Re: Occult: Islamic Solomonic Question
Posted: Tue Feb 10, 2026 8:17 pm
Returning to your text:
"
Kant explained that because the 'thing in itself' can't be known by science, we are free to believe in things like religion, the future and other such things, but there was a realm of experience that belonged to science that was empirical and that philosophy should do the same. Crowley read these works and changed a few premises to fit his description as we shall see. A more immediate reference to Kant is 'philosophy has nothing to say and science can only suspend judgement.'
Crowley uses this split to justify his version of idealism that he believes is proven through illusion and perception, with the will as the active process of percpetion that is capable of manifesting spirits.
With all of this background we can see how Crowley did not arrive to his claim that 'the spirits of the Goetia are portions of the human brain' through the methods he describes, but rather he applied transcendental idealism to his explanation. The spirits to Crowley are the 'things in themselves' or in Fichtes terms 'by positing its own limitation, first, as only a feeling, then as a sensation, then as an intuition of a thing, and finally as a summons of another person.'
Will
Crowley's references to will also bring other Kantian influenced philosophy into the frame. When he explains the 'destruction of our enemies is to realise the illusion of duality, to excite compassion', aside from his explanations of how these things-in-themselves, or active transcendental mechanisms which he calls spirits that are summoned through intuition, he seems to be revealing a link to Arthur Shopenhauer and Hegel. This will further elaborate on Akasha as an essence that is more than the finite modes of existents.
"
https://slantbooks.org/close-reading/es ... h-of-hell/
https://theunisduminy.com/blog/beyond-good-intentions
https://sacred-texts.com/oto/lib148.htm
"
"Expect seven misfortunes from the cripple, and forty-two from the one-eyed man; but when the hunchback comes, say 'Allah our aid.'"
"
https://socialecologies.wordpress.com/2 ... elligence/
https://philosophy.stackexchange.com/qu ... e-idealism
https://press.uchicago.edu/Misc/Chicago/642011.htm
https://philosophynow.org/issues/31/Kan ... _in_Itself
https://en.wikipedia.org/wiki/Thing-in-itself
https://peped.org/philosophicalinvestig ... knowledge/
https://www.researchgate.net/publicatio ... 7s_noumena
https://philosophy.stackexchange.com/qu ... tself-mean
https://en.wikipedia.org/wiki/Quipu_(supercluster)
https://en.wikipedia.org/wiki/Large-sca ... e_universe
"
The End of Greatness is the name occasionally given to an observational scale around 100 Mpc (roughly 300 million light-years) where the lumpiness seen in the large-scale structure of the universe is homogenized and isotropized in accordance with the cosmological principle.[13] The "lumpiness" is quantified by computing a fractal dimension from observations.[14][15] The superclusters and filaments seen in smaller surveys are randomized to the extent that the smooth distribution of the universe is visually apparent. It was not until the redshift surveys of the 1990s were completed that this scale could accurately be observed.[2]
"
https://en.wikipedia.org/wiki/God
https://en.wikipedia.org/wiki/Allah
https://thequran.love/2025/10/15/lord-o ... -compared/
https://en.wikipedia.org/wiki/Prima_materia
https://en.wikipedia.org/wiki/Abzu
https://en.wikipedia.org/wiki/Abyss_(religion)
"
Abzû (apsû) is depicted as a deity[9] only in the Babylonian creation epic, the Enūma Eliš, taken from the library of Assurbanipal (c. 630 BCE) but which is about 500 years older. In this story, he was a primal being made of fresh water and a lover to another primal deity, Tiamat, a creature of salt water. The Enūma Eliš begins:
"When above the heavens (e-nu-ma e-liš) did not yet exist
nor the earth below,
Apsû the freshwater ocean was there, the first, the begetter,
and Tiamat, the saltwater sea, she who bore them all;
they were still mixing their waters,
and no pasture land had yet been formed,
nor even a reed marsh."
The act of procreation led to the birth of the younger gods: Enki, Enlil, and Anu. Anchored in the Tablet of Destinies, they founded an organisation to make Mesopotamia fertile through agriculture, but got into a dispute and consequently created the first humans as labour slaves, to peacefully resolve the conflict. The humans multiplied en masse and disturbed the gods around Enlil and Anu with their noise, so that they wanted to use the cosmic freshwater ocean to trigger the great flood and destroy the humans (cf. Athrahasis epic). Enraged by the devastation of earth, Tiamat gave birth to monsters whose bodies she filled with "poison instead of blood" and waged war against her traitorous children. Only Marduk, the founder of Babylon, was able to kill Tiamat and mould the final constitution of heaven and earth from her corpse.
"
https://en.wikipedia.org/wiki/Chaos_(co ... ermeticism
https://en.wikipedia.org/wiki/Babalon
"
Babalon's consort is Chaos, called the "Father of Life" in the Gnostic Mass, being the male form of the creative principle. Chaos appears in The Vision and the Voice and later in Liber Cheth vel Vallum Abiegni. Separate from her relationship with her consort, Babalon is usually depicted as riding the Beast.
"
You continued:
"
Hegel was a revolutionary philosopher who actually tried to describe the experience of the transcendental realm, or the thing in itself. Hegel claims that we are all ultimately one, there is one underlying reality and self-awareness is a necessary illusion that gives us the appearance of seperateness. Shopenhauer takes these metaphysics and declares there is a 'will' behind or around all things, an immamance, but it's not like our individual will however, it is is more like an energy. In humans the will is the 'will to life' and it manifests usually as desire for satisfaction in a never ending cycle of suffering. Shopenhauer was a pessimist and concluded that the only basis for morality was compassion, as we are all interconnected as one, one cannot act with out causing action upon other beings around me. Shopenhauer was a notoriously cranky philosopher and despised women, something that Crowley would certainly have found attractive.
So to destroy one's enemies by realising the illusion of duality follows this same logic.
Conclusion
I have long suspected for many years that Crowley was influenced greatly by German philosophy, all of the philosophers I have talked about lived and died before Crowley was born in 1875, Shopenhauer died only 15 years before Crowley was born.
Crowley percieves spirits in the same sense as Kantian transcendental idealism, with Fichtes' take on intution and summoning. Crowley sees the spirits as active components of perception and of knowledge that occupy a noumenal world that can't be known as a cause but can be accessed and retrieved through ceremony and intuition.
I personally see Crowleys' explanation as unnecessary, as the same conclusions and knowledge can be accessed through the same metaphysics as previous philosphers before him. As I explained when I opened this thread, I am not trying to debunk or find out if spirits are real or not, I am only breaking down the content of what Crowley provides on it's own terms.
Crowley even admits that 'these practices are useless;but for the benefit of others less fortunate I give them to the world'. I don't accept his apology afterwards as I have laid out this article it seems that he was hiding influences on his thought that would probably have been better applied with a different set of questions.
Psychology was just starting to build itself up as a human science and after Shopenhauer, Nietzsche and Freud came along with a powerful materialism that focused on drives, which are possible to explain in terms of Crowley's 'spirits', except they are not transcendental or from a noumenal realm, they are on a plane of immanance in this world.
If taken in regards to physical manifestation
If we are to improve what Crowley says to match the claim that Goetic spirits are ontologically objective, but manifest in this world not as part of the brain but as a seperate entity that can be observed by one or two people, then we can with charity explain it in a dialectical monistic way. Dialectical monism, or dualistic monism is the ontological view that reality is a whole but expressed necessarily in seperate parts. This is more akin to Spinoza's panentheism - the one and the many, all is in god but god is more than nature and all material substances are finite modes of an infinite being, like God. This allows for spirits to exist as modes, they are less than god and part of nature. They are not beyond nature and don't come from a transcendental realm, nor are they soley an aspect of a human brain. They can only be experienced through ritual ceremony however, but this does not mean they don't exist prior to the experience.
Spirits exist with humans, however spirits can exist without them also, this makes humans contingent and not necessary to spirits, but spirits are a necessity of nature for humans. This is a statement that includes a oneness of duality, that reality is not one, or two, it is one and two. When humans call spirits, it is for matters that are necessary to humans, whereas spirits are concerned with necessities outside of human experience. Due to the fact there are limits on this relationship and that humans only have a contingent part to play, it is fair to say that spirits can be related to parts of the human mind in the forms of desires and satisfaction of desires. Thus, instead of ending up with a dualism or a monism, we can say that spirits are one and two things at once. They are ontologically objective because they exist independent of our experience, however they only have relevance when they are evoked through experience and are also ontologically subjective as well.
Their effects on human desires are ontologically subjective, the knowledge of the symbols in the Goetia to call them is epistemically objective and the intuition, motives and personal will is epistemically subjective in the magician.
With the transcendental idealist interpretation, there is no ontologically objective form of the spirit, there is an ontologically subjective form from the thing-in-itself in the mind of the one who experiences the spirit, the knowledge of the symbols in the book is epistemically objective and the intuition and summoning, or information aquired by the spirit in the mind is epistemically subjective.
"
"
Crowley says simply in his Confessions that what took place amounted to a final tearing away of "certain conceptions of conduct which, while perfectly proper from the standpoint of my human nature," he had regarded as "impertinent to initiation." What happened in prosaic terms was that Crowley was sodomized by Neuburg in a homosexual rite offered to the god Pan. Pan, the man-goat, had a particular significance for the two men. Not only did Crowley revere him as the diabolical god of lust and magic, but Neuburg literally had what acquaintances described as an elfin and "faun-like" appearance. It is likely that what happened on Mount Da'leh Addin was a classic invocation; the young chela, in accordance with accepted magical technique, probably "called down," or invoked, the god Pan. A successful invocation would result in the neophyte's becoming "inflamed" by the power of the god. If this is what happened during the ceremony on the mountain, Neuburg, in his magical capacity, would momentarily identify with all that the man-goat god represented. Put simply, Neuburg with his tufted "horns" would become Pan—the "faun-like" yet savage lover of Crowley's psychosexual world. This may well have been the first time that Crowley (and certainly Neuburg) had performed a magical homosexual act, although Crowley quickly came to believe that sex magic was an unrivaled means to great power. Conversely, the image of Pan was to haunt Victor Neuburg for the rest of his life. It inspired some of his best early poetry, but later filled him with dread. The experience was overwhelming for both men, but it temporarily devastated Crowley. His summation was brief. "There was an animal in the wilderness," he writes, "but it was not I."
Crowley remembered nothing of his return to Bou Saada. As he slowly came to himself, however, he knew that he was changed.
I knew who I was and all the events of my life; but I no longer made myself the centre of their sphere.…I did not exist.…All things were alike as shadows sweeping across the still surface of a lake—their images had no meaning for the water, no power to stir its silence.
Crowley felt that he had ceremonially crossed the Abyss—a term reminiscent of Nietzsche (whom Crowley greatly admired), but denoting the last terrible journey that a magician must make before he could justifiably lay claim to the highest levels of Adeptship. Master of the Temple, a grade of enlightened initiation achieved in Crowley's own Magical Order only after crossing the Abyss, meant renunciation of all that life meant. The Order of the Golden Dawn taught that such awareness could not be accessed this side of death, and Crowley affirmed this in his own way. The Angel of the fourteenth Aethyr had warned him that the Master of the Temple is condemned to darkness. Crowley in turn taught that becoming a Master of the Temple implied not simply symbolic death and rebirth, a concept familiar to all magical initiates, but the annihilation of the personal self. The Abyss, then, was closely associated with the death of the individual—although not necessarily on the physical level.
A few days later, Crowley, who in the aftermath of the "sacrifice" on Mount Da'leh Addin had already acknowledged that at one level "I did not exist," prepared formally to undergo the Abyss ordeal. He understood that he would do so when he entered John Dee's tenth Aethyr, and knew that while there he must meet and defeat the terrible "Choronzon, the mighty devil that inhabiteth the outermost Abyss." He also knew that he could do so only as Perdurabo, a magical Adept, and that it was paramount that he applied the lesson of the fourteenth Aethyr: no shred of ego must remain if he was to survive the experience unscathed. Success depended on Crowley's ability to master Choronzon through the dominating power of the magical will. The complex techniques, rituals, and paraphernalia of magical practice are the means by which a magician develops and "inflames" his will, the single most important attribute of a magician. Crowley understood that Choronzon's power could be bound and brought under control only through the silent but relentless application of the magical will, and that this was critical for a successful crossing of the Abyss. Failure to force Choronzon into submission would enslave the magician to him, corrupting every subsequent undertaking and bringing disaster in its wake. Given this, and the warnings he had received in the previous Aethyrs, Crowley changed his magical procedure.
On 6 December 1909, Crowley and Neuburg left Bou Saada and went far out into the desert until they found a suitable valley in the dunes. Here they traced a circle in the sand, inscribing it with the various sacred names of God. A triangle was then traced nearby, its perimeters likewise inscribed with divine names and also with that of Choronzon. This was correct magical practice. The magic circle provided protection for the magician; the Triangle of Art was intended to contain any visible manifestation of the forces "called up" or evoked by Perdurabo. The process of evocation was designed to produce a physical materialization of, in this case, the demonic inhabitant of the Abyss. Three pigeons were sacrificed and their blood placed at the three corners of the triangle; Crowley took particular care that it remained within the confines of the figure so that it would facilitate and help sustain any physical manifestation. At this point Neuburg entered the circle. He was armed with a magic dagger, and had strict instructions to use it if anything—even anything that looked like Crowley—attempted to break into the circle. At Crowley's instigation, Neuburg swore an oath to defend its inviolability with his life. Crowley, dressed in his ceremonial black robe, then made an astonishing departure from accepted ritual practice. Instead of joining his chela in the relative safety of the circle, he entered the Triangle of Art. While Neuburg performed the Banishing Rituals of the Pentagram and Hexagram, a procedure designed to protect him, Crowley made the Call of the tenth Aethyr.
The mighty Choronzon announced himself from within the shew-stone with a great cry, "Zazas, Zazas, Nasatanada Zazas":
I am I.…From me come leprosy and pox and plague and cancer and cholera and the falling sickness. Ah! I will reach up to the knees of the Most High, and tear his phallus with my teeth, and I will bray his testicles in a mortar, and make poison thereof, to slay the sons of men.
Crowley probably uttered these words. Thereafter, however, as far as Neuburg could tell, Crowley fell silent; he remained seated in the triangle in the sand, robed and hooded, deeply withdrawn, and "did not move or speak during the ceremony." It was Neuburg who both heard and saw. Unlike the previous Calls, when he had acted merely as scribe, Neuburg now beheld not Crowley seated within the triangle, but all that Crowley conjured. Before him appeared Choronzon in the guise of a beautiful woman whom he had known and loved in Paris, and she tried to lure him from the circle. She was followed by a holy man and a serpent.
Slowly the demon in his various manifestations managed to engage the inexperienced Neuburg in discussion, and then proceeded to mock him: had he not, "O talkative One," been instructed to hold no converse with the mighty Choronzon? Undoubtedly Neuburg had been so instructed by Crowley, but in the heat of the moment he forgot himself. During the intense debate that ensued, with Victor Neuburg scribbling furiously so as to record every detail, Choronzon began stealthily to erase the protective edges of the circle in the sand. Suddenly, Choronzon sprang from the triangle into the circle and wrestled Neuburg to the ground. The scribe found himself struggling with a demon in the shape of "a naked savage," a strong man who tried to tear out his throat with "froth-covered fangs." Neuburg, invoking the magical names of God, struck out with his dagger and finally forced the writhing figure back into the triangle. The chela repaired the circle, and Choronzon resumed his different manifestations and ravings. Cajoling, tempting, decrying, pleading, he continued to debate and attempt to undermine the scribe. Finally, the manifestations began to fade. The triangle emptied.
Neuburg now became aware of Crowley, who was sitting alone in the triangle. He watched as Crowley wrote the name BABALON, signifying the defeat of Choronzon, in the sand with his Holy Ring. The ceremony was concluded; it had lasted over two hours. The two men lit a great fire of purification, and obliterated the circle and the triangle. They had undergone a terrible ordeal. Crowley states that he had "astrally identified" himself with Choronzon throughout, and had "experienced each anguish, each rage, each despair, each insane outburst." Neuburg, however, had held forbidden converse with the Dweller of the Abyss. Both men now felt that they understood the nature of the Abyss. It represented Dispersion: a terrifying chaos in which there was no center and no controlling consciousness. Its fearsome Dweller was not an individual but the personification of a magnitude of malignant forces made manifest through the massed energy of the evoking magician. But to experience these forces at the most immediate and profoundly personal level, and to believe, as Neuburg did, that he been involved in a fight to the death with them, was shattering. As Crowley remarked, "I hardly know how we ever got back to Bou Saada."
"
"
Arthur Calder-Marshall states in The Magic of my Youth that Neuburg gave a quite different account of the event, recounting that he and Crowley evoked the spirit of "a foreman builder from Ur of the Chaldees", who chose to call himself "P.472".[8] The conversation begins when two British students ask Neuburg about a version of the story in which Crowley turned him into a zebra and sold him to a zoo. Neuburg's response in this book contradicts[citation needed] both the words attributed to him in Liber 418[9] and the statement of Crowley biographer Lawrence Sutin.[10]
Choronzon is deemed to be held in check by the power of the goddess Babalon,[11] inhabitant of Binah,[12] the third sephirah of the Tree of Life. Both Choronzon and the abyss are discussed in Crowley's Confessions:
The name of the Dweller in the Abyss is Choronzon, but he is not really an individual. The Abyss is empty of being; it is filled with all possible forms, each equally inane, each therefore evil in the only true sense of the word—that is, meaningless but malignant, in so far as it craves to become real. These forms swirl senselessly into haphazard heaps like dust devils, and each such chance aggregation asserts itself to be an individual and shrieks, "I am I!" though aware all the time that its elements have no true bond; so that the slightest disturbance dissipates the delusion just as a horseman, meeting a dust devil, brings it in showers of sand to the earth.[13]
"
https://theomagica.com/blog/zizazazariza
https://en.wikipedia.org/wiki/Terms_of_ ... e_X-Files)
"
The score for "Terms of Endearment" was composed by series regular Mark Snow, who used Gregorian chants to give the atmosphere a "creepy" feel.[6] The 1995 song "Only Happy When It Rains" by alternative rock group Garbage plays several times in the episode, most notably when Betsy Monroe drives away with her demon baby.[1] The quote "Zazas, zazas, nasatanada zazas", supposedly uttered by Laura Weinsider while in trance, is what the occultist Aleister Crowley used to open the 10th Aethyr of the Thelemic demon Choronzon.[9] "Terms of Endearment" is not the first occasion that the series drew influence from Crowley; a high school from the episode "Die Hand Die Verletzt" was named after him as well.[10][11]
"
https://en.wikipedia.org/wiki/Die_Hand_Die_Verletzt
"
In an interview, he also praised the purposefully clashing tones of the entry, noting that it begins almost comical, with the PTC saying Satanic prayers and toads raining from the skies. However, as it goes on, it becomes increasingly dark.[6]
Some of the names used in this episode are popular culture or in-references of some sort. Crowley High School, the setting for most of the action, is a reference to British occultist Aleister Crowley.[4] Mrs. Paddock's name was based on the toad demon Paddock in the first scene of Shakespeare's play MacBeth.[7] The character names Deborah Brown and Paul Vitaris were based on fans of the series who were active on the internet. In fact, the inspiration for Vitaris was a Cinefantastique critic and reviewer named Paula Vitaris.[8] The episode's title means "The hand that wounds" in German. The title is taken from a part of the prayer said at the beginning, which, in its entirety is "Sein ist die Hand, die verletzt", meaning "His is the hand that wounds".[9][10]
"
https://sacred-texts.com/ane/mba/mba10.htm
https://www.sefaria.org/topics/demons?sort=Relevance
https://publicdomainreview.org/collecti ... onia-1903/
https://ia801603.us.archive.org/7/items ... omuoft.pdf
https://www.ebl.lmu.de/corpus/L/3/3/SB/-
https://babylonian-collection.yale.edu/ ... S%2011.pdf
https://www.penn.museum/sites/journal/556/
https://www.deliriumsrealm.com/assyrian ... emonology/
https://therealsamizdat.com/category/ba ... ual-texts/
https://brewminate.com/ancient-babyloni ... -exorcism/
https://babylonian.mythologyworldwide.c ... texts/amp/
https://jewishvirtuallibrary.org/demons-and-demonology
https://isaw.nyu.edu/library/blog/necronomicon
https://www.tota.world/article/372/
https://pmc.ncbi.nlm.nih.gov/articles/PMC7423261/
https://en.wikipedia.org/wiki/Ancient_M ... underworld
"
The souls in Kur were believed to eat nothing but dry dust[11]
"
https://tuscriaturas.home.blog/wp-conte ... -green.pdf
"
Kant explained that because the 'thing in itself' can't be known by science, we are free to believe in things like religion, the future and other such things, but there was a realm of experience that belonged to science that was empirical and that philosophy should do the same. Crowley read these works and changed a few premises to fit his description as we shall see. A more immediate reference to Kant is 'philosophy has nothing to say and science can only suspend judgement.'
Crowley uses this split to justify his version of idealism that he believes is proven through illusion and perception, with the will as the active process of percpetion that is capable of manifesting spirits.
With all of this background we can see how Crowley did not arrive to his claim that 'the spirits of the Goetia are portions of the human brain' through the methods he describes, but rather he applied transcendental idealism to his explanation. The spirits to Crowley are the 'things in themselves' or in Fichtes terms 'by positing its own limitation, first, as only a feeling, then as a sensation, then as an intuition of a thing, and finally as a summons of another person.'
Will
Crowley's references to will also bring other Kantian influenced philosophy into the frame. When he explains the 'destruction of our enemies is to realise the illusion of duality, to excite compassion', aside from his explanations of how these things-in-themselves, or active transcendental mechanisms which he calls spirits that are summoned through intuition, he seems to be revealing a link to Arthur Shopenhauer and Hegel. This will further elaborate on Akasha as an essence that is more than the finite modes of existents.
"
https://slantbooks.org/close-reading/es ... h-of-hell/
https://theunisduminy.com/blog/beyond-good-intentions
https://sacred-texts.com/oto/lib148.htm
"
"Expect seven misfortunes from the cripple, and forty-two from the one-eyed man; but when the hunchback comes, say 'Allah our aid.'"
"
https://socialecologies.wordpress.com/2 ... elligence/
https://philosophy.stackexchange.com/qu ... e-idealism
https://press.uchicago.edu/Misc/Chicago/642011.htm
https://philosophynow.org/issues/31/Kan ... _in_Itself
https://en.wikipedia.org/wiki/Thing-in-itself
https://peped.org/philosophicalinvestig ... knowledge/
https://www.researchgate.net/publicatio ... 7s_noumena
https://philosophy.stackexchange.com/qu ... tself-mean
https://en.wikipedia.org/wiki/Quipu_(supercluster)
https://en.wikipedia.org/wiki/Large-sca ... e_universe
"
The End of Greatness is the name occasionally given to an observational scale around 100 Mpc (roughly 300 million light-years) where the lumpiness seen in the large-scale structure of the universe is homogenized and isotropized in accordance with the cosmological principle.[13] The "lumpiness" is quantified by computing a fractal dimension from observations.[14][15] The superclusters and filaments seen in smaller surveys are randomized to the extent that the smooth distribution of the universe is visually apparent. It was not until the redshift surveys of the 1990s were completed that this scale could accurately be observed.[2]
"
https://en.wikipedia.org/wiki/God
https://en.wikipedia.org/wiki/Allah
https://thequran.love/2025/10/15/lord-o ... -compared/
https://en.wikipedia.org/wiki/Prima_materia
https://en.wikipedia.org/wiki/Abzu
https://en.wikipedia.org/wiki/Abyss_(religion)
"
Abzû (apsû) is depicted as a deity[9] only in the Babylonian creation epic, the Enūma Eliš, taken from the library of Assurbanipal (c. 630 BCE) but which is about 500 years older. In this story, he was a primal being made of fresh water and a lover to another primal deity, Tiamat, a creature of salt water. The Enūma Eliš begins:
"When above the heavens (e-nu-ma e-liš) did not yet exist
nor the earth below,
Apsû the freshwater ocean was there, the first, the begetter,
and Tiamat, the saltwater sea, she who bore them all;
they were still mixing their waters,
and no pasture land had yet been formed,
nor even a reed marsh."
The act of procreation led to the birth of the younger gods: Enki, Enlil, and Anu. Anchored in the Tablet of Destinies, they founded an organisation to make Mesopotamia fertile through agriculture, but got into a dispute and consequently created the first humans as labour slaves, to peacefully resolve the conflict. The humans multiplied en masse and disturbed the gods around Enlil and Anu with their noise, so that they wanted to use the cosmic freshwater ocean to trigger the great flood and destroy the humans (cf. Athrahasis epic). Enraged by the devastation of earth, Tiamat gave birth to monsters whose bodies she filled with "poison instead of blood" and waged war against her traitorous children. Only Marduk, the founder of Babylon, was able to kill Tiamat and mould the final constitution of heaven and earth from her corpse.
"
https://en.wikipedia.org/wiki/Chaos_(co ... ermeticism
https://en.wikipedia.org/wiki/Babalon
"
Babalon's consort is Chaos, called the "Father of Life" in the Gnostic Mass, being the male form of the creative principle. Chaos appears in The Vision and the Voice and later in Liber Cheth vel Vallum Abiegni. Separate from her relationship with her consort, Babalon is usually depicted as riding the Beast.
"
You continued:
"
Hegel was a revolutionary philosopher who actually tried to describe the experience of the transcendental realm, or the thing in itself. Hegel claims that we are all ultimately one, there is one underlying reality and self-awareness is a necessary illusion that gives us the appearance of seperateness. Shopenhauer takes these metaphysics and declares there is a 'will' behind or around all things, an immamance, but it's not like our individual will however, it is is more like an energy. In humans the will is the 'will to life' and it manifests usually as desire for satisfaction in a never ending cycle of suffering. Shopenhauer was a pessimist and concluded that the only basis for morality was compassion, as we are all interconnected as one, one cannot act with out causing action upon other beings around me. Shopenhauer was a notoriously cranky philosopher and despised women, something that Crowley would certainly have found attractive.
So to destroy one's enemies by realising the illusion of duality follows this same logic.
Conclusion
I have long suspected for many years that Crowley was influenced greatly by German philosophy, all of the philosophers I have talked about lived and died before Crowley was born in 1875, Shopenhauer died only 15 years before Crowley was born.
Crowley percieves spirits in the same sense as Kantian transcendental idealism, with Fichtes' take on intution and summoning. Crowley sees the spirits as active components of perception and of knowledge that occupy a noumenal world that can't be known as a cause but can be accessed and retrieved through ceremony and intuition.
I personally see Crowleys' explanation as unnecessary, as the same conclusions and knowledge can be accessed through the same metaphysics as previous philosphers before him. As I explained when I opened this thread, I am not trying to debunk or find out if spirits are real or not, I am only breaking down the content of what Crowley provides on it's own terms.
Crowley even admits that 'these practices are useless;but for the benefit of others less fortunate I give them to the world'. I don't accept his apology afterwards as I have laid out this article it seems that he was hiding influences on his thought that would probably have been better applied with a different set of questions.
Psychology was just starting to build itself up as a human science and after Shopenhauer, Nietzsche and Freud came along with a powerful materialism that focused on drives, which are possible to explain in terms of Crowley's 'spirits', except they are not transcendental or from a noumenal realm, they are on a plane of immanance in this world.
If taken in regards to physical manifestation
If we are to improve what Crowley says to match the claim that Goetic spirits are ontologically objective, but manifest in this world not as part of the brain but as a seperate entity that can be observed by one or two people, then we can with charity explain it in a dialectical monistic way. Dialectical monism, or dualistic monism is the ontological view that reality is a whole but expressed necessarily in seperate parts. This is more akin to Spinoza's panentheism - the one and the many, all is in god but god is more than nature and all material substances are finite modes of an infinite being, like God. This allows for spirits to exist as modes, they are less than god and part of nature. They are not beyond nature and don't come from a transcendental realm, nor are they soley an aspect of a human brain. They can only be experienced through ritual ceremony however, but this does not mean they don't exist prior to the experience.
Spirits exist with humans, however spirits can exist without them also, this makes humans contingent and not necessary to spirits, but spirits are a necessity of nature for humans. This is a statement that includes a oneness of duality, that reality is not one, or two, it is one and two. When humans call spirits, it is for matters that are necessary to humans, whereas spirits are concerned with necessities outside of human experience. Due to the fact there are limits on this relationship and that humans only have a contingent part to play, it is fair to say that spirits can be related to parts of the human mind in the forms of desires and satisfaction of desires. Thus, instead of ending up with a dualism or a monism, we can say that spirits are one and two things at once. They are ontologically objective because they exist independent of our experience, however they only have relevance when they are evoked through experience and are also ontologically subjective as well.
Their effects on human desires are ontologically subjective, the knowledge of the symbols in the Goetia to call them is epistemically objective and the intuition, motives and personal will is epistemically subjective in the magician.
With the transcendental idealist interpretation, there is no ontologically objective form of the spirit, there is an ontologically subjective form from the thing-in-itself in the mind of the one who experiences the spirit, the knowledge of the symbols in the book is epistemically objective and the intuition and summoning, or information aquired by the spirit in the mind is epistemically subjective.
"
"
Crowley says simply in his Confessions that what took place amounted to a final tearing away of "certain conceptions of conduct which, while perfectly proper from the standpoint of my human nature," he had regarded as "impertinent to initiation." What happened in prosaic terms was that Crowley was sodomized by Neuburg in a homosexual rite offered to the god Pan. Pan, the man-goat, had a particular significance for the two men. Not only did Crowley revere him as the diabolical god of lust and magic, but Neuburg literally had what acquaintances described as an elfin and "faun-like" appearance. It is likely that what happened on Mount Da'leh Addin was a classic invocation; the young chela, in accordance with accepted magical technique, probably "called down," or invoked, the god Pan. A successful invocation would result in the neophyte's becoming "inflamed" by the power of the god. If this is what happened during the ceremony on the mountain, Neuburg, in his magical capacity, would momentarily identify with all that the man-goat god represented. Put simply, Neuburg with his tufted "horns" would become Pan—the "faun-like" yet savage lover of Crowley's psychosexual world. This may well have been the first time that Crowley (and certainly Neuburg) had performed a magical homosexual act, although Crowley quickly came to believe that sex magic was an unrivaled means to great power. Conversely, the image of Pan was to haunt Victor Neuburg for the rest of his life. It inspired some of his best early poetry, but later filled him with dread. The experience was overwhelming for both men, but it temporarily devastated Crowley. His summation was brief. "There was an animal in the wilderness," he writes, "but it was not I."
Crowley remembered nothing of his return to Bou Saada. As he slowly came to himself, however, he knew that he was changed.
I knew who I was and all the events of my life; but I no longer made myself the centre of their sphere.…I did not exist.…All things were alike as shadows sweeping across the still surface of a lake—their images had no meaning for the water, no power to stir its silence.
Crowley felt that he had ceremonially crossed the Abyss—a term reminiscent of Nietzsche (whom Crowley greatly admired), but denoting the last terrible journey that a magician must make before he could justifiably lay claim to the highest levels of Adeptship. Master of the Temple, a grade of enlightened initiation achieved in Crowley's own Magical Order only after crossing the Abyss, meant renunciation of all that life meant. The Order of the Golden Dawn taught that such awareness could not be accessed this side of death, and Crowley affirmed this in his own way. The Angel of the fourteenth Aethyr had warned him that the Master of the Temple is condemned to darkness. Crowley in turn taught that becoming a Master of the Temple implied not simply symbolic death and rebirth, a concept familiar to all magical initiates, but the annihilation of the personal self. The Abyss, then, was closely associated with the death of the individual—although not necessarily on the physical level.
A few days later, Crowley, who in the aftermath of the "sacrifice" on Mount Da'leh Addin had already acknowledged that at one level "I did not exist," prepared formally to undergo the Abyss ordeal. He understood that he would do so when he entered John Dee's tenth Aethyr, and knew that while there he must meet and defeat the terrible "Choronzon, the mighty devil that inhabiteth the outermost Abyss." He also knew that he could do so only as Perdurabo, a magical Adept, and that it was paramount that he applied the lesson of the fourteenth Aethyr: no shred of ego must remain if he was to survive the experience unscathed. Success depended on Crowley's ability to master Choronzon through the dominating power of the magical will. The complex techniques, rituals, and paraphernalia of magical practice are the means by which a magician develops and "inflames" his will, the single most important attribute of a magician. Crowley understood that Choronzon's power could be bound and brought under control only through the silent but relentless application of the magical will, and that this was critical for a successful crossing of the Abyss. Failure to force Choronzon into submission would enslave the magician to him, corrupting every subsequent undertaking and bringing disaster in its wake. Given this, and the warnings he had received in the previous Aethyrs, Crowley changed his magical procedure.
On 6 December 1909, Crowley and Neuburg left Bou Saada and went far out into the desert until they found a suitable valley in the dunes. Here they traced a circle in the sand, inscribing it with the various sacred names of God. A triangle was then traced nearby, its perimeters likewise inscribed with divine names and also with that of Choronzon. This was correct magical practice. The magic circle provided protection for the magician; the Triangle of Art was intended to contain any visible manifestation of the forces "called up" or evoked by Perdurabo. The process of evocation was designed to produce a physical materialization of, in this case, the demonic inhabitant of the Abyss. Three pigeons were sacrificed and their blood placed at the three corners of the triangle; Crowley took particular care that it remained within the confines of the figure so that it would facilitate and help sustain any physical manifestation. At this point Neuburg entered the circle. He was armed with a magic dagger, and had strict instructions to use it if anything—even anything that looked like Crowley—attempted to break into the circle. At Crowley's instigation, Neuburg swore an oath to defend its inviolability with his life. Crowley, dressed in his ceremonial black robe, then made an astonishing departure from accepted ritual practice. Instead of joining his chela in the relative safety of the circle, he entered the Triangle of Art. While Neuburg performed the Banishing Rituals of the Pentagram and Hexagram, a procedure designed to protect him, Crowley made the Call of the tenth Aethyr.
The mighty Choronzon announced himself from within the shew-stone with a great cry, "Zazas, Zazas, Nasatanada Zazas":
I am I.…From me come leprosy and pox and plague and cancer and cholera and the falling sickness. Ah! I will reach up to the knees of the Most High, and tear his phallus with my teeth, and I will bray his testicles in a mortar, and make poison thereof, to slay the sons of men.
Crowley probably uttered these words. Thereafter, however, as far as Neuburg could tell, Crowley fell silent; he remained seated in the triangle in the sand, robed and hooded, deeply withdrawn, and "did not move or speak during the ceremony." It was Neuburg who both heard and saw. Unlike the previous Calls, when he had acted merely as scribe, Neuburg now beheld not Crowley seated within the triangle, but all that Crowley conjured. Before him appeared Choronzon in the guise of a beautiful woman whom he had known and loved in Paris, and she tried to lure him from the circle. She was followed by a holy man and a serpent.
Slowly the demon in his various manifestations managed to engage the inexperienced Neuburg in discussion, and then proceeded to mock him: had he not, "O talkative One," been instructed to hold no converse with the mighty Choronzon? Undoubtedly Neuburg had been so instructed by Crowley, but in the heat of the moment he forgot himself. During the intense debate that ensued, with Victor Neuburg scribbling furiously so as to record every detail, Choronzon began stealthily to erase the protective edges of the circle in the sand. Suddenly, Choronzon sprang from the triangle into the circle and wrestled Neuburg to the ground. The scribe found himself struggling with a demon in the shape of "a naked savage," a strong man who tried to tear out his throat with "froth-covered fangs." Neuburg, invoking the magical names of God, struck out with his dagger and finally forced the writhing figure back into the triangle. The chela repaired the circle, and Choronzon resumed his different manifestations and ravings. Cajoling, tempting, decrying, pleading, he continued to debate and attempt to undermine the scribe. Finally, the manifestations began to fade. The triangle emptied.
Neuburg now became aware of Crowley, who was sitting alone in the triangle. He watched as Crowley wrote the name BABALON, signifying the defeat of Choronzon, in the sand with his Holy Ring. The ceremony was concluded; it had lasted over two hours. The two men lit a great fire of purification, and obliterated the circle and the triangle. They had undergone a terrible ordeal. Crowley states that he had "astrally identified" himself with Choronzon throughout, and had "experienced each anguish, each rage, each despair, each insane outburst." Neuburg, however, had held forbidden converse with the Dweller of the Abyss. Both men now felt that they understood the nature of the Abyss. It represented Dispersion: a terrifying chaos in which there was no center and no controlling consciousness. Its fearsome Dweller was not an individual but the personification of a magnitude of malignant forces made manifest through the massed energy of the evoking magician. But to experience these forces at the most immediate and profoundly personal level, and to believe, as Neuburg did, that he been involved in a fight to the death with them, was shattering. As Crowley remarked, "I hardly know how we ever got back to Bou Saada."
"
"
Arthur Calder-Marshall states in The Magic of my Youth that Neuburg gave a quite different account of the event, recounting that he and Crowley evoked the spirit of "a foreman builder from Ur of the Chaldees", who chose to call himself "P.472".[8] The conversation begins when two British students ask Neuburg about a version of the story in which Crowley turned him into a zebra and sold him to a zoo. Neuburg's response in this book contradicts[citation needed] both the words attributed to him in Liber 418[9] and the statement of Crowley biographer Lawrence Sutin.[10]
Choronzon is deemed to be held in check by the power of the goddess Babalon,[11] inhabitant of Binah,[12] the third sephirah of the Tree of Life. Both Choronzon and the abyss are discussed in Crowley's Confessions:
The name of the Dweller in the Abyss is Choronzon, but he is not really an individual. The Abyss is empty of being; it is filled with all possible forms, each equally inane, each therefore evil in the only true sense of the word—that is, meaningless but malignant, in so far as it craves to become real. These forms swirl senselessly into haphazard heaps like dust devils, and each such chance aggregation asserts itself to be an individual and shrieks, "I am I!" though aware all the time that its elements have no true bond; so that the slightest disturbance dissipates the delusion just as a horseman, meeting a dust devil, brings it in showers of sand to the earth.[13]
"
https://theomagica.com/blog/zizazazariza
https://en.wikipedia.org/wiki/Terms_of_ ... e_X-Files)
"
The score for "Terms of Endearment" was composed by series regular Mark Snow, who used Gregorian chants to give the atmosphere a "creepy" feel.[6] The 1995 song "Only Happy When It Rains" by alternative rock group Garbage plays several times in the episode, most notably when Betsy Monroe drives away with her demon baby.[1] The quote "Zazas, zazas, nasatanada zazas", supposedly uttered by Laura Weinsider while in trance, is what the occultist Aleister Crowley used to open the 10th Aethyr of the Thelemic demon Choronzon.[9] "Terms of Endearment" is not the first occasion that the series drew influence from Crowley; a high school from the episode "Die Hand Die Verletzt" was named after him as well.[10][11]
"
https://en.wikipedia.org/wiki/Die_Hand_Die_Verletzt
"
In an interview, he also praised the purposefully clashing tones of the entry, noting that it begins almost comical, with the PTC saying Satanic prayers and toads raining from the skies. However, as it goes on, it becomes increasingly dark.[6]
Some of the names used in this episode are popular culture or in-references of some sort. Crowley High School, the setting for most of the action, is a reference to British occultist Aleister Crowley.[4] Mrs. Paddock's name was based on the toad demon Paddock in the first scene of Shakespeare's play MacBeth.[7] The character names Deborah Brown and Paul Vitaris were based on fans of the series who were active on the internet. In fact, the inspiration for Vitaris was a Cinefantastique critic and reviewer named Paula Vitaris.[8] The episode's title means "The hand that wounds" in German. The title is taken from a part of the prayer said at the beginning, which, in its entirety is "Sein ist die Hand, die verletzt", meaning "His is the hand that wounds".[9][10]
"
https://sacred-texts.com/ane/mba/mba10.htm
https://www.sefaria.org/topics/demons?sort=Relevance
https://publicdomainreview.org/collecti ... onia-1903/
https://ia801603.us.archive.org/7/items ... omuoft.pdf
https://www.ebl.lmu.de/corpus/L/3/3/SB/-
https://babylonian-collection.yale.edu/ ... S%2011.pdf
https://www.penn.museum/sites/journal/556/
https://www.deliriumsrealm.com/assyrian ... emonology/
https://therealsamizdat.com/category/ba ... ual-texts/
https://brewminate.com/ancient-babyloni ... -exorcism/
https://babylonian.mythologyworldwide.c ... texts/amp/
https://jewishvirtuallibrary.org/demons-and-demonology
https://isaw.nyu.edu/library/blog/necronomicon
https://www.tota.world/article/372/
https://pmc.ncbi.nlm.nih.gov/articles/PMC7423261/
https://en.wikipedia.org/wiki/Ancient_M ... underworld
"
The souls in Kur were believed to eat nothing but dry dust[11]
"
https://tuscriaturas.home.blog/wp-conte ... -green.pdf