The Apolitical Deofel Quartet

Order of Nine Angles

O9A

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Those who have studied O9A esotericism in detail, and those who have an intuitive or artistic appreciation of the Sinister-Numinous aesthetic of the Order of Nine Angles (ONA, O9A), know that the O9A in essence is apolitical, regarding all political forms and all political ideologies as causal abstractions, some of which forms may however be useful for a while as exeatic learning experiences – as Insight Rôles – for some individuals in the early years of their decades-long journey along the O9A Seven Fold Way. But all of which causal abstractions – from politics, to religions, to sociological and psychological theories and posited archetypes – are surpassed, left behind, understood as irrelevant – when the individual undertakes and successfully emerges from the ordeal of The Abyss.

Which ordeal reveals The Unity, the affective acausality, beyond the illusive, the mundane, dialectic of opposing opposites; an illusive dialectic exemplified by “choosing sides” such as, in terms of political abstractions, “Left Wing” and “Right Wing”.

Those conversant with O9A esotericism will know that the novels of the O9A Deofel Quartet (written in the 1970s and the 1980s) present

“much of the diverse aural traditions as AL [Anton Long] received them: as stories about people, their interactions; their ‘satanic’ or esoteric views and beliefs; and about certain events that involved those people. In The Deofel Quartet he simply reworked the factual material – as writers of fiction are wont to do – in order to make an interesting story, in the process obscuring the identities of those involved and sometimes their place of residence or work; added some entertaining details (as in the ‘astral battles’ between goodies and baddies in Falcifer, of a kind now familiar – decades later – from the Harry Potter stories) and concatenated certain events in order to provide ‘action’ in a limited time-frame.

Thus, the fictional stories not only compliment other O9A material but provide a ‘different way into’ the complex O9A mythos; a way that many will find more interesting (and certainly more entertaining) than thousands of pages of sometimes polemical and sometimes ponderous O9A factual texts, and a way that especially places the O9A’s satanism into perspective, Aeonically and otherwise.”

None of the novels of the Quartet concern politics. None of them deal with political revolution or concern themselves with “terrorism”. None of them concern “neo-nazism”. None of them involve “racism” or are “anti-gay” or misogynistic. In truth, the novels – ahead of their time – contain strong female characters (such as Fiona in The Greyling Owl, and Lianna in The Giving) as well as positive gay characters (such as Fenton in The Greyling Owl).

To understand the O9A is to understand how and why The Deofel Quartet presences O9A esotericism: as involving real individuals some of whom (as in Falcifer) may have an interest in Satanism and the Occult, and some of whom (as in The Greyling Owl) are not interested in, or appear not to be interested in, Satanism and the Occult. As readers of such works as Falcifer and The Giving and The Temple of Satan discover, esoterically the O9A is far beyond even the causal abstraction, the causal form, termed “Satanism”.

Thus, as described in The Temple Of Satan,

“All of [the books], and the manuscripts bound like books, were about alchemy, magick or the Occult. He could read the Latin of the medieval manuscripts and books, but what they related did not interest him as the later books brought forth no desire to read further.

Even the Black Book of Satan, resting on the table, seemed irrelevant to him. They were all compilations of shadow words, appearing to Thurstan to fall short of the aim that the searchers who had written them should have aimed for. His instinctive feeling was to observe in a contemplative way some facet of the cosmos – to stand outside in the dark of the night and listen for the faint music that travelled down to Earth from the stars – rather the enclose himself in the warm womb of a house to read the writings of others. Demons, spells, hidden powers, the changing of base metal to gold, even the promises of power and change for himself, were not important to Thurstan, and he left the library with its stored knowledge and forbidden secrets and lurking gods, to walk in the moonlit garden.

The stars were not singing for him – or he could not hear them above the turmoil of his thought…

He moved, like an old man pained by his limbs, through the cold and sometimes swirling mist along a path that took him toward the Mynd and up, steeply, to its level summit where he stood, high above the mist, to watch the mist-clotted valleys below.

The heather was beginning to show the glory of its colour, and he walked through it northbound along the cracked and stony road stopping often to turn around and wait. But no one and nothing came to him – no voices, song or sigh […]

The very Earth itself seemed to be whispering to him the words of this truth. He began to sense, slowly, that there was for him real magick here where moorland fell to form deep hollows home to those daughters of Earth known as springs and streams, and where the Neolithic pathway had heard perhaps ten million stories. No wisps of clouds came to spoil the glory of the sun as it rose over the mottled wavy hills beyond the Stretton valley miles distant and below. No noise to break the almost sacred silence heard. For an instant it seemed as if some divinity, strange but pure, came into the world, and smiled.”

Thus, The Greyling Owl deals

“with a type of ‘hidden sinister sorcery’ that owes little or nothing to what has become accepted as ‘the Western occult tradition’, satanic or otherwise, with its demons, its invocations and evocations, its rituals, and people dressing up in robes. Instead, it concerns someone being manipulated, brought into a position of influence, without even knowing or suspecting there is an occult aspect; someone – in modern parlance – being ‘groomed’ to at some future time use that influence for a sinister purpose as directed by the person or persons to whom he is now indebted.

That is, there is a revealing of how the O9A often operates, and has operated, in the real world; and how O9A people are often secretive, with their occult connections, and their interest in the sinister, unknown to colleagues and friends. The title itself gives a clue, for the word greyling is used in reference to Hipparchia Semele (commonly referred to as the Grayling), a type of butterfly found in Britain and one which is ‘a master of disguise and can mysteriously disappear as soon as it lands, perfectly camouflaged’. Hence the title seems to, esoterically, suggest the pairing of the ‘mistress of disguise’ (Fiona) with ‘the owl’ (Mickleman) and which working together will enable sinister deeds to be done, most possibly by Mickleman (under the guidance of Fiona) influencing or recruiting people from within his natural academic environment.”

Thus, this paean to Sapphic love, from Breaking The Silence Down, the novel often considered as making the Deofel ‘quartet’ into a quintet of esoteric novels:

“Blissful, they returned to their home. The rain ceased with their arrival and in the subdued light in the now cramped sitting room of their bungalow, Rachael sat at her piano to transform herself and the night. Diane listened and watched, entranced. Rachael’s playing created a new world and a new woman, and Diane watched this strange woman create from the instrument of wood, steel and tone a universe of beauty, ecstasy and light.

Bach, Beethoven – it made no difference what or for how long she played. But, as it always had since that night, Beethoven’s Opus 111 fascinated her with feelings, visions, and stupendous, world-creating thought. It imbued her with insight, and a love that wanted to envelope Rachael and consume her.

It was pleasure and pain to watch Rachael transform herself through the act of her playing into a goddess she would die for. No reason touched her while she listened. There was, she knew, no greater life than this, no greater feeling and she wanted to immolate herself with Rachael’s ecstasy, immolate world upon world with this glory and passion which no male god described.

Then the silence, while clamoured notes faded and dimmed light framed. There were no more tears Diane could cry and she waited while Rachael slowly rose and offered her hand. She – the goddess within – was smiling and Diane allowed herself to be led. The music in her head, the memories and secret dreams of youth: all were before her, embodied in flesh and she had only to kiss the slightly scented lips or see the secret wisdom hidden in the eyes to reach the summit of her life, slowly, in the dim corners of the bedroom’s reflected dark.”

Given that most O9A critics have never bothered to read the O9A “deofel quintet” – or, if they have, have miserably failed to appreciate its esoteric significance – it is not surprising that they have such a biased, mundane, view of the O9A.

TWS Nexion
December 2018 ev

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Related:
The Deofel Quartet

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Some Anti-O9A Propaganda Exposed

Order of Nine Angles

O9A

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Some Anti-O9A Propaganda Exposed
(pdf)


The O9A Septenary Sigil

Order of Nine Angles

O9A

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The O9A Septenary Sigil
(pdf)

Extract:

The O9A septenary sigil, unique as it is, has – since it was first made public in the 1970s – puzzled some modern Occultists.

As exoterically drawn and reproduced, as above, the seven points which touch the outer circle symbolically represent the septenary spheres, with the lines joining the spheres the connexions or pathways between them.

Yet this exoteric representation is merely a 2-dimensional rendition of some-thing which is esoterically, on one level, 3-dimensional – as in the artistic depiction below – but which on a higher esoteric level is 4-dimensional since what is symbolically represented – the seven spheres and their connexions or pathways – are fluxive, mutable, changeable, as the psyche of the initiate fluxes and mutates as they progress from one sphere to another and explore the pathways between them. They are fluxive as the pieces of the O9A Star Game are fluxive, are transformed, as they are moved within, and from, one sphere to another. For as Adepts will apprehend, the use – the ‘playing’ – of the advanced Star Game is the 4-dimensional fluxive O9A septenary sigil […]

Historically, other simpler septenary sigils exist […]

In the context of Renaissance septenary sigils, the O9A septenary sigil – in its 2-D, 3-D, and 4-D formats – is an evolved representation of the nexion that is the septenary system, and thus also a talismata to use in the type of sorcery appropriate to each format […]

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Related:
The Tree Of Wyrd And The Star Game


The Tree Of Wyrd And The Star Game

Order of Nine Angles

O9A

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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

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{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/

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Related:
The O9A Septenary Sigil


O9A: The Dark Art Of Shrenching

Order of Nine Angles

O9A

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O9A: The Dark Art Of Shrenching
(pdf)

Those curious about the Order of Nine Angles (ONA, O9A) who turn toward the four fictional stories that make up The Deofel Quartet expecting to find ‘horror’ stories or stories of bloody satanic sacrifice, or graphically described sexual or fetishistic satanic rituals, or de Sade like violence, sadism, and dominance, may well be disappointed […]

Nowhere is the dissonance between such expectations – of stories of horror, blood, sacrifice, sex, fetishism, satanic rituals, and sadism – and the Occult reality of The Deofel Quartet greater than in the story titled The Greyling Owl.

This fictional story – of some 130 pages – was published in 1986 ev and is set in and around the English city of York in the year 1976, with the story revealing “how the O9A often operates, and has operated, in the real world” for decades […]

What is described is The Dark Art Of Shrenching, otherwise known as Sinister Cloaking. A difficult Dark, Occult, Art to master involving as it can deceiving others about one’s intentions, and/or entrapping others for some sinister purpose.

In the O9A the most obvious use of The Dark Art Of Shrenching is in Insight Roles […]

Yet The Greyling Owl describes a somewhat hitherto neglected part of O9A tradition. Which is that Shrenching may also be a necessary part of those who, via the Seven Fold Way, have progressed beyond The Abyss and who thus have attained the Occult grade of Master of Temple, or Mistress of Earth […]

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Related:

The Deofel Quartet


Occult Sigils: Questions For O9A Novices

Order of Nine Angles

O9A

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Sigils In Medieval And Renaissance Occult Texts
(pdf)

Part I: The Picatrix
Part II: Sigillum Dei Aemeth And The Septenary System

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Extract from Part I:

In two previous notes we touched upon the difference in some of the Occult sigils in the 11th century (CE) Arabic manuscript Ghayat al-hakim and those in the manuscripts of the Latin Picatrix dating from the 14th and 15th centuries (CE).

While some of the differences in the manuscripts are undoubtedly due to scribal errors and unintentional emendations, other differences may well (i) reflect how the scribes – or the editor(s) or authors of later printed texts – naturally and perhaps in a well-intentioned way evolved the symbolism in accord with both their apprehension of the manuscripts and/or their apprehension and understanding of contemporary Occult texts and praxises, and/or (ii) reflect the judgment of the illustrators or typesetters of later printed texts in respect of representing them on the printed page.

It is therefore interesting to compare some of the differences between the sigils of the Arabic Ghayat al-hakim and those in the Latin Picatrix, especially as such sigils were regarded as important in the crafting and use of talismata.

For one question which a practitioner or an aspiring practitioner of The Dark Arts might well ask is whether or not such later, emended, sigils were as effective as the earlier ones. Questions which practitioners or aspiring practitioners of The Dark Arts should answer themselves as a result of practical Occult experimentation.

[Two] such differences are illustrated below:

Sigils: Ghayat al-hakim
Ghayat al-hakim

Sigils: Picatrix
Picatrix

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Concerning A Difference In Sigils

Order of Nine Angles

O9A

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Concerning A Difference In Sigils
(pdf)

In an earlier text we noted the difference between the sigils of the septenary planets in the Latin text of the Picatrix – whose MSS date from c. 1300 to c.1459 – to those in the earlier Arabic MS Ghayat al-ḥakim, dating from c.1050.

This text explains the difference in greater detail and explains how these differences relate to the O9A septenary tradition.