Now we move on to a potent destruction eff which resembles the likes of a card like Core Blast from the Koa'ki Meiru but with less restrictions. During the End Phase of this turn, attach all monsters Summoned this way to this card as Xyz Materials. When this card leaves the field, destroy any monster Special Summoned by this card's effect. This card could act as an xyz swarm card if you were able to rank up multiple times.
Also the added bonus of being able to recycle the summons each turn is pretty impressive. This card cannot be destroyed by battle or card effects. When this card is Special Summoned: Attach a number of cards from the top of your opponent's Deck to this card as Xyz Materials, equal to the difference in Ranks between this card and 1 face-up Xyz Monster your opponent controls.
When exactly 1 Xyz Monster is Special Summoned to your opponent's side of the field: Attach a number of cards from the top of your opponent's Deck to this card as Xyz Materials, equal to the difference in Ranks between this card and that monster. So here we have the creme de la creme of the New Order monsters and as said in the anime the most powerful card that Astral world can muster.
It's eff make it the slayer of any xyz deck as can mill your opp each time they xyz summon and that for each card added Amon already impressive 5k atk will only get higher and higher. Now despite how impressive some of these monsters are one major weakness they have is that excluding Amon they are all two ranks apart from each other which leaves astral force as the only viable Rank up card to use.
Spells Rank Domination Monsters without a Rank cannot declare an attack, also monsters the turn player controls can only attack in order of their Rank, starting from the lowest. This card reflect the theme of the New order cards as the higher the order the more powerful they become so better things are granted too them.
This card basically acts as a gravity bind to all non xyz monsters. And even if opponent got an xyz out given the effs of the higher rank New order cards it should be a threat. This can be done easily, by sitting or lying down for a few minutes and breathing slowly and steadily.
Forget the cares of the day. You will already be aware of how a good stretch often accompanied by a yawn helps you feel relaxed. We are not consciously aware of most of the tensions we carry, so before we can let them go we need to bring them fully to attention. Therefore, clench each set of muscles in your body in turn, pulling them taut and then letting them go, moving on to the next set.
Begin at the top of the head and work down to the toes. Don't neglect the smaller muscles, such as the scalp, face or toes, as these are often where tensions linger. Once you have worked through each area of the body in sequence, clench all of your muscles at once, hold them for a second or two, then release them all. This process of conscious muscular contraction and release should leave your whole body relaxed and prepared for the Work. This process of releasing yourself from daily tensions is an essential prelude to all effective magical work, not just these physical exercises related to the head of the Scorpion.
At first, it will probably take you several minutes to prepare yourself in this fashion. But as with everything, practice makes perfect, and it will take an experienced practitioner only a few seconds to effectively unwind and let go. Sometimes the posture is but one movement in a linked series of movements, but the posture may sometimes constitute an entire magical process in its own right and may be held motionless for an extended period.
There are a great many benefits to be won when 73 APOPHIS developing the ability to stand or sit in a motionless posture for a long time. First, the posture is consciously adopted and the body arranges itself into the correct position and then settles down. Inevitably, there follows a series of distracting itches accompanied by the overwhelming urge to fidget or to just alter one's position a smidgen.
But at length, if ignored, the bodily irritations fade altogether and only consciousness of the rigid posture remains, leaving the psyche feling empowered and focused, better able to focus upon matters magical. With practice, the adoption of a familiar magical posture will bring with it the seeming stillness and weightlessness of perfectly poised physicality almost instantly.
Indeed, the adoption of a meaningful posture with which one has trained long and rigorously will instantly snap the awareness into a magical state of mind appropriate to the magician's purpose. Posture is therefore an important magical tool, which throws the whole physical being of the magician into the support of his Will. However, it will be realised that this can only be true after long and painstaking practice.
Moreover, the only effective practice is daily practice, not weekly or haphazardly or "whenever I feel like it". And believe me, when practising posture you will most definitely not feel like it, not until you reach that stage where it becomes a fully internalised magical tool, potent and empowering. My recommendation is that each Initiate should choose one of the suggested postures and practise it on a daily basis until mastery is attained. Try them all out initially, but then choose one which appeals most to you and stick with it.
Once one has been mastered, the others will follow easily, but none will ever be mastered if you flick back and forth between them, chopping and changing whenever you find the 74 APOPHIS practice tedious. There is no need to overdo it, however. Ten minutes daily will easily suffice. Most teachers recommend significantly more, but from my experience ten minutes is perfectly adequate if done with diligence and a will to succeed.
Also, ten minutes is no loss from anybody's schedule, removing any temptation to skip a day. There are many highly developed systems of magical posture. One of the most sophisticated is that of runic stadhagaldr extensively detailed in such books as Futhark and Rune Might by Edred Thorsson.
For now, however, suggestions follow for five symbolically appropriate postures, especially suitable for the Apepian Initiate. It should be noted that posture number 5 is a highly specialised one suitable for magical sendings and is therefore best left till proficiency is attained in at least one another.
The God This simple posture involves sitting on a hard-backed chair, with feet together flat on the floor, knees together and hands on knees. The back, neck and head should all be perfectly straight and vertical. The posture is the same as that depicted in the rigid, seated god figures in Egyptian art, hence its name. It is the most common posture for beginners due to its generally applicable symbolism and its simplicity. The Dragon This posture involves kneeling down and sitting back, so that the buttocks rest upon the heels.
The hands are placed on the knees and the back and neck are upright. The symbolism is of a dragon sitting alert on its haunches. It further signifies the death of Death, the slaying of Osiris by Set. Both associations are highly appropriate to the Order of Apep. This is a standing posture, with the head held proud and the arms upraised in a 'V' shape, victorious over Isis and Osiris, Nature and Death.
The right arm is flung forward and up similar to a Nazi salute ; the left arm is flung backward and out; the right foot takes one pace forward. The symbolism is aggressive, warlike and dynamic. The Sign of the Snake Striking This posture is highly appropriate to magical Workings which involve a 'sending' of some description.
Its ophidian symbolism is obvious. The posture is a kneeling one, with a curved back, leaning backwards. The arms are lifted over the head and curved forward so that the hands meet above the head, pointing forward in the attitude of a snake about to strike. One curious effect of this posture is that when adopting it the seat of consciousness seems to shift from the head to the hands, the position of the invoked serpentine head. This is a technique which has reached its highest development among Eastern practitioners, but nonetheless has its place in the West.
There are three main reasons for gaining control over the breath: 1. The first is purely physical. Most people simply do not breathe properly. The organism becomes healthier and more awake and robust if deep, measured breaths are routinely taken instead of lazy, shallow ones. Changing your breathing patterns significantly changes the chemistry of your blood. These physiological changes in their turn affect the mind, opening the way to altered states of consciousness.
Control of breath facilitates mastery over vocal magic, the use of the spoken word. This is important in so many areas, from the intonation of names or mantras to the measured recital of chants or the effective and rhythmic utterance of poetic invocations and magical statements.
Pausing to gasp for breath at an inappropriate point can spoil the effect for others present in a group Working and worse still, it can jar your own mind out of its magically inspired state. There are two main approaches to the magic of breath. The most common one in the West is that of taking deep, measured breaths in a set rhythm.
The usual count given to beginners is a fourfold rhythm: breathe in to the count of four; hold the breath to the count of four; breathe out to the count of four; hold the lungs empty to the count of four, then recommence the cycle. Even this simple exercise will produce significant results as the Initiate will breath far more 77 APOPHIS deeply than normal, enriching the blood with oxygen.
This will inevitably have knock-on mental effects. Certain physical effects may also be noted. Sometimes the body will seem to go numb breath control of this type works very well in conjunction with posture work, helping to avoid discomfort and twitching. At other times, the body may seem to buzz and vibrate in a peculiar manner. Once practice is established the Initiate can begin to extend the length of the inbreath and the outbreath, slowing and further deepening the breath cycle.
After a while, the variations of breath control to match the Work in hand become an easy thing to judge. It's all a matter of practice, practice, practice. At this point, it is interesting to recall how in very many cultures the breath is considered to be a vital substance, often being equated with the spirit.
These exercises can be used to 'charge' the breath with willed qualities, then use it to empower items such as talismans or sigils by breathing upon them or singing words into them, literally imbuing them with life of a very specific nature.
Many of the old techniques of magic can be better understood once the vital process underlying them is grasped and understood through hard work and personal experience. The other approach to breath magic is that of hyperventilation, inhaling and exhaling very deeply and very rapidly, causing very sudden changes in body chemistry and consciousness.
This will cause extreme giddiness and Initiates must bear in mind that this practice has the potential to be extremely dangerous and injurious to health if care is not taken. However, it can whip the mind into a magically 78 APOPHIS charged frenzy and I have had considerable success with this simple technique in results oriented magic. It is a certainty that different types of motion will best suit different people. We will examine them in order from the most gentle to the most frenzied, but Initiates are encouraged to try all of them, creating a rigorously thorough training regimen for themselves.
Some will inevitably be found to be more effective than others for each individual, but all should be mastered before that value judgement is made. The simplest movements to start with are the traditional ones associated with ritual magic. Now I don't have a lot of patience with attempts to resurrect old Golden Dawn Masonic style rituals, they are simply not appropriate to this day and age. However, for the purposes of this exercise the Initiate should perhaps endeavour to practise the sequence of grade signs and circumambulations employed in the ceremonies of such a group and detailed in most contemporary books of occultism most notably Israel Regardie's The Golden Dawn.
These circling parades in particular, reinforced by meaningful signs given at various points, have a very definite effect both upon the focusing of the psyche and the perceived atmosphere of the Working area: the air seems to throb, an effect which can be tangibly felt. These simple and effective patterns of movement can easily be carried forward into the modern magician's personal repertoire whilst leaving the unnecessary bulk of the pomp and ceremony behind.
Those who prefer to stick solely with the exercises given in this book can try simply walking in large counter-clockwise circles to define their Working area, pausing to adopt one of the five postures described previously each time the northernmost point of the circle is passed. Always be aware that whatever psychic changes you register during these practices are arising in response to your physical actions. You should take time to consider why it is so important to be aware of this fact.
Moving to a slightly more energetic practice, Austin Spare developed a technique which he termed 'the right way of walking'. Then begin to walk, the back held straight, the arms kept by the sides with the thumbs pointing forwards, the eyes defocused and looking straight ahead. Walk with an even, measured rhythm. You will find that this technique induces a state of trance very rapidly and this practice is readily used for the charging of sigils and other magical operations.
Again, take time to consider the way in which physical techniques induce magical trance. Why should this be so and why is it so important? Dance is an obvious candidate for our consideration and magical dance is an important part of the repertoire of many skilled magicians. Ritual dance has been significant in many cultures. We enter a slight minefield here, as some people such as myself can't dance to save our 80 APOPHIS lives and would ordinarily prefer to suck on a mouldy old sock than set foot on a dance floor.
However, in private, even I feel occasionally compelled to make rhythmic actions vaguely resembling dance when in the throes of a magical trance, and I have even participated in a dance in a group ritual with good effect.
The most appropriate dance movements for an Apepian Initiate, of course, are sinuous, serpentine ones. The choice of music if any must always be a matter for individual preference and should resonate with the purpose of the Working, but as a general rule music which includes singing is not effective. Instrumental music is much more effective at sustaining the trance state. Of course, when voice is used as a musical instrument rather than simply singing lyrics, it can be very effective.
Another highly effective magical use of motion, particularly appropriate to the ophidian current, is that of swaying. Simply stand on one spot and begin to sway slowly from side to side. This will be found to enhance mental concentration in ritual remarkably. It may be found that a kind of shaking or trembling also seizes the body as the trance takes full hold. The mechanisms of this process are explored and discussed more fully in the book Seidways by Jan Fries.
Finally, we must examine the practice of whirling rapidly around until the body is overcome with dizziness. This may be pursued to the point where you collapse in a heap, at which time the mind acquires a high degree of lucidity and detachment, or with practice the whirling may be continued indefinitely, holding the body right on the brink of dizzy imbalance and collapse, but never quite going over the edge.
This allows a highly concentrated trance state to be maintained for an extended period of time. We must learn to perceive True instead of mindlessly swallowing the vague wash of impressions and pre-packaged viewpoints with which we are routinely bombarded. Apep is the God of Illusion, so we must be masters over that which is illusory, not its slaves.
This is much more difficult than might be supposed, since we cannot actually trust our senses, at least not as they currently stand. It may be judged irrelevant by the brain's processes, or it may simply not fit in with what the brain 'expects' to perceive and is thus ignored. If you doubt the extent of this filtering effect, consider how many times you have looked fruitlessly for the ketchup or your keys, only to discover they were right in front of you the whole time and you wonder how you could possibly have missed them.
Lesson one: the brain is biased and it will do its damnedest to present and accept only that information which conforms to its own worldview. That worldview is an unconscious one, programmed in by cultural and societal influences during the first few years of life and reinforced by the pressure of society and the media thereafter. Trying to deprogramme that bias is almost impossible, or is at least a very long term process. But we can certainly make ourselves aware of it and take steps to consciously direct our attention and our senses in an attempt to circumvent it.
Exercises follow which should be of assistance in reclaiming full use of the five physical senses, so that we may 82 APOPHIS begin to perceive what is Real. Cast your mind back to a room you recently visited for the first time. It doesn't matter what kind of room: it might be a home, shop, office, or even a public lavatory. Can you remember the pattern on the carpet? Can you remember how many chairs were in the room? What colour were the curtains?
Were there pictures on the wall? What of? Were there books on shelves? What were their titles? Your eyes will have seen and processed all of this information, but nearly all of it will have been filtered out of your conscious perception by your brain as irrelevant and you will not now be able to recall it. Where the eyes perceive a pattern on a carpet in all of its detail, the brain tends to take short cuts in presenting the information to your awareness; it will extrapolate the basic pattern over the whole area, 'filling it in' to reduce processing effort, and presents that image to your conscious mind.
Thus, you will probably miss seeing the wine stain in the corner unless you specifically focus upon it with full attention. Try asking any group of people to describe a room or an event from memory; their descriptions will all be different, sometimes wildly so.
This is because their brains 'cut and paste' according to their personal bias instead of seeing True. The only way to remedy this is to stop observing on automatic pilot and to deliberately take conscious control of your sense of sight. When you enter an area, deliberately look at everything and note every detail in your mind. Make note of colours, objects, people, patterning, relative positioning, subject matter of pictures, titles of books, 83 APOPHIS everything.
With continued practice and vigilance you will train your brain and it will start to get used to the idea that you want to record these things; it will eventually begin to do so without the need for conscious prompting. But you will need to deliberately and persistently train it out of years of accustomed sloppy vagueness.
This again is because the brain starts taking short cuts in analysing sense perceptions. As a child begins to pick up and learn language structure from its parents, the brain focuses upon those sound patterns, particularising them, and begins to relegate less used distinctions into broader, vaguer categories somewhere at the back of the mind.
This is one reason why Occidentals find it so difficult to master Oriental languages and vice versa; because our brains are not geared to differentiate between the sounds used in this linguistic palette. Sounds which are quite clearly distinct to Oriental ears seem identical to Occidental ears. Again, the only solution is to stop listening on automatic pilot and to deliberately concentrate on each and every sound you hear, distinguishing between the different layers and subtleties of intonation.
Focusing upon complex pieces of music and dissecting them note by note is one effective exercise. Another method is to learn a foreign language always a worthwhile endeavour in any case , forcing the brain to deal with new orderings and sequences of sounds and attach meanings to them.
This will be a struggle, it will not happen quickly, the brain has to be extensively retrained. Success in these disciplines will reap enormous rewards in all fields of incantatory magic. People today have largely got out of the habit of touching and handling things, of exploring and considering texture. This is a habit we need to get back into. Also, we tend to ignore subtle environmental clues such as the sensation of a breeze blowing across the skin, or the feeling of moisture in the air foreshadowing rain.
Our sensitivity to events around us can be increased enormously by taking time to develop and pay attention to the often neglected sense of touch. In my experience some Workings, some 'presences', bring with them an odour. This was something picked up on by H. Lovecraft in his tales: "by their smell you shall know them".
The memory of these subtle odours, brought back to mind, can be of great assisting in expediting future invocations and in such instances a similar-smelling incense may indeed be a potent tool. But first, you have to be sensitive to such subtlety and perceive for yourself the haunting odour lurking on the fringes of imagination. The only way to train and develop your sense of smell is to deliberately seek out every new odour, fair or foul, with relish, and take time to savour their subtlest nuances.
Human beings will never possess a dog's sense of smell, but you will be surprised how powerfully this sense can be developed, until you really can smell people approaching. TASTE: Taste may appear a peculiar one to concern ourselves with, since it seems a purely internal sense. This is not quite true. For one thing, taste and smell are intimately linked and developing one will necessarily develop the other. For another thing, taste is a sense which interacts very closely with the psyche when attention is paid to it.
Events have a 'flavour' which can be tasted in the mouth with practice and this subtle apprehension of unfolding events can prove almost precognitive as signals detected subconsciously are transmitted to the consciousness through the medium of taste. As with scent, deliberately seek out and savour new flavours all the time. Our upbringing teaches us to rely almost exclusively on only two of our senses, sight and hearing, and we can't even use these correctly.
But we must learn to develop all of our senses in order to rectify the sensual deficiency in our contemporary lifestyle and gain access to new methods of knowing and perceiving. My recommendation is to be alert to the development of all five senses all of the time so far as it is possible, but to dedicate one day to each sense every week in order to really focus upon each in turn.
This will amount to five days' intensive sensual exercise each week, allowing you to rest at the weekends. It is important to always schedule time for rest, to allow all that you have learned to be absorbed. Arrange challenges and trials for each sense on its allotted day in order to test yourself. Following a training programme like this will soon bear results. From an everyday perspective, this gives us a baseline against which to measure our progress as we strive to become more fit and healthy.
From a magical perspective, those Workings which push us almost to our limits, into a kind of trembling, in-between state, are those which pack the most punch. It goes without saying that the magician will strive to be fit and healthy as far as possible.
This means a balanced diet and a programme of exercise. Even a daily walk is sufficient to maintain a level of reasonable physical fitness. Here follow six suggestions to test the ability of the body to cope when pushed to its limits. All are potentially hazardous to health if pursued in a foolish and unbalanced way. Due precautions should be taken and assistance from friends sought where possible; ultimately, all such exercises are pursued at the individual's own risk.
Only a fool would attempt any of these exercises when feeling remotely unfit or under the weather. Other methods will suggest themselves to Initiates. Exhaustion This exercise requires the use of a mobile phone and a reliable friend. The Initiate sets off walking. The aim is to 87 APOPHIS walk until you literally can not take another step without collapsing note that the point of the exercise is not to collapse, but to discover the point at which it is imminent and then to stop.
Be harsh with yourself, as most people will tend to give up and tell themselves they have reached their limit long before it is actually approached. Bring sandwiches by all means and definitely equip yourself with plenty to drink. But don't sit down and have a picnic, you should eat and drink whilst on the hoof, just pausing long enough to take a bite or a drink. When you finally feel that you cannot take another step phone your friend, who must be prepared to come and collect you no matter what time of day or night.
Also, be sure to check in on an hourly basis. Alcohol Alcohol, taken in moderation, can assist in preparing the mind to experience altered states and can be a useful magical tool. Taken to the next step, carefully induced intoxication can lead to the state of divine ecstasy embodied in the runic ALU 'Alu' formula.
It is necessary for the Initiate who would use this tool to know the precise quantity required to produce the desired inspirational effect without tipping over into drunken idiocy. Alcohol is a good means of testing mental selfcontrol. Again, a trusted friend is required for this challenge. The Initiate drinks several alcoholic beverages at a carefully measured rate and to an agreed maximum quantity e.
The intention is not to get blotto, but to monitor the progressive effect of the alcohol from the viewpoint of an objective observer. The magician's companion will take notes of the apparent effects as time 88 APOPHIS progresses, for up to an hour after the final measure e.
After twenty five minutes and two measures the eyes stop roving and the gaze becomes dull and heavy as the subject struggles to retain focus After thirty minutes and three measures the speech starts to slur After forty minutes and four measures the subject has difficulty following the track of a conversation You will find it interesting to compare these objective observations with your own subjective evaluation; there may be significant differences.
In this way, the Initiate learns his precise 'tipping' point, important for those situations when he uses alcohol as a sacred tool to achieve a state of divine inspiration, or in mundane social situations where he wants to be careful to appear convivial yet retain full control of his faculties. Fasting Agree to give up food for a period of time. Start small i.
Drink only water during this period. Study the effects of food deprivation upon the body and upon the psyche. You may find that the ability to concentrate becomes much enhanced as your mind focuses itself because of the desire for food. This exercise in particular must be used with caution and infrequently. Sleep Deprivation Try going without sleep for a night or two again, be warned that overdoing this may prove fatal.
This exercise should be done during a period when you will not have to drive. Study and record the effects of tiredness upon you, both physically and mentally. Do hallucinations occur? At what point do you start to enter hypnogogic trance without warning? Consider the possibilities of this as a magical tool. Orgasm Exhaustion Set aside a free day to discover how many orgasms your body can endure in a twenty four hour period. This does not mean how many you want to have, you would probably be satiated after two or three.
How many can you physically endure, even when you don't want to? When it becomes too much, take an hour off, then get back to it with gusto! Masturbation is probably preferable to intercourse for this practice, as loveplay will serve to increase the delay between orgasms, it is just too distracting for the current purpose, which is a dispassionate experiment.
This exercise, here intended to test the body's limits, will be returned to under the auspices of the second head when considering eroto-comatose lucidity. Orgasm Deprivation There are two distinct approaches to this, each of which should be practised for a pre-determined period of time. You may decide that you wish to practise one of the exercises for a week, for instance.
Once decided, that time scale must be adhered to. The first and easiest kind of orgasm deprivation is simple abstinence. Turn your mind away from sex whenever it enters your thoughts; focus your mind and energies upon other things. Consider how this can be redirected and used magically. The second technique is that of karezza, i.
This generates a very high charge of sexual desire, which can be maddening as it is constantly denied release, but very magically empowering. This raging energy can be thrown into any magical operation you carry out though this should not be done during your scheduled practice sessions, when the intention is to study the effects of the exercise and take notes. During the span of the exercise period, karezza should be employed on a regular basis at least twice daily, preferably three or four times to inflame the accumulated desire to fever pitch but allow it no physical release.
This is an extremely potent magical practice, but should not be used to excess. A Few Words On Sex Magic It would be remiss to ignore the subject of sex magic in a chapter specifically focused upon the carnal aspects of magic. Indeed, the magical potential in the biological energies of sex is briefly touched upon in the exercises suggested for orgasm exhaustion and orgasm deprivation. However, sexuality, goes far beyond the physical, incorporating emotional, mental and imaginative elements.
As a result, the use of sex magic as a tool for illumination or sorcery is best employed in the work of the third and subsequent heads, reaching its full flowering in the fifth head of the Dragon. There are as many theories and practices as there are practitioners.
Nor is the practice of sex magic an essential component of Apepian magic Desire certainly is, but not necessarily its expression through the sexual act itself. Its use or otherwise will thus depend upon the preference of the individual Initiate. But at the very least an understanding of the powerful currents of sexual exchange is absolutely central to the Left-Hand Path, whether or not they are actually directly utilised in practical magical Workings.
These energies will always be present, even if only in inner desires. The reader is referred to the very fine works in the Reading List for further information. The main additional comment to made upon the subject at this stage is to state that those people who take the time to work through the exercises offered in this chapter will find themselves becoming intuitively familar with the elusive key which will reveal to them the secret of how the physical and magical realms are intertwined.
This key will then inform and empower any sex magical experiments they may choose to undertake. But the only way to properly use the flesh is to come to know and love the flesh. The techniques for doing that are presented here in as clear and straightforward a manner as possible.
Indeed, the flesh is the very foundation of the Left-Hand Path and all else must be grounded in it. In this chapter, we build upon the preceding work by introducing similar practices to exercise and train the mental faculties. The mind must be monitored and brought under control; it must be expanded and adapted to suit our magical purposes.
We like to kid ourselves that we have control over our own minds. This is a ridiculous assertion. As soon as the exercises in this chapter begin to be conscientiously applied you will discover that your mind is scattered, fragmented and cannot stay focused on one thing for a single moment without hard and rigorous training.
To illustrate this point, I would like to share a couple of experiences that I had when very ill in May My joints had been attacked by a viral infection which I had apparently contracted after exposure to rat urine in the archive storage of the company I worked for at the time. I was unable to walk, could not even stand without the aid of sticks and every movement was agony.
My hands were so stiff and swollen that I could do precious little with them and I had a headache that felt like a drill boring into my right temple. Not surprisingly, I found it difficult to sleep and I lay awake one night trying to read, half delirious since I was so ill and tired. The book I had chosen was simply a light novel, nothing heavy or overly complex.
However, when I picked it up again in the morning I discovered that I had completely lost its thread. In my delirium, I had created entirely new characters in my mind and had woven them into the plot of the book. I could recall whole sections of the story peopled with characters who simply did not exist in the novel.
In fact, I was so muddled that I could not tell apart what I had read and what I had imagined and I was forced to begin reading the book again. This shows how the mind can break free of conscious control and run away with itself without our even realising that it is happening. When properly trained and applied, this ability is actually a very important tool for magical applications, but it must first be brought to heel.
Until this period of illness I had never noticed the extent and power of this tendency of the mind. But this was not the only odd mental experience I had during this period. As I lay trying to sleep on another night, my brain's usual filters must have been lowered, allowing me a glimpse of the subconscious at work.
We often talk of the 94 APOPHIS mind's 'internal dialogue' as it constantly chatters away with itself, but in this rare moment when the barriers were down I was able to see just how extensive this actually is. I became aware that my mind was having at least a dozen simultaneous conversations with itself as I observed it, all of them divorced from conscious participation.
You know when you sit alone in a busy bar or cafe and simply listen to the buzz of human noise around you? How the many conversations are all distinct, but the overall rumble is so loud that you are unable to fully tune into any one of them and isolate it? It was like that, but it was inside my head and I came to the shocked realisation that it was always like that in there!
But the brain is accustomed to filtering out those bits which are not pertinent to the current interests of the conscious mind, which is arrogant and absurd enough to assume that it is in control. In actual fact, it is being hoodwinked and manipulated by the preprogrammed filters that our society and upbringing have conditioned our minds with.
It is the task of the magician to undo this conditioning and free the resources of the whole mind, integrating and unifying them. But first, it is necessary to simply become experientially aware of them and familiar with them and this in itself is no easy task. It is this task which we shall address in the current chapter. Models of the Soul In order to train the mind in magical work, it is necessary to understand the underlying structure and substance of the mind. The words 'mind', 'soul', 'spirit' and such like are very vague and woolly and it would be of benefit to the Initiate to take some time to learn the interrelationships implied in some 95 APOPHIS of the more sophisticated models of the body-mind-soul complex.
Most magical traditions teach soul lore as part of their curriculum. The Egyptian model of the soul and its various parts is alluded to in the Temple of Set, especially well defined by Don Webb, and this may be familiar to some; if not, then his published books contain a good portion of the most pertinent information. The kindred Celtic model is presented in my Book of Ogham. There is no shortage of sophisticated models of the psyche within the traditions of magic.
More recent psychological lore will also be of use to the Initiate, especially the works of Carl Jung. To boil all these models down to their basics and present an inventory of distinct soul parts in modern English in no particular order, we might create a list that reads somewhat as follows: intellect memory emotions repressed shadow aspects inherited characteristics idealised image public face tutelary projection post-mortem shade focal core, the sense of Self itself 96 APOPHIS The purpose of Initiation is to knit these faculties into a single cohesive identity, capable of surviving the death of the physical vehicle and Remanifesting in a new existence, whether in a fleshly form or incorporeal.
Before they can be integrated, they must be understood and developed and streamlined. Many of these faculties ordinarily behave according to preprogrammed conditioning, some of it social, some of it biological, some of it simply habitual. Using the same techniques of observing, testing and stretching which were applied to the five physical senses under the work of the first head, we must now bring the parts of the psyche into full working order.
This takes practice and patience and a great deal of hard work. Monitoring Thought Before we can even begin to try to control our thoughts, it is first necessary to become aware of them. For this exercise, which should be practised regularly for at least a month before progressing to any of the other practices which follow, assume the seated posture of the God as described under the work of the first head.
Once the posture is steady and stable and the 97 APOPHIS breathing has settled into an easy rhythm, simply begin to observe your thoughts. Centre your consciousness in a kind of 'vantage point' within your head and just keep watch. Take note of your thoughts as they arise.
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