Some O9A Gems

Order of Nine Angles



Hidden Occult Gems
And The Neglect Of O9A Esotericism

Over the past five or so years a select group of individuals associating themselves with the Occult movement that is the Order of Nine Angles (O9A, ONA, ω9α) and who are mostly based in Oxford, England, and in English counties such as Shropshire and Herefordshire, have not only written and published a large number of texts dealing with O9A esotericism and traditions but also made public some unpublished writings by Anton Long such as his scholarly essay Sorcery In Virgil’s Aeneid and which unpublished writings were previously only privately circulated in MS form (as ONA Esoteric Notes) or by means of in-house O9A bulletins such as Azoth. {1}

From tomes such as the 159 page compilation The Esoteric Hermeticism Of The Order Of Nine Angles {2} to essays of a few pages – such as The O9A Art Of Shrenching, and The Deofel Quintet, and Baphomet – An Esoteric Signification {3} – the texts reveal esoteric information, insights, scholarly research, and traditions unavailable elsewhere, with their neglect by modern Occultists and by academics researching Western esotericism only to be expected, given two things.

First, how modern Occultists and such academics are still fixated on the non-Western, Qabalah-infused texts and writings of the Hermetic Order of The Golden Dawn, of Mr Aleister Crowley, of Howard Stanton Levey, and of the likes of Michael Aquino.

Second, how the O9A has been perceived by the majority of modern Occultists and, with perhaps two exceptions, by academics researching Western esotericism. A perception based on one or more of the following. (i) On an acceptance of the false belief that the Hebrew Qabalah and the Hebrew influenced “goetic” tradition – as manifest in grimoires such as The Book of the Sacred Magic of Abramelin the Mage – are integral parts of Western occultism; (ii) on an acceptance of the false belief that Howard Stanton Levey invented “modern Satanism” and that all modern Satanist groups are in some way influenced by his version of Satanism; and (iii) on ignorance, due to a lack of study of the O9A corpus (1974-2019) comprising as the corpus does of thousands of pages of texts, manuscripts, rituals, letters, books, as well as five Occult novels (the Deofel Quintet) and around a dozen short, fictional, stories such as Sunedrion – A Wyrdful Tale.

Which outsider perception is of the O9A as a “minor” Satanist and neo-nazi Occult group, even though, according to one academic, the O9A has produced

“more material on both the practical and theoretical aspects of magic, as well as more ideological texts on Satanism and the Left-Hand Path in general, than larger groups such as the Church of Satan and the Temple of Set has produced in combination [which] makes the ONA an important player in the theoretical discussion of what the Left-Hand Path and Satanism is and should be according to the practitioners,” {4}

and even though “Anton Long” made two things clear in the 1990s. First, that for the O9A, National Socialism

“like all politics is just a causal form, an idea, or ideal, ἰδέᾳ/εἶδος, which could be used to achieve Satanic goals and which goals include aiding the sinister dialectic and a personal learning experience via an O9A Insight Role lasting perhaps a year or so”. {5}

Second, that Satanism itself “is a form, like any other – a ‘container’ constructed in the causal world to effect certain changes. These are of an Aeonic kind.” {6}

In addition, as noted in a recent text, the O9A Deofel Quintet places

“the neo-nazism and the satanism aspects [of the O9A] into the necessary esoteric perspective, for the novels of the Deofel Quintet are non-political with the overt satanism of such works as Falcifer and The Temple of Satan expressing the place of satanism in O9A tradition: which is that it is a short-lived and personal learning experience, germane to the early stages, the first few years, of the anados (ἄνοδος), the decades-long hermetic quest, for Lapis Philosophicus. An anados manifest in O9A hermeticism by the sinister-numinous Seven Fold Way […]

It is therefore apposite to describe those unfamiliar with or unappreciative of the Deofel Quintet as ignorant of O9A esotericism and thus as ignorant of what the O9A actually is and represents.” {7}

Two Relevant Examples

The neglect of O9A esotericism, and of the unique knowledge contained in the O9A corpus, is evident in the following two examples, two Occult gems among the many to be found in the O9A corpus.

I. The first example is an excerpt from Anton Long’s scholarly essay Sorcery In Virgil’s Aeneid in which he provides a quotation in Latin from Virgil, and his own translation as well as explaining, by reference to classical writers, what the Latin word magicas – and thus the Greek μαγικός – really mean and thus why the translation of “magic”, accepted by modern Occultists and others, is mistaken.

{begin excerpt}

hinc mihi Massylae gentis monstrata sacerdos,
Hesperidum templi custos, epulasque draconi
quae dabat et sacros servabat in arbore ramos, (485)
spargens umida mella soporiferumque papaver.
haec se carminibus promittit solvere mentes
quas velit, ast aliis duras immittere curas,
sistere aquam fluviis et vertere sidera retro,
nocturnosque movet Manis: mugire videbis (490)
sub pedibus terram et descendere montibus ornos.
testor, cara, deos et te, germana, tuumque
dulce caput, magicas invitam accingier artis.

“From there a priestess of the Massylian clan was made known to me – custodian as she was of the Temple of Hesperidum – who delivers food to the Dragon and protects the sacred branches of the Tree, sprinkling there moist honey and soporific seeds of poppy. She offers – to whomsoever she chooses – to release through song their feelings, and – for others – to let in lasting anxiety: to still the flowing waters and redirect the constellations to where they were; to drive away the Shades of Night. You shall perceive the Earth shake beneath her feet and the Mountain-Ash descend the mountains. And, my sister, upon the gods and by your dear life I bear witness that I reluctantly undertake the practice of The Craft.”

The word translated by The Craft is magicas and which Latin word is derived from the Greek μαγικός with the etymology of the Greek word being uncertain, although μαγικός is the title of a work attributed, in the Suda, to Antisthenes, and by Diogenes Laertius to Aristotle (qv. V. Rose, Aristotelis Qui Ferebantur Librorum Fragmenta, Leipzig 1886).

One suggestion was that the word derives from Magi, with the (popular but unproven) assumption being that the Magi were skilled in what is now termed ‘magick’ (or sorcery, γοητικός, qv. Aristotle Fragment 36), although there is evidence to suggest (qv. Fragments 33 and 35) that the ‘lost work’ with the title μαγικός – whomsoever the author was – treated the Magi as philosophers and not as sorcerers, with Plutarch in Adversus Colotem mentioning a work which dealt with Zoroaster as a philosopher.

In Ovid, Tacitus, and Pliny the Elder, magicus can be taken as meaning one or more of the following: (i) a particular type of chanting or singing, of an ancient kind different from what the word ‘incantation’ now implies; (ii) certain types of divination including what is now known as astrology; (iii) certain rites and practices, including human sacrifice (homo immolaretur); and (iv) the use of herbs to cure ailments and sickness.

Pliny (Book XXX, iii) also comments that britannia hodieque eam adtonita celebrat tantis caerimoniis, ut dedisse Persis videri possit, “even now Britannia practices it so enthusiastically with such large ceremonies it is conceivable they gave it to the Persians.”

Hence to translate magicas here as ‘magic’ or ‘sorcery’ – replete as those words now are with accumulated meanings irrelevant to ancient times – is unhelpful, particularly as Pliny writes (in Book XXX, ii) that Homer’s Odyssey is based upon the Art (ars) in question and relates a legend that Pythagoras, Empedocles, Democritus, and Plato, all journeyed abroad to learn that Art.

Given what Ovid, Tacitus, and especially Pliny the Elder – and Homer in The Odyssey if we accept Pliny’s suggestion – wrote regarding the art that is magicas, then The Craft is a most suitable translation, redolent as it is of an ancient and almost forgotten Western esoteric tradition.

{end excerpt}

II. The second example is from the O9A MS titled Notes On O9A Ontology And The Ruhaniyyat {8} and which text explains in some detail the essence of the Arabic MS Ghayat al-hakim, and thus of the Latin Renaissance Latin text known as the Picatrix which is a translation of a Spanish translation of Ghayat al-hakim.

In the following excerpt we have with one exception omitted the footnotes that form part of the MS. The exception is the footnote explaining the meaning of the term ruhaniyyat.

{begin excerpt}

While there does not appear to be – from extant Arabic esoteric texts – one definitive Occult ontology, a consistent theme is of ruhaniyyat associated with the septenary spheres {1} and which or who thus enable mortals to understand the influences and the knowledge of those spheres, with imago – talismata – being one means whereby these influences could be presenced, understood, and used.

In effect, the Arabic sources consider that the spheres are living immortal beings and therefore beyond the life of mortals and that they re-present the divine – in the case of al-Kindi and other Muslim writers, are representatives of Allah – and that the pursuit of wisdom is the pursuit of knowing the ruhaniyyat and their influences and effects.

Ghayat al-hakim Sigils
Planetary Sigils: Ghayat al-hakim

This pursuit of knowing the ruhaniyyat of the spheres and the crafting and use of talismata to ‘presence’ them may be said to be the essence of Ghayat al-hakim and thus of the Picatrix, with the ruhaniyya named Zemeyel for instance associated with Mars and Yebil with the Sun.

The ontology is therefore similar to that of several tractates of the Corpus Hermeticum – in particular the Poemandres tractate – with a hierarchical septenary system presided over by animating principles or entities with the mortal gaining sufficient knowledge to know, in respect of classical hermeticism, The One, The Monas, The Theos; and in respect of Islamic esotericism, to know Allah, the Omnipotent, the Eternal One.

In comparison, O9A ontology – although possibly inspired by and having some of its foundations in classical hermeticism and Islamic esotericism – is quite different.

Instead of the division between mortal and immortal based as both classical hermeticism and Islamic esotericism are on the moral assumption of good (immortal behaviour and living) and bad (mortal behaviour and living) there is the postulate of causal and acausal beings lacking as this postulate does any abstractive assumption about ‘good’ and ‘bad’ in relation to causal and acausal beings.

There is also, in the O9A way, no reliance on the ‘wisdom’ of The One, The Monas, The Theos, or on an omnipotent, unchanging, God/Allah, as recounted in some written words or in some texts or by some tradition or as revealed by some teacher, priest, priestess, or mage. Instead, there is reliance on a personal pathei mathos: on the individual learning by means of both practical and esoteric experiences over durations of causal time.

There is also, in the O9A way, no necessary belief in the spheres as living beings with their ruhaniyyat as having an actual existence, acausal or otherwise. Instead, there is the praxis of going to what is beyond abstractions – beyond every ἰδέᾳ/εἶδος, beyond denotata, beyond ‘good and evil’ and beyond all other manifestations of opposites – to Being itself, shorn of the concept of deities, of deity, of separate beings, whether anthropomorphic or otherwise.


{1} Ruhaniyyat – singular, ruhaniyya – are the animating principles or entities which or who – in O9A terminology – presence πνεῦμα, pnuema. They are commonly – though incorrectly – referred to as ‘spirits’, ‘spiritual beings’, or as ‘angelic beings’, and thus often identified and named as a specific ‘angel’ (angelus).

The origin of the Arabic term is the word ruh, which is used in the Koran – for example Surah 15, v.29 – and which word is often translated as ‘spirit’ or ‘soul’.

Tractate 13 (v.19) of the Corpus Hermeticum – predating the Koran by centuries – has a similar sentiment to that of the forgoing Koranic verse: πνευματοφόρε δημιουργέ, which Myatt – in his Corpus Hermeticum: Eight Tractates – evocatively translates as “Breath-Giver, Artisan” and mentions in his commentary that the Artisan is “The Master Craftsman whose craft is to make – to construct, to create – living beings.”

{end excerpt}

The two excepts reveal esoteric information and Occult insights unavailable elsewhere.

TWS Nexion
August 2019 ev

{1} The text was included in the recent compilation Feond: Toward Internal Adept, available from
{3} The three texts are included in Feond: Toward Internal Adept.
{4}Senholt, Jacob. The Sinister Tradition. A paper presented at the international conference, Satanism in the Modern World, held at the Norwegian University of Science and Technology in Trondheim on the 19-20th of November, 2009. p.26
{5} The quotation is from the O9A text The Alleged National Socialism Of The O9A, which is included in Feond: Toward Internal Adept. The text references and quotes from a primary O9A source: the Satanic Letters of Stephen Brown, published in two volumes in 1992.
{6} Letter to Lea dated 23rd September 1990 ev, included in the Satanic Letters of Stephen Brown.
{7} The Deofel Quintet, included in Feond: Toward Internal Adept.


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