Timing
in every successful situation, one of the most important ingredients is the
proper timing. In the performance of a magical ritual, timing can mean success
or failure to an even greater extent. The best time to cast your spell or
charm, hex or curse, is when your target is at his most receptive state.
Receptivity to the will of the magician is assured when the recipient is as
passive as possible. No matter how strong-willed one is, he is naturally
passive while he is asleep; therefore, the best time to throw your magical
energy towards your target is when he or she sleeps. There are certain periods
of the sleep cycle that are better than others for susceptibility to outside
influences. When a person is normally fatigued from a day's activities, he will
"sleep like a log" until his mind and body are rested. This period of
profound sleep usually lasts about four to six hours, after which the period of
"dream sleep" occurs which lasts two or three hours, or until
awakening. It is during this "dream sleep" that the mind is most
receptive to outside or unconscious influence. Let us assume the magician
wishes to cast a spell on a person who would usually retire at 11 o'clock in
the evening, and rise at 7 o'clock in the morning. The most effective time to
perform a ritual would be about 5 o'clock in the morning, or two hours before
the recipient awakens. It is to be emphasized that the magician must be at his
peak of efficiency, as he represents the "sending" factor
when he performs his ritual. Traditionally speaking, witches and sorcerers are
night people, and understandably so. What better schedule on which to live, for
the sending of thoughts towards unsuspecting sleepers! If only people were
aware of the thoughts injected into their minds while they slept! The dream
state is the birthplace of much of the future. Great thoughts are manifest upon
awakening, and the mind that retains, in conscious form, these thoughts, shall
produce much. But he who is guided by thoughts unrecognized is led into
situations that will later be interpreted as "fate", "God's
will", or accident. There are other times in each person's day that lend
themselves to the receiving of the will of the wizard. Those times when
day-dreaming or boredom ensue, or when time hangs heavy, are fertile periods of
suggestibility. If a woman is the target for your spell, do not forget the
importance of the menstrual cycle. If man were not dulled through his stifling
evolutionary development, he would know, as an allfours animal knows, when the
female was most sexually inclined. Man's snout, however unsullied by cheap
opiates, is not normally equipped to ferret out such tell-tale erotic scents.
Even if he were so endowed with such olfactory powers, the object of his quest
would most likely "throw him off the scent" through the use of
massive doses of perfumery to cover and smother the "offending"
effluvium, or eliminate detection completely, by the astringent action of
powerful deodorants. Despite these discouraging factors, man is still motivated
to desire or be repelled, as the case may be, by his unconscious recognition of
the change in woman's body chemistry. This is accomplished in the form of a
sensory cue, which is olfactory in its nature. To go backwards, in what would
amount to a return to the all-fours animal, would seem to be the best exercise
for the conscious application of these powers, but to the squeamish might smack
of lycanthropy. There is, however, an easier way, and that is to simply
ascertain the dates and frequency of the menstrual cycle of the woman who is
your target. It is immediately before and after the period itself that the
average woman is most sexually approachable. Therefore, the magician will find
the sleep period during these times most effective for the instillation of
thoughts or motivations of a sexual nature.Witches and sorceresses have a much
greater range of time in which to cast their spells toward the men of their
choice. Because man is more consistent in his sexual drives than woman
(although there are many women with equal or even greater lusts), day to day
timing is not as important..
Any man who is not already drained of all sexual energy is a "sitting
duck" for the proficient witch. The time of the year following the spring
equinox is the most fraught with sexual vigor in a man, and he asserts himself
accordingly; but the witch, in turn, must work her magic stronger, as she will
find his eyes will stray. Should the fearful ask, "Is there no defense
against such witchery?" it must be answered thus -"Yes, there is
protection. You must never sleep, never daydream, never be without a vital
thought, and never have an open mind. Then you shall be protected from the
forces of magic." Imagery THE adolescent boy who takes great care in
carving, on a tree, a heart containing his and his love object's initials; the
little chap who sits by the hour drawing his conception of sleek automobiles;
the tiny girl who rocks a scuffed and ragged doll in her arms, and thinks of it
as her beautiful little baby - these capable witches and warlocks, these
natural magicians, are employing the magical ingredient known as imagery, and
the success of any ritual depends on it. Children, not knowing or caring if
they possess artistic skill or other creative talents, pursue their goals
through the use of imagery of their own manufacture, whereas
"civilized" adults are much more critical of their own creative
efforts. This is why a "primitive" magician can utilize a mud doll or
crude drawing to successful advantage in his magical ceremonies. To HIM, the image
is as accurate as needs be. Anything which serves to intensify the emotions
during a ritual will contribute to its success. Any drawing, painting,
sculpture, writing, photograph, article of clothing, scent, sound, music,
tableau, or contrived situation that can be incorporated into the ceremony will
serve the sorcerer well. Imagery is a constant reminder, an intellect-saving
device, a working substitute for the real thing. Imagery can be manipulated,
set up, modified, and created, all according to the will of the magician, and
the very blueprint that is created by imagery becomes the formula which leads
to reality. If you wish to enjoy sexual pleasures with the one of your choice,
you must create the situation you desire on paper, canvas, by the written word,
etc., in as overstated a way as possible, as an integral part of the ceremony.
If you have material desires, you must gaze upon images of them - surround
yourself with the smells and sounds conducive to them - create a lodestone
which will attract the situation or thing that you wish! To insure the
destruction of an enemy, you must destroy them by proxy! They must be shot,
stabbed, sickened, burned, smashed, drowned, or rent in the most vividly
convincing manner! It is easy to see why the religions of the right-hand path
frown upon the creation of "graven images". The imagery used by the
sorcerer is a working mechanism for material reality, which is totally opposed
to esoteric spirituality. A Greek gentleman of magical persuasion once wanted a
woman who would satisfy his every desire, and so obsessed with the unfound
object of his dreams was he, that he went about constructing such a wonderful
creature. His work completed, he fell so convincingly and irrevocably in love
with the woman he had created that she was no longer stone, but mortal flesh,
and alive and warm; and so the magus, Pygmalion, received the greatest of
magical benedictions, and the beautiful Galatea was his. Direction ONE of the
most overlooked ingredients in the working of magic is the accumulation and
subsequent direction of force toward an effective end. Altogether too many
would-be witches and warlocks will perform a ritual, and then go about with
tremendous anxiety waiting for the first sign of a successful working. For all
intent and purpose, they might as well get down on their knees and pray, for
their very anxiety in waiting for the desired results only nullifies any real
chance of success. Furthermore, with this attitude, it is doubtful that enough
concentrated energy to even perform a proper ceremony could be stored up in the
first place. To dwell upon or constantly complain about the situation upon
which your ritual would be based only guarantees the weakening of what should
be ritualistically directed force, by spreading it thin and diluting it. Once
the desire has been established strongly enough to employ the forces of magic, ,
then every attempt must be made to symbolically give vent to these wishes IN
THE PERFORMANCE OF THE RITUAL - NOT before or after! The purpose of the ritual
is to FREE the magician from thoughts that would consume him, were he to dwell
upon them constantly. Contemplation, daydreaming and constant scheming burns up
emotional energy that could be gathered together in a dynamically usable force;
not to mention the fact that normal productivity is severely depleted by such
consuming anxiety. The witch who casts her spells between long waits by the
telephone, anticipating her wouldbe lover's call; the destitute warlock who
invokes Satan's blessing, then waits on pins and needles for the check to
arrive; the man, saddened by the injustices wrought upon him, who, having
cursed his enemy, plods his way, long of face, and furrowed of brow - all are
common examples of misdirected emotional energy. Small wonder that the
"white" magician fears retribution after casting an "evil"
spell! Retribution, to the guilt-ridden sender, would be assured, by their very
conscience-stricken state! The Balance Factor THE Balance Factor is an
ingredient employed in the practice of ritual magic which applies to the
casting of lust and compassion rituals more than in the throwing of a curse.
This ingredient is a small, but extremely important one. A complete knowledge
and awareness of this factor is an ability few witches and warlocks ever
attain. This is, simply, knowing the proper type of individual and situation to
work your magic on for the easiest and best results. Knowing one's own
limitations is a rather odd bit of introspection, it would seem, for a person
who should be able to perform the impossible; but under many conditions it can
make the difference between success and failure. If, in attempting to attain
your goal through either greater or lesser magic, you find yourself failing
consistently, think about these things: Have you been the victim of a
misdirected, overblown ego which has caused you to want something or someone
when the chances are virtually non-existent? Are you a talentless, tone-deaf
individual who is attempting, through magic, to receive great acclaim for your
unmusical voice? Are you a plain, glamorless witch with oversized feet, nose,
and ego, combined with an advanced case of acne, who is casting love spells to
catch a handsome young movie star? Are you a gross, lumpy, lewd-mouthed,
snaggle-toothed loafer who is desirous of a luscious young stripper? If so,
you'd better learn to use the balance factor, or else expect to fail
consistently! To be able to adjust one's wants to one's capabilities is a great
talent, and too many people fail to realize that if they are unable to attain
the maximum, "a half a loaf can be better than none". The chronic
loser is always the man who, having nothing, if unable to make a million
dollars, will reject any chance to make fifty thousand with a disgruntled
sneer. One of the magician's greatest weapons is knowing himself; his talents,
abilities, physical attractions and detractions, etc., and when, where, and
with whom to utilize them! The man with nothing to offer, who approaches the
man who is successful with grandiose advice and promise of great wealth, has
the alacrity of the flea climbing up the elephant's leg with the intention of
rape! The aspiring witch who deludes herself into thinking that a powerful
enough working will always succeed, despite a magical imbalance, is forgetting
one essential rule: MAGIC IS LIKE NATURE ITSELF, AND SUCCESS IN NATURE REQUIRES WORKING IN HARMONY WITH NATURE NOT AGAINST IT
