O9A Esoteric Notes LXXVI

Baphomet Sigil O9A


Order of Nine Angles Esoteric Notes LXXVI
Archaic Spelling In O9A Esoteric Tradition


The Tree Of Wyrd And The Star Game

Order of Nine Angles



The Tree Of Wyrd And The Star Game
An Overview

Herewith a useful overview of some of the renaissance alchemical, and the ancient hermetic, roots of the Order Of Nine Angles.

Renaissance Septenary Tree of Wyrd

The above is a Renaissance illustration of the septenary Tree of Wyrd, from the book Azoth Sive Aureliae Occultae Philosophorum published in 1613 CE, which illustration includes the three fundamental alchemical substances, Salt, Sulphur, Mercury, whose nine transformations form the “nine angles” of the O9A and which nine angles are represented by the pieces of the O9A’s Star Game thus:

O9A Star Game Pieces

Both of the above illustrations were included in the O9A text ἀρρενόθηλυς: Alchemical And Hermetic Antecedents Of The Seven Fold Way Of The Order Of Nine Angles. {1}

The Star Game itself is an esoteric representation of the septenary Tree of Wyrd. That is, of the nexion between the acausal and the causal and which nexion is also represented by our psyche as human beings, a complex psyche hinted at in many medieval and Renaissance alchemical texts {2} and in modern times – for example by Carl Jung, whose inspiration was Renaissance alchemical texts – represented in terms of archetypes, a collective unconscious, the anima and animus, and ‘a shadow aspect’. {3}

The septenary Tree of Wyrd also represents the anados (ἄνοδος), the hermetic journey or alchemical/occult quest up through the seven spheres, anciently described in the Poemandres tractate of the Corpus Hermeticum {4} and described in more recent times by the Seven Fold Way of the Order of Nine Angles {5}.

Which overview reveals that the Occult tradition of the O9A is independent of, different from, and an alternative to the Qabala based tradition used by the majority of modern Occultists. {6}

R. Parker
2018 ev


{1} The ἀρρενόθηλυς text is included in the compilation available from The Esoteric Hermeticism Of The Order Of Nine Angles.

Refer also to O9A Texts 2018.

{2} See, for example, (i) Theatrum Chemicum Britannicum, published in 1652 CE, (ii) Theatrum Chemicum Praecipuos Selectorum, published in 1550 CE, and (iii) De Alchimia Opuscula Complura Veterum Philosophorum, published in 1613 CE.

{3} Regarding the Star Game, see https://omega9alpha.wordpress.com/the-star-game/

{4} See Myatt’s translation of and commentary on the Poemandres tractate, available from Corpus Hermeticum: Eight Tractates.

{5} Regarding the O9A Seven Fold Way, refer to the ἀρρενόθηλυς text, such as the chapters titled Perusing The Seven Fold Way, and Alchemy And The Sinisterly-Numinous Tradition.

A recent overview of the Way is available at A Modern Practical Guide To The O9A Seven Fold Way.

{6} For further details, refer to O9A texts such as (i) the aforementioned The Esoteric Hermeticism Of The Order Of Nine Angles, (ii) Some Anti-O9A Propaganda Exposed (pdf), and (iii) https://omega9alpha.wordpress.com/2015/04/01/hermetic-origins-of-the-order-of-nine-angles/


The O9A Septenary Sigil

Ghayat al-hakim, Picatrix, And The O9A

Order of Nine Angles



The Latin Picatrix, The Arabic Ghayat al-ḥakim, And The O9A Septenary System

Those who have studied the Renaissance Latin text known as the Picatrix, and those who have studied the more ancient Arabic text – Ghayat al-ḥakim – on which it is based, will be aware of three things.

First, that describing either book as an “astrological” text is a mistake, given (i) what the term astrology now denotes, such as the making of natal charts, and the writing of horoscopes based on Zodiacal constellations; and given (ii) that the classical Latin term astrologia denoted the Art (scientia) of knowing and understanding celestial objects – the stars and planets – and how these objects might affect mortals given that for ancient Greek and Roman philosophers we mortals were considered as connected to, as part of, the cosmic order, κόσμος.

Second, that the subject of Ghayat al-ḥakim – and thus of the Picatrix – is this connection and how a knowledge and understanding of the seven planets, of the Zodiacal constellations, and the relation between them, was a means whereby wisdom – an understanding of the cosmos, and of ourselves – could be attained. Which understanding was of The Unity, the Monas, behind all things.

Third, how a septenary system permeates those two books. Thus, and for example, the Latin manuscript whose scholarly designation is M – Sloane MS 3679 in the British Library – provides a useful summary of the text, a table of contents, listing the seven planets, while in Liber II, chapter X, their sigils are illustrated as follows,

Picatrix Sigils


which sigils, however, differ in many respects from those of the much earlier Ghayat al-ḥakim, and which difference will be discussed later.

Ghayat al-hakim Sigils

Ghayat al-ḥakim

The Picatrix sigils are followed, some pages on, by their Zodiacal associations, with Saturn for instance, associated with Aquarius (facias in hora Saturni tercia Aquarri ascendente) and Jupiter with Sagittarius (facias in hora Iovis secunda Sagittari ascendente) followed by descriptions of other, more human, planetary and Zodiacal associations and in which descriptions a certain Hermes Trismegistus is mentioned.

Liber III provides detailed descriptions of other esoteric correspondences between these seven planets and the twelve constellations of the Zodiac, including their respective Decans. For example, “Mercurius est minera virtutis intellective. Et habet aspectum ad sciencias addiscendum et sapiencia et dialecticam, grammticam, philosphima…” and “Luna est que recipit virtutes planetarum et infundit eas in mundo virtutis naturalis…”

Liber IV is divided into nine chapters, and concerns “de proprietatibus spirituum, et de his que necessaria sunt in ista arte, et qualiter imaginibus et suffumigicanibus et aliis adiuvantur.” That is, it concerns the animated principles – the ‘spirits’, angelus – associated with the seven planets and what is required, in terms of such things as incenses, sigils, names, and human-made objects – imago {1} – for those planets to be understood as symbolic of the workings of the cosmos and of ourselves.

In Liber IV various sigils are illustrated of a kind now familiar from much later ‘grimoire’ texts together with the names of the various ‘spirits’ – angelus – associated with the seven planets. For instance, Zemeyel with Mars, and Yebil with Sol.

The incenses associated with each planet, and their recipes, are described with that of Sol involving “florum spice nardi, sandali crocei et rubei ana 3x, ciperi, thymi…”

In chapter VII of Book IV it is stated that “deinde scribe in eo nomina septem stellarum, septem figuras earum et nomina septem angelorum et septem ventorum. Nomina autem septem stellarum sunt hec Zohal, Musteri, Marrech, Xemz, Zohara, Hotarid, Alchamar.” The sigil of each is then illustrated.

            While more quotations from the Picatrix could be included, sufficient have been provided to illustrate that the work concerns a septenary system and the esoteric correspondences of the seven planets including their relation to the Zodiacal constellations, and the incenses, sigils, tinctures, objects, and names of the respective animating principles, necessary to acquire an understanding of the whole system and thus achieve the goal that is wisdom.

There is thus a direct link to the septenary tradition described in the esoteric and typewritten 1980s O9A text Naos {2} and which O9A system is independent of the post-Picatrix qabalistic system, with its ten-fold Otz Chim, which all other, non-O9A, modern Occultists use and which later, Hebrew influenced, ten-fold system, has since the formation in the 19th century of the Hermetic Order Of The Golden Dawn, formed the basis of the ‘magic’ of Crowley, Levey, and Aquino, and which thus has mistakenly come to be regarded as an integral part of Western Occultism.

Differences, Influences, And Translations

The difference between the sigils given in the Picatrix and those in Ghayat al-ḥakim is indicative of two things. First, how the medieval and Renaissance scribes of the Picatrix (c.1300 – c.1459), not having access to the Arabic text (c.1050) sought to translate the Spanish translation of the Arabic text that they had access to, with differences between extant manuscripts of the Picatrix suggesting that various passages of the Spanish text were interpreted in different ways.

Second, how the later sigils – and the names of certain animating principles, ‘spirits’ or ‘angels’ – in the Picatrix may have evolved in the centuries between Ghayat al-ḥakim and the Picatrix, with the sigil of Mercurii for example obviously influenced by the Western alchemical symbol for Mercury.

In regard to modern English translations of the Picatrix, the word magicus is invariably mistranslated as ‘magic’ whereas as Anton Long has explained in his essay Sorcery In Virgil’s Aeneid {3} it correctly refers to an ancient Art, a particular Craft, and not to what is now associated with the words ‘magic’ and ‘magick’. Also, the first paragraph of Liber II of the Picatrix explains in some detail what is meant:

Sapientes qui naturali sensu sunt dotati numquam cess ant nec deserunt petere et inquirere ut sapientum secreta sciant et intelligant, que incluserunt in suis libris et scripserunt verbis occultis. et qui predicta invenerunt sollicitis inquisicionibus quousque attigerunt que voluerunt; sed homines imbecilles et intellectu carentes ad predicta attingere nequeunt vel venire.

Sed motus mee voluntatis processit ad inquisiciones magice et pravitatum tempore quo iuventute ftorebam. Et studebam in Centiloquio Ptolomei, in quo dicitur quod omnia huius mundi celestibus obediunt formis. Et manifestum est quod omnes sapientes in hoc sunt concordati, quod planete habent influencias et vires in hoc mundo quibus omnia fiunt in eo et alterantur motu planetarum in signis; qua de causa cognoverunt quod radices magice sunt motus planetarum.

In addition, the translation of the Latin imago by the 17th century English word talisman is a mistake since the Latin implies “a semblance”, a crafting of something which of itself presenced, was a semblance of, what was ‘higher’, numinous, by something which was ‘lower’, material, with such a presencing well-expressed by Marsilii Ficini in his De Vita Coelitus Comparanda,

“Quomodo per inferiora superioribus exposita deducantur superiora, et per mundanas materias mundana potissimum dona.”

“How, when what is lower is touched by what is higher, the higher is cosmically presenced therein and thus gifted because cosmically aligned.” {4}

Which is one of the axioms of the Hermetic weltanschauung, and as noted in the essay An Esoteric Note On The Somnium Scipionis Of Cicero {3} is a more philosophical restatement of the phrase “quod est inferius est sicut quod est superius” (what is above is as what is below) from the Hermetic text Tabula Smaragdina.

            Hence, to obtain a knowledge of what is one ancient source for the O9A septenary tradition, the student of the Occult and those interested in O9A esotericism should study the Arabic text of Ghayat al-hakim in preference to the Latin Picatrix, and also compare that text to Renaissance works such as those by Marsilii Ficini, as well as study the alchemical texts which mention or which allude to a septenary system. {5}

R. Parker
August 2018 ev

A pdf version of this essay is available here:


{1} The Latin term imago as used in the Picatrix is usually translated as “talisman”. I describe why that is a mistake in the Differences, Influences, And Translations section.
{2} A facsimile of the 1980s O9A typewritten text is available, as of August 2018, at https://lapisphilosophicus.wordpress.com/naos/
{3} The essay is included in The Eludent Order of Nine Angles, available at https://omega9alpha.wordpress.com/2018/08/24/the-eludent-order-of-nine-angles/
{4} The translation is by David Myatt, from his Corpus Hermeticum: Eight Tractates. Translation and Commentary. 2017. ISBN 978-1976452369
{5} Many of these alchemical texts are described in Alchemical And Hermetic Antecedents Of The Seven Fold Way, available as of August 2018, from https://omega9alpha.wordpress.com/ἀρρενόθηλυς/



O9A: Change Of Perspective

The Eludent Order Of Nine Angles

The Emissary Tarot Archetype


The Emissary by Richard Moult

From the Minor Arcana of Non Est Secundus Quia Unus Est, a book of Tarot archetypes by Richard Moult.


Source: https://starred-desert.com/non-est-secundus-quia-unus-est/

A Note On The Somnium Scipionis

Order of Nine Angles



A pdf version of this text is available here: https://omega9alpha.files.wordpress.com/2018/08/esoteric-note-cicero-v1a.pdf


An Esoteric Note On The Somnium Scipionis Of Cicero

The Somnium Scipionis Of Cicero {1} is regarded by the Order of Nine Angles (O9A, ONA) as a primary source of the Western (Greco-Roman) pagan tradition which the O9A, with its septenary system, represents in this day and age.

From an esoteric point of view, one of the most notable passages in the Somnium Scipionis is that describing a system of “nine orbs” which connect the whole cosmic order, with Cicero toward the end mentioning that

“Now, the noblest concerns and exertions are the well-being of the community with a psyche exercised by these moving more swiftly toward its dwelling.” {2}

Given the philosophical discussion which precedes this “moving more swiftly toward its dwelling” – its restful abode – this suggests something similar to the hermetic anados with its journey upwards through the seven spheres.

In his commentary on section 17 of the Pymander (Poemandres) tractate – which describes how the seven spheres came into being – Myatt {3} draws a parallel with Cicero’s nine orbs, quoting Cicero’s text and providing his own translation:

Novem tibi orbibus vel potius globis conexa sunt omnia, quorum unus est caelestis, extimus, qui reliquos omnes complectitur, summus ipse deus arcens et continens ceteros; in quo sunt infixi illi, qui volvuntur, stellarum cursus sempiterni. Cui subiecti sunt septem, qui versantur retro contrario motu atque caelum. Ex quibus summum globum possidet illa, quam in terris Saturniam nominant.

Nine orbs – more correctly, spheres – connect the whole cosmic order, of which one – beyond the others but enfolding them – is where the uppermost deity dwells, enclosing and containing all. There – embedded – are the constant stars with their sempiternal movement, while below are seven spheres whose cyclicity is different, and one of which is the sphere given the name on Earth of Saturn.

In respect of the Hermetic ogdoadic physis, ὀγδοατικὴν φύσιν, Myatt connects these “nine orbs” to the septenary system writing in his commentary on section 26 of the Pymander tractate that there are

“seven plus two fundamental cosmic emanations […] the seven of the hebdomad, plus the one of the ‘ogdoadic physis’ mentioned here, plus the one (also mentioned here) of what is beyond even this ‘ogdoadic physis’.

[As the Poemandres] text describes, there are seven realms or spheres – a seven-fold path to immortality, accessible to living mortals – and then two types of existence (not spheres) beyond these, accessible only after the mortal has journeyed along that path and then, having ‘offered up’ certain things along the way (their mortal ethos), ‘handed over their body to its death’.

Ontologically, therefore, the seven might somewhat simplistically be described as partaking of what is ‘causal’ (of what is mortal) and the two types of existence beyond the seven as partaking of – as being – ‘acausal’ (of what is immortal). Thus, Pœmandres goes on to say, the former mortal – now immortal – moves on (from this first type of ‘acausal existence’) to become these forces (beyond the ogdoadic physis) to thus finally ‘unite with theos’: αὐτοὶ εἰς δυνάμεις ἑαυ τοὺς παραδιδόασι καὶ δυνάμεις γενόμενοι ἐν θεῷ γίνονται.”

The Nine Angles And The Code Of Kindred Honour

In terms of the ontology and the Occult philosophy of the O9A the “nine orbs” are the “nine angles” – the nine combinations of the three fundamental alchemical substances {4} – which represent (via such Dark Arts as The Star Game) – the nexion between causal and acausal that we human beings are, with the seven spheres – represented by the seven classical planets – the septenary Tree of Wyrd, surrounded as the Tree of Wyrd is by the ‘ogdoadic physis’ and then by the formless acausal itself: the acausal existence, described in the Pymander tractate as “the theos”, which awaits those mortals who via their anados have found Lapis Philosophicus and thus progressed to the last stage of the Seven Fold Way, that of Immortal.

In terms of Cicero’s statement that “the noblest concerns and exertions are the well-being of the community”, Myatt – in his Tu Es Diaboli Ianua {5} – draws attention to a somewhat neglected aspect of Greco-Roman paganism and quotes from the Corpus Hermeticum:

εἰ δύνασαι νοῆσαι τὸν θεόν, νοήσεις τὸ καλὸν καὶ ἀγαθόν […] ἐὰν περὶ τοῦ θεοῦ ζητῆις, καὶ περὶ τοῦ καλοῦ ζητεῖς μία γάρ ἐστιν εἰς αὐτὸ ἀποφέρουσα ὁδός, ἡ μετὰ γνώσεως εὐσέβεια. Tractate VI, 5

If you are able to apprehend theos you can apprehend the beautiful and the noble […] Thus a quest for theos is a quest for the beautiful, and there is only one path there: an awareness of the numinous combined with knowledge.

He goes on to write that

“as stressed by Cicero in many of his writings, and as indicated by the quotation from tractate XIII of the Corpus Hermeticum – “the sixth influence invoked for us, against Coveter, is community” – an aspect of the paganus, Greco-Roman, apprehension of the numinous, of καλὸς κἀγαθός, is an awareness and acceptance of one’s civic duties and responsibilities undertaken not because of any personal benefit (omni utilitate) that may result or be expected, and not because an omnipotent deity has, via some written texts, commanded it and will punish a refusal, but because it is the noble, the honourable – the gentlemanly, the lady-like, the human – thing to do.”

Which ancient pagan concept – or rather tradition – of concern for and duty to one’s community, the O9A continue manifest as it is in their Code of Kindred Honour with its emphasis on one’s own O9A nexion being one’s community: a modern extended family, tribe, or clan.

De Vita Coelitus Comparanda

A succinct expression of the ancient Hermetic weltanschauung, as well as of what Cicero expressed in the Somnium Scipionis, occurs in the heading of chapter twenty-six of De Vita Coelitus Comparanda by Marsilii Ficini and which book was published in 1489 CE.

The chapter heading is:

“Quomodo per inferiora superioribus exposita deducantur superiora, et per mundanas materias mundana potissimum dona.”

Which translates as “How, when what is lower is touched by what is higher, the higher is cosmically presenced therein and thus gifted because cosmically aligned.”

The translation is by Myatt, from his commentary on section 2 of tractate IV of the Corpus Hermeticum. {3} As Myatt writes regarding his translation of part of that section:

a cosmos of the divine body sent down as human beings. κόσμον δὲ θείου σώματος κατέπεμψε τὸν ἄνθρωπον. That is, human beings re-present, presence, the ‘divine body’ and are, of themselves, a reflection of the cosmic order itself. This, and the preceding line, express a fundamental part of ancient and Renaissance hermeticism: human beings as a microcosm of the cosmic order and the divine.

For Ficini philosophically re-expressed a phase – quod est inferius est sicut quod est superius (what is above is as what is below) – from the Hermetic Tabula Smaragdina, and – both in respect of Ficini’s philosophical statement and the topic of the O9A and the Somnium Scipionis – a section of the text ONA Esoteric Notes XLVII, published in 2016 ev, is worth quoting in full, with the comments in square brackets [ ] part of that O9A text:

“As Ficini goes on to explain – Est igitur non solum corporeus, sed vitae insuper et intelligentiae particeps. Quamobrem praeter corpus hoc mundi sensibus familiariter manifestum latet in eo spiritus corpus quoddam excedens caduci sensus capacitatem – the world (mundus) and by extension we ourselves as part of the world are not only material (corporeal) but also imbued with the vitae [Life; Being; ψυχή] and the intelligentiae [apprehension] of that which is above; and that beyond obvious outer appearances there is a hidden, an inner, animating [spiritus] aspect which our ‘lower’, more mundane, senses are unaware of.

All of which, based as it is on the writings of earlier authors such as Iamblichus, is a rather succinct summary of one of the fundamental principles of the weltanschauung that underlies ancient esoteric arts such as alchemy, astrology, and magick. That – as Ficini explained in earlier chapters, such as in chapter sixteen in respect of images/objects/talismans – the animating forces of the cosmos, as symbolized by the seven classical planets and the twelve classical heavenly constellations, not only affect us but can be consciously presenced, drawn down in a beneficial way, into objects and into ourselves.

That the Order of Nine Angles has the same underlying ancient weltanschauung is obvious if the above is restated using the modern terminology of the O9A.

Thus, (a) how when what is causal is touched by what is acausal [when a nexion is opened], the acausal is presenced within the causal thus producing changes in the causal; (b) the septenary Tree of Wyrd – with its planetary, stellar, and other esoteric correspondences as outlined in text such as Naos – since it is imbued with the acausal [is a nexion] is a beneficial presencing of those acausal energies that non-initiates are unaware of or disdain.

This ancient – essentially Greco-Roman – weltanschauung formed an essential part of the European Renaissance, as the life and writings of people such as Marsilii Ficini attest. Thus one might well suggest that the Order of Nine Angles embodies – at least in part – the spirit that animated that European Renaissance. An embodiment in the O9A manifest in their elitist and cultured ethos; a cultured ethos which neglected O9A texts such as (i) Culling As Art, (ii) The De-Evolutionary Nature of Might is Right, and (iii) The Gentleman’s and Noble Ladies Brief Guide to The Dark Arts, explain.” {6}

In other words, the cultured ethos which the O9A manifests – when, that is, the O9A is esoterically and philosophically understood beyond its exoteric polemics, beyond the causal forms used, and beyond its Labyrinthos Mythologicus {7} – is the same ethos as is found in the philosophical writings of Cicero, in the texts of the Corpus Hermeticum, and in ancient and renaissance hermetic writings. It is the culture of reason, of a personal learning through practical, scholarly, and esoteric means; means which form the basis of the O9A Seven Fold Way, of its decades-long esoteric anados.

Which is why Anton Long wrote:

“One of the main reasons for the existence of esoteric groups such as the Order of Nine Angles is to be a living hereditary repository of a certain type of knowledge – kunnleik – and to personally, directly, encourage some individuals to acquire the culture, the habit, of learning – practical, scholarly, esoteric – and thus enable them to move in the traditional esoteric manner toward the goal of discovering and thence acquiring wisdom; and which wisdom is a balanced personal judgement and a particular knowledge of a pagan, Occult, kind to do with livings beings, human nature, Nature and ‘the heavens’. This involves possessing/developing certain esoteric faculties/skills; acquiring an honest knowing of one’s self, one’s character; possessing an Aeonic understanding; and thus discovering Reality beyond, and sans, all causal abstractions.

Being a living hereditary repository of a certain type of knowledge, esoteric and otherwise – that is, being akin to an ancestral, communal, pathei-mathos – the O9A grows and slowly develops as more knowledge and understanding are obtained, as more individuals undergo pathei-mathos, and as newer Dark Arts are developed. But the Occult essence – the ethos, the internal alchemy of individual change during the life of the individual, the individual discovery of lapis philosophicus, the Adeptus way, the Aeonic perspective – remains.” {8}

R. Parker
August 2018 ev

Note: This text is a companion to my recent essay Some Notes On The Picatrix.


{1} The Latin text is, as of August 2018 ev, available at http://www.thelatinlibrary.com/cicero/repub6.shtml

While several accessible English translations exist they tend to translate particular Latin words by English words which – as Myatt noted in the Preface to his Corpus Hermeticum: Eight Tractates – may impose modern meanings on the text.

For example, the caelum of Cicero is translated not as referring to what is celestial, nor to use Myatt’s striking term – in his translation of chapters 1-5 of the Gospel of John, qv. https://davidmyatt.wordpress.com/gospel-according-to-john/ – expressed by Empyrean, but instead as “heaven” which English word brings with it much non-pagan, post-Roman, iconography and theology.

Similarly, and to present another example, “et ut mundum ex quadam parte mortalem ipse deus aeternus, sic fragile corpus animus sempiternus movet” is interpreted with deus as “God” and animus as “soul” thus imposing a non-pagan theological meaning and iconography on the text, whereas Deity and Psyche (ψυχή) are more appropriate, more redolent of Greco-Roman paganism.

{2} Sunt autem optimae curae de salute patriae; quibus agitatus et exercitatus animus velocius in hanc sedem et domum suam pervolabit.

{3} David Myatt, Corpus Hermeticum: Eight Tractates. Translation and Commentary. 2017. ISBN 978-1976452369

{4} qv. the O9A text Alchemical And Hermetic Antecedents Of The Seven Fold Way, available as of August 2018 ev, from https://omega9alpha.wordpress.com/ἀρρενόθηλυς/

{5} David Myatt, Tu Es Diaboli Ianua, 2017. ISBN 978-1982010935

{6} The text is, as of August 2018 ev, available at https://omega9alpha.wordpress.com/2016/03/26/o9a-esoteric-notes-xlvii/

{7} In respect of Labyrinthos Mythologicus, qv. https://omega9alpha.wordpress.com/labyrinthos-mythologicus/

{8} Anton Long. Knowledge, the Internet, and the O9A. e-text, 122 yfayen.


A Note On The Picatrix

A Note On The Picatrix

Order of Nine Angles



The Latin text known in the West as the Picatrix – a medieval translation, via Spanish, of the Arabic text Ghayat al-Ḥakim, which Arabic text has been dated as from around the year 1000 CE {1} – has received some attention in the last few decades by those interested in or claiming to be practitioners of Western Occultism, with a few English translations of the Latin text by such people available and with some of these versions stating that they are based on the scholarly version of the Latin text, edited by David Pingree, published in 1986 by the Warburg Institute. The problem with these modern translations based on the text of the Picatrix is of course that they are translations of a Latin medieval translation of a Spanish translation and thus are quite far removed from the original Arabic text.

The Picatrix itself is widely believed – by scholars – to have influenced and informed the European Renaissance, and a recent book titled Arabic Influences on Early Modern Occult Philosophy {2} places the Picatrix in the necessary historical context, referencing as it does works by and studies of figures such as Marsilio Ficino, Aristotle, Macrobius (who wrote Commentarii in Somnium Scipionis), and Al-Farabi.

In terms of modern Western Occultism, the Ghayat al-Ḥakim – the original Arabic text – and some other Arabic texts would seem to be the origin of the ‘grimoire’ and talismanic tradition predating as they do the much later Hebrewesque and Kabbalah influenced grimoires – with their Hebrewesque ‘demons’ – beloved by The Hermetic Order of The Golden Dawn, Aleister Crowley, Howard Stanton Levey, and by perhaps the majority of individuals claiming to be practitioners of Western Occultism.

            In contrast to this later Hebrewesque and Kabbalah influenced grimoire tradition, the Order of Nine Angles (ONA, O9A) have always claimed not only that their Occult tradition pre-dates such Hebrewesque and Kabbalah influenced Occult traditions but is also the original, the traditional, Western Occult tradition, melding as that original tradition did Greco-Roman pagan sources – for example, the Somnium Scipionis of Cicero, and the Corpus Hermeticum with its septenary anados {3} – with Arabic sources such as Al-Kitab Al-Alfak (The Book Of The Spheres) and which Arabic text was most probably influenced by, or derived from, the Ghayat al-Ḥakim.

The O9A have also claimed that the later Hebrewesque and Kabbalah influenced Occult tradition – with its ten-fold Otz Chim – is a distorted version of the earlier, Greco-Roman and pagan, septenary tradition. {4} {5}

That the O9A claims have scholarly, historical and Western pagan foundations should by now be obvious to those who have studied primary sources such as the Arabic text of the Ghayat al-Ḥakim, other Arabic works such as De Radiis Stellarum by Al-Kindi, {6} and Kitab Al Madkhal Al Kabir Fi’ilm Ahkam Al Noudjoum, {7} and who have also taken the trouble to read Myatt’s commentaries on the Corpus Hermeticum as well as O9A essays such as (i) Lapis Philosophicus, Isaac Newton, And The Septenary System and (ii) Azoth: Western Alchemy And The Seven Fold Way Of The Order Of Nine Angles. {8}

R. Parker
July 2018 ev


{1} As of July 2018, a digital edition of the Arabic text of Ghayat al-Ḥakim – published in 1933 in Germany – is available at http://catalogue.ulrls.lon.ac.uk/record=b2205045~S12

{2} Liana Saif, Arabic Influences on Early Modern Occult Philosophy, Palgrave Historical Studies in Witchcraft and Magic, 2015, ISBN 978-1137399465.

{3} qv. David Myatt’s translation of and commentary on the Pymander text of the Corpus Hermeticum, available in his book Corpus Hermeticum: Eight Tractates. 2017. ISBN 978-1976452369

See also the O9A text Alchemical And Hermetic Antecedents Of The Seven Fold Way, available from https://omega9alpha.wordpress.com/ἀρρενόθηλυς/

{4} qv. O9A texts such as https://omega9alpha.wordpress.com/2013/12/25/originality-tradition-and-the-order-of-nine-angles/

{5} qv. the O9A compilation The Esoteric Hermeticism Of The O9A, available from https://omega9alpha.wordpress.com/2016/03/30/the-esoteric-hermeticism-of-the-order-of-nine-angles/

{6} According to some scholars this treatise by the Arab philosopher Al-Kindi influenced John Dee.

{7} A copy of the Arabic text is, as of July 2018 ev, available at https://archive.org/details/1H5Uuo

{8} The essays are included in The Esoteric Hermeticism Of The O9A.

Introducing The Star Game

Order of Nine Angles



Introducing The Star Game

As mentioned in the text O9A 101: The Sinisterly-Numinous Tradition,

One of the axioms of the occult philosophy of the O9A [Order of Nine Angles] is that it is only possible to apprehend the realm of the acausal (which realm includes but is not limited to the supernatural) by using our (mostly latent) human faculty of empathy – of empathic wordless knowing – and by developing new faculties, such as ‘acausal- thinking’ and which ‘acausal-thinking’ can be developed by esoteric techniques such as The Star Game consisting of as that three-dimensional ‘game’ does of seven boards – arranged as a septenary Tree of Wyrd – with a total of 308 squares and with 81 pieces per ‘player’. {1}

Which provides the esoteric context for The Star Game; with it being an “esoteric language” which uses symbols and their change or metamorphosis instead of words. {2} Furthermore, the particular symbols of The Star Game and their metamorphosis are not, unlike other occult symbols, reducible to – do not have ‘correspondences’ with – any other apprehensible being or beings, material or otherwise, save for living human beings and the living being apprehended as a “civilization” formed as such a civilization is of collocations of particular human beings during a particular Aeon. Which particularity is why esoterically the symbols of The Star Game are described by Adepts as adunations {3} and why The Star Game as an esoteric language re-presents – when ‘played’ – the entire Septenary Tree of Wyrd and all the symbols, and the occult correspondences between symbols, of those seven spheres and the connexions between them.

That is, The Star Game is a new type of human apprehension, and one which does not rely on words, on the meaning(s) assigned to words, or on the categories – the abstractions – which have been posited or assumed and to and by which beings and Being have hitherto been classified, assigned, and described, and thence considered as ‘understood’.

To acquire this new type of human apprehension the person has to construct and then use – ‘play’ – the game. This use is or can be many and various; two examples of which are

(i) as an act of solo sorcery where the pieces are used to symbolize, represent, a particular person or a particular civilization or Aeon, in order to either (a) esoterically perceive (understand) that person or civilization or Aeon and thus to possibly foretell the Fate or Fates of such beings, or (b) to affect, to change – to harm or to aid – a particular person or a particular civilization or Aeon; and
(ii) as a combat between two sorcerists where one sorcerer is, via the foregoing representation, seeking to affect, to change, a particular person or a particular civilization or Aeon, while their opponent seeks to prevent such changes.

Which use of The Star Game brings us to two questions relevant to our current technological age. First, whether or not The Star Game can be replicated by a complex computer programme to thus become a three-dimensional or virtual reality ‘computer game’ accessible to and playable by anyone with a suitably powerful computer and the necessary accessories. Second, would using such a technological form of The Star Game still be sorcery? That is, would such a technological form of The Star Game still presence the acausal – be a symbiotic alchemical process between sorcerer and adunations as currently manifest in a physical structure and the physical movement of the pieces – or would it be something else, perhaps even a new, technological, type of sorcery appropriate to the emerging New Aeon?

So far, the answer to the first question is moot. While there have been in the past decade one to two attempts to computerize The Star Game they have failed.

The answer to the second question really depends on whether a talented individual or individuals can succeed in computerizing The Star Game with all of its complexity intact. For only the practical use of such a programme will reveal whether or not the creator(s) of the programme has/have also created a new, technological, type of sorcery appropriate to the emerging New Aeon.

Rachael Stirling
June 2018 ev

Further Reading

° Overview of The Star Game. Available at https://omega9alpha.files.wordpress.com/2018/06/star-game-overview.pdf
° Star Game Archive, Part I. Available at https://omega9alpha.files.wordpress.com/2018/06/star-game-archive-part-1.pdf
° Star Game Archive, Part II. Available at https://omega9alpha.files.wordpress.com/2018/06/star-game-archive-part-2.pdf
° Star Game Archive, Part III. Available at https://omega9alpha.files.wordpress.com/2018/06/star-game-archive-part-3.pdf
° Time As Emanation of Being. The compilation includes a history of The Star Game. Available at https://omega9alpha.files.wordpress.com/2018/06/myatt-time-otherness-v3.pdf



{1} A copy of the text is available from https://omega9alpha.wordpress.com/2018/03/22/quintessence-of-the-o9a/ [Accessed June 5, 2018]

In that quotation, and in this essay, The Star Game refers to the ‘advanced’ form of the game, as described in the appendix titled Advanced Star Game in the O9A text Naos, with the Game itself described in chapters VI and VII of that work. A facsimile (in pdf format) of the original typescript of Naos as issued by the ONA in 1989 is embedded in the Complete Guide To The Order of Nine Angles which 1460 page text is available – as a 55 megabyte pdf file – from https://omega9alpha.wordpress.com/2014/04/09/the-definitive-guide-to-the-order-of-nine-angles/ [Accessed June 5, 2018]

Many of the relevant texts from Naos are included in the three part Star Game Archive, qv. the Further Reading section.

{2} Esoteric languages are explained in more detail in the two part text Concerning Esoteric and Exoteric Languages, written by Anton Long and published in 2011 ev. A copy of the text is available here https://omega9alpha.files.wordpress.com/2013/11/concerning-esoteric-and-exoteric-languages.pdf

{3} The term is derived the Latin adunatus: ad + unare, to unite, make whole. It thus implies “some-thing which when placed in its correct relation to other adunations reveals the unity, the whole, of which it and they are a part.” Expressed exoterically, adunations are sinister-numinous symbols and thus possess acausal energy. That is, they presence or can presence the acausal, just as O9A Esoteric Chant, when correctly performed, presences or can presence the acausal within the psyche of – and sometimes exterior to – those performing such Chant.