and there is a certain magical voice in which they should be recited. 
This spécial voice was a natural gift of the Master Therion; but 
it can be easily taught — to the right people. 
Various considérations impelled Him to attempt conjurations 
in the English language. There already existed one example, the 
charm of the witches in Macbeth ; although this was perhaps not 
meant seriously, its effect is indubitable. * 1 
He has found iambic tetrameters enriched with many rimec 
both internai and external very useful. “The Wizard Way” 
(Equinox 1,1) gives a good idea of the sort of thing. So does 
the Evocation of Bartzabel in Equinox I, IX. There are many 
extant invocations throughout his works, in many kinds of métré, 
of many kinds of being, and for many kinds of purposes. (See 
Appendix). 
Other methods of incantation are on record as efficacious. For 
instance Frater I. A., when a child, was told that he could invoke 
the devil by repeating the “Lord’s Prayer” backwards. He went 
into the garden and did so. The Devil appeared., and almost 
scared him out of his life. 
It is therefore not quite certain in what the efficacy of conjura¬ 
tions really lies. The peculiar mental excitement required may 
even be aroused by the perception of the absurdity of the process, 
and the persistence in it, as when once Frater Perdurabo 
(at the end of His magical resources) recited “From Greenland’s 
Icy Mountains”, and obtained His resuit. 1 
It may be conceded in any case that the long strings of 
formidable words which roar and moan through so many 
conjurations hâve a real effect in exalting the consciousness 
of the magician to the proper pitch — that they should do so 
is no more extraordinary than music of any kind should do so. 
Magicians hâve not confined themselves to the use of the 
human voice. The Pan-pipe with its seven stops, corresponding 
to the seven planets, the bull-roarer, the tom-tom, and even the 
violin, hâve ail been used, as well as many others, of which the 
I. A true poet cannot help revealing himself and the truth of things 
in his art, whether he be aware of what he is writing, or no. 
I. See “Eleusis”, A. Crowley, Collected Works, Vol. III Epilogue. 
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