The View from the Abyss

'"Battle not with monsters, lest ye become a monster, and if you gaze into the abyss, the abyss gazes also into you." 

(Fredrich Wilhelm Nietzsche 1844-1900)

© Brian Allan 2004

Word Count: 3,718 

Foreword

It is likely that Nietzsche intended the above quotation as a metaphor describing how we are affected and influenced by the world around us and the people we encounter. It is also likely that when he mentions the abyss, he specifically refers to evil as an entity in its own right and how we may eventually pay the ultimate price for engaging with it. However, it is also sufficiently wide ranging enough that it might also describe what can and does happen to those who look into and immerse themselves in the hidden worlds and mysteries that surround us. In this essay we will journey into the realms of magic and what might exist there.

The View from the Abyss

What is the nature of 'The Abyss' that surrounds us; is it the true source of the power harnessed by magicians and psychics? Is it the realm of ghosts, poltergeists, demons and devils; is it what for aeons has been referred to as heaven or hell? Is it the pitiless, personal snare of madness, or is it something that is only now gradually being recognised as a limitless energy and information field that can be tapped and focussed by anyone possessing sufficient knowledge, discipline and dedication? It has been suggested that if this is the case, and you 'gaze' (or meditate) upon it, it may be possible that some its essence returns with you into this world. As we shall see, it is also possible that the very nature of both what it is and what it might be have the power to destroy the intellect of the casual or dilettante observer. Is this because the minds of those who glimpsed the infinite chaos of the abyss recoiled when the implications of what they saw there suddenly erupted upon their understanding, or alternatively, they simply could not accept, comprehend or absorb the ultimate nature of it?

Science and Magic

Perhaps one of the most interesting dichotomies in paranormal research is the deliberate segregation of science and magic that came about millennia ago due to a variety of social, cultural and religious reasons, when in truth, both disciplines act as mirrors precisely reflecting one another. At one time the practise of scientific research, especially alchemy, was classified as magic due to the fact that so little was understood, by anyone, about natural processes and functions. Gradually, perhaps because of powerful patronage, alchemy achieved a measure of respectability and although there is no conclusive evidence that lead was ever transmuted into gold, it was this particular branch of early science that, over time, developed into metallurgy and a host of other disciplines. Witchcraft on the other hand had developed from various non-Christian, pagan belief systems that had more in common with animism and nature worship than anything else. Although this type of homage did not present any real threat to the emerging Christian Church, it represented a challenge to both its power and inflexible orthodoxy and was therefore suppressed with unremitting ferocity.

In common with the fledgling science of alchemy, it was from the much older practise of witchcraft that many important discoveries into the medicinal uses of natural substances were made. A typical example of this is the commonly used medication, aspirin and its derivatives. The drug, aspirin, or at least one of its constituents, salicylic acid, was originally derived from the bark of willow trees and although now produced synthetically, if necessary it could still be obtained from its original source. Interestingly, it was also witches and their cousins, shamans, who discovered and employed the effects of hallucinogenic plant extracts to empower their journeys into the realm of spirits where they were frequently able to gain information predicting future events.

The discrete use of hallucinogens was also employed by ancient Greek and Roman priests and priestesses who assumed the role of oracles, and to make the experience of those seeking advice from the oracle truly mystical, there was also the deliberate and sophisticated use of disorientation and other theatrical techniques. Nowadays however, virtually all of these old practises have either disappeared or been modified to suit modern tastes and oracles have since evolved into mediums and clairvoyants. Alchemy on the other hand, in addition to its original purpose, is now regarded in some quarters as a metaphor for the pursuit of spiritual perfection. While the practise of witchcraft is now is more or less tolerated, it still attracts much unfavourable and ill-informed comment. In spite of the evolution of both alchemy and to a lesser degree witchcraft, there is still no clear point at which conventional science and magic converge. This is not because it does not exist, because it does, but instead, because of the refusal of Newtonian science and the corporate status quo to admit or accept the obvious, esoteric science remains in a hinterland of rejection, self-interest, fear and superstition.

It is arguable that anyone who practices magic, black, white or any shade in between, continually walks on the edge of the abyss whenever they invoke the forces that supposedly inhabit the invisible worlds that swirl and eddy around us. Depending on how one interprets the term 'magic' it becomes evident that it is not only confined to the traditional practitioners of that science, for indeed science it is. Those who are also involved in the magical process include, amongst others, psychic mediums, channellers, scryers, and healers. They do not see themselves as magicians, but by the nature of what they do and the results they achieve, the word, magic, summarises their abilities exactly. The denial is almost akin to a form of snobbery and a desire to distance themselves from the techniques and practises of their magical cousins. In fact, it may be that it is mediums rather than magicians who actually gaze into the abyss on a regular basis, particularly those talented few who are physical or transfiguration mediums. However, among those who have styled themselves in the conventional image of mages or magicians, some, by design, for whatever reason, have most definitely cast their lot with the 'dark side'.

The Dark Side of Magic

Oi sonuf vaoresaja, gohu IAD Balta, elanusaha caelazod: sobrazod-ol Roray I ta nazodapesad 

[The first line of the 'First Key of Enoch' in the Enochian language taken from 'The Satanic Bible' by Anton Szandor La Vey, p155, pub Avon Books 1979]

Anton Szandor La Vey (1933-1997) sometimes referred to as the 'Black Pope', author of 'The Satanic Bible' and 'The Satanic Rituals' and founder of the 'Church of Satan,' was very much in this mould. At first sight he appears to have been a 'grandstander' who, like some other high profile mages, relished his notoriety and was more interested in creating an image and lifestyle based upon his own particular credo. However, on closer inspection this is not the case, an interesting aspect of The Satanic Bible is the inclusion of a number of conjurations in 'Enochian', a language transcribed by the 16th century magician and alchemist Dr John Dee. The specific purpose of this enigmatic 'language' is to summon and communicate with demons and lesser entities to carry out the will of whoever invokes them. Dee claimed to have learned this language during his encounters with entities from, presumably, the abyss; he claimed that it was the language of angels.       

One interesting aspect of Dee's alleged encounters with 'angels' may be the result of mistranslation. When Dee encountered these entities it was as a result of scrying (clairvoyance) conducted by his assistant, Edward Kelley. When Kelley did this he used, not a conventional crystal ball, but instead a multifaceted artefact called a 'Trapezohedron'. It is thought that what they saw reflected in the facets (or angles) of the crystal were entities inhabiting dimensions alongside our own, certainly not divine beings and the use of the term 'angels' was a either misunderstanding that derived from the word 'angles', or simply the lack of any better description for they saw.

Although La Vey set up his 'church' in direct opposition to the Christian church, in a strange manner he was legitimising the very organisation and deity that he railed against. Originally, the existence of Satan was necessary to serve as a logical counterpoint to Christ or God; where there is good, to demonstrate the difference, of necessity you must have the opposite, evil. Therefore when La Vey created his satanic church it was actually perpetuating and contributing to a natural law of balance. Was this perhaps an unintentional demonstration of the Gnostic tenet, 'as above, so below'? Neither did he originally set himself up as a magician; rather, in spite of all the magical trappings and ceremonies, his role seems to have been that of an evangelising, 'anti-messiah' figure promoting the works and values of Satan, his master. One quote of La Vey's sums up his views of traditional magic and magicians quite well; "With very few exceptions, every tract and paper, every 'secret grimoire', all of the 'great works' on the subject of magic are nothing more than sanctimonious fraud', guilt-ridden ramblings and esoteric gibberish by chroniclers of esoteric lore unable or unwilling to present an objective view on the subject'. [Ibid p 21]

At its root, LaVey's satanic philosophy considers Christianity as inherently defeatist, limp and hypocritical, while Satanism reflects the realities, needs, desires (and failings) of humanity. Superficially this has a certain attraction, those who promote a supposedly idealised 'good' life can only ultimately fail (as can be regularly seen in lurid tabloid headlines concerning priests and ministers), while those following a pragmatic path that recognises, glorifies and accepts the human condition may find it more acceptable. This is perhaps where many incorrect assumptions are made; this creed does not suggest that someone embarks on a life of crime and perversion, but instead it does not automatically categorise the pleasures of the flesh as sinful. Perhaps this can be summarised as, you do not necessarily have to be a bad or immoral person to be a Satanist. Before leaving this section; on a particularly sinister note, copies La Vey's Satanic Bible have often been found among the personal belongings of convicted killers and rapists, particularly young ones. This more than anything else illustrates the latent power and influence contained in works like this, they are most definitely are not for the inexperienced or uninitiated. However, it can also be argued that ultimately, the hedonistic philosophy preached by La Vey is only an enhanced variation on the crass materialism fostered by the 'me first' generation of the 1980's, perhaps he even saw it coming.

Into the Abyss

Of the other practitioners, only one or two may have actually experienced success in performing effective magical rituals, and in relatively recent times of those fitting this description there is only one man who really lived up to and fed the publics expectations, and that was Aleister Crowley. Although the available information suggests that Crowley was a self-centred and profoundly selfish man there is no doubt that he exercised considerable charisma and he certainly had no doubts about his abilities as a magician. Crowley's interest in the occult blossomed shortly after he went to university and from there he quickly became involved with a series of esoteric organisations including the 'Golden Dawn' and the 'Ordo Templi Orientis' (OTO). Such was his dynamism that he soon vied for leadership of both organisations and perhaps predictably fell foul of the existing masters of both of them. Eventually, Crowley and a group of his followers left for Sicily where they founded the 'Abbey of Thelma' dedicated to the practise of 'Magick' rituals designed or adapted by Crowley. However, it is fair to say that by this time Crowley, who by now was using of a variety of powerful drugs, was not quite the man he once was, but he still exerted considerable influence over his disciples.

The Goetia

The magic practised by Crowley and many of his acquaintances came under the heading of 'Goetia' from the Latin, 'howling'. Traditionally, Goetia was created by King Solomon, who, after having been given the power by God, was supposedly able to command a variety of demons to assist in the building of his near legendary temple. Although having its roots in pre-Christian traditions, much the Goetia as we know now is probably a product of the medieval European church with its attendant hierarchies of angels and demons. The best-known example of the Goetia is the 'Lemegeton Clavicula Salomonis 'or 'Lesser Key of Solomon'. Goetic magic is extremely ceremonial, which is totally in keeping with the organisations to which Crowley had belonged; all of them favoured elaborate costumes and rituals. If there really is a spiritual abyss then there is no doubt that Aleister Crowley gazed long and deeply into it when he invoked the Goetic rituals of 'Abramelin the Mage'. During this lengthy and complex ritual the student attempts to contact his guardian angel who then passes on knowledge about how to use the newfound ability and power to command demons to the students will. Legends from Goetic lore tell of magicians who either went mad or died as a result of dealing with entities and forces that were much too powerful for them.

In Crowley's case he seems to have been a match for the powers he unleashed although the same cannot be said for many of his disciples who either went insane or became alcoholics simply because they could not cope with the reality of what they had seen and done. In common with Anton La Vey, Crowley's philosophy also preached a remarkable degree of tolerance and license that was enshrined in his famous dictum, 'Do what thou wilt shall be the whole of the law, love is the law, love under will'. This has (wrongly) been interpreted to mean an amoral free for all, but as has often been pointed out, 'Do what thou wilt,' is not the same as 'Do what thou like', it is not a carte blanche permitting any and every act, perhaps the difference is subtle but nevertheless it is valid.

Current thinking on the Goetia carries a strong resonance with another magical discipline, that of 'Chaos Magic'. Other than a degree of commitment and dedication from the practitioner, this type of magic requires neither costume nor ritual. Modern ceremonial magicians who have some background in psychology contend that Goetic demons are in fact the negativity and anger existing within the human psyche, in other words, the collective unconscious. If this is the case, then the magician is commanding atavistic forces that are present not only in him, but also throughout humanity, in effect, archetypes. This in itself opens up another area of speculation, are demons and their lesser cousins in fact the product of the combined energy fields created by human beings? Are the imp's, trolls, fairies and other bizarre entities of antiquity manifestations of the subconscious mind, did they exist only as long as humanity believed they existed. In other words, since we and everything around us however solid it appears, at a subatomic level is a swirling, electromagnetic matrix, then consciousness, which is part of this matrix, may be able to use the energy to manifest it's wishes.

This is of course one of the corner stones of Chaos Magic; i.e. absolute and unswerving belief in something alters subjective and objective perceptions of reality. Perhaps if a magician called up a demon of ferocity and rage then lost control of it, would this mirror the proposition that as in chaos theory, if a butterfly beats its wings in Melbourne would it cause a tornado in Oklahoma? In other words, providing the magician, either ritual or chaos, was in control of the force he had invoked then it would remain the 'flutter of a butterfly's wing'. But because of the many factors involved, once released there is no predicting what the outcome might be, which exactly illustrates what can happen in chaos magic. It is often said that the entities materialised by the use of Goetic magic are unreliable, sly and stupid, and have to be controlled by whatever means necessary.

One method by which a Goetic, or ritual magician may control the entity he has summoned is by the use of threats, which are made using divine names, or specifically the vibration or frequency the names create. This supposedly informs the entity that the magician speaks with the authority of the god or other sacred being whose name he invokes, it also another excellent demonstration of the latent power in frequency and resonance. As already mentioned, earlier in the article, at the subatomic level we and our world are nothing more than a cohesive matrix existing at a series of frequencies, it therefore follows that other realities will have frequencies specific to them. It is possible that the words uttered by magicians have no intrinsic power in themselves, but the phonemes and tones with which the word is constructed does, in short; frequency; is this the key to magic, does learning to use the words of power enable the resonant frequencies of power? Although not strictly a use the 'magical' use of sound, the manner in which this skill was most often used was during combat by traditional Samurai warriors and other practitioners' of martial arts. The attacker would often utter a loud cry designed to momentarily lower the blood pressure of their opponent thus giving them a slight advantage. However, although the effect of sudden noises on human beings may produce a physiological reaction rather than a magical one, it is nevertheless effective and demonstrates how sound affects us. Its modern counterpart is taught to infantry soldiers during weapons training with fixed bayonets, they are taught to shout as they charge and plunge their bayonet into a practise dummy. While this may have a similar psychological effect on the enemy in a one to one basis, in the clamour and noise of modern warfare it can probably be discounted.

'The abyss gazes also into thee'

The end results of using any form of magic, and I include all forms of psychic ability in this description, are completely unpredictable. Are all 'seekers' or magicians affected to some degree by their experiences, or does the abyss select its own victims, or is it a mixture of both? Were Crowley and La Vey both monsters and were they mad? So far as the use of the term 'monster' is concerned than yes, depending on how one defines the term 'monster', perhaps they were, but the term 'monstrous' probably describes them better, particularly Crowley. Both were utterly convinced of their own abilities and both had a clear idea of what they wished to do, although if financial gain is anything to go by, it seems that La Vey was the more successful of the two. Having said that, it should be remembered that La Vey founded his satanic church in a post-war era that was rapidly coming to terms with a newfound sense of liberation and freedom from moral hypocrisy and humbug; it also catered for a specific need. Bear in mind too, that like millions of others, those who had recently returned to the United States from the Second World War had glimpsed the bloody excesses in an unholy abyss created by (all too) human beings. Furthermore, it is a matter of fact that many of those who had been forced to enter this abyss emerged scarred for life both emotionally and physically by what they had seen and endured there.

In terms of presentation, both used theatrical techniques in their ceremonies and although Crowley used modified versions of accepted Goetic practises, La Vey created specific psychodramas for use in his temple. He obviously learned a great deal for his varied career as a fairground and burlesque musician and forensic photographer. Like Crowley, he also adopted modes of dress to accentuate and enhance his presence, in this case the deification of Lucifer, he even took to wearing a flamboyant black and red costume that included a tail and horns. Although he eventually abandoned this practise, he originally excused himself by saying that people expected to see a personification of the Devil, something instantly identifiable, so he gave them it to them. This technique is virtually identical to that used by religions down the ages. Angels as we know them now were an invention of the medieval Roman Catholic Church which (correctly) calculated that by creating a hybrid, physically desirable winged human, it made acceptance of them much easier. It is also strange that the image he chose had been modified by medieval artists employed by the Catholic Church from traditional images of goats and stags, who were the embodiment of mythical characters like the horned entity, 'Hearne the Hunter' and his alter ego, the deity Pan.

Were they mad? Perhaps, but not in any obvious fashion, modern commentators have suggested that they both may well have been psychopaths, although a better description might be 'liberated' or 'uninhibited'. Madness is often popularly defined by the following saying, 'There's a very fine line between madness and genius' which is a particularly apt description of what befell some of those souls, brave or foolish enough to concentrate upon and study the real nature of the intangible forces that surround us. After they had gazed into the occluded abyss of forbidden knowledge did they become unable to detach from the elusive, addictive, infernal power residing there? Did the unique insight they obtained so overwhelm their rational mind that all that remained was an irrational fear and obsession driving them further into some dark sanctuary of their own devising? There is little doubt that this was the end result for many of those lacking sufficient strength of mind and determination, but not for men like La Vey and Crowley whose madness manifested through their charisma, showmanship flamboyance…and yes, their skill.

Sources:

	The Satanic Bible, by Anton Szandor La Vey pub Avon Books 1969
	The Wizard, by Alan Baker, pub Edbury Press 2003