Magick in Theory and Practice (Section 1)

crudity. The “Goetia” gives clear instruction in this method, and $o do many other Rituals, white and black. We shall presently devote some space to a clear exposition of this Art. In the case of Bacchus, however, we may roughly outline the procedure. We find that the symbolism of Tiphareth expresses the nature of Bacchus. It is then necessary to construct a Ritual of Tiphareth. Let us open the Book 777 ; we shall find in line 6 of each column the various parts of our required apparatus. Having ordered everything duly, we shall exalt the mind by repeated prayers or conjurations to the highest conception of the God, until, in one sense or another of the Word, He appears to us and floods our consciousness with the light of His divinity. The Third Method is the Dramatic, perhaps the most attractive of ail; certainly it is so to the artist’s tempérament, for it appeals to his imagination through his aesthetic sense. Its disadvantage lies principally in the difficulty of its per¬ formance by a single person. But it has the sanction of the highest antiquity, and is probably the most useful for the foundation of a religion. It is the method of Catholic Christianity, and consists in the dramatization of the legend of the God. The Bacchae of Euripides is a magnificent example of such a Ritual; so also^ though in a less degree, is the Mass. We may also mention many of the degrees in Freemasonry, particularly the Third. The 5° — 6° Ritual published in N° III of the Equinox is another example. In the case of Bacchus, one commémorâtes firstly his birth of a mortal mother who has yielded her treasure-house to the Father of AU, of the jealousy and rage excited by this incarnation, and of the heavenly protection afforded to the infant. Next should be commemorated the journeying westward upon an ass. Now cornes the great scene of the drama: the gentle, exquisite youth with his foliowing (chiefly composed of women) seems to threaten the established order of things, and that Established Order takes steps to put an end to the upstart. We find Dionysus confronting the angry King, not with défiance, but with meekness; yet with a subtle confidence, an underlying laughter. His forehead is wreathed with vine tendrils. He is an effeminate figure with those broad leaves clustered upon his brow? But those leaves hide H