LIBER PYRAMIDOS PDF

Edited from a holograph MSS in posession of Dr. Kowal of 59 Chene Street. Detroit Michigan, with reference to other sources.

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If so what was your impression of the results. I'm bumping this thread and am going to digress for a moment from its orignial intent to ask a question of the forum about theory relating to Liber Pyramidos. In many of the commentaries in the public domain this ceremony is described not only as self-initiatory but also solitary. I'm proposing that these commentaries don't take into account the alternate possibility that the ceremony has other participants.

In John St. John, Crowley descibes the creation of the ceremony and directly, and indirectly, the general performance.

Within the text, there does seem to be allusion to Maryt participating in a rite with Crowley. The female form does seem to portray Crowley's description of Maryt in John St. As a dramatic performance, the invocations can be deconstructed into a suitable duet. Does anyone have any information or insights into the theory that Pyramidos is intended to be a partnered ceremony? We hold the Earth fro Hell away.

There arr 2 versions of Liber , one for Temple and one for solitary use. The Temple ritual is an initiation ritual proper with officers etc. This ritual is called Throa, the Gate. Pyramidos takes many of its cues from Throa, conforming it to a self initiation ritual.

Pyramidos is a powerful ritual. It's a ritual that sparks the inner fire and connects one with the 93 current. Intriguing reference you make to Israfel. I decided to re-acquaint myself with the text in light of the connection with Pyramidos and T'raa. Which is the same as verse18 of Israfel. In relation to Pyramidos, the connection seems to go alot deeper. I'll mention a few thoughts that are coming to mind. One idea sparked to mind, in relation to Pyramidos being an 'officer' ritual, was upon reading and considering the invocation of Asi, verse 15 of Israfel,and continuing to verse 16, there does seem to be dramatic magickal duet ceremony to be more comfortably suited to a duet than a solo.

A pause. The Speech in the Silence. The Words against the Son of Night. The Formulas of Knowledge. The Wisdom of Breath. The Root of Vibration. The Shaking of the Invisible. The Rolling Asunder of the Darkness. The Becoming Visible of Matter. The Piercing of the Scales of the Crocodile. The Breaking Forth of the Light! Follows the Lection. To make a quick example, of a possibility, of how the invokations of these ceremonies could be intergrated and set into a trio.

Deacon : verse 18, Israfel. Priest "Hail, Asi! Of course I'm not saying the ceremony has to be this way. I'm just throwing about a few ideas and questions in the hopes of generating dialogue on the subject. Also i find these thoughts come to mind in relation - It does seem upon some initial investigation that possibly Pyramidos and Israfel are ceremonies that could be linked together to form a more involved Rite.

And also there seems a possibility, "the goal' of Pyramidos need not necessarily be an individuals initiation into an Order. In terms of performance, surely having more than one participant in Pyramidos during the Annointings adds some spice. And these are among other considerations and correlatives which could be explored in an examination of Pyramidos in relation to its performance and in its relation to other class D publications. Back to 'The Gate" for a moment.

Uranus, you wrote the name of this text transcribed from the hebrew Tau, Resh, Ayin , Aleph as 'Throa'. Is that a closer transliteration to the pronounciation? The Lection is the Bennett version of Pyramidos Pyramidos is actually composed of 4 different rituals but it does use the Neophyte formula.

My understanding is that it was used for participants of the A. One thing I have seen to be more true than not though is that AC never really used formal initiation ceremonies for the most part, having the aspirant sign the Oath and then perform the rituals on the mental plane.

Bennet version is the Lection! Is that a personal insight or is there a quote from the records? Either way I find the correllation makes sense. As I am examining this ceremony Pyramidos I'm noticing the complexity of the neophyte formula is woven with intricate simplicity throughout. Good point you make about Crowley prefering informal initiations. It does seem, looking at the record, the published ceremonies and rituals of A.

Most of my experience with this ceremony has been 'of the planes', although I have done some material ceremonial work with it. A possible outline of the lyrics, of a Trio, set to Part one of Pyramidos : The Building of the Pyramid including a few stage directions, questions and arcane references. Nicely understated. If you examine to 2 versions you will see that the Bennett version is not the complete Pyramidos and it is not an abbreviated version either.

It consists of the opening ritual A and the Building of the Pyramid ritual B. The rituals themselves are composed of the four sections of the ritual, Opening, Building of the Pyramid, the Confession and the Closing. My understanding is that in the personal A. This is intuitive thinking based on my understanding of Liber Israfel and an extrapolation on my part. I can't really delve much deeper than that without violating my oaths of the A.

In another sense i see it partly reflecting the mystery of Osiris the Dead and the ministrations of Isis leading to the Mystery of Resurrection. I performed this ritual about 6 years ago, and made an extremely thorough study of it beforehand as extreme as i was able, having lost the connection with the lineage helios ,that I was probationer to due to a VERY extended " Period of Silence" , and met with satisfaction.

Has anyone mentioned yet that this was an "illuminated" manuscript that Therion composed for his Neophytes much in the style of say William Blake? I spent hours upon hours studying that manuscript. Helios seemed a good man but he did vanish. The colour code in the manuscript has a blind in it by the way.

The Neoword has 5 letters, the colour code I believe was six or 7 and then it was a very different word. Even at that, the pronunciation of the final word is not what it looks like, though very similar.

There are also a few places where the names of the gods need to be changed to bring it completely in alignment with Liber AL. That is self evident though if you have the Temple ceremony called Throa. Yet there does seem to be enough leeway, to speak in general or symbolic terms, if a suitable common language can be found. Horemakhet - Using the illuminated manuscript from 'Commentaries on the Holy Books' is how I figured out a version of the Word.

I found the same spelling online awhile back and also had it 'accidently' comfirmed by an A. I did get a 5 letter word when I was finished. The Helios Lineage vanished, but I was able to trace, at least, the origin of their line. It was true to me. As for changes of God Names, I never felt that this was so important to the ritual that I could not perform it as it stood.

Anything as intimate as this should not be charmed overmuch with codes. It takes away from the Sensuality 8. My understanding was the Achad lineage according to Helios. Never thought he was a fake myself, just disappeared which happens all to often in the A. You are also very right about the ritual itself on many levels but sometimes I fear too much Peter Carroll has seeped into the occult community with people not understanding that god names represent certain formulas and the idea behind an initiation is to plant certain symbols and vibrations in a candidates aura.

In relation to pronounciation of the Word, it does seem the code suggests the pronouciation is 3 or 4 syllables. This has been brought up previously. Is the "illuminated" version available for viewing anywhere? I was just wondering if there are any extant notes by Crowley, Bennett, or any of their contemporaries in A.

As for the word, C. Jones communicated it in writing to Bennett on January 9th, The letters of the word match with the colour bands of the Illuminated manuscript if you use the King Scale, other than the messy brown-ish band in the middle, which perhaps should be Green-Yellowish.

Six bands for a five letter word, a concealed Yod in the third place, perhaps? Edit: I've just taken another closer look at my copies of the Illuminated MS to refresh my memory , and realized that the third coloured band from the left may well be "Green, yellowish" for two of the three diamond shapes. I'm not sure why I didn't spot this in the first place, I can only assume that I was only using one of the shapes for reference.

At any rate, all three of the diamond shapes seem to contain slightly different coloured bands; one of which may even contain a seventh band!

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LIBER DCLXXI vel PYRAMIDOS

Let The Silence speech beget! Two strokes on Bell. Banishing Spiral Dance. He lays the Wand, etc. The Lustral Water! Annointing the Wounds, say The Fire Informing! Let the Oil Balance, assain, assoil!

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Liber DCLXXI vel Pyramidos

Users browsing this forum: Google [Bot] and 3 guests. Style created by spyka. Liber Pyramidos Moderator: Moderators - Public. Posted: Sun Jul 11, pm. I guess I should list here the things I am unsure of: Invoking Spiral Dance: Is this spiralling clockwise while also circling clockwise or are there a couple of different ways it should be done? The secret word of the Neophyte: I have seen it written as M

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Liber Pyramidos Ltd 93

The Building of the Pyramid [1]. The Magus with Wand. In his Left Hand the Bell he taketh:. Hail, Hoor-Apep! Let The Silence speech beget! Sebek is smitten by the thunder. The Light breaks forth from under.

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Comments on Liber Pyramidos

If so what was your impression of the results. I'm bumping this thread and am going to digress for a moment from its orignial intent to ask a question of the forum about theory relating to Liber Pyramidos. In many of the commentaries in the public domain this ceremony is described not only as self-initiatory but also solitary. I'm proposing that these commentaries don't take into account the alternate possibility that the ceremony has other participants. In John St. John, Crowley descibes the creation of the ceremony and directly, and indirectly, the general performance.

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