Wilson’s book ‘The Spiritual History of Ice – Romanticism, Science and the Imagination‘ – that much. In the preface the author admits that he used to be a deep ecologist by seeing our current Being-in-the-World as unadapted to Nature; a non-anthropocentric point of view by which one admits being ashamed of human hubris and the human’s apparent goal to destroy, corrupt and drain Eorthe (a critique already articulated by Spengler and Heidegger). Of course, deep ecology takes the matter a lot further and they see mankind’s utilitarian needs as subservient to Nature and the planet’s equilibrium.  I do share its radical antihumanism and also recognize the urgent need to honour Eorthe again instead of our precious vanity, our blind faith in human progress regardless the environmental consequences. As a Being-in-the-World we desperately need to restore an ontological Empathy, not just with our surroundings but also with the Cosmic as whole. We need to re-connect with the Cosmic as a most Sublime Order. The recognition of the crystal and its cosmic importance is, in my view, an important step to restore this ontological Empathy.  The Sinister Tradition has been very important in this respect, and I want to highlight its occult and ritual practice with the crystal tethrahedron.

One important aspect is to regain respect for the sheer strength and beauty of our planet. We cannot feel superior and should be most humble. The frozen landscapes of the North should find their way back in the acausal connection with our ancenstor’s Wyrd, our being-part-of-Tradition. We need to become ‘nothing’, become ‘meaningless’ instead of overestimating our individual importance. Each of us must play his part in the Cosmic game.

Of all the landscapes in nature, those that are frozen are perhaps the most sublime. The reason: the blankness of ice. When we gaze into the semi-transparent crystal of frost or scan the unending paleness of the polar floe or stare at the blanched undulations of the glacier, we undergo the vertiginious tension between meaningless void and significant plenitude. On the one hand,  the whiteness is pure emptiness, a bland, monotone space featuring no distinctions at all, no break in the engulfing sameness. To brood over such a region […] is to lose any sense of seperate identity, to become nothing, only an indistinct cipher of the vacuum. Such is the horror of the ice […] (Wilson, p. XIII)

Beautiful, poetic words which make my seperate identity disappear.  The horror exists because of the whiteness of the ice which reduces all differences, but as Wilson explains: this whiteness is “a realm of fecund potential where nothing has yet become anything, a reservoir of pure possibility.” This is exactly the exhilaration of ice because it captures endless and ever changing forms (the ice and its cyrstals live!) and enormous vistas that demand our silent gaze and utmost humility. The Cosmos, which we look up to, is actually reflected deep within the ice’s core, namely the crystal: as above, as below.  The Sublime nature of such imperial vistas is utterly horrifying and stupendous, for they sweep away our human characteristics, our rational ‘heads’ and through this symbolic decapitation, and thus becoming acephalous, we can operate without boundaries and we are projected towards a far greater Destiny.

In his book Wilson tracks the exoteric and esoteric importance of the spiritual history of ice. For the sake of our subject we will focus on the esoteric perspective exhibiting “internal depths, invisible mysteries, and individual experiences.” This mode of vision is shared by hermetic thinkers, alchemical adepts and Romantic visionaries such as Emerson and Thoreau who delved through their poetry into crystallography which exhibits the acausal nature of the crystal.

The Crystal

The word crystal is derived from the Greek verb krustaimein, which means to freeze, and its cognate noun, krustallos, being ice. Therefore in Magian prophetic book  crystal is given an optical meaning. The prophet  can perceive esoteric destinies and divine mysteries like a scryer. Swedenborg, the Swedish mystic, was interested in “how crystals of ice reveal the inner laws of the universe”. He posited a hypothesis how “the minute geometries of crystals are portals to the essential monads of the cosmos and the modes by which these monads combine.” Thoreau, being a scientist and prophet, embraces the crystal “as a microcosmic revelation of both reassuring law and unsettling mystery.” As he stared into the stone he encountered colours, images through the various reflections and refractions and thus creating an unsettling vision devoid of geometry. Thoreau therefore concluded that the cosmos is double: “lawful and enigmatic, organized yet abysmal”. The pyramids seem simple for a point of view, yet they are holding “kaleidoscopes, complex flickering in their core”. This is a most important observation and shows us the importance of the crystal as being simple and straightforward but mysterious and disturbing at the same time. In the crystal we can therefore find the alchemical secret of the union of the most fundamental opposites: Matter and Geist.

Thoreau regards the crystal a “numinous disclosure of matters that deeply occupied his soul: the mysteries of transparency, the curious laws of organic formation, the irreducible extravagence of the world.”  And this by the way preoccupies us as well. This actually reveals the inner workings of the crystal, and the crystal as a causal means to bring forth the mysteries of the acausal. This opens up the art of scrying which is also practised in the Sinister Tradition.

The divinatory arts have been developed through the different civilizations and it elevated mankind from a fear of a randomn universe to a fascination with the Cosmos, to live according to its laws and to see how it affected our Destiny. There were various methods of divination, but divining the stars in earthly prism or crystallomancy has survived through the Middle Ages, Renaissance and Enlightenment. This of course according to official historic resources for there are various traditions, such as the Sinister Tradition (causally manifested by the ONA), which has always stayed beyond the surface mainly because of it being an oral tradition. The Art of scrying as described in the Deofel Quartet. The crystal tetrahedron not only brings esoteric knowledge, it functions as a way of communicating:

For weeks after the gift of the crystal should shut herself away in the small house she then shared with Lois. The crystal brought knowledge and she had learned how to use it to travel among the hidden dimensions were the Dark Gods slept, waiting for someone to break the seal that bound them in sleep. She learned of Earth’s past, of how the Dark Gods had come bringing terror and much that was strange. Of how her Prince was their Guardian, given the earth as his domain. Her shape-changing Prince was her guide to the Abyss beyond, and she explored the Abyss without fear, trembling or dread. She would be ready, she knew, when the stars were a aligned aright, to call and summon the Dark Gods from sleep. (Deofel Quartet)

The Alchemical Wedding

The alchemist Paracelsus, who introduced the alchemical principle of Salt (Sal), valued the crystal for its virtues and found it “a wedding of unseen and seen, soul and body.” He saw the crystal as a tool to see things as they really are. As a figure of the air it functions as an instrument of optical technology capable of showing invisible forces. In his book L’Homme et l’invisible (1964) Jean Sevier (referred to by Wilson) notes that the crystal traditionally represented “a level intermediate between the visible and invisible”. In alchemical terminology the crystal represents and captures a mystical marriage between translucent matter and spirit.

paracelsus

Paracelsus at work

The magician John Dee also used a crystal to conjure spirits of things unseen. Following E. Wilson we can sum up the most important values of the crystal as follows:

  1. It distorts normal everyday perception because of its inner structure and its prismatic angles.
  2. Through its prismatic reflections it visualizes unseen agencies.
  3. The crystal merges subject and object because it blends reflections of interior desires and refractions of eternal objects.

It is clear that the crystal reveals a secrete conjunction, the coniunctio, between beholder and beheld: an esoteric marriage of opposites as shown here below:

coniunctio-dicionario-junguiano

Coniunctio of the two opposites

The coniunctio (Latin for connection, commitment, marriage) takes places in at a symbolic arthetypical level beyond logical concepts (acephalically speak: beyond the head)  and is a pivatol moment of inner fertilization and transformation which as you can see, is depticted by the holy union, the hierosgamos, of the Mother-Queen (Luna) and the Father-King (Sol). Within the Sinister Tradition the sexual union of the Priestess (Luna) and the Priest (Sol) has a similar meaning and the same esoteric purpose for it is an important stage in the Alchemical Work:

The invokation begins with the Priest vibrating seven times the phrase ‘Nythra kthunae Atazoth’ while the Priestess holds the tetrahedron in her hands, palms upward. When the vibration is complete the Priest places his hands on the tetrahedron and both vibrate ‘Binan ath ga wath am’ until the ritual is complete. After the vibration, the Priestess – still holding the crystal – should lie on the ground, her head North, the Priest arousing her with his tongue, The sexual union then begins, with both visualizing the Star Gate opening and the primal form of Atazoth coming forth. Atazoth may be visualized as a dark nebulous chaos – a rend in the fabric of star-studded space which changes into a Dagon like/dragon entity. After her sexual climax, the Priestess buries the crystal within the earth of the hill. When this is done, she vibrates over the spot ‘Aperiatur terra, et germinet CHAOS!’ She then signals to the congregation who cease their chanting. All the participants then depart from the hill.
Note: The tetrahedron should be well-buried in a spot prepared by the Priest and Priestess before the rite. If the invokation is done again, the rite begins with the Priestess unearthing the tetrahedron. It should be cleaned before the ritual begins – and must be buried without any covering whatever. (Invokation to the Dark Gods)

The Double Tetrahedron

In the MS The Nine Angles – esoteric meanings it is explained that there is a double tetrahedron at work during this Sacred Marriage of Opposites:

The nine also represents the tetrahedron (for example, the crystal one used in the Rite of the Nine Angles) which is itself symbolic of the nexion described by the Tree of Wyrd. Thus, for instance, in the Nine Angles Rite, the crystal represents one aspect of the nexion, the Priest and Priestess the other: together (ie. the bringing together in the ritual) they enable the nexion to be opened. In this sense, the Priest and Priestess (when conjoined) form a tetrahedron which, joined with the crystal one, enables acausal energy to become manifest in the causal (the ‘world’) – this is the secret hinted at in many historical alchemical MSS (for example the ‘Rosarium Philosophorum’: “Make a round circle of the man and woman …”) and occasionally depicted in drawings. This ‘double tetrahedron’ is a magickal form of the double described above in the first paragraph (the causal geometric one). (The Nine Angles – esoteric meanings)

We can find the double tetrahedron being formed in Atu VI – the Lovers:

06-lovers-karu-samsu

Atu VI: The double tetrahedron a nexion created via the union of balancing forces. The sowing of the seed of Change that which may transform and carry evolution beyond the Abyss, and thus beyond ‘self-image’ – or that coerce to create something beyond ‘self.’

The union indeed of balancings forces and the creation of a nexion. This is what Paracelsus described as a wedding of the seen and the unseen. Within the Sinister Tradition one uses the nouns ‘causal’ and ‘acausal’. The nexion as a means to presence the Sinister and this nexion is a double tetrahedron. This specific combination of two tetrahedrons is known as a Star Tetrahedron in Sacred Geometry. This type of tetrahedron, also known as the Merkaba, indicates the inseparable relationship between the complementary halves: the positive and negative, the manifest and the unmanifest, the causal and the acasual – and at the moment of coniunction (the coniunctio oppositorum) they form a continuum, an equilibrium.

tetrahedron1

Another manifestation of this Sacred Marriage is this one:

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As described in Naos (DC edition):

This three-dimensional structure is considered to lie enclosed within a double tetrahedron: the sphere of the sun being in the centre of the base where the tetrahedrons join. The uppermost tetrahedron signifies the acausal aspect, the lower, the causal aspect, and the three angles of each side are symbolized by the nine combinations of the three alchemical forms; that is, by the symbols of the pieces of the Star Game. As in the Star Game, the acausal aspects are an exact reflection of the acausal – the latter being shown in the diagram below. (Naos – DC edition)

As mentioned in the meditation for the Atu VI the seed of Change is being sowed during this Sacred Marriage.The connection leads to the ‘birth’ of a new element that combines the characteristics of both elements in order to transcend them. This is the sowing of Change, of evolution towards a new stage, a new aeon, a new civilization, a new type of Man.

By the way, if you want to know more about the hermetic background of Sinister Tradition, I am glad to refer you to the most excellent text written by Acausality: The Seven Spheres & Alchemy.

Change and energy

Now, the fact that change can be brought about, is due to the fact that there is an inifite energy at work. Emmanuel Swedenborg (1668 – 1772) was a respected metallurgist, chemist and mining engineer and he was skilled in interpreting the physical world, the causal, as much as the spiritual (acausal). He had specific visions about the relationship between the micro- and macrocosm, namely a universal connection, grand rhymes which he saw everywhere. He developed his crystallography based on an infinite energy originating in and sustaining the Cosmic while the crystal functions as a window for and a mirror to this energetic flow. He saw an infinite flow of energy, a spirit crystallizing into regular structures, which he called “crustals”. In his view the birth of the cosmos was due to this boundless energy being condensed into a single, transparant, spiraling point, and this becoming the first crustal: “a vortex comprised of inner motion and a highly tenuous, transparent crust.” The enormous force of the energy exploded the outer crust and thus other particles were formed. Swedenborg’s vision is quite fascinating, as his universe is “comprised of motion (huge vortexes at the start) organized in geometrical forms.”

In Swedenborg’s universe everything is a geometrical form of infinite motion, but the crystal reveals cosmic processes which otherwise remain hidden. It becomes a window so to speak showing the interiors of matter itself because of its translucence. As was shown by science later, of which the foundations were laid by Swedenborg, matter was a dynamic force; “a rich revelation of polarized power”.  Things were taken further by thinkers such as Goethe and Schelling  in the direction of biology by discussing theories on the fact that the crystal could grow. The crystal becomes a “a snapshot of motion, a static translucence of holistic dynamism similar in kind to leaves, feathers, and stars […].” These  panpsychical ideas were further elaborated on in the 20th century and also Bataille ‘s (occult) theory on Base Matter as being energetic is clearly derived from this. Of course, we cannot go into this, but it shows that over a number of centuries, romantic, scientific ideas and theories have been developed showing us the fascination with and the importance of the crystal in several fields.

Ralph Waldo Emerson’s Snowstorm

Emerson (1803 – 1882) studied the works of Swedenborg, Goethe, Schelling and others and he introduced “the poetics of crystal” through his poem “The Snow-Storm”(1841). After witnessing a snowstorm Emmerson wrote the following poem:

Come see the north wind’s masonry.

Out of an unseen quarry evermore

Furnish with tile, the fierce artificer

Curves his white bastions with projected roof

Round every windward stake, or tree, or door.

Speeding, the myriad-handed, his wild work

So fanciful, so savage, nought cares he

For number or proportion

He refers to a fierce articifer and his wild work which demonstrates that there is an invisible force, a demiurg so to speak, at work. For Emerson the ice is alive  and there is a mysterious energy at work. “The snow crystal are polar: chaotic and calm” and there are “centripetal and centrifugal energies” at work. The Sublime is present as well for the boundless energy amazes the artist and it escapes intellectual category. It goes beyond ‘the head’ and one could say that it “riddles like a Sphinx”. These Emersonian meditations bring us to unfathomable (or acausal) energies which are simply beyond a “significant representation”.

What the crystal here shows, is “that the cosmos is indeed as agitated as it is calm, as confusing as it is intelligible”:

Powerful ‘floods of life stream around and through’ the universe; ostensibly tranquil things are ‘fluid’ and ‘volatile’; things are polarized symbols of the living flows; events, both deeds and words, cannot fully reveal the enigmatic fluxes that animate them. (Emerson)

Emerson goes even further in his book Nature where he identifies himself with a crystal (and thus I could refer to my blog post Zazenexion):

Standing on the bare ground, – my head bathed by the blithe aire, and uplifted into infinite space, – all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or particle of God. (Emerson)

Emerson sees himself a an emanation of a greater force and he feels the currents of the Universal Being circulate through him. As described in my blog post on Zen meditation the practitioner feels the currents between the causal and the acausal flow through his body and thus becoming a Nexion, another living crystal. We are all made up out of crystals and by taking the shape of a Tetrahedron one strengthens this flux, this dynamic between the causal and the acausal. Here you can find a description of this transformation within the Sinister Tradition:

Susan tightened her grip on Conrad’s hands and he suddenly felt the primal power of theAbyss within him. He was not Conrad, but a vortex of energy. Then he was in the darkness of space again, sensing other presences around him. There was an echo of the sadness he had felt before, and then the vistas of stars and alien worlds, world upon world upon world. He became, briefly, the crystal upon the altar, the Master standing beside it. But there were other forces present and around him, trying to send him back into his earthly body and seal the rent that had appeared and which joined the causal universe to the acausal where his Dark Gods waited. (Deofel Quartet)

As Emerson describes: all mean egotism disappears. This is an act of humility: one becomes nothing (instead of wishing to be an all-powerful and most evil black magician). True Black Magic is beyond the Ego, beyond one’s own desires. You become headless, acéphalic as you turn into a “transparent eye-ball”. The eye becomes disconnected from the head as the head is one’s ratio, one’s humanity. Emerson discovers that “he is not distinct and seperate but a discrete pattern of distributed energy – a polarized point, an agitated orb, of infinity.”

Meditate therefore on the image below, hold your crystal and feel its specific structure, feel your body melting and ‘becoming’ this crystal orb.

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Orb – Picture taken from Youtube video tutorial on After Effects by Adobe.

One’s autonomous “ego” is in effect an illusion. Later in his book Nature Emerson admits “that this crystalline vision is difficult to achieve” but his point of view is that of a writer.  Emerson did not embark on meditation and ritual practice to subvert this rational approach. However…

“…, in rare moments, during walks across icy fields in twilight, one’s worries and wants fall away. He feels part of immeasurable energies coursing through the grass, his heart, the stars. He realizes that he is a transpicious form of distributed flow. His “I” and the All mutually interpenetrate. He is something (a cogent structure) and nothing (an infinite abyss). Not simply a translucent window, not merely an impervious mirror, he, crystalline, is both. Somewhat opague, he reflects the world, merges with it, and relinquishes his ego. Mostly transparent, he refracts the universe, stands separate from it, turns it to suit his discrete disposition.” (Wilson)

This is such a beautiful passage for this is the essence of working one’s magick, working with a crystal. Of course, Wilson does not have the Sinister Tradition in mind, but this working is exactly the interplay between the causal, the acausal and the relationship between the adept and his crystal. This is a very advanced state of reaching this alchemical marriage by expulsing the Ego and recognizing the infinite Abyss within. Emerson in his book “Experience” (1844) situates the consciousness of man on a sliding scale from identification with the lubricious flesh to the outermost, namely what Emerson called the First Cause (the Acausal). By his poetic ability to dissolve everything to spirit, Emerson sees that “within the form of every creature is a force impelling it to ascend into a higher form.” (Wilson). This kind of transparency is so much more than just a pure transparency, a pristine clarity which would be easy. Emerson hints at the kind of transparency which involves transcending matter and rising to “unseen worlds of unhindered lucidity”. Wilson here refers to the vision of Plotinus’s ideal intelligence which is described in the Enneads (ca. 270 AD):

There … all is transparent, nothing dark, nothing resistant; every being is lucid to every other, in breadth and depth; light runs through light. (Plotinus)

As Wilson notes: pure transparency would be blinding as it reveals only total light. That would mean looking straight into the Sun. Besides “lucidity there is some obscurity, besides abstraction there is concretion” and this takes us back to … matter and spirit. When you gaze into your crystal, you do not expect to have a clear sight for that would be the same as looking through a piece of glass. The crystal offers far more, and scrying does not mean seeing situations as clear as they would happen in front of you. You end up seeing vague images, diffuses colours, which connect with your Spirit, your humble attitude to open yourself for the Acausal.

In the alchemical Work this is called the process of Mercury as you are transforming that which is Base, Material into the Spiritual, the immaterial, the etherial. Mercury also symbolizes this mystical experience which you go through as you are becoming one with your Alchemical Work. The Tria Prima (Sulphur, Salt and Mercury) comes together in the crystallization proces. The crystal is not a soulless matter, nor is it an immaterial Soul, and it is not devoid of a Universal Spirit. As Mercury is the changing substance itself and as it implies various contradictions and forms, we cannot see but one primal or first element, namely the crystal. This brings us to the Prima Materia, the Grail of which it has been said that it consisted out of crystal:

As has been mentioned in other MSS, the ‘Grail’ was a crystal (“lapsit ex coeli”) of quartz according to most. It did not have a perfect geometrical shape, but was similar in shape to a tetrahedron. It was guarded by several ‘keepers’ and was said to possess real magickal powers – prophecy, divination and so on. It was also said to be necessary for prosperity. Legend recounts it as being used to inaugurate the Western Aeon and thus civilization, at the time of Arthur. As stated, the legends that have come down regarding Arthur are mostly Nazarene distortions. (ONA,  Arthurian Legend)

art-mercurius1-449x640

Mercury

With regard to Mercury the Sinister Tradition also refers to its transformative aspect:

Thus, a tetrahedron shaped ‘inner sanctum’ would be for Mercury workings: i.e. workings concerned with ‘indulgence and  transformations’ [qv. the tables in ‘Naos’ and elsewhere]. The Form may be constructed in the material (see table I) on a small scale and this itself may be used in two ways: a) As a focus for vibration/chant – using the appropriate chant for the sphere concerned (qv. ‘Naos’]. Thus, for  Mercury, the tetrahedron would be associated with the “Agios Lucifer” chant*. The vibration appropriate to this sphere would be “Satan”/”Satanas”.  (ONA, Notes on Rituals II)

Conclusion:

henry_david_thoreau

Henry David Thoreau

I would like to conclude this research by briefly referring to Thoreau. Emerson was a friend and mentor of Thoreau and he had studied the works of Emerson. Being an observer of nature he was known as the Poet-Naturalist. He studied the crystal to find the destiny of the cosmos, and he was also an optical theorist. But above all he is a poet: “a scribbling magus, a scientist armed with tropes – transforming seeings into sayings, cosmos into logos, ice crystals into crystalline symbols.” The young Thoreau, as an observer, however did not look with his eyes, but he looked through them, and in this way he transcends corporeal sight and opens himself to “the striking revelation of intuitive vision”. This explains the way he looks at crystal shapes because he is in search of the primal force of life.

To Thoreau the crystals are “portals for holistic powers” and they “reveal mergings of form and energy”. When he looks at crystals,

they make his ‘I’ disappear and they show him “beyond his discrete ego, he is a ubiquitous current: His ‘I’ is really ‘nothing’ – not this or that – but also ‘all’ – a power gathering all thises, all thats. (Wilson)

Both Emerson and Thoreau hinted at “holistic” powers that were both familiar and unfamiliar; “primordial currents” distributed through all beings. Currents hidden for the mundane, ‘felt’ by  poets; alien because they are hidden and only revealed to those who wish to embark the Alchemical Work. Wilson uses the term ‘uncanny’. Heidegger regards being as ‘uncanny’ for it is disturbing but also transforming … and this brings us back to the Sublime. Just like the Ouroboros biting its own tail.

Within the Sinister Tradition the uncanny power of the crystal is highly valued and it is far more than an instrument. It is a Nexion, a magickal resource itself to channel those forces, the Dark Gods, from the Acausal.

To open a Star Gate and return the Dark Gods to our causal universe a crystal tetrahedron made of quartz is required. This should be as large as possible – and made from a natural shape by a skilled operator. (Invokation to the Dark Gods)

It should be noted that Esoteric Chant, combined with a quartz tetrahedron, is one of the most effective ways of opening a nexion.] The chosen rite is conducted on the chosen site. It is often necessary to conduct a second or third rite within the space of a few weeks to fully open a new nexion. The new nexion, once open, needs to be kept open and this requires regular rites on the chosen site for many years – a specific rite [which does not necessarily involve sacrifice] should be constructed to do this. This specific rite needs to be undertaken at the very least twice yearly for the first five years, and then once yearly for at least ten years. One of the best methods to use for this specific rite is Esoteric Chant using a quartz tetrahedron. (Aeons, Civilizations and Archetypes)

Emerson and Thoreau, being romantic poets, intuitively knew that the crystal was a “transparant portal through which one might discern invisible powers criss-crossing the cosmos”. They viewed the world and the cosmos through a crystal lens and as such they penetrated “the hidden law by which the one becomes the many, energy turns to form”. They went for an alchemical search. Within the Sinister Tradition adepts actually take the next step: from poetry to magick to aeonics. All these individual steps are necessary if we want man to evolve, to transform and take up Authentic living.

The Abyss was within her, within Claudia, within all those in the Temple and all those outside it. It was primal awe, terror and intoxication and she entered it she felt its energies forming into shapes ready to ascend to Earth through her crystal and Temple. (Deofel Quartet)

The crystal gave power to and magnified her thoughts and when she released him he stared at it for several minutes. (Deofel Quartet)

She did not speak, or move, but slowly raised her hands as, many miles away, the crystal within her secret temple began to glow. “Atazoth! Atazoth!”, the dancing dancers hissed. The sky above and around them was clear, speckled by stars but a ragged darkness came to cover a part of the sky as a putrid stench filled the air and a circle of cold fell around the worshipers. No one moved, chanted or spoke but all stared up at the sky. The darkness grew slowly before withdrawing into a sphere that darted across sky. And it was gone. (Deofel Quartet)

After the festivities have begun in earnest, the Mistress should she so desire, directs the forces of the ritual by concentrating the energies upon the tetrahedron and invoking through a gate, the powers of the Dark Gods into the participants to spread
outwards upon the Earth.)

Ga Wath Am!

Bibliography:

Von S, 127yf

 

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Von Sanngetall

My Mystical Path devoted to the Acephalic God. The body and mind can be a nexion for the Dark Gods. Joy before Death! 333!

3 thoughts on “The Cosmic within the Crystal”

  1. What an article! It will be necessary for me to go through it a few times to really absorb all the informations. This is amazingly in-depth and I really appreciated reading it…

    Moult was greatly inspired when he painted ATU VI (The Lovers) or Karu Samsu. It does echo to the sexual union of the priest and the priestess but also the double pelican as you have brilliantly stated. Your explanations concerning the ‘conjunctio’ and ‘hierosgamos’ were deeply interesting. According to such explanations, it is no wonder that the crystal quartz is the perfect ritualistic tool. Its very essence (agencies) is beyond denotatum/duality.

    Thank you so much for taking the time to write this.

    Liked by 1 person

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