In tandem with occult material the world over, especially that from the last two centuries, there exists in the corpus of philosophical literature a vast number of (normally short) poetic and manifesto-style works such as this one which are of great note; while Sorensen (who has been falsely rumored to be Himmler, but was really a figure called Frithjov Fischer) does not speak of the occult within this work, which is only 32 pages long, it has several features in common with other works; notably those of Rudolf Steiner.
Presented as a poem but really more of a political discourse, Fischer here describes the descent from former eras after the malevolent influence of Roman hegemony (and its judeochristianity) upon Northern cultures- not just German culture as it became, but the heathen people in general. Like “The Occult Significane of Blood” by Steiner it posits a sort of tribal memory from antiquated times, drawing, though, a conclusion roughly opposite that of Steiner and his Anthrosophists- that is, where Steiner concludes that the mixing of blood in cosmopolitan cultures led to the ascent of human culture (if at the expense of tribal memory and certain tribal capabilities), Fischer denounces the same as not ascent but descent from a more moral, stronger culture in the past, to be reawakened by interpreting folk tales from the past, specifically with an eye to seeing how they relate to the here-demonified Roman Empire, and later Holy Roman Empire, and the influence of the “religion of Sinai” (judaism.) As an example, Fischer holds up the story of Snow White, likening the black queen to Rome and the mountains she crossed literally to the Alps, as Roman culture encroached upon the Goths and Vandals.
Unlike latter day, actual National Socialist philosopher, Fischer’s earlier, primordial philosophical work here mentions race only insofar as it related to outside cultures which brought in alien religious concepts- telling, for example he says, the morally upright and noble heathens not to sin, when they were already free of such behavior and saw it as “below the dignity even of animals.” Thus, it should not be seen as a “Nazi manifesto” or something akin to it, but rather a somewhat earlier nationalistic and romanticism-inspired look at the past, the nostalgia of which, instead, led to the adoption of Nazism. Of note here is that a nearly similar number of Germans in the same era abandoned this romanticism, adopting what might be seen as Steiner’s style of thought and primarily supported communism instead- and such ethnic theorems were indeed at work as the Soviets attempted to breed non-Russians out of existence over time with a fervor indicative of the actual use of eugenics in its social sense.
After two weeks of waiting the files for the Rosary have been verified by Amazon- as such, it is now happily available!
This text is substantially longer than most of the other titles I have edited, at around 170 pages; it is an alchemical work with numerous illustrations to which I have added a substantial foreword. It dwells on various physical processes like mortification and sublimation and through these tells a sort of slightly veiled spiritual and philosophical story while shrouding the same in chemical references.
Quite a nice work, one of the foremost titles on alchemy available anywhere.
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.