Magick in Theory and Practice (Section 2)

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. in —