The Petit Albert (the Little Albert, in short) is the foremost text within the French cycle of grimoires; one part talismanic art, one part herbal and folk magick, and one part philosophical text, it derives heavily from Paracelsus- or rather Paracelsus as envisioned by occultists of the era. Most often found in its original French, the only english edition I’ve been able to track down is a sort of limited edition version, along with a pdf supposedly translated to English which I didn’t bother to pay for to see if it was any good. There is also a sort of seemingly jerry-rigged edition compiling some of its material for “The Spellbook of Marie Laveau” which may or may not be a serious attempt at translation. Linking this legendary figure with an enlightenment era text from France, I assume, is merely a function of the French infused Louisiana tradition of her own age.
As such, and because I’m tolerably good with the French language (in writing and reading it, anyways; speak to me in French and I’ll understand at best half your words) I have begun translating the text myself from one of the older editions in the original language. Strangely, of the three versions I considered, they all appear to show differences from one another; I have to assume that other French cycle works were variously intermixed with the same, and there is also the Grand Albert of similar origin which I also need to have a look at eventually.
I’m editing as I translate, which is no small task, but I’ve made considerable progress already; after illustrating it I may also annotate the entire work, since even after translation there are numerous terms (often also found in alchemical manuscripts) which the reader may need a further explanation of. The work is at least as diabolical as the Grand Grimoire, and possibly moreso, on par with the infamous Grimorium Verum as to its strange, sometimes dangerous content (including cooking mercury and obtaining the blood of bats, boiled frogs, and other living things.) For most of the occult works I made a standard disclaimer suffices but any time someone tells you to turn henbane seeds into incense or to make potions with cat blood something more significant is likely necessary.
I have not chosen its format yet so I can’t give an estimation of its page number but I can say it’s a longer work than most other grimoires.
The end of 2015 is swiftly approaching and now it’s time to announce the final title for the year: “The Principles of Sonic Occultism: Sound as Magic”. I’m glad to have finally completed this work, which I first announced back in spring and had already completed by early Autumn, shelving the final proofreading as I worked at editing a pair of works that couldn’t wait.
Most occult works which are written in modernity focus either just on history and a secular treatment of magick, or they delve into do it yourself content and have an uncertain view to actual recorded history. With this work, as with its larger cousin “Fruits of Eden” I seek to solve this discrepancy in the occult literary realm. From the Muses of Greece to modern pop music, where is the genuine occult symbolism? How do we categorize the use of occult imagery and sound in mainstream culture? What are these based on? How are they used? How does this relate to society and politics? In this work I’ve explored all of these concepts and more, putting it all together in a manner which I hope is both user friendly and informative.
Introduction p. 4-10
The Basic Tenets of Sonic Magick p. 11-22
The Ancient Basis of Sonic Magick p. 22-34
Music as a Psychological Trigger p. 35-53
Music and Mass Manipulation p. 54-61
Experimentation: Emotion and Sound p. 62-73
Music Evolving Over Time in Accordance with Evolutionary Principles p. 74-77
Source or Conduit? p. 78-86
Self Manipulation Versus External Manipulation: The Muse and the Berserker p. 87-97
Speech as Magick: Hitler and the Principles of Elocution and Charisma p. 98-109
The Harvest: Paranoid Predictions As a Beacon p. 110-119
Real Versus Fake Occult Sonic Ritual p. 120-122
Conclusions, and My Experimental Sonic Results p. 123-130
One of the illustrations present in the Rosary of the Philosophers.
Illustrating has begun for the Rosary of the Philosophers and is now approximately half completed. Many of the woodcuts present show the typical Sol and Luna being combined; the process by which the philosophical (alchemical) arts are completed. The work explains that for both pure sulfur and pure mercury, the solar and lunar element are present; in sulfur the physical outward appearance is that of the sun while the inward, hidden mercurial element is its true nature, and likewise the reverse is true for pure mercury, argent vive, in which the solar element is hidden within, while it presents its lunar, silvery nature tangibly.
It should be noted that alchemy and most alchemical works (including this one) are essentially steganographies- the foliated earth so often alluded to here is nothing more than organic material (compost) that has been leeched of its saltpeter content, such that the nitrates begin accumulating as a crust upon its surface- a process in altered form used in the production of the base matter from which gunpowder was and still is made (black powder, that is.) A true alchemical secret since such acts were, in those days, little other than wizardry to most.
The following is a general (and malleable) list of the releases which will be featured here on this blog courtesy of yours truly, and some of my general plans for the next year or so in my writing, editing, and illustrating. (One of my subscribers confirmed the good overall quality of the Grand Grimoire re-release; which is pleasing- I figured the end result would be a much more polished release worthy of the amount of sales it gets.)
1. The “Rosary of the Philosophers” – Originally translated into English in the 18th century, this somewhat longer work is alchemical in nature and is nearly edited as we speak. It will be the last or second to last work I release in 2015 (My work on sonic occultism is complete and needs illustrating only.)
2. Hollandus’ “Opus Alchymy” – A short tract containing three sections regarding alchemical processes.
3. “The Wise Man’s Crown” – A 17th century Alchemical Treatise. John Heydon’s (sic) “Rosy Crucian Crown” – An interesting alchemical work of largely unclassifiable content, being part story, part notations to those the author felt appropriate to address, and part natural science treatise.
4. “Aradia” or the Witches’ Gospel – A work of middling length containing paganistic philosophical references.
5. A re-editing of the Grimorium Verum and Black Pullet, specifically for illustration purposes. Added to this, adding the formerly absent illustrations to several prior works.
6. Several of my own works.
7. Any new alchemical texts I can get my hands on. I have copies of one of Paracelsus’ and one of Plotinus’ work as well. If time allows I want them done and available by mid 2016.
I still need to acquire more occult works and as always will investigate any occult texts related to me; the limitation of the internet in searching for physical works especially is limited, unless one has a substantial budget- the work of creating inexpensive but attractive occult releases is made more difficult, oddly, by the lack of availability of inexpensive copies of these same texts, and I am in some cases forging a trail that is difficult to forge.
The second of the second slew of grimoire editions is finally here; the Philosophical Merlin, produced originally in 1822 in what was then the rising British Empire.
The book(let) itself was mostly overlooked in its time period, overshadowed by numerous French cycle grimoires (The Black Pullet comes from the same time period) and thus attempted to market itself by claiming Napoleonic lineage. While this is likely untrue, and it was of primordial British manufacture, I did note its similarity to the I-Ching and other systems from the East (which were being contacted by the British at the time) and in this manner it is hardly much different from the Turkish and Arabic systems encountered by the expanding French empire around the same time.
Its content is not so much that of a standard western folk magick grimoire, nor an abrahamized treatise of kaballah or similar systems derived thereof, so much as a divinatory manuscript with references to the celestial and to standard horoscopes and astrology. Through the use of this system, the reader is able to denote their general nativity under this selfsame system and proceed with divining their possible future insofar as marital bliss, power, wealth, and possible dangers to their health are concerned.
It should be duly noted that at the time of manufacture, the average literate Englishman was of at least middle class stock, with most of the lower class being functionally illiterate to a great degree; the fixation on wealth, travel, and so forth, present in this work, is a sign of the time and place in which it was made. It also fixates upon the concept of the rites of Venus, Venus here representing sexuality and lust, and makes numerous cryptic references to the acts of Venus here, which is merely the polite, upper class British manner of saying “sexual intercourse” in the early 19th century.
The only other edition present anywhere on the web is a poorly made scan of the original 1822 edition with no additional notes or introduction to explain the text and its context in history, and which has retained all errors in the original material; my own edition is also half the price of this other cheaply produced crap.
After some time acquiring new occult materials in order to release editions of yet more grimoires, the first of a half dozen or so works is now complete; the infamous Grimorium Verum, one of the more diabolical works within the sphere of such modest-length occult works from the Renaissance through the early 20th century.
Also known as the “True” grimoire, this specific work contains a strange mix of typical angelic or white workings (numerous allusions to the power of Adonay and other divine or angelic names) as well as a limited amount of astrological material mixed in with several rather dark rituals; one involving animal sacrifice, the other involving the decapitated head of a human being and some beans, used to summon a spirit for divinatory purposes.
The work is fully illustrated and edited; I have removed archaic language and modernized it, with a few exceptions for continuity, and simplified the first three illustrations which apparently serve no purpose except to illuminate the topic at hand, because the three marks (or sigils) given for, respectively, Lucifer, Beelzebub, and Astaroth, are not directly used in any of the summoning herein. The work can be taken as an extremely interesting mixture of traditional and folk magick, or else as a steganographic work which I explain to some depth in the introduction. Strangely at least one other edition has a fifth section tacked onto the end from the OTO, the Book of the Black Serpent, which is of an entirely different occult school and which no serious occultist would consider as having anything to do with Crowley’s nonsensical treatment of older traditions. This edition, obviously, omits this and other occasional attempts by the dishonest to cheapen the work. I have also finally corrected the all-too-obvious problem within the human head ritual, which calls for seven black beans but only accounts for five; the solution is simple- the original passage apparently forgets to notify the operator that not one but two beans are to be place in each eye. This otherwise minor oversight would be a severe problem for anyone actually attempting to use the work in a ritual form (I obviously do not condone the attempted use of decapitated human heads in rituals.)
Over the course of the coming months, presumably before spring has sprung and I can once again occupy myself with a bit of work outdoors, I plan to release a slew of new occult titles, within the same general scope as the edited works I have already released; with “Sonic Occultism” now done and awaiting its final edit and cover art, and with another fairly short work I plan to release in December or January underway, the time is ripe for stage two of the occult manuscripts I need to release editions of. I will summarize them here briefly.
A long-ish grimoire (compared to most similar works) dwelling largely on black magick more diabolical than even the Red Dragon and probably the result of an occultist familiar with the latter. It claims to date to the 15th century but is almost certainly of 18th century manufacture. I finally obtained the old english translation needed to release it, after not being able to find it for some time.
Many are familiar with the Warnock translation of this text but as far as I can tell some of the content there is fancy; I possessed an older version some time ago, as I did the Grimorium Verum, before a computer crash destroyed the files, and was unable to re-obtain it similarly. This mixture of magick dwells on what we would generally term alchemy, the talismanic arts, and some black magick as well as white magick in standard form. It is one of the more important occult works of the world, nonetheless only generally available in potentially flawed form.
The Grimoire of Turiel (Or Secret Grimoire of Turiel)
A rather odd work which may largely plagiarize Waite but which shows enough differences to be re-edited into a properly understood work. It contains a series of prayers, sigils, and benedictions. I may or may not choose to release this due to its controversial nature and potential legal gray-area status as a copyrighted work.
Similar to the Sepher Yetzirah and Sepher Bahir in being gnostic-influenced Hebraic magick of a sort. It is more philosophy than spellwork, but is still philosophically valuable for those on a kabbalists’ or gnostic path.
Aradia: The Witches’ Gospel
A sort of Victorian era work of slightly dubious nature that nonetheless must of necessity be included in any comprehensive release of magickal content. It heavily influenced latter-day wicca. The work is fortuitously out of copyright due to an apparent public domain placement some time ago.