CHAPTER XIX 
OF DRAMATIC RITUALS 
The Wheel turns to those effectuai methods of invocation 
employed in the ancient Mysteries and bv certain secret bodies of 
initiâtes to-day. The object of them is almost invariably1 the 
invocation of a God, that God conceived in a more or less material 
and personal fashion. These Rituals are therefore well suited 
for such persons as are capable of understanding the spirit of 
Magick as opposed to the letter. One of the great advantages 
of them is that a large number of persons may take part, so that 
there is consequently more force available; but it is important 
that they should ail be initiâtes of the same mysteries, bound by 
the same oaths, and filled with the same aspirations. They should 
be associated only for this one purpose. 
Such a company being prepared, the story of the God should 
be dramatised by a well-skilled poet accustomed to this form of 
composition. Lengthy speeches and invocations should be avoided, 
but action should be very full. Such ceremonies should be care- 
fully rehearsed; but in rehearsals care should be taken to omit the 
climax, which should be studied by the principal character in 
private. The play should be so arranged that this climax dépends 
on him alone. By this means one prevents the ceremony from 
becoming mechanical or hackneyed, and the element of surprise 
I. The Word is unwarrantably universal. It would not be impractic- 
able to adopt this method to such operations as Talismanic Magick. For 
example, one might consecrate and charge a Pantacle by the communication 
by AIWAZ to the Scribe of the BOOK :of the LAW, the Magician repre- 
senting the Angel, the Pantacle being the Book, and the person on whom 
the Pantacle is intended to act taking the part of the Scribe. 
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