Saturday, 7 April 2012

The Circle and the Triangle


Sir William Fettes Douglas, The Spell, 1864.

The Temple itself, within which are to be found the ritual Circle and Triangle, contains all magical gestures and words, for it represents the entire operative magical Cosmos and, by inference, the Magos as well, because of the perceived relationship between the Microcosm and the Macrocosm. On the walls are mounted banners, images, signs, and colours reflecting the nature of the ritual, and on the floor of the Temple are certain inscriptions, the most important of which is the Circle. The Circle, as place of containment of the Absolute, to Hen, is the manifestation of infinity and the sacred source of gnosis to which the Magos aspires. Within this symbol of holistic spiritual aspiration, the Circle becomes cosmic point for all ritual gestures of invocation. The holy names of power, barbarous words, and arcane geometric figures are inscribed around the periphery of the Circle to stipulate the exact nature of the ritual working. The Magos may desire to remain within the contained infinity of the Circle for the duration of the ritual, yet it is essential that the nature of the Circle be ritually affirmed within his mind and heart, for the Circle will otherwise remain yet another profane symbol echoing sadly and feebly from a distant past the occult formulas of geometric patterns. Every ritual gesture and every word must be a reflection of meaning and purpose of the ritual, an extension of his Will and that holy attempt to align with the pure forces of the Cosmos. The Magos may also desire to utilise the Triangle also as a symbol of containment, but serving a purpose not akin to that of the Circle. Unlike the Circle, the Triangle is employed for purpose of evocation, the magical act of summoning beings of the netherworld through spells and incantations. Within the circle is placed the sign, sigil, or seal of the spiritual being that is to be evoked, providing the manifestation of this being for the purpose of the ritual.

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