L E S S E R B A N I S H I N G R I T U A L O F T H E P E N T A G R A M
"It has been well and truly said that in the exoteric church the ceremony is performed by one person
for the benefit of the congregation; but in the Lodge the ceremony is performed by the congregation for the
benefit of one person."
DION FORTUNE
for the benefit of the congregation; but in the Lodge the ceremony is performed by the congregation for the
benefit of one person."
DION FORTUNE
The above picture in there for more than it's mere decorative appeal; actually, that's a lie, its pretty gratuitous. Remember the chaos magician's mantra 'Everything is permissible, nothing is true'. Which I hope makes the point that what follows is not intended to depict the only valid interpretation of the Lesser Banishing Ritual of the Pentagram (LBRP). This very much my personal, playfully eclectic but, nevertheless, respectful version. There are probably as many variations on this ritual as there are magicians; check out You Tube. And don't forget you always have the option to develop your ritual around this basic structure.
Be aware that this is called a ritual, not a ceremony, for a purpose; if you still think that these words are synonymous then learn the difference, it's important. Before you begin get to grips with the concept of ritual; you can find out more here. The pentagram is ubiquitous in all occult practice and its significance needs to be thoroughly absorbed (for more information about the pentagram).
Those of you who are more familiar with Wiccan circle casting may notice that, whilst the purpose of the LBRP is identical, it departs from what you are used to in one significant area. Wiccan rites are intended to be performed in the great outdoors; they involve defining a temporary sanctuary, rendered psychically hygienic, which they dismantle when no longer required.
Magicians on the other hand prefer to work in permanent structures which they too psychically sanitise; but rather than a sacred circle they think in terms of a sacred space, be it a room, temple or church. And because a magician's working space is permanent he doesn't demolish his psychic structure any more than he would tear down the building it is held in. If he has rendered the area psychically clean, why should he then go an invite the impure elements back in? The usual practice therefore is to perform the LBRP both at the beginning and the end of a magical rite.
Think of Wiccans as exemplary campers who leave a natural space in the pristine condition in which they found it. And think of magicians like surgeons who scrub up both before and after an operation on the basis that you can never be too clean.
When working outdoors with the LBRP I have developed a hybrid of the two approaches. This simply involves defining a protective space (I use a square format, in the form of an imaginary temple, but you could just as well use a circle) with the usual consecrated materials clockwise prior to the first LBRP and repeating the procedure anticlockwise after the second and final LBRP.
In format of the LBRP is actually a compound of three rituals (one of which is repeated). These elements are derived from Hebrew sources adapted down the ages by notable luminaries of the Western Magical Tradition; most well known of which are John Dee, Eliphas Levi, Aleister Crowley and the the many luminaries of the Hermetic Order of the Golden Dawn.
Throughout the ritual the banishing pentagram of Earth is used. (FYI there are both invoking and banishing pentagrams for all four elements; but let's not bother our pretty little heads about those right now.) In signing a pentagram use the full extent of your arms; beginning at the left hip. All hand gestures are made with index and middle finger of right hand or the magical weapon of your choice (see below for guidance).
Begin all ritual by facing EAST. Gesture with index and middle finger of your right hand. The following includes instructions to 'vibrate' certain words. This means to intone them by taking a deep breath in and on the exhale slowly saying the word as if in a chant. Make sure to release the word from your diaphragm. Don't shout but make it a focused, controlled sound. You should actually be able to feel a sense of vibration in the diaphragm and area of the body that corresponds with the word, although this takes time and practice to get it right. Try vibrating the words mentally; note the difference as they become audible and then again as they retreat into the mental realm. (See Israel Regardie for guidance on pronounciation)
Once memorized, the LBRP may seem like a very basic technique; at a push it'll take about two minutes. Don't let its apparent simplicity fool you however. If practiced on a regular basis, it will become an exceptionally powerful tool in your magical arsenal. It is essentially protective in nature and can be quickly and effectively mobilised against a deliberate or inadvertent astral attack or ambient environmental psychic stress. It can be used as a prelude to a magickal working or as a regular magical/meditative exercise.
Always keep in mind that, as with all magical practice, the LBRP takes place on both the material and imaginal planes.
For the sake of clarity, the substance of the ritual is presented in the left hand column (below) and in the opposite column are suggestions for visualisation. Whilst performing the physical actions and vocalisations keep in mind that their sole purpose is simply to stimulate and direct your imagination towards harnessing the power of your subconscious.
Be aware that this is called a ritual, not a ceremony, for a purpose; if you still think that these words are synonymous then learn the difference, it's important. Before you begin get to grips with the concept of ritual; you can find out more here. The pentagram is ubiquitous in all occult practice and its significance needs to be thoroughly absorbed (for more information about the pentagram).
Those of you who are more familiar with Wiccan circle casting may notice that, whilst the purpose of the LBRP is identical, it departs from what you are used to in one significant area. Wiccan rites are intended to be performed in the great outdoors; they involve defining a temporary sanctuary, rendered psychically hygienic, which they dismantle when no longer required.
Magicians on the other hand prefer to work in permanent structures which they too psychically sanitise; but rather than a sacred circle they think in terms of a sacred space, be it a room, temple or church. And because a magician's working space is permanent he doesn't demolish his psychic structure any more than he would tear down the building it is held in. If he has rendered the area psychically clean, why should he then go an invite the impure elements back in? The usual practice therefore is to perform the LBRP both at the beginning and the end of a magical rite.
Think of Wiccans as exemplary campers who leave a natural space in the pristine condition in which they found it. And think of magicians like surgeons who scrub up both before and after an operation on the basis that you can never be too clean.
When working outdoors with the LBRP I have developed a hybrid of the two approaches. This simply involves defining a protective space (I use a square format, in the form of an imaginary temple, but you could just as well use a circle) with the usual consecrated materials clockwise prior to the first LBRP and repeating the procedure anticlockwise after the second and final LBRP.
In format of the LBRP is actually a compound of three rituals (one of which is repeated). These elements are derived from Hebrew sources adapted down the ages by notable luminaries of the Western Magical Tradition; most well known of which are John Dee, Eliphas Levi, Aleister Crowley and the the many luminaries of the Hermetic Order of the Golden Dawn.
Throughout the ritual the banishing pentagram of Earth is used. (FYI there are both invoking and banishing pentagrams for all four elements; but let's not bother our pretty little heads about those right now.) In signing a pentagram use the full extent of your arms; beginning at the left hip. All hand gestures are made with index and middle finger of right hand or the magical weapon of your choice (see below for guidance).
Begin all ritual by facing EAST. Gesture with index and middle finger of your right hand. The following includes instructions to 'vibrate' certain words. This means to intone them by taking a deep breath in and on the exhale slowly saying the word as if in a chant. Make sure to release the word from your diaphragm. Don't shout but make it a focused, controlled sound. You should actually be able to feel a sense of vibration in the diaphragm and area of the body that corresponds with the word, although this takes time and practice to get it right. Try vibrating the words mentally; note the difference as they become audible and then again as they retreat into the mental realm. (See Israel Regardie for guidance on pronounciation)
Once memorized, the LBRP may seem like a very basic technique; at a push it'll take about two minutes. Don't let its apparent simplicity fool you however. If practiced on a regular basis, it will become an exceptionally powerful tool in your magical arsenal. It is essentially protective in nature and can be quickly and effectively mobilised against a deliberate or inadvertent astral attack or ambient environmental psychic stress. It can be used as a prelude to a magickal working or as a regular magical/meditative exercise.
Always keep in mind that, as with all magical practice, the LBRP takes place on both the material and imaginal planes.
For the sake of clarity, the substance of the ritual is presented in the left hand column (below) and in the opposite column are suggestions for visualisation. Whilst performing the physical actions and vocalisations keep in mind that their sole purpose is simply to stimulate and direct your imagination towards harnessing the power of your subconscious.
Cabalistic Cross
Circle/Pentagrams/Names of Power
Angelic Invocation
Cabalistic Cross
Circle/Pentagrams/Names of Power
Angelic Invocation
Cabalistic Cross
"Move like a beam of light: fly like lightning, strike like thunder, whirl in circles around a stable center."
MORIHEI UESHIBA
MORIHEI UESHIBA
During the ritual you need to project focussed energy with your gestures; think of Aikido swordsmen directing ki through their weapons. Sending out positive energy as if they were sending gushing water through a high-pressure fire hose from a position of perfect balance and harmony. Sounds daft but bear in mind Aikido is arguably the ultimate martial art.
Here's a powerful Aikido excersise; I'll leave you to work out the relevance. Kneel down. [1] relax completely [2] think of all your weight as being concentrated on all the underside planes of your body [3] send your mind to your 'one point' (about 3 inches below your navel) [4] project ki (through your fingertips, feet, crown of your head, and wherever else the mood takes you). Ask someone to put their hands on your shoulders and try to push you backwards. Whilst you maintain these four points you will be immovable, the second you become tense over you go.
And if you still don't make the connection between Asian martial arts and Western magical practice watch this clip of Morihei Ueshiba or this one of Chen Man Ching witness what a couple of modern saints can do with a circle.
Here's a powerful Aikido excersise; I'll leave you to work out the relevance. Kneel down. [1] relax completely [2] think of all your weight as being concentrated on all the underside planes of your body [3] send your mind to your 'one point' (about 3 inches below your navel) [4] project ki (through your fingertips, feet, crown of your head, and wherever else the mood takes you). Ask someone to put their hands on your shoulders and try to push you backwards. Whilst you maintain these four points you will be immovable, the second you become tense over you go.
And if you still don't make the connection between Asian martial arts and Western magical practice watch this clip of Morihei Ueshiba or this one of Chen Man Ching witness what a couple of modern saints can do with a circle.
"Everything you can imagine is real."
PABLO PICASSO
PABLO PICASSO
When you make the pentagrams imagine yourself painting with light. (Light painting, also known as light graffiti, is an art that uses a slow-shutter speed as the perspective while its’ subject is a light in the hands of an artist. In this case, the artist is none other than Pablo Picasso.) Visualise your gestures leaving a trail of light in front of you.
Cabalistic Cross
Action
1. Gesture to area about 3 inches above the head vibrate 'ATEH' (Unto Thee) - pronounced Ah-Teh. 2. Touch the solar plexus, drop hand to point to the ground vibrate 'MALKUTH' (The Kingdom) - pronounced Mal-Kuth. 3. Touch the right shoulder, vibrate 'VE-GEBURAH' (and the Power) - pronounced Ve-Geb-Ure-Ah. 4. Touching the left shoulder, vibrate 'VE GEDULAH' (and the Glory) - pronounced Ve-Ged-You-Lah. 5. Cupping the hands, vibrate 'LE-OLAHM' (To the Ages) - pronounced Le-Oh-La-Em. 6. Close your hands and move them into the prayer position, vibrate 'AMEN' (It is done) - pronounced Ah-Men. |
Visualisation
1. A column of light descends and forms into a sphere 6 inches in diameter just above your head; dip your fingers into its brilliance. 2. Draw a column of light from the sphere to your solar plexus, pause and then continue to draw it down to your body to where it forms a sphere of light beneath your feet. 3. T0uch the right shoulder and vibrate VE-GEBURAH as a similar sphere of light appears close to your right shoulder. 4. As your hand moves across to your left shoulder a beam of light is drawn from the right hand sphere, follows your hand and forms a sphere of light at the left shoulder as you vibrate 'VE GEDULAH'. 5. Cup your hands at solar plexus level and visualise that they contain blue flame and vibrate 'LE-OLAHM'. 6. Feel the gentle warmth of the flames flickering between your fingers as your hands move to prayer position. |
Ritual Signs (optional)
The following gestures can be considered as optional: they are to be used sequentially following each of the quarter pentagrams immediately after you vibrate the name of power. This is a two part gesture; but let them flow together as one.
The following gestures can be considered as optional: they are to be used sequentially following each of the quarter pentagrams immediately after you vibrate the name of power. This is a two part gesture; but let them flow together as one.
Sign of The Enterer. Represents: Horus (adult)*
From an upright stance draw your hands up to the level of your face (think of the principle gesture in 'Tragedy') take deep breath, step forward with the left foot push your body forward while thrusting out with both hands, fingers outstretched. With the force of your mind propel the Word of Power into the greater universe through the pentagram and expelling all the air from your lungs (maybe even add a bit of a kiai, as in martial arts, if the spirit takes you), drop your head to a slight bow, draw back into the standing position.
From an upright stance draw your hands up to the level of your face (think of the principle gesture in 'Tragedy') take deep breath, step forward with the left foot push your body forward while thrusting out with both hands, fingers outstretched. With the force of your mind propel the Word of Power into the greater universe through the pentagram and expelling all the air from your lungs (maybe even add a bit of a kiai, as in martial arts, if the spirit takes you), drop your head to a slight bow, draw back into the standing position.
Sign of Silence. Represents: Horus (child)**
Move your left (outstretched) foot back to your right and regain the fully upright stance, drop your left hand at the side, place the tip of the index finger of the right hand to the lips, the lower lip if you want to be pedantic (and who could resist just the hint of a shush noise at his point).
Move your left (outstretched) foot back to your right and regain the fully upright stance, drop your left hand at the side, place the tip of the index finger of the right hand to the lips, the lower lip if you want to be pedantic (and who could resist just the hint of a shush noise at his point).
Circle/Pentagrams/Names of Power
Action
7. Draw a pentagram in the eastern quarter. Point into the centre of the pentagram. Vibrate I H V H - pronounced YEH-HO-VA. Keep your hand extended and turn to the west. 8. Draw a pentagram in the southern. Point into the centre of the pentagram. Vibrate A D N I- pronounced AD-OH-NYE. Keep your arm extended and turn to the south. 9. Draw a pentagram. Point into the centre of the pentagram. Vibrate A H I H - pronounced AH HE EH. Keep your arm extended and turn to the west. 10. Draw a pentagram. Point into the centre of the pentagram. Vibrate A G L A- pronounced AH-GLAH. Keep your arm extended and turn to the north. |
Visualisation
7. Feel your hand tingle and visualise the energy that you are projecting as you draw the pentagram. This is the direction of air; feel a cool breeze on your face. See the first quarter of the circle form as you turn. 8. Visualise the energy that you are projecting as you draw the next pentagram. This is the direction of fire; feel its energy warm you. See the circle continue to form as you turn. 9. Visualise the energy that you are projecting as you draw the next pentagram. This is the direction of water; feel its cool refreshment. See the circle continue to form as you turn. 10. See the circle close as you complete the last turn.Visualise the energy that you are projecting as you draw the final pentagram. This is the direction of earth; feel its stability beneath your feet. |
Angelic Invocation
Action
Facing east; extend arms in the form of a cross with palms up. Vibrate the Angelic names (only the Angelic names). 11. 'Before me' (vibrate) 'Raphael' - pronounced RAH-PHYE-EHL 12. 'Behind me' (vibrate) 'Gabriel' - pronounced GAH-BREE-EHL 13. 'On my right hand' (vibrate) 'Michael' - pronounced MEE-CHYE-EHL 14. 'On my left hand' (vibrate) 'Auriel' - pronounced AWE-REE-EHL 15. 'For about me flame the Pentagrams' 16. 'In the Column stands the six-rayed Star' |
Visualisation
11. Become aware of the breath entering and leaving your body. Visualise the colour yellow and feel the intelligence of the Archangel Raphael enter the circle. 12. Consider the cleansing and refreshing qualities of water. Visualise the colour blue and feel the compassion of the Archangel Gabriel enter the circle. 13. Feel yourself bathed in warmth. Visualise the colour red and feel the energy of the Archangel Michael enter the circle. 14. Think of the solid ground beneath your feet. Visualise russet colours, greens and browns, and feel the strength of the Archangel Auriel enter the circle. 15. Visualise the quarter pentagrams (previously drawn). 16. Visualise the column of light from the Cabalistic Cross with a six-rayed star within your heart. |
Cabalistic Cross
Action
17. Gesture to area about 3 inches above the head vibrate 'ATEH' (Unto Thee) - pronounced Ah-Teh. 18. Touch the solar plexus, drop hand to point to the ground vibrate 'MALKUTH' (The Kingdom) - pronounced Mal-Kuth. 19. Touch the right shoulder, vibrate 'VE-GEBURAH' (and the Power) - pronounced Ve-Geb-Ure-Ah. 20. Touching the left shoulder, vibrate 'VE GEDULAH' (and the Glory) - pronounced Ve-Geb-You-Lah. 21. Cupping the hands, vibrate 'LE-OLAHM' (To the Ages) - pronounced Le-Oh-La-Em. 22. Close your hands and move them into the prayer position, vibrate 'AMEN' (It is done) - pronounced Ah-Men. |
Visualisation
17. A column of light descends and forms into a sphere 6 inches in diameter just above your head; dip your fingers into its brilliance. 18. Draw a column of light from the sphere to your solar plexus, pause and then continue to draw it down to your body to where it forms a sphere of light beneath your feet. 19. T0uch the right shoulder and vibrate VE-GEBURAH as a similar sphere of light appears close to your right shoulder. 20. As your hand moves across to your left shoulder a beam of light is drawn from the right hand sphere, follows your hand and forms a sphere of light at the left shoulder as you vibrate 'VE GEDULAH'. 21. Cup your hands at solar plexus level and visualise that they contain blue flame and vibrate 'LE-OLAHM'. 22. Feel the gentle warmth of the flames flickering between your fingers as your hands move to prayer position. |
ENDS
*Horus was conceived by Isis, the mother goddess, from Osiris, the original god-king of Egypt, who had been murdered by his brother Set, and thus became the god of the underworld. The Greeks melded Osiris with their underworld god, Hades, to produce the essentially Alexandrian syncretism, Serapis. Among the Egyptians the full-grown Horus was considered the victorious god of the Sun who each day overcomes darkness.
**In late Greek mythology as developed in Ptolemaic Alexandria, Harpocrates is the god of silence. Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the new-born Sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into their Hellenistic god known as Harpocrates, a rendering from Egyptian Har-pa-khered or Heru-pa-khered (meaning 'Horus the Child').
**In late Greek mythology as developed in Ptolemaic Alexandria, Harpocrates is the god of silence. Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the new-born Sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into their Hellenistic god known as Harpocrates, a rendering from Egyptian Har-pa-khered or Heru-pa-khered (meaning 'Horus the Child').
The Qabalistic Cross (QC) is a simple ritual with two ends in mind:
To perform the Qabalistic Cross:
Once mechanical proficiency has been obtained, and the procedure committed to memory, the aspirant can begin refining the process. The first refinement relates to the way in which the words are spoken. Tradition has it that the words should not be merely enunciated, but vibrated. This is a practice which is difficult to describe, but actually simple to discover for one's self with a little practice. The aspirant should experiment with changing the tone of his voice until he finds a note which causes his body to vibrate. This note may be higher or lower than his normal speaking voice. He is looking for a sonorous quality which, if done effectively, should cause him to shiver, and “shake him to his marrow.” In reality, the physical effect will not be quite so dramatic as this, but it should give the aspirant an idea of what he is aiming for. With a little trial and error, he should have little difficulty finding an effective tone. The words should be pronounced slowly and evenly, each syllable taking the same amount of time. In the beginnings of his practice, the aspirant may wish to vibrate each word more than once before moving on.
Once this is achieved, the aspirant should use his imagination to direct the vibration, so that he is able to make individual parts of his body vibrate when he speaks. The relevant parts are the crown of the head, the feet, the left and right shoulders, and the center of the chest. The reason behind this will become clear shortly.
There are two really important parts to this practice, and the first one is this: before performing the ritual, the aspirant should close his eyes, and imagine his body growing upwards. In his mind's eye, he should see the perspective of his room changing as his head gets closer to the ceiling, then his neighborhood coming into view as he breeches the roof. He should imagine himself continuing to grow, his field of view increasing, the buildings, trees and mountains becoming increasing smaller and flatter as he does. His head will move up to and through the clouds, details on the ground becoming more and more remote, beginning to perceive the curvature of the earth. Continuing his ascent, he will perceive the sky growing dark as his head leaves the atmosphere, and the brilliance of the stars should strike him. He should continue his ascent until the Earth is a small ball between his feet, at which point he should stop and pause.
At first, the aspirant should take time with that process, building up the visualization in his mind so that he really feels the expansion, and the enormous sense of scale. As proficiency builds, he will find he is able to obtain this sensation far more quickly, and will be able to “expand” in a matter of seconds. Also, at the close of the ritual (i.e. before the last step) he should visualize himself shrinking back down to his normal scale.
The point of all this is to “expand the sphere of the aspirant's consciousness” as we have previously stated. This phrase can sometimes cause problems. What exactly do we mean by it?
Here are some interesting quotes from people who have actually been into space:
It was hard to believe that everybody I have ever known or seen on TV, and the places where they lived and played were all on that little blue-and-white marble. (Alan Bean)
It suddenly struck me that that tiny pea, pretty and blue, was the Earth. I put up my thumb and shut one eye, and my thumb blotted out the planet Earth. I didn't feel like a giant. I felt very, very small. (Neil Armstrong)
The Earth reminded us of a Christmas tree ornament hanging in the blackness of space. As we got farther and farther away it diminished in size. Finally it shrank to the size of a marble, the most beautiful marble you can imagine. That beautiful, warm, living object looked so fragile, so delicate, that if you touched it with a finger it would crumble and fall apart. Seeing this has to change a man. (James Irwin)
My view of our planet was a glimpse of divinity. (Edgar Mitchell)
These astronauts have quite literally moved outside the entire sphere of their previous existence. Previously, their entire lives were confined to the Earth; everything they ever knew, the vast expanse of their history, their dreams for the future, their families, friends, careers, everything is contained within that “little blue-and-white marble” that they are looking at now, actually looking at, not imagining.
In a smaller way, most people will have experienced something like this when traveling. We live our lives preoccupied with our daily lives, our families, our jobs, our daily commute, our homes, our little lives. When we travel to a new place, we see people living totally outside of our little world, totally unconcerned with our own problems. It provides us with perspective, and it is exactly this perspective that we are talking about when we discuss “expanding our sphere of consciousness.” In our daily lives, we are completely unconcerned with the same worries, problems, and tribulations experienced by Mr. and Mrs. Bisto in Nimrod, Minnesota, and it is this same total lack of concern that we are trying to generate — temporarily — for our own concerns.
Thus, by “expanding the sphere of consciousness” in this way, by imagining himself to grow to a scale where not only all of his own problems, but all the problems he could possibly conceive of, are confined to that “little blue-and-white marble” between his feet, while his body has expanded out of that into a much wider universe. This is the perspective he should look to generate, of the solar system, of the galaxy, of the universe, spinning around in its own timeless inexorable order, to the point where he finds it impossible to question the complete insignificance of his own life and his own problems. He attempts to put his life in the perspective of not his “everyday” self, or even of his “true” self, or his family, or his town, or his country, or of the whole world, but in the perspective of the universe. We on Earth see a supernova through our telescopes and wonder at the marvel of it all; it concerns us not that that phenomena may be destroying countless worlds, countless lives. This is the perspective the aspirant should seek to develop of his own world and his own life, to the point where it never even occurs to him to take any concern over it. This is what we mean by “expanding the sphere of consciousness”.
This feeling will, of course, not be permanent, and soon he return to his everyday worldly concerns. With repeated practice, however, he can reach a point where this perspective is always somewhere in the background of his mind, so that even when he is deeply involved in his problems, he is always aware that there is another perspective, and this awareness will give him a small, but permanent expansion in his sphere of consciousness. Moreover, with proficiency he knows he can always return to his fuller awareness through this practice. And this is of no mean benefit to him.
The second end of this practice that we mentioned is to “bring down the divine light”, which is an even more troublesome phrase.
The final refinement to the ritual to bring this about is as follows:
We can now see the purpose of this ritual as being twofold:
- To expand the magician's sphere of consciousness; and
- To bring down the divine light.
To perform the Qabalistic Cross:
- Stand facing the East, where the sun rises
- Touch the index finger to the forehead and say “Eheieh”
- Touch the index finger to the solar plexus and say “Malkuth”
- Touch the index finger to the left shoulder and say “ve Geburah”
- Touch the index finger to the right shoulder and say “ve Gedulah”
- Clasp the fingers together and hold the hands to the center of the chest, and say “le olahm amen”
- Touch the index finger to the closed lips
Once mechanical proficiency has been obtained, and the procedure committed to memory, the aspirant can begin refining the process. The first refinement relates to the way in which the words are spoken. Tradition has it that the words should not be merely enunciated, but vibrated. This is a practice which is difficult to describe, but actually simple to discover for one's self with a little practice. The aspirant should experiment with changing the tone of his voice until he finds a note which causes his body to vibrate. This note may be higher or lower than his normal speaking voice. He is looking for a sonorous quality which, if done effectively, should cause him to shiver, and “shake him to his marrow.” In reality, the physical effect will not be quite so dramatic as this, but it should give the aspirant an idea of what he is aiming for. With a little trial and error, he should have little difficulty finding an effective tone. The words should be pronounced slowly and evenly, each syllable taking the same amount of time. In the beginnings of his practice, the aspirant may wish to vibrate each word more than once before moving on.
Once this is achieved, the aspirant should use his imagination to direct the vibration, so that he is able to make individual parts of his body vibrate when he speaks. The relevant parts are the crown of the head, the feet, the left and right shoulders, and the center of the chest. The reason behind this will become clear shortly.
There are two really important parts to this practice, and the first one is this: before performing the ritual, the aspirant should close his eyes, and imagine his body growing upwards. In his mind's eye, he should see the perspective of his room changing as his head gets closer to the ceiling, then his neighborhood coming into view as he breeches the roof. He should imagine himself continuing to grow, his field of view increasing, the buildings, trees and mountains becoming increasing smaller and flatter as he does. His head will move up to and through the clouds, details on the ground becoming more and more remote, beginning to perceive the curvature of the earth. Continuing his ascent, he will perceive the sky growing dark as his head leaves the atmosphere, and the brilliance of the stars should strike him. He should continue his ascent until the Earth is a small ball between his feet, at which point he should stop and pause.
At first, the aspirant should take time with that process, building up the visualization in his mind so that he really feels the expansion, and the enormous sense of scale. As proficiency builds, he will find he is able to obtain this sensation far more quickly, and will be able to “expand” in a matter of seconds. Also, at the close of the ritual (i.e. before the last step) he should visualize himself shrinking back down to his normal scale.
The point of all this is to “expand the sphere of the aspirant's consciousness” as we have previously stated. This phrase can sometimes cause problems. What exactly do we mean by it?
Here are some interesting quotes from people who have actually been into space:
It was hard to believe that everybody I have ever known or seen on TV, and the places where they lived and played were all on that little blue-and-white marble. (Alan Bean)
It suddenly struck me that that tiny pea, pretty and blue, was the Earth. I put up my thumb and shut one eye, and my thumb blotted out the planet Earth. I didn't feel like a giant. I felt very, very small. (Neil Armstrong)
The Earth reminded us of a Christmas tree ornament hanging in the blackness of space. As we got farther and farther away it diminished in size. Finally it shrank to the size of a marble, the most beautiful marble you can imagine. That beautiful, warm, living object looked so fragile, so delicate, that if you touched it with a finger it would crumble and fall apart. Seeing this has to change a man. (James Irwin)
My view of our planet was a glimpse of divinity. (Edgar Mitchell)
These astronauts have quite literally moved outside the entire sphere of their previous existence. Previously, their entire lives were confined to the Earth; everything they ever knew, the vast expanse of their history, their dreams for the future, their families, friends, careers, everything is contained within that “little blue-and-white marble” that they are looking at now, actually looking at, not imagining.
In a smaller way, most people will have experienced something like this when traveling. We live our lives preoccupied with our daily lives, our families, our jobs, our daily commute, our homes, our little lives. When we travel to a new place, we see people living totally outside of our little world, totally unconcerned with our own problems. It provides us with perspective, and it is exactly this perspective that we are talking about when we discuss “expanding our sphere of consciousness.” In our daily lives, we are completely unconcerned with the same worries, problems, and tribulations experienced by Mr. and Mrs. Bisto in Nimrod, Minnesota, and it is this same total lack of concern that we are trying to generate — temporarily — for our own concerns.
Thus, by “expanding the sphere of consciousness” in this way, by imagining himself to grow to a scale where not only all of his own problems, but all the problems he could possibly conceive of, are confined to that “little blue-and-white marble” between his feet, while his body has expanded out of that into a much wider universe. This is the perspective he should look to generate, of the solar system, of the galaxy, of the universe, spinning around in its own timeless inexorable order, to the point where he finds it impossible to question the complete insignificance of his own life and his own problems. He attempts to put his life in the perspective of not his “everyday” self, or even of his “true” self, or his family, or his town, or his country, or of the whole world, but in the perspective of the universe. We on Earth see a supernova through our telescopes and wonder at the marvel of it all; it concerns us not that that phenomena may be destroying countless worlds, countless lives. This is the perspective the aspirant should seek to develop of his own world and his own life, to the point where it never even occurs to him to take any concern over it. This is what we mean by “expanding the sphere of consciousness”.
This feeling will, of course, not be permanent, and soon he return to his everyday worldly concerns. With repeated practice, however, he can reach a point where this perspective is always somewhere in the background of his mind, so that even when he is deeply involved in his problems, he is always aware that there is another perspective, and this awareness will give him a small, but permanent expansion in his sphere of consciousness. Moreover, with proficiency he knows he can always return to his fuller awareness through this practice. And this is of no mean benefit to him.
The second end of this practice that we mentioned is to “bring down the divine light”, which is an even more troublesome phrase.
The final refinement to the ritual to bring this about is as follows:
- After his expansion, but before his first vibration, he should visualize an intense ball of light just above the crown of his head. This ball should be at least the size of his own head, but no more than twice its size. When vibrating the first word, it is to this sphere that he should direct its vibration, although the should feel the effects of the vibration on the crown of his.
- The aspirant should, before his second vibration, visualize a bar of light pulsing downwards from this sphere to his feet, ending in an identical ball of light encompassing his feet.
- Before his third vibration, the aspirant should visualize an identical ball of light at his left shoulder.
- Before his fourth vibration, the aspirant should visualize a bar of light pulsing across his chest from his left shoulder to his right shoulder, ending again with a ball of light emanating from his right shoulder. Done properly, he will now be visualizing an intense cross of light within his body.
- Before his final vibration, clasping his hands at the intersection of the cross, he should visualize the bars of the cross extending infinitely outwards to the utter ends of the universe and beyond.
- At the close of his practice, before shrinking himself back down to size, he should imagine the extended bars retracting, the balls of light at his feet and shoulders shrinking, the bars of light being absorbed back into the ball of light above his head, and then the light from this ball descending into the head and being absorbed by the body.
We can now see the purpose of this ritual as being twofold:
- To expand the aspirant's sphere of consciousness to a universal scale; and
- To make the entire universe a part of himself, or more accurately, to realize himself as a full and necessary part of it.