The O9A Deofel Quintet

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Order Of Nine Angles Sigil

O9A

Order Of Nine Angles: The Deofel Quintet

The O9A Deofel Quintet consists of the following novels:

§ Falcifer
§ The Temple Of Satan
§ The Greyling Owl
§ The Giving
§ Breaking The Silence Down

The Quintet {1} – the Deofel Quartet plus the novel Breaking The Silence Down – amounts to almost 600 pages and is a neglected aspect of O9A occultism. For attention hitherto – especially in mainstream Media, by self-described modern ‘satanists’, by academics, and by self-described ‘anti-fascists’ – has focused on the alleged neo-nazi and satanist aspects of O9A occultism, with what the O9A means by satanism either ignored or misunderstood. {2}

The Deofel Quintet places the neo-nazism and the satanism aspects 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.

In this perspective, both Falcifer and The Temple of Satan are concerned with initiate type learning experiences: gaining esoteric knowledge, participating in ceremonial overtly ‘satanic’ rituals, and experiencing the part of the satanic ethos that concerns personal pride and personal pleasure. But they also deal with how personal emotion – especially love – affects them, can complicate their lives, as well as offering them opportunities to learn and advance further in their anados.

Which advancement is the concern of The Greyling Owl, of The Giving, and of Breaking The Silence Down. For example, 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.” {3}

The novel titled The Giving concerns preparations for a rural ancestral tradition which involves no satanic or witchcraft ceremonies in which words are declaimed, and when the ancestral ceremony called ‘the giving’ occurs – toward the end of the book – it simply involves the folk of a village assembling by an altar covered with fruit, food and casks of beer, who then take their bound human sacrifice toward a bonfire around which the village folk dance, sing and shout. The Giving like The Greyling Owl has a strong female character, Lianna, who is adept at manipulating men, only more so than Fiona in The Greyling Owl. An adept manipulation which the real-world tests Lianna sets the potential male human sacrifice, and her potential chosen mate, reveal and which tests are not understood as tests by either man.

The novel Breaking The Silence Down concerns the sometimes complicated relationship between three women, and is a paean to Western ‘Faustian’ culture, to Sapphic love, to matriarchy, and of how in the sinister-numinous esoteric tradition, both pre-O9A and O9A, women were and are important and indeed vital, as the following extract from that novel reveals.

“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.”

Those who appreciate the Sinister-Numinous Aesthetic of the O9A, will understand that it is

“manifest – presenced, in the causal – in many ways, three of the most prominent being the following. (i) In the pagan rural landscapes that infuse many O9A occult rites, traditions, chants, and practices – such as the Way of the Rounwytha, the Rite of Internal Adept, and The Ceremony of Recalling; (ii) in O9A specific archetypes, from their female ‘dark goddess’ Baphomet, to the heroines of their sinister fiction, for example Eulalia and Lianna; and (iii) in its principle of Insight Roles, of encouraging individuals to experience in practical (exoteric) and in occult (esoteric) ways both ‘the sinister’ (dark) and ‘the numinous’ (light) aspects of their psyche, of the Occult, and ‘of the world’, and then melding both aspects as a prelude to transcending them.” {4}

Which is why

“in contrast to most occult fiction of the era – the 1970s and the 1980s – and previously, all of the works in The Deofel [Quintet] contain strong, independent, female characters: Susan in Falcifer, Melanie in The Temple of Satan, Lianna in The Giving, and Fiona in The Greyling Owl.

Which is not surprising given the standing of women in the esoteric traditions of the O9A. Many of the works also contain positive gay or bisexual characters: for instance Fenton in The Greyling Owl, Denise in Falcifer, and the bisexual Melanie in The Temple of Satan. In these 1970s and 1980s positive depictions and acceptance of such preference and such love as natural, the O9A was somewhat ahead of its time in the occult world and in Western societies in general, again unsurprising given the Rounwytha tradition and the liberalism of the O9A, a liberalism that the stories themselves, through their characterizations, often embody and something especially noticeable in the characters of Fenton, Timothy, and Julie, in The Greyling Owl.” {3}

What does not seem to be appreciated, must less understood, by many is that The Deofel Quintet not only (i) documents in fictional form the lives and experiences of some of those who, over the past seventy or so years and both pre-O9A and O9A, have lived or strived to live in accord with the ‘sinister-numinous aesthetic’, but also (ii) represents the esoteric essence both of the O9A and of its modern ἄνοδος as manifest in the O9A Seven Fold Way.

Which esoteric essence is a perceiveration

“of the nameless, wordless, unity beyond our mortal, abstract, ideations of ‘sinister’ and ‘numinous’, of Left Hand Path and Right Hand Path, and also – and importantly – of ‘time’. For it is our ideation of ‘time’ – with its assumption of a possible temporal progression, via various temporary causal forms, toward something ‘better’ or more ‘advanced’ or more ‘perfect’ (in personal or supra-personal terms) – that underlies the magian/patriarchal/masculous approach that has dominated, and still dominates, Western occultism and esotericism in general, fundamental to which is a hubriatic egoism: the illusion that is the individual will.” {5}

A perceiveration, and an illusion, that a novel such as Breaking The Silence Down seeks to express, leading as the other four novels of the Deofel Quintet do to such a perceiveration, and which perceiveration of that of those who have discovered, toward the end of their ἄνοδος, Lapis Philosophicus. For

“the ‘outer secret’ of the inner, the real, the living, alchemy is that the end and the result of both our apparently separate journeys is the same; the same place, the same understanding, the same knowledge. For wisdom is undivided, the same for all of us, whatever we believed or assumed when we began. Or expressed another way, lapis philosophicus is what it is, and always has been, and does what it does, and always has done, in terms of how it affects and changes those few who have succeeded in their decades-long endeavour and thus discovered it, and discovered it where it has always been hidden.” {6}

Conclusion

To understand and appreciate the Order of Nine Angles – in the context of Western Occultism, in the context of Satanism, in the context of alleged neo-nazi involvement by the O9A, and in the context of the pre-O9A and the O9A sinister-numinous aesthetic – requires a reading of and an understanding of the Deofel Quintet, the novels of which

“present much of the diverse aural traditions as [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 […] 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.” {3}

For the novels in the Quintet express fundamental truths regarding, and the essence of, O9A esotericism. 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.

That most anti-O9A critics and all anti-O9A propagandists are unfamiliar with or in their prejudice are unappreciative of the Deofel Quintet is no surprise, given how they seem to be embedded in, and representative of, the Magian patriarchal ethos.

TWS Nexion
Oxonia
July 2019 ev

{1} The novels of the Quintet are available from https://omega9alpha.wordpress.com/deofel-quartet/

{2} The puffatory ‘modern satanism’ of Howard Stanton Levey (otherwise known as Anton LaVey) is very different from the traditional satanism of the O9A.

“The modern Satanism of Levey is based on the premise that Satan is a symbol of the carnal, the selfish, the egoistic, nature of human beings, with satanism understood as manifesting the raison d’êtres of ‘might is right’, of ‘lex talionis’, and of the individualistic ideas expressed in Ayn Rand’s Objectivism […]

The traditional Satanism of Anton Long is based on the scholarly premise that – as described in the O9A text The Geryne of Satan {7} – (i) hasatan – the satan – refers (in the Septuagint) to the chief adversary (of the so-called ‘chosen ones’) and to the chief schemer against those who regard themselves as the chosen people of God/Jehovah, and (ii) “a satan” historically (in the Septuagint) refers to someone who is an adversary of and who thus is pejoratively regarded (by those so opposed) as scheming, as plotting against those who regard themselves as the chosen people of God/Jehovah, with O9A satanism understood as an antinomian – amoral, heretical – means to such exeatic personal experiences as shape and evolve an individual’s character and understanding.” Source: The Two Types Of Satanism, https://wyrdsister.wordpress.com/2018/05/08/understanding-neo-volkisch-satanism/

{3} Esoteric Aural Tradition In The Deofel Quartet, e-text. 2014.

{4} Regarding The Sinister-Numinous Aesthetic Of The Order Of Nine Angles, in the compilation O9A Occult Fiction And The Sinister-Numinous Aesthetic, e-text, 2018. Available at https://wyrdsister.wordpress.com/2018/03/17/o9a-occult-fiction-and-the-sinister-numinous-aesthetic/

{5} Some Notes On The Rounwytha Way, available at https://omega9alpha.wordpress.com/the-rounwytha-way/

{6} The Last Writings Of Anton Long, available at https://omega9alpha.wordpress.com/the-enigmatic-truth/

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A pdf version of the text is available here:
https://omega9alpha.files.wordpress.com/2019/07/deofel-quintet-o9a.pdf

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A Compilation Of Some Recent O9A Texts

Order Of Nine Angles Sigil

O9A

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A Compilation Of Some Recent O9A Texts
2017-2019

Volume I: Texts
(pdf)

Volume II: Illustrations
(pdf)

Contents, Volume I

° Preface
° Introduction
° O9A 101
° A Modern Practical Guide To The Seven Fold Way
° Esoteric Notes Concerning The Numinous
° The O9A Septenary Sigil
° Notes On The Corpus Hermeticum
° The Anti-Patriarchal O9A Ethos
° O9A Esoteric Notes LXIII
(Atazoth And Alchemical Sources)
° A Note Regarding Kitab al-Aflak
° The Latin Picatrix, The Arabic Ghayat al-hakim, And The O9A Septenary System
° Notes On O9A Ontology And The Ruhaniyyat
° Selected Septenary Correspondences
(According To O9A Aural Tradition)
° O9A Esoteric Notes LXXVI
(Archaic Spelling In O9A Esoteric Tradition)
° Classifying O9A Texts
° Primary O9A Sources
° Non-English Names And Terms In O9A Tradition
° A Note On A Difference In Sigils
° Sigils In Medieval And Renaissance Occult Texts
° The O9A Dark Art Of Shrenching
° Academia And The Order of Nine Angles
° Appendix I: A Multi-Headed Mythical Beast
° Appendix II: Exposing Twelve Basic Errors

The compilation conveniently brings together some recent (2017-2019) texts which, as explained in the Introduction, manifest aspects of O9A tradition hitherto neglected by both other Occultists and by academics who have studied or who are studying Western Occultism and/or the O9A.

Which aspects are (i) Occult knowledge – esoteric and pagan traditions, Greco-Roman, Arabic, and Persian – absent from other manifestations of modern Western Occultism; (ii) the link which the O9A has through this knowledge to those ancient traditions; and (iii) the scholarly research done by the authors of such O9A texts.

The scope and contents of the texts serve to distinguish the O9A from all other modern Occult groups be such groups described as Occult, Satanist, or of the Western Left Hand Path.

The compilation thus compliments the O9A texts in the following four compilations: (i) the seventh, 1460 page, edition of Guide To The Order Of Nine Angles issued in 2014, (ii) The Esoteric Hermeticism Of The Order Of Nine Angles, issued in 2016, (iii) The Eludent O9A, issued in 2018, and (iv) Further Notes Concerning The Hermetic Origins Of The O9A, issued in 2014.

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Related:
The Eludent O9A
(pdf)


A Note Regarding Kitab al-Aflak

Ghayat al-hakim Sigils

Septenary Sigils: Ghayat al-ḥakim

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A Note Regarding Kitab al-Aflak

A study of Order of Nine Angles texts reveals that, from the 1970s on, their ‘nine angles’ refer to the nine combinations – the “numinous symbols of cliology” (qv. the 1990s text ‘Aeonic Magick: A Basic Introduction’) – of the three basic alchemical substances (Mercury, Sulphur, Salt) which are represented in the pieces of the 1970s vintage O9A Star Game. These nine angles/combinations were first outlined in the 1974 text Emanations of Urania, and which nine combinations can be used to symbolize how the the causal and the acausal are manifest to us, as for instance in our psyche (in the nexion of causal/acausal that we are) via archetypes, ‘personality types’, and the esoteric correspondences of the O9A Tree of Wyrd.

Furthermore, according to Anton Long his inspiration for this 1970s theory of cliology – of nine alchemical combinations or emanations – was an ancient Arabic manuscript, of a few folios, he read while travelling and studying in the Middle East and Asia in 1971, and to which MS some scribe had added some scholia and the title Al-Kitab Al-Alfak – which translates as The Book of The Spheres {1} – for in ancient Muslim alchemy and cosmology there are nine cosmic or ‘supernatural’ realms consisting of seven named planetary spheres and two regions of “immortal” existence.

The most distant of these realms is falak al-aflak, the ‘primary of the spheres’. Below this (and thus nearer to us) is al-kawakib al-thabitah, the realm of the heavenly fixed stars. Next is Zuhal, the planetary sphere of Saturn. Then there is Mushtari, the sphere of Jupiter, followed by Marikh (Mars); Shams (the Sun); Zuhrah (Venus); Utarid (Mercury); and finally Qamar, the sphere of the Moon.

The seven planetary spheres are much in evidence in the Arabic Ghayat al-hakim (c.1050 CE) which preserves the ancient Greco-Roman, pagan and hermetic {2}, system of seven named planetary spheres and which spheres are according to the Poemandres tract of the Corpus Hermeticum a means whereby mortals can ascend to the two regions beyond them to thus become immortal.

Which ‘nine realms’ were described by Cicero {3} long before Ghayat al-hakim was written.

According to O9A aural tradition there are three interesting facts about the Arabic MS that Anton Long described. First, the title which has Al-Kitab rather than the more usual Kitab. Second, that the original MS was untitled and consisted of only a few folios intimating that it may once have formed part of a larger work, which work was perhaps contemporaneous with or earlier or later than Ghayat al-hakim. Third, that the title had obviously been added later as it was in a different hand and which later addition may well explain the use of Al-Kitab rather than Kitab.

Whatever the place and date of composition it is relevant that an ancient Arabic alchemical text was one of the sources that Anton Long used in the 1970s when formulating the esoteric philosophy of the Order of Nine Angles.

In 2011 Anton Long was asked a question about Al-Kitab Al-Alfak by Professor Connell Monette, which question and the reply are worthy of being quoted in full.

In terms of sources of the tradition and the dark gods, you’d hinted at Islamic sources. My guess is that the 7FW draws partly on the Picatrix. Unless you’re using Shams-l-maarif, I can’t think of any other grimoires that could be Kitab-i-aflak

In terms of sources of the tradition and the dark gods, you’d hinted at Islamic sources. My guess is that the 7FW draws partly on the Picatrix. Unless you’re using Shams-l-maarif, I can’t think of any other grimoires that could be Kitab-i-aflak. Am I near the mark?

No, but that is an interesting comparison nonetheless which no one before has made (kudos to you). The alchemical MS I had access to – consisting of only a small number of folios – has never, to my knowledge, been published or even catalogued, but does bear some comparison to parts of the MS you refer to [i.e. Shams-l-maarif ] which I was fortunate enough to study (with the then necessary help of a gay [female] friend I had met at University) in the early 1970’s CE on various travels to certain Muslim lands (one of which lands was the homeland of my friend who accompanied me on those travels).

It is therefore possible [although not in my view probable] that the author of Al-Kitab al-Aflak used that grimoire partly as a source.

As I have explained to several people who have privately enquired about this, there are, as no doubt you are aware, thousands of uncatalogued Arabic MSS in libraries and madrasahs throughout the lands of the Muslims. {4}

R. Parker
2013 ev
Revised 2018 ev

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{1} The Arabic MS Kitab al-Aflak (Book of the Spheres) should not be confused with a book with a similar name – Kitab Ta’dil hayʾat al‐aflak – written by Sadr al-Sharia al‐Thani in 1346 or 1347 CE.

{2} qv. Myatt’s commentaries in his Corpus Hermeticum: Eight Tractates. Translation and Commentary. 2017. ISBN 978-1976452369.

{3} qv. the Somnium Scipionis of Cicero and Commentarii in Somnium Scipionis by Macrobius.

{4} https://lapisphilosophicus.wordpress.com/presencings-of-a-hideous-nexion/

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Recommended Reading List

Order of Nine Angles Sigil

O9A

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Order Of Nine Angles
ONA/O9A
Recommended Reading List

Given the plethora of texts about O9A esotericism and O9A praxises published – in line with the move from Phase II to Phase III of O9A Aeonic Strategy {1} – between 2015 and 2019, it is germane to issue a new Recommended Reading List especially as the previous one dated from the 1990s and was not subsequently updated.

The majority of the recommended texts are currently – January 2019 ev, 130 yfayen – available on the O9A blog at omega9alpha dot wordpress dot com, locatable using the ‘search’ function of that blog and inputting the title(s) listed below.

Caveat Lector

The curious, or the neophyte, reader of O9A texts should be aware of three things.

1. That O9A texts were written over a period of some forty years with the O9A having, even by 2009,

“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.” {2}

The time-scale of some forty years and the quantity of O9A texts means that it easy for the curious, or the neophyte, reader to become confused especially as they may find some texts which seem on a first or even on a second reading to contradict some other text or texts.

2. Some of this confusion was intentional – part of the O9A’s Labyrinthos Mythologicus – since the curious, and especially neophytes, were expected to work some things out for themselves such as discovering or having an Occult intuition regarding the distinction between the exoteric (some outer form or appearance or useful tool) and the esoteric (the essence hidden by some form, by appearance, by what a useful tool can create or be used for).

3. That most individuals critical of the O9A, be they self-described ‘satanists’ or otherwise, and most academics who have written about the O9A, have (i) not bothered to study the entire O9A written corpus from the 1970s to the present, and (ii) have failed to understand or to intuit the difference between O9A esotericism and exoteric appearance (useful exoteric tools and forms), or (iii) became lost in and confused by the O9A’s Labyrinthos Mythologicus.

           The result being a lack of knowledge about, and a lack of insight into, the O9A, its praxises, and its esotericism. Which ignorance – which lack of knowledge and lack of insight – did not and does not prevent such individuals and such academics {3} from pontificating about the O9A.

Rachael Stirling
TWS Nexion
January 2019 ev

{1} See Geneseos Caput Tertium. Documents of the Inner O9A, 122 yfayen.
{2} Jacob C. Senholt, The Sinister Tradition. Paper presented at the international conference, Satanism in the Modern World, Trondheim, 19-20th of November, 2009. p.26.
{3} In regard to one recent academic misunderstanding, see the 2018 text Another Academic Misinterpretation Of The O9A.

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Recommended Reading List

Introductory Texts

For those interested in or curious about the Order of Nine Angles.

° O9A 101
° The Exoteric And Esoteric Reality Of The O9A
° In The Name Of The Order Of Nine Angles
° Classifying O9A Texts
° Labyrinthos Mythologicus
° A Modern Practical Guide To The O9A Seven Fold Way
° The O9A Septenary Sigil
° Overview Of The Contemporary Secret Society Known As The Order of Nine Angles
° Some Anti-O9A Propaganda Exposed

O9A Esotericism: Practice

For those interested in what is involved in following the O9A Seven Fold Way; and those interested in beginning their own practical hermetic quest along the traditional Seven Fold Way.

° Complete Guide To The Order of Nine Angles. Seventh Edition (2015), 1460 pages, pdf 55 Mb. A comprehensive guide to the traditional Seven Fold Way up to and including the Grade Rituals of Internal Adept and The Abyss. It contains facsimile versions of 1980s and 1990s O9A texts such as Naos, The Black Book of Satan, and the complete Deofel Quartet, as well as classic texts such as The Grimoire of Baphomet, The Culling Texts, Enantiodromia:The Sinister Abyssal Nexion, and the Esoteric Chant Archive.

° O9A Occult Fiction And The Sinister-Numinous Aesthetic.

° Introducing The Star Game. An overview of the O9A Star Game as an “esoteric language”.

° O9A: The Dark Art Of Shrenching. An introduction to that Dark Art by reference to one of the novels of the Deofel Quartet.

° Culling And The Code of Kindred Honour.

O9A Esotericism: Theory

For those interested in learning more about O9A esotericism and about its hermetic, and pagan, roots.

° The Esoteric Hermeticism Of The Order Of Nine Angles. A 159 page (pdf) compilation issued in 2015 containing texts such as Aρρενόθηλυς: Alchemical And Hermetic Antecedents Of The Seven Fold Way, and The Pagan Order Of Nine Angles .

° O9A Texts 2018. A listing of some of the texts issued in 2018, and between 2016 and 2017. The texts listed include (i) The Eludent O9A; (ii) The Latin Picatrix, The Arabic Ghayat al-ḥakim, And The O9A Septenary System; (iii) Sigils In Medieval And Renaissance Occult Texts; (iv) O9A Esoteric Notes LXXVI: Archaic Spelling In O9A Esoteric Tradition; (v) Esoteric Notes LV: Chants and Mimesis In The Sinister Tradition of The Order Of Nine Angles; (vi) Non-English Names And Terms In O9A Tradition; and (vii) A Modern Mysterium.

°The Tree Of Wyrd And The Star Game.

° Masculous And Muliebral: The Sinister Feminine And Homo Hubris.

° The Anti-Patriarchal O9A Ethos.

° Distinguishing The O9A.

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Notes On The Corpus Hermeticum

Order of Nine Angles Sigil

O9A

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Notes On The Corpus Hermeticum

Given renewed interest among certain Occultists in the ancient texts of the Corpus Hermeticum following David Myatt’s translations and commentaries on eight of the texts {1} it seems timely to provide an overview of the Corpus Hermeticum.

The fourteen Greek texts grouped together under the title Corpus Hermeticum are generally regarded as having been written between the first and the third century AD. As Myatt pointed out, the texts reveal “how diverse the Hermetic weltanschauung is in respect of some details while nevertheless retaining an underlying ethos.” {2}

This ‘hermetic’ ethos is basically the metaphysical belief that we human beings can find and understand our place in the cosmos, that we were created by theos/the god/the primary divinity; that we can “apprehend the physis of beings, and […] have knowledge of theos,” {3} and – via an “anados” (a mystical quest or journey) or by some other means – can become “immortal” and thus achieve the purpose of our human existence:

“you who are earth-bound, why do you embrace death when you have the means to partake of immortality?” {4}

Assumptions About Influences

While many scholars – from Hienrici to Dodd {5} to those of more recent times – have argued or accepted that Judaism (as manifest, for example, in LXX, the Septuagint, the ancient Greek text of the Old Testament) has influenced the Hermetica, they have largely done so based on the presumption that the Judaic tradition is older than the traditions described in the Corpus Hermeticum and that it is it quite different from – in terms for example of cosmogony – other cosmogonies and specifically the one of ancient Greece.

Hence they for example take the mention of αὐξάνεσθε and πληθύνεσθε in section 18 of the Poemander to be evidence of such a Judaic influence since the same words occur in Genesis 1.22. Likewise, when other Greek words or phrases are found in the Corpus Hermeticum and also in the Septuagint.

Yet it is just as possible that the contrary is true, and that it is the Old Testament which was influenced by ancient Greek ideas and cosmogony with those Greek ideas and cosmogony – or echoes of those ideas and cosmogony – also forming the basis of the hermeticism described in the Corpus. A possibility that ancient fragments of the Old Testament in Greek and in Hebrew seem to confirm.

For the earliest fragments of the Old Testament in Hebrew are in the Dead Sea Scrolls, and date from c.150 BCE to c. 70 CE, with the oldest of these Hebrew fragments thus dating from a century or so after Greek fragments of the Septuagint found in Egypt.

Furthermore, the earliest (almost complete) Greek text of the Old Testament – Codex Vaticanus – dates from c.315 (±15) CE while the earliest Hebrew text – the Allepo Codex – dates from c.920 CE.

Thus, based solely on the actual physical evidence available it is justifiable to conclude not only that the Greek texts pre-date the Hebrew texts but also that the assumption of the Hebrew Old Testament (more correctly, the Tanakh) having its origin in the eleventh or tenth centuries BCE is at best just a presumption, unsupported by physical evidence, and at worst just a myth designed to propagate the claim of such an ancient origin for the Tanakh.

Given that the earliest texts of the Old Testament were written in Greek, not Hebrew, it is a reasonable to conclude that the scribes – or authors – of those texts were familiar with Greek culture and ideas and thus with Greek cosmogony and legends.

That this logical possibility – of Greek influence on the Old Testament – has not been mooted by contemporary scholars is interesting, and perhaps indicative of a certain bias.

Likewise, when certain texts of the Corpus Hermeticum have – or seem to have – echoes of the Greek New Testament, the presumptions always seems to be that the New Testament (the theology, ideas, cosmogony, of early Christianity) influenced those hermetic texts and ideas, not that the New Testament was influenced by those hermetic texts or ideas; a presumption in favour of Christianity that has no physical or even any textual evidence to support it. Since the texts of the Corpus date from between the first and the third century AD and usefully summarize the hermetic ideas and cosmogony then it is reasonable to assume those ideas and cosmogony had been circulating within certain Hellenic circles certainly from around the time the Gospels were written and probably for at least a century before, as attested by the Greek Magical Papyri {6} and certain Orphic texts {7}.

That this logical possibility – of Greek influence on the New Testament – has also not been mooted by contemporary scholars is interesting, and perhaps indicative of a certain bias toward Judaic influence.

A Greek Oral Tradition

In his Introduction to the third text of the Corpus, Myatt states that in his opinion this third text “most probably reasonably represents, like the Pymander tractate, a pagan metaphysical weltanschauung germane to the period of its composition and one which is based upon or recounts an earlier, and most probably aural, tradition.”

In support of this he quotes Herodotus and Hesiod and also several inscriptions which, centuries after Hesiod, echo almost word for word what Hesiod wrote.

Hesiod, written c. 700 BCE,

οἳ Γῆς ἐξεγένοντο καὶ Οὐρανοῦ ἀστερόεντος

those who came-into-being from Gaia and the starry heavens

An inscription from Pharsalos, Thessalyon, c.300 BCE,

Γῆς παῖς εἰμι καὶ Οὐρανοῦ ἀστερόεντος

I am a child of Gaia and the starry heavens

There does thus seem to be a continuity of Greek ideas and cosmogony by means of an oral tradition, lasting over three hundred, and probably more, years, and thus it does not seem unreasonable of Myatt to claim that the third text of the Corpus, and probably some others as well, primarily represent Greek ideas and a Greek cosmogony rather than being influenced by Judaic beliefs or by native Egyptian beliefs from Pharaonic times.

Indeed, Myatt suggests that “it is part of this ancient [Greek] esoteric mythos, and/or its antecedents, that may well be echoed in LXX (Genesis, 1:1), written centuries later.” {8}

What all this amounts to, in Myatt’s quite unfashionable if not iconoclastic view, is that several of the texts of the Corpus – presumably the eight he has translated and written commentaries on – represent a basically pagan cosmogony and ethos redolent of Greco-Roman culture (and especially of Greek culture) and that while there may be some other cultural influences, they are minor because an essentially pagan cosmogony, ethos, mysticism, and weltanschauung remain.

An ancient pagan cosmogony, ethos, mysticism, and weltanschauung, that is brought back to life by Myatt’s translations.

R. Parker
March 2017 ev
v.1.05

Footnotes

{1} David Myatt. Corpus Hermeticum: Eight Tractates. 2017. ISBN 978-1976452369
{2} Corpus Hermeticum – Tractate VIII. Translated by Myatt
{3} Corpus Hermeticum I, Poemandres, section 1 (translated by Myatt).
{4} Corpus Hermeticum I, Poemandres, section 28 (translated by Myatt).
{5} C. F. Heinrici, Die Hermes-Mystik, 1918. C. H. Dodd, The Bible and the Greeks. 1935.
{6} Preisendanz, K. & Albert Henrichs. Papyri Graecae Magicae. Die Griechischen Zauberpapyri. 1974.
{7} Bernabé, Alberto, and Francesc Casadesús. Orfeo y la tradición órfica: Unreencuentro. 2008.
{8} Myatt, Corpus Hermeticum III, Ιερός Λόγος.

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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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Our Role-Playing World

O9A Insight Role

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The Role-Playing World Of The O9A

The Order Of Nine Angles (ONA, O9A) could be considered to be a φαντασία, that is, a making visible (of some-thing). A phrenic image, an imagining; a phrenic apprehension of an object of perception; an ingenious invention or design; a visionary notion, a fantasy.

In less pedantic, and more practical, terms, it could be understood as a new genre of fantasy role-playing games: a modular game that occurs and is acted-out in real-life with the player interacting with real people and assuming various roles. A game with no set rules, no manual, only guidelines some of which conflict with other ones and some of which are, or seem to be, confusing and/or polemical and/or distracting.

It is a game with no time limit whose only goal is pathei-mathos (a learning from practical, hard, experience) via playing the game. It is a modular game because the player can choose to construct their apprehension, their version, their fantasy, of the O9A from various modules such as ‘satanist’, or ‘Rounwytha’, or ‘Drecc’, or ‘pagan sorcerer’, or ‘Balobian’ or ‘seeker along the seven fold way’, or anarchist, or ‘neo-nazi’ or even ‘terrorist’, with one of the guidelines of the game being that any player can invent or design a new module (in O9A esoteric-speak, a new Insight Role, a Grade Ritual such as that of Internal Adept) and add it to the game.

It is also a game of conflict: conflict with other ‘satanists’ or with other ‘sorcerers’ or conflict with those whose apprehension or fantasy of the O9A differs from theirs; and/or conflict with those who oppose the ideology, the actions, the beliefs, of whatever “Insight Role(s)” the player has adopted. There could even be conflict with and within one’s self: between one’s ‘dark’ or sinister (amoral) side and one’s ‘numinous’ or emphatic (moral) side.

Being a fantasy role-playing game, it does not exist in cyberspace but rather in both the lives of those who play the game for however short a time, and in the making visible – the presencing, the fantasy – that a player may have of the game. For it exists as an apprehension by the player and/or by the opponent, but which apprehension may include an image or images of it (or modules relevant to it) accessible via cyberspace.

As a particular type of fantasy role-playing game it has no ‘leader’, needs no organization, requires no hierarchy of instructors, and is not and cannot be copyrighted. In sum: the fantasy O9A can be whatever the player desires it to be or believes it should be. Rather like modern satanism itself.

In the original, classic game – as played back in the day by aficionados of ONA 1.0 – there were (i) real-life Insight Roles such as neo-nazi activist, anarchist, being an assassin, a police officer or a member of the armed forces, and (ii) Grade Rituals such as Internal Adept (spending at least three months living alone in the wilderness) and The Abyss (living alone in an underground cavern for a lunar month).

Happy Gaming!

T.W.S.
2018 ev
ONA 3.0
v. 3.5

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Related:
Disclaimer
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