Esoteric Aural Tradition In The Deofel Quartet

A Brief History Of The Deofel Quartet

The works of fiction that form The Deofel Quartet were never considered by
their author as either literature or as good enough to be published as novels by
mainstream publishers. Rather, they began life as stories told, usually by Anton
Long or by his 'priestess', at Temple/nexion meetings of the Order of Nine
Angles (O9A) in the decades of the 1970s and 1980s. These meetings were
never large - sometimes only a few people, occasionally a dozen or less - and
were always held in intimate and candle-lit surroundings. The purpose of the
stories was to convey, in an interesting and entertaining manner something of
the mythos and traditions of the Order of Nine Angles, and, following the
expansion of the O9A in the late 1980s resulting from O9A article being
published in occult zines such as Nox, the original handwritten MSS (most with
handwritten corrections or alterations) were, in the early 1990s typed out on
manual typewriters by various people (including by Anton Long using the
two-fingered technique). This transcription naturally resulted in typos, the
occasional copying error such as the omission of some words or even the odd
line or two of text. The typewritten texts were then photocopied, a title page
with 'author' added, then comb-bound - all usually done by CB - and circulated
(again, usually by CB, sometimes under the Brekekk name) to some of those
who had expressed an interest in the O9A.

The typescripts were, as Anton Long noted, "first digitally scanned in the 1990's
using an early version of TextBridge OCR software and WordPerfect running
under Windows95, with the resultant wpd file exported to html in two versions,
one with English (GB) spelling and one using American spelling". From these
html versions, *doc and *pdf files were produced, with the scanning having
introduced further errors in the texts. These *doc and *pdf versions were then
widely circulated (by CB, Thornian, and others) via the internet from 1997 on.
Several people, mostly unconnected with but interested in the O9A, thereafter
(given that the works were circulated as being copyleft and thus were not

O9A
copyrighted) produced and circulated their own versions of the texts (some sold
commercially), and which versions often contained typos, omissions, additions,
and errors.

The novel Breaking The Silence Down had a rather different history. Often
considered, by the O9A and others, as making The Deofel Quartet into a quintet,
it began life as a private handwritten MS written by Myatt in the 1980s for a
gay friend and her partner. A typewritten version was subsequently produced
which gradually became - together with his translations of Sappho - more
widely, but still discreetly, read (a few of the Sappho translations were
published in a minor underground Sapphic zine in the 1980s). Meanwhile, his
friend RM set the Sappho translations to music and circulated both the
resultant tape and the typescript, which together eventually found their way to
a Sapphic O9A nexion, and which nexion added a few short 'occult' sections to
the original text of Breaking The Silence Down and published it, in the early
1990s as an addition to The Deofel Quartet. This version, like The Deofel
Quartet itself, was subsequently circulated widely in *html and *pdf versions.

Around 2008 [119yf], Anton Long undertook to proofread and correct (using
Netscape Composer) the O9A html versions of the Quintet, by - in the case of
the Quartet - comparing the html texts with either the original handwritten MSS
or photocopies of those MSS. The corrected texts were then exported as *pdf
files and widely circulated. These corrected versions, however, still contain
some typos missed in proofreading.

In 2012, I published in pdf format the original Myattian text of Breaking The
Silence Down using a photocopy of the 1980s typescript loaned to me by Ms
PH, and which restored version I recently noticed also has many typos. It is,
furthermore, quite interesting to compare the AL corrected, O9A occultified,
version issued in 119yf with the original story of personal Sapphic love, and
which original story - set in Shropshire, as is The Giving - gives subtle clues that
there may be more going on than first appears, as for instance in Rachael's
mention of her grandmother giving her the hereditary gift of an amber necklace
and as in the mention of "the Shropshire town of Greenock" (aka Much
Wenlock), a setting familiar from the Hangster's Gate short story. The subtle
original therefore seems to me to make the later occult additions unnecessary;
and which additions come across as a sort of dumbing-down of the original for
the benefit of unempathic novices.

Anton Long wrote in 115yf that the works of The Deofel Quartet "are attempts
at a new form of magickal art - like Tarot images, or esoteric music. As with all
Art, magickal or otherwise, they can and should be surpassed by those
possessing the abilities. If they have the effect of inspiring some Initiates of the

O9A
Darker Path to creativity, to surpass them and create something better, then one
of their many functions will have been achieved." Furthermore:

"In all the works of the Quartet, 'the other side' (i.e. those with
conventional 'morals' and little or no esoteric understanding) is shown
in context – moral individuals are described and things seen from
their point of view. It is vitally important for a novice to be able to be
detached – to see things and people as those things and people are.
Only thus can they learn judgement and discover how to work esoteric
sinister magick. Such detachment is necessary – and its cultivation is
part of Initiate training. It is the aim of the Quartet to cultivate this
ability – and the self-criticism which is part of it. This 'criticism' is a
self- awareness, a self-knowledge... [The reader is required] to
suspend and transcend conventional Satanic/sinister notions (which
are often only the outer form of what is Satanic/sinister rather than its
essence). Thus can genuine magick to be understood – as the works
themselves should aid the understanding of how forms/energies etc.
affect/change individuals, often unconsciously. All this should aid the
self-insight of the novice/Initiate reading them." The Magickal Art of The
Deofel Quartet: A Basic Introduction. 1992 (revised 119yfayen)

Aural Tradition

As I pointed out in a footnote to my 2013 text Authority, Learning, and Culture,

In The Sinister Tradition Of The Order of Nine Angles:

"A lot of the ancestral pathei-mathos Anton Long inherited he

expressed in the five fictional stories that form the Deofel Quintet. For
instance, both The Giving and Breaking The Silence Down express
something of the ancient Rounwytha tradition. The Falcifer story
expresses elements of the Temple of the Sun tradition; while The
Greyling Owl relates some aspects of the Fenland/Cantabrigian
Noctulian tradition. In the novel The Temple of Satan all three
traditions make an appearance."

In many ways, The Deofel Quartet and other O9A AL-written fiction (such as
Hangter's Gate), present much of the diverse aural traditions as AL received
them: as stories about people, their interactions; their 'satanic' or esoteric views
and beliefs; and about certain events that involved those people. In The Deofel
Quartet he simply reworked the factual material - as writers of fiction are wont
to do - in order to make an interesting story, in the process obscuring the
identities of those involved and sometimes their place of residence or work;
added some entertaining details (as in the 'astral battles' between goodies and

O9A
baddies in Falcifer, of a kind now familiar - decades later - from the Harry
Potter stories) and concatenated certain events in order to provide 'action' in a
limited time-frame.

Thus, the fictional stories not only compliment other O9A material but provide a
'different way into' the complex O9A mythos; a way that many will find more
interesting (and certainly more entertaining) than thousands of pages of
sometimes polemical and sometimes ponderous O9A factual texts, and a way
that especially places the O9A's satanism into perspective, Aeonically and
otherwise.

For instance, The Greyling Owl deals with a type of 'hidden sinister sorcery' that
owes little or nothing to what has become accepted as 'the Western occult
tradition', satanic or otherwise, with its demons, its invocations and evocations,
its rituals, and people dressing up in robes. Instead, it concerns someone being
manipulated, brought into a position of influence, without even knowing or
suspecting there is an occult aspect; someone - in modern parlance - being
'groomed' to at some future time use that influence for a sinister purpose as
directed by the person or persons to whom he is now indebted. That is, there is
a revealing of how the O9A often operates, and has operated, in the real world;
and how O9A people are often secretive, with their occult connections, and
their interest in the sinister, unknown to colleagues and friends.

In Falcifer - the most overt, conventional 'satanic' novel, with spells, rituals,
potions, and 'astral battles' - there are hints of something much darker, as well
as a very early (a 1970s) telling of some of those 'secrets' that served to
distinguish the O9A, at the time, from all other modern occult groups.

In addition, and in contrast to most occult fiction of the era - the 1970s and the
1980s - and previously, all of the works in The Deofel Quartet contain strong,
independent, female characters: Susan in Falcifer, Melanie in The Temple of
Satan, Lianna in The Giving, and Fiona in The Greyling Owl. Which is not
surprising given the standing of women in the esoteric traditions of the O9A.
Many of the works also contain positive gay or bisexual characters: for instance
Fenton in The Greyling Owl, Denise in Falcifer, and the bisexual Melanie in The
Temple of Satan. In these 1970s and 1980s positive depictions and acceptance
of such preference and such love as natural, the O9A was somewhat ahead of its
time in the occult world and in Western societies in general, again unsurprising
given the Rounwytha tradition and the liberalism of the O9A, a liberalism that
the stories themselves, through their characterizations, often embody and
something especially noticeable in the characters of Fenton, Timothy, and Julie,
in The Greyling Owl.

Given that the esoteric content of the works in The Deofel Quartet have

O9A
been somewhat neglected by those interested in or who have written about the
O9A, it is instructive to quote from three of those works in order to draw
attention to some of the esoteric aspects of the three-fold aural tradition of the
O9A {1}.

I have taken the opportunity, in the quotations that follow, from the 119yf pdf
versions, to correct some obvious typos.

R. Parker
2014 ev

1. Falcifer

The novel Falcifer, Lord Of Darkness, written in the 1970s (according to some
accounts in 1976), is the earliest of The Deofel Quartet. It is set in the East
Riding of Yorkshire in the late 1960s and thus is mostly based on the traditions
of the overtly satanist, pre-O9A, Temple of the Sun.

Basic ONA Noviciate Interpretation

Falcifer concerns Initiation and the gathering of satanic experience. The

esoteric influences described in the story are concerned with the first sphere on
the Tree of Wyrd – magickal form Night/Nox; Tarot images – 18, 15, 13;
Alchemical (symbiotic) Process – Calcination.

The Dark Gods, and Shapeshifting

"Tell me, then, about the ritual," Susan asked softly.

"There was something," he said, "but not what I expected."

"Am I what you expect?" she said with Aris' voice. She was watching
him, waiting.

Momentarily, Conrad had the impression that Susan was not human at
all - she was something unearthly which was using her form and Aris'
voice, something from another Time and Space. But he had touched
her, kissed her, felt the soft warmth of her body. Confused, he stood

O9A
watching her. She was not the young woman he had known: her eyes
became full of stars, her face the void of space. She became Aris, and
then a nebulous chaos that was incomprehensible to him.

He could feel within him her longing for the vastness of space. There
was a sadness within this longing, for it had existed before him and
would exist after his own death, thousands of years upon thousands of
years. He would have to understand, he suddenly knew - he would
have to understand and help before this sad longing, this waiting
would be over. Then she was Susan again, standing next to him and
holding his hand, caressing his face with her fingers. Gentle and
warm.

"You are beginning to understand," she was saying.

Note the mention after this, in the text, of Sloane MS 3189 in the British
Museum, which MS may or may not be important or relevant.

Beyond Ritual: The Nine Angles

There were no candles on the altar, no naked priestess, no

congregation gathered to greet them, indeed nothing magickal except
the crystal tetrahedron [...]

"The season and time being right," intoned the Master, "the stars
being aligned as it is written they be aligned, this Temple conforming
to the precepts of our Dark Gods, let us heed the Angles of the Nine!"

He gestured toward the crystal.

There is also, following this, the phrase the angles of those dimensions that
cannot be perceived. This is notable, given that the crystal tetrahedron is said
to re-present the 'angles of the nine' and which 'angles' refer to dimensions, in
acausal space-time. {2}

Also, compare this with the Tree of Wyrd being, as mentioned in an early O9A
MS, enclosed in a double tetrahedron (qv. p.145 of The Requisite ONA text)
which enclosure (or outer realm) represents the causal/acausal duality {3}.

Furthermore:

O9A
The Master stood with his hands on the tetrahedron, as Tanith did,
and they both began to vibrate a fourth and an octave apart, the
words that were the key to the Abyss [...]

Her hands were cold, icy cold, and he could feel the coldness invading
him. Her eyes became again full of stars which spread to enclose her
face. The Temple itself became black, and all he could hear was the
insistent and deep chanting of the words which would open the Abyss.
It was a strange sound, as the two voices chanted an octave fourth
apart.

That is, esoteric chant being used to 'activate' the crystal tetrahedron. Also note
how in The Temple of Satan it is revealed that such a "crystal gave power to and
magnified" the very thoughts of the Satanic Priestess, Melanie.

There is also a vision, revealing 'satan' as one of the dark gods:

A figure was walking toward him, and Conrad recognized it. It was
himself. The figure spoke, in Conrad's voice. "The seal that bound us
is no more. Soon, we shall be with you." The man smiled, but it was a
sinister smile which both pleased and disquieted Conrad. "Now I must
depart," the image of Conrad said. "But before I go I give you a
reward. See me as I have been known to those on your world with
little understanding." The figure contorted, was Satan, and was gone
[...]

There is, following this, an interesting discussion by those opposed to satanism:

The ancient and secret rite of the Nine Angles is a call to the Dark
Gods who exist beyond Time in the acausal dimensions, where that
power which is behind the form of Satan resides, and waits. The rite is
the blackest act of black magick [...] If such entities as these so-called
'Dark Gods' exist they might be shape-changers, like the Prince of
Darkness himself."

Some Other Themes

An early use of the term numinous in relation to the sinister tradition and the
dark gods, and a hint to look beyond books, words, symbols, sigils:

O9A
The manuscript Aris had left out for him was interesting, telling as it
did of the Dark Gods. But the more he read, the more dissatisfied he
became. The work was full of signs, symbols and words - and yet he
felt it was insubstantial, as if the author or authors had glimpsed at
best only part of the reality. His memory of the recent ritual was vivid,
and as he stared at the manuscript he realized what was lacking. The
work lacked the stars - the haunting beauty he himself had
experienced; the numinous beauty which he felt was waiting for him.
He wanted to reach out again and again and capture that beauty, that
eerie essence, that nebulosity. He had felt free, drifting through space
and other dimensions; free and powerful like a god - free of his own
dense body which bound him to Earth.

Also, there is an early mention - still risqué in the 1970s - of Sapphism, in the
relationship between Denise and the bisexual Miranda.

Testing, And The Way to Adeptship:

We have tested you, and you have not been found wanting. Now, I
shall reveal to you a secret regarding our beliefs. We represent
balance - we restore what is lacking in any particular time or society.
We challenge the accepted. We encourage through our novices, our
acts of magick and through the spread of our ideas that desire to
know which religions, sects and political dogmatists all wish to
suppress because it undermines their authority. Think on this, in
relation to our history, and remember that we are seldom what we
seem to others.

Our Way is all about, in its beginnings, and for those daring
individuals who join us, liberating the dark or shadow aspect of the
personality. To achieve this, we sometimes encourage individuals to
undergo formative experiences of a kind which more conventional
societies and individuals frown upon or are afraid of. Some of these
experiences may well involve acts which are considered 'illegal'. But
the strong survive, the weak perish. All this - and the other directly
magickal experiences like those you yourself have experienced -
develop both the character of the individual and their magickal
abilities. In short, from the Satanic novice, the Satanic Adept is
produced [...] We tread a narrow path, as perhaps you yourself are
becoming aware. There is danger, there is ecstasy - but above all
there is an exhilaration, a more intense and interesting way of living.

O9A
We aim to change this world - yes, but we aim to change individuals
within it - to produce a new type of person, a race of beings truly
representative of our foremost symbol, Satan. Only a few can belong
to this new race, this coming race - to the Satanic elect.

Note the expression "our Way is all about, in its beginnings..." That is, up to but
not including the stage of Internal Adept, the fourth stage of the seven-fold Way.

2. The Giving

Typewritten MS first distributed in 1990. Note: plot spoilers follow.

Basic ONA Noviciate Interpretation

The Giving concerns 'primal Satanism' and a more subtle magick and
manipulation than the previous works, Falcifer and The Temple of Satan. It is a
story based on fact – on real life happenings and real people. It reveals a real
Satanic Mistress in action – someone quite different from the 'accepted' notion
of a Satanic Mistress.

Tree of Wyrd Spheres: Third and Forth.Forms: Ecstasy/Vision. Tarot Images

7,12,5,6,14,17. Alchemical (symbiotic) Processes: Coagulation/Putrefaction.

Summary

The story of a 'mistress of earth', her rural ancestral coven, and their
preparations for a pagan rite of sacrifice called The Giving.

Mallam is central to the story:

"He lusted after success, wealth, power and results while she [Lianna]
urged him toward the difficult – and for him inaccessible – path of
self-discovery."

As Lianna says of some of his 'interests':

"Such activities are not conducive to the self-development which our

way wishes to achieve. They are not, in fact, connected with any
genuine sinister tradition but are personal proclivities, best avoided if

O9A
advancement is sought…. True Adepts do not waste time on such
trivia. Everyone has to make their own mistakes."

His character is revealed in such activities; in how easily he is manipulated

regarding what he is led to believe is Lianna's 'treasure' and then in his
obsession to find it; in his attempted rape and beating of Monica and his
trashing of her apartment; and in his later failure to realize, given his lack of
real Occult abilities, that the 'young village woman' he arrogantly assumed was
"stupid and dull", and whom he thought he could easily control and manipulate,
is in fact manipulating him as part of Lianna's tests and preparations.

Monica is also central to the story, although not in such an obvious manner, for
the character of Monica leads the astute student of the Occult to ask many
interesting questions. Such as, what, if any, is Lianna's involvement with her
death, and if she somehow used sorcery to contrive the 'accident' that caused
her death, why? Because of her personal feelings (such as jealousy) or because
she had judged Monica 'rotten' (and thus a candidate for culling) because of
Monica's continued involvement with Mallam's 'rotten' activities even though
she could have or might have or should have – "I knew what was going on," she
says to Thorold at one point – left at any time?

So, is Monica's death a product of fate, or wyrd, or 'an accident', or of Lianna

being jealous, or of her calmly, in a sinister way, practising the esoteric art of
culling? If a culling, is Lianna correct, justified, or does Monica (as her liaison
with Thorold might seems to suggest) begin to show signs of 'redemption' and
can the rotten deeds of such a past ever be 'redeemed'?

The character of Thorold also suggests, or seems to suggest, some esoteric

riddles. For example,

(a) in respect of his character and why Lianna seems to 'choose' him.

(b) in respect of Lianna:

"She did not seem to him to be evil – just exceptionally beautiful,

wealthy woman, born to power and used to it. But he could not still
his doubts. He heard Sarah's voice in his head accusing her;
remembered Lianna's lie about having no children; her anger toward
Monica. But most of all he remembered Monica's death and Mallam
being borne away by the people of Lianna's village."

(c) in respect of personal choice and tests:

[Thorold] "I never really had much choice, did I?" he asked.

[Lianna] "Oh, yes, you had plenty of times to chose."

O9A
Some Esoteric Themes

1) Tests

a) Before meeting him in person, Lianna arranges for some esoteric MSS to be
sold to Thorold to ascertain his interest and commercial honesty. Satisfied, she
proceeds to seduce him.

Later, she admits she has been 'watching him' [i.e. had him under covert
surveillance] for some time and also had someone do a background check on
him.

b) She shows Thorold a film of a 'Mallam ritual' – involving young girls – which
perplexes and upsets him, and she leaves him alone to think about it.

Later when he asks her about the film, she – to test his empathy, his perception,
his judgement – asks him: "What do you feel – sense about me?"

2) Manipulation

a) Lianna sending Imlach to Mallam with parchments containing a 'secret

script'. Some time before she had planted a seed into Mallam's mind about her
wealth and its origin, saying: "It is a long story. Involving the Templars. I may
tell it some day."

b) Lianna sending Imlach to Thorold regarding Mallam:

"She does not like your interference."

"My what?"

"You are to leave a certain gentleman alone. He is her concern, not

yours."

"Is that so?"

"She kindly requests you not bother him – or any members of his
group."

"Oh, really?"

Imlach moved closer to him. "You'd best heed her advice. For your
own sake."

"Tell her from me I'm not playing her games anymore and I'll do what
I like!" He slammed the door shut.

O9A
3) Local Myths and Legends

a) Mention of the Templars in Shropshire:

"The parchments told of how Stephan of Stanhurst, preceptor, had in

1311 and prior to his arrest in Salisbury, taken the great treasure
stored in the preceptory at Lydley – property of Roger de Alledone,
Knight Templar – to a place of safe keeping. It told how the preceptory
was founded in 1160 and how, centuries later, the lands granted with
it became the subject of dispute and passed gradually into other
grasping hands; for Stephen after his arrest was confined within a
Priory and refused to reveal where he had hidden the treasure. But,
most importantly to Mallam, it told where the treasure had been
stored when the foresightful Roger de Alledone realized the Order
was about to be suppressed by Pope Clement V and all its properties
and treasures seized."

b) Mention of local legends, as for example:

She drove alone the narrow, twisty lanes southeast of Shrewsbury

town to pass the Tree with the House in It, the wood containing Black
Dick's Lake, to take the steep lane up toward Causeway Wood.

"This lane," she said, breaking their silence, "used to be called the
Devil's Highway. Just there -" and she indicated an overgrown hedge,
"was a well called Frog Well where three frogs lived. The largest was,
of course, called Satan and the other two were imps of his."

4) Differing Views about Satanism

a) Conventional Catholic view:

"Joseph de Tonquedec I believe it was, who said something like 'the

Devil's interventions in the material realm are always particular and
are of two kinds, corresponding to miracle and Providence on the
divine side. For just as there are divine miracles, so there are
diabolical signs and wonders.' "

b) From a conversion between Monica and Thorold about Mallam and Lianna:

[Monica] "He approached her about a year ago – wanted to learn

about her tradition."

[Thorold] "Which is what?"

O9A
"What she called the seven-fold sinister way – or something similar."

"Satanism?"

"Not it the conventional sense. Our friend Mallam," and she smiled,
"takes that route. He showed me a book she had given him."

"Oh, yes?"

"The Black Book of Satan I believe it was called. She believes that
each individual can achieve greatness: but that must come through
self-insight. There are certain rituals – ceremonies – to bring this."

"And Mallam?"

"He wants power and pleasure – for himself."

"And is prepared to do anything to achieve it."

"Yes."

"But she – Lianna – still uses people."

"Yes. I think she was using Edgar. But why and for what purpose, I
don't know. In her book I remember reading about members of the
sect being given various tests and led into diverse experiences. These
were supposed to develop their personality."

"Doesn't sound like Satanism to me."

"Well, some of the experiences involved confronting the dark or

shadow aspect: that hidden self which lies in us all. Liberating it
through experiences. Then rising above it."

"And Mallam and his cronies? They wallow in their dark side – without
transcending it?"

"Something like that."

c) Lianna's view:

[Thorold] "How does the book [the Black Book of Satan] I found fit
into all this?"

[Lianna] She smiled, as a schoolmistress might toward an otherwise

intelligent pupil. "Satanism, you mean?"

O9A
"Yes," he answered, amazed at her perspicacity.

"It is not the way I follow. My tradition is different – much older."

5) Ancestral Traditions

"Her family kept alive for generations the old traditions, the old ways
– as did the folk of the village."

"It was an isolated village, surrounded by hills and accessible only by

narrow, steep and twisting lanes. To the west of the village lay The
Wilderness, Robin's Tump and the steep hills of Caer Caradoc hill. The
lane northward led along Yell Bank, skirted Hoar Edge and the side of
Lawley hill to the old Roman road to Wroxeter. To the south, the
village was bounded by Stredbow Moor, Nant Valley and Hope
Bowdler hill. The area around the small village was, like the village
itself, unique. Small farms nestled on the lee of the hills or rested in
sinewy valleys hidden from the lanes. Coppice and woods merged into
rough grazing land and the few fields of arable crops were small, the
size hardly changed in over a century. But it was the sheltered
isolation of the area that marked it out, like a time-slip into the past –
as if the surrounding hills not only isolated it physically but
emotionally as well. Perhaps it was that the hills dispersed the winds
and weather in a special way, creating over the area of the village and
its surrounding land an idiosyncratic climate; or perhaps it was the
almost total lack of motorized transport along the rutted lanes. But
whatever the cause, Stredbow was different, and Sidnal Wyke knew
it."

3. The Temple of Satan

Typewritten MS first distributed in 1991. Note: plot spoilers follow.

Basic ONA Noviciate Interpretation

While The Temple Of Satan does (like Falcifer) deal with the Dark Gods, it main
theme is emotion on the personal level, particularly 'love' (of the infatuation and
sexual kind) and how a Satanic Initiate of some experience encounters and
deals with them. Emotion ('love') of the type encountered is a stage, to be
experienced and transcended. For a Satanist not yet achieved Adeptship, this
feeling/emotion is often a snare, a trap which they can fall into, thus ending
their sinister quest.

O9A
Thus the work considers feelings and desires which are often still unconscious,
and about making these more conscious, controlling them and transcending
them. Third sphere on Tree of Wyrd. Magickal form: Ecstasy. Tarot Images:
6,14,17. Alchemical (symbiotic) process: Coagulation.

Summary

The story of a young bisexual priestess of an avowedly Satanic coven who uses
her sexuality to entrap, control, and sometimes mistreat men (occasionally
sadistically) but who becomes bored with her life and so plans to undertake the
sacrificial 'Ceremony of Recalling' after finding and enchanting a suitable naive
male as opfer.

"So had she played her games of power and joy, feeling herself the
equal of gods. There were few crimes that she had not sanctioned or
sent men, in their lust, to commit, few pleasures she had not enjoyed.
Yet she was not maddened by either pleasure or power, and kept her
empire small, sufficient for her needs, and herself anonymous. Many
small firms headed by small men, a brothel or two, a number of
temples in the cities beyond – such were the gifts of her Prince and
she tended them all, as a wise woman should."

Her plans are threatened by (a) betrayal by one of her coven, (b) her
unexpectedly falling in love, (c) a mysterious, reclusive, old man called Saer,
and (d) some urban rather fanatical followers of Crowley:

"They cannot be allowed to break the Current of Aiwaz."

Jukes, stocky and squat, sincerely believed what he said. For over a
year he had run his small Temple in London, helping by his acts of
magick to further the Aeon of Ma'at. By day, he worked in an office,
but at night, in his basement flat, he became High Priest for his gods.
He had read widely on the subject of the Occult, made many contacts
during the years of his searching, but he was surprised by the books
and manuscripts that Pead possessed. Avarice was a stranger to
Jukes, but the rare books and manuscripts introduced them."

Some Esoteric Themes

1) Invokation to Baphomet.

Now shall we with feet

Faster than storm's horses
Seek to bring she who with fire
And cutting sword leaps plunging

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Upon her foe while the fates of dread
Unerring gather round…

She detailed her Guardians to carry the body and let them into her
secret Temple where they threw it into the pit beneath the plinth that
held her crystal. There was laughter and lust among the worshippers
when she returned."

2) Sapphism and Sapphic Sorcery.

She closed and locked the door before sitting beside Claudia on the
bed. "You are beautiful," she said, caressing Claudia's neck [...]

[Afterwards Claudia] lay beside Melanie, embracing her and softly

crying, drawing comfort from the strange woman who kissed away the
tears, feeling in that moment that all the confusion, doubts and sorrow
that her sensitivity had brought her over the years, was no more. Her
past, with its broken relationships, its traumas and dreams, was
forgotten. Her future was unreal – only the present was meaningful to
her. She sensed forces outside the house that wished to harm the
woman who kissed her and whose body heat reassured, but she was
protected for the moment from those forces as Claudia felt protected.
The harmful forces, which were waiting for weakness, drew more
emotion from Claudia until she felt a genuine love….

3) The Dark Gods, The Abyss, and The Nature of Satan.

"There was a yearning in Melanie as she stood beside her Priestess

and lover. But it was not a yearning for love – only a cold desire to
alter the living patterns in the world and so fulfill her Destiny by
returning the Dark Gods to Earth. She was suspended between her
past with all its charisma and power and the future that might have
been possible if she had surrendered to Thurstan's love. She was
aware of herself only through the images of the past and her barely
formed feelings for Claudia: detached from the realness of her body
and personal emotions. The power being invoked seemed to be
drawing her toward the Abyss and the spaces beyond the Abyss where
she had never been.

The Abyss was within her, within Claudia, within all those in the
Temple and all those outside it. It was primal awe, terror, and
intoxication [...]

[Then, an answer.] It was an answer without words – a feeling that

drew her beyond the cold Abyss to where a new universe waited. She

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was drifting in this universe, floating among the stars and galaxies of
love, sadness, sorrow and joy, and as she consciously drifted, her body
tensed and tears came to her eyes. Images and feelings rushed
through her as a whirling system of planets and stars forms from
chaos and rushes through a galaxy past other stars when time itself is
compressed. The images were of her past but the feelings attached to
them were not the original feelings. There was sadness instead of
exultation, love instead of anger, grief instead of joy."

3) Ancestral Traditions

"The [human] remains were the work of the sinister woman who had
in the weeks of her dying given Melanie the house. 'I have waited for
you,' she remembered the old woman had said, 'waited as our Prince
said I should. My coven and books and house are yours.' She never
spoke again, but signed her name on her will, and Melanie was left to
find the old woman's secrets from the Black Book of workings she had
kept. 'I, Eulalia, Priestess of the forgotten gods, descended from those
who kept the faith, here set forth for she who is to come after me, the
dark secrets of my craft.'

The book was Melanie's most treasured possession, after her crystal
and her [amber] beads. It was the crystal that first showed her the
house."

4) A Hidden Quartz Tetrahedron

" [There were] few clothes, furniture or possessions [in the cottage] …
It was damp if clean, austere but full of memories. The memories,
spectral forms and sounds, seeped out of the walls, the floor, the
beams which held the roof, to greet Melanie. Sighs, laughter, the pain
of childbirth, an old man dying his bed while his spirit wandered the
hills above.

Two centuries of life, struggle, love and death. But however intently
she listened, however still she held her gaze, neither sights nor
sounds from Thurstan's past seeped to her through the gates of time,
and it was behind the only painting in the cottage that she found her
answer. It was a good painting of a pretty woman, curiously hung
above the long narrow windows where Melanie had seen Thurstan
sitting. Behind it, totally obscured, was a niche carved from the rough
stone that made up the walls. It contained a large quartz crystal.
Stored in the crystal was Thurstan's life, in images only a Mistress of
Earth or a Magus could see."

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"The ritual had bored her, and she did not miss the pleasure
that she had obtained in the past through having a man
grovelling while she whipped his naked flesh. Instead, she
thought of Thurstan and his strange life that she had seen in
the crystal."

5) Enter An Old Man

She was about to raise her hand to force his head up so she could see
into his eyes when she saw an old man dressed like a peddler walk
through the open door of her house.

"He is mine, I believe," he said as he tapped Jukes on the shoulder to

free him from the bonds Melanie had placed around him. "He is no
use to you. But if you object…"

"Who are you?" she asked.

He bowed deeply, like a jester. "I am Saer."

"Saer?"

He looked around the hall and peered briefly into the Temple. "You
have made great changes, I see." Then smiling, be bowed again before
escorting Jukes away.

5) Satanism.

Note the two apparently differing perceptions. The exoteric, and the esoteric.

a)

"The most fundamental principle of Satanism is that we as individuals

are gods. The goal of Satanism is simple – to make an individual an
Immortal, to produce a new species. To Satanists, magick is a means,
a path, to this goal. We walk toward the Abyss and dare to pass
through to the cold spaces beyond where CHAOS reigns. There is
ecstasy in us – and much that is strange. Vitality, health, laughter and
defiance – we challenge everything, and the greatest challenge is
ourselves."

b)

"All of [the books], and the manuscripts bound like books, were about
alchemy, magick or the Occult. He could read the Latin of the
medieval manuscripts and books, but what they related did not

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interest him as the later books brought forth no desire to read further.
Even the Black Book of Satan, resting on the table, seemed irrelevant
to him. They were all compilations of shadow words, appearing to
Thurstan to fall short of the aim that the searchers who had written
them should have aimed for. His instinctive feeling was to observe in a
contemplative way some facet of the cosmos – to stand outside in the
dark of the night and listen for the faint music that travelled down to
Earth from the stars – rather the enclose himself in the warm womb of
a house to read the writings of others. Demons, spells, hidden powers,
the changing of base metal to gold, even the promises of power and
change for himself, were not important to Thurstan, and he left the
library with its stored knowledge and forbidden secrets and lurking
gods, to walk in the moonlit garden.

The stars were not singing for him – or he could not hear them above
the turmoil of his thought…

He moved, like an old man pained by his limbs, through the cold and
sometimes swirling mist along a path that took him toward the Mynd
and up, steeply, to its level summit where he stood, high above the
mist, to watch the mist-clotted valleys below. The heather was
beginning to show the glory of its colour, and he walked
through it northbound along the cracked and stony road stopping
often to turn around and wait. But no one and nothing came to him –
no voices, song or sigh [...] The very Earth itself seemed to be
whispering to him the words of this truth. He began to sense, slowly,
that there was for him real magick here where moorland fell to form
deep hollows home to those daughters of Earth known as springs and
streams, and where the Neolithic pathway had heard perhaps ten
million stories. No wisps of clouds came to spoil the glory of the sun
as it rose over the mottled wavy hills beyond the Stretton valley miles
distant and below. No noise to break the almost sacred silence heard.
For an instant it seemed as if some divinity, strange but pure, came
into the world, and
smiled."

°°°°°°°

Notes

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{1} Parts of following text first appeared, in 2012, under the title The
Esotericism of The Deofel Quartet: A Study, By Means of Quotations, Of The
Esoteric Mythos Of The Order of Nine Angles.

{2} As Myatt writes in his Some Notes On The Theory of The Acausal in relation
to the use of the term acausal-dimensions:

"The term dimension is used here to refer to an aspect, or component,

or quality, or arrangement, or an attribute of, a
theorized/mathematical form (or space), and/or of an object/entity
posited or observed.

One example of a mathematical form is an Euclidean space (geometry)

described by three attributes – measurable dimensions – at right
angles to each other. Another example is a four-dimensional manifold
as used in the theory of general relativity, and one of which
dimensions is a measurable (linear) 'time'. One example of a
mathematical space is a Hilbert space of infinite (unmeasurable)
dimensions.

Thus the term dimension includes but is not limited to something

measurable by physical means."

{3} See the 'Al-Kitab Al-Alfak' section of my 2013 text Originality, Tradition,
And The Order of Nine Angles.

cc O9A 2013 ev
This work is licensed under the Creative Commons Attribution-NoDerivatives 4.0
International license and can be freely copied and distributed,
under the terms of that license

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