(69) This I set thee down here for a warning, that thou may know what manner of ground sorcery or witchcraft has, not in such a way as if I would write any heathenish sorcery or witchcraft, neither have I learned any; but the animated or soulish spirit beholdeth their juggling, which in the body I do not understand.

(66) It is not that spirit of God which is lord and chief in nature, which causes or makes the juggling, but it is made in the fierceness of the Salitter, which lord Lucifer has kindled with his elevation, and which is his eternal kingdom.

(15) As for me, dancing... For me unfortunate(!) it(?) will root out... Utanapishtim spoke to Gilgamesh, saying: "Why, Gilgamesh, do you... sadness? You who were created (!) from the flesh of gods and mankind who made... like your father and mother? Have you ever... Gilgamesh... to the fool... They placed a chair in the Assembly,... But to the fool they gave beer dregs instead of butter, bran and cheap flour which like... Clothed with a loincloth (!) like... And... in place of a sash, because he does not have... does not have words of counsel... Take care about it, Gilgamesh,... their master...... Sin...... eclipse of the moon... The gods are sleepless... They are troubled, restless(!)... Long ago it has been established... You trouble yourself...... your help... If Gilgamesh... the temple of the gods... the temple of the holy gods,... the gods...... mankind, they took... for his fate.

(42) The mysteries of the Islamic faith are now in the keeping of the dervishes--men who, renouncing worldliness, have withstood the test of a thousand and one days of temptation. Jelal-ud-din, the great Persian Sufic poet and philosopher, is accredited with having founded the Order of Mevlevi, or the "dancing dervishes," whose movements exoterically signify the motions of the celestial bodies and esoterically result in the establishment of a rhythm which stimulates the centers of spiritual consciousness within the dancer's body.

(80) The Sufi said, "They were all singing the same words, Cursed be that blind imitation!" The effect of blindly imitating unprofitable conduct The ecstasy of that company cast a reflection, Whereby that Sufi's heart became ecstatic like them. You need many reflections from your associates The first reflection cast is mere blind imitation; Till it is thus verified, take it not from your friends; The drop, not yet become pearl, sever not from its shell.

(33) The Circuit does not go by chance but under the Reason-Principle of the living whole; therefore there must be a harmony between cause and caused; there must be some order ranging things to each other's purpose, or in due relation to each other: every several configuration within the Circuit must be accompanied by a change in the position and condition of things subordinate to it, which thus by their varied rhythmic movement make up one total dance-play.

In our dance-plays there are outside elements contributing to the total effect- fluting, singing, and other linked accessories- and each of these changes in each new movement: there is no need to dwell on these; their significance is obvious. But besides this there is the fact that the limbs of the dancer cannot possibly keep the same positions in every figure; they adapt themselves to the plan, bending as it dictates, one lowered, another raised, one active, another resting as the set pattern changes. The dancer's mind is on his own purpose; his limbs are submissive to the dance-movement which they accomplish to the end, so that the connoisseur can explain that this or that figure is the motive for the lifting, bending, concealment, effacing, of the various members of the body; and in all this the executant does not choose the particular motions for their own sake; the whole play of the entire person dictates the necessary position to each limb and member as it serves to the plan.

Now this is the mode in which the heavenly beings must be held to be causes wherever they have any action, and, when. they do not act, to indicate.

Or, a better statement: the entire kosmos puts its entire life into act, moving its major members with its own action and unceasingly setting them in new positions; by the relations thus established, of these members to each other and to the whole, and by the different figures they make together, the minor members in turn are brought under the system as in the movements of some one living being, so that they vary according to the relations, positions, configurations: the beings thus co-ordinated are not the causes; the cause is the coordinating All; at the same time it is not to be thought of as seeking to do one thing and actually doing another, for there is nothing external to it since it is the cause by actually being all: on the one side the configurations, on the other the inevitable effects of those configurations upon a living being moving as a unit and, again, upon a living being thus by its nature conjoined and concomitant and, of necessity, at once subject and object to its own activities.

(33) A writer has said of an important fact concerning Rhythm in our emotional states: "Nothing swings beyond the limit of its extremes—nothing can pass beyond its rhythmic limits. Consequently, if a thing swings far in one direction, it swings back equally far in the other. Its reaction is in the measure of its action, though in an opposite direction. If its swing is great, its extremes are widely apart—if the swing is small, then the extremes are close together. The pendulum illustration may be applied to the phenomena on all planes. A short beat of the metronome allows the rod to move only a short distance each way—the long beat admits of a wide swing. And, in the same way, those who suffer keenly also enjoy keenly, while those whose natures admit of but little suffering are also incapable of more than a limited capacity for enjoyment. A pig suffers little, and enjoys but little; while a highly organized, sensitive individual suffers the torments of emotional and mental hell at times, while at others he mounts to the heavenly emotional and mental realms. The pendulum swings as far in one direction as in the other." In some of the higher teachings of the Rosicrucians the student is instructed in the application of the Principle of Rhythm to the mastery of his emotional states and feelings. The essence of this secret teaching is that the wise, perceiving the inevitable reaction following action, the ebb tide following the high tide, manage to escape the consequences of the reaction by rising to their higher realms or planes of consciousness just before the time of the backward swing of the emotional pendulum, thus allowing the reactionary movement to be manifested only on their lower planes of consciousness while the Ego dwells serenely on the upper plane.

(411) speedily extinguished; instead of having spirit he grows irritable and passionate and is quite impracticable. Exactly. And so in gymnastics, if a man takes violent exercise and is a great feeder, and the reverse of a great student of music and philosophy, at first the high condition of his body fills him with pride and spirit, and he becomes twice the man that he was. Certainly. And what happens? if he do nothing else, and holds no converse with the Muses, does not even that intelligence which there may be in him, having no taste of any sort of learning or enquiry or thought or culture, grow feeble and dull and blind, his mind never waking up or receiving nourishment, and his senses not being purged of their mists? True, he said. And he ends by becoming a hater of philosophy, uncivilized, never using the weapon of persuasion,—he is like a wild beast, all violence and fierceness, and knows no other way of dealing; and he lives in all ignorance and evil conditions, and has no sense of propriety and grace. That is quite true, he said. And as there are two principles of human nature, one the spirited and the other the philosophical, some God, as I should say, has given mankind two arts answering to them (and only indirectly to the soul and body), in order that these

In a certain convent there lived a Sufi whose conduct gave just offence to the brethren. They brought him before their Shaikh and thus accused him, "This Sufi has three very bad qualities; he babbles exceedingly like a bell, at his meals he eats more than twenty men and when he sleeps he is as one of the Seven Sleepers." The Shaikh then admonished him, insisting on the obligation of keeping to the golden mean; and reminding him that even the prophet Moses was once rebuked by Khizr for speaking to excess. But the delinquent excused himself on the grounds that the mean is relative, what is excess in one man being moderation in another, that he who is led by the spirit is no longer subject to the outward law, and that, the "inner voice," which rules such an one s conduct, is its own evidence.

(14) The most dangerous form of black magic is the scientific perversion of occult power for the gratification of personal desire. Its less complex and more universal form is human selfishness, for selfishness is the fundamental cause of all worldly evil. A man will barter his eternal soul for temporal power, and down through the ages a mysterious process has been evolved which actually enables him to make this exchange. In its various branches the black art includes nearly all forms of ceremonial magic, necromancy, witchcraft, sorcery, and vampirism. Under the same general heading are also included mesmerism and hypnotism, except when used solely for medical purposes, and even then there is an element of risk for all concerned.

(410) And the musician, who, keeping to the same track, is content to practise the simple gymnastic, will have nothing to do with medicine unless in some extreme case. That I quite believe. The very exercises and tolls which he undergoes are intended to stimulate the spirited element of his nature, and not to increase his strength; he will not, like common athletes, use exercise and regimen to develope his muscles. Very right, he said. Neither are the two arts of music and gymnastic really designed, as is often supposed, the one for the training of the soul, the other for the training of the body. What then is the real object of them? I believe, I said, that the teachers of both have in view chiefly the improvement of the soul. How can that be? he asked. Did you never observe, I said, the effect on the mind itself of exclusive devotion to gymnastic, or the opposite effect of an exclusive devotion to music? In what way shown? he said. The one producing a temper of hardness and ferocity, the other of softness and effeminacy, I replied. Yes, he said, I am quite aware that the mere athlete becomes too much of a savage, and that the mere musician is melted and softened beyond what is good for him. Yet surely, I said, this ferocity only comes from spirit, which, if rightly educated, would give courage, but, if too much intensified, is liable to become hard and brutal. That I quite think.

(34) A writer, speaking along the lines just mentioned, has said: "The masters taught that by an understanding of the Principle of Rhythm man could escape many bewildering and perplexing changes in his emotional states and feelings. * * * They called this the Process of Neutralization, the operations of which consisted of raising the Ego above the vibrations of the ordinary conscious plane, and on to the higher. This was akin to rising above a thing and allowing the thing to pass beneath one. The occult masters, and their advanced students, polarized themselves at the positive pole of a particular emotional state, and by a process of "refusing" or "denial" they managed to escape the effects of the swing of the emotional pendulum to the negative pole of that emotion. All individuals who have attained any degree of self-mastery really proceed in this same manner, though usually unconsciously and without a true understanding of the law they are operating. By refusing to allow their negative mental and emotional states to manifest in them, they really 'neutralize' them, and cause them to pass under them on a lower plane of consciousness. The advanced occultist, however, proceeds consciously and deliberately to this end, and acquires a degree of balance, poise, and power almost incredible." The further the student penetrates in his investigations, along the lines of the physical, the mental, or the spiritual, the more will he become convinced of the truth of the ancient occult axiom: "Everything beats time." V. The Principles of Cycles The Principle of Cycles manifests that universal circular direction of process or progress which is apparent in all the manifested world, from its highest to its lowest manifestation. The spirit of this principle was expressed in the ancient occult axiom: "Everything proceeds in circles." It is apparent to all careful thinkers and investigators that all progress or procession of things or events follows the path of the circle. All things, physical, mental, and spiritual manifest the cyclic or circular trend. World and atoms, the Cosmos and man, all are under this law. This principle is understood more clearly when we understand that a completed and uninterrupted manifestation of Rhythm results in the completion of a circular movement—therefore the circular or cyclic trend of things is really closely allied to the Principle of Rhythm, and both Rhythm and Cyclicity are closely allied to the Principle of Vibration.

An ignorant youth entered an assembly of pious persons who were being addressed by a holy Shaikh. He saw the Shaikh weeping copiously, and in mere blind and senseless imitation he copied the Shaikh's behavior, and wept as copiously himself, though he understood not a word of the discourse. In fact, he behaved just like a deaf man who sees those around him laughing, and laughs himself out of compliment to them, though he knows not the subject of their merriment, and is obliged to have it explained to him before he can laugh again with real perception of the joke. After he had wept in this ignorant way for some time he made due obeisance to the Shaikh, and took his departure. But one of the Shaikh's true disciples, being jealous for the honor of his master, followed him, and thus addressed him, "I adjure you by Allah that you go not and say, 'I saw the Shaikh weeping, and I too wept like him.' Your ignorant and mere imitative weeping is totally unlike the weeping of that holy saint. Such weeping as his is only possible to one who has, like him, waged the spiritual war for thirty years. His weeping is not caused by worldly grieves, but by the deep concerns of the spirit. You cannot perceive by reason or sense the spiritual mysteries that are open and plain to his enlightened vision, any more than the darkness can behold the light. His breathings are as those of 'Isa, and not like mere human sighs raised by worldly sorrows. His tears and his smiles and his speeches are not his own, but proceed from Allah. Fools like you are ignorant of the motive and design of saints' actions, and therefore only harm themselves if they try to imitate them, without understanding their meaning." To illustrate this a curious story is told of a foolish lady who copied a trick of her clever slave-girl, without understanding the modus operandi, and by so doing caused her own death. In like manner parrots are taught to speak without understanding the words. The method is to place a mirror between the parrot and the trainer. The trainer, hidden by the mirror, utters the words, and the parrot, seeing his own reflection in the mirror, fancies another parrot is speaking, and imitates all that is said by the trainer behind the mirror. So God uses prophets and saints as mirrors whereby to instruct men, being Himself all the time hidden behind these mirrors, viz., the bodies of these saints and prophets; and men, when they hear the words proceeding from these mirrors, are utterly ignorant that they are really being spoken by "Universal Reason" or the "Word of God" behind the mirrors of the saints.

(1) It is not, however, sufficient to learn these things alone, nor will he who only knows these become perfect in divine science. But it is requisite also to know what enthusiasm is, and how it is produced. It is falsely, therefore, supposed to be a motion of dianoia, in conjunction with dæmoniacal inspiration. For human dianoia is not moved, if it is thus enthusiastically affected; nor is the inspiration produced by dæmons, but by the Gods. Neither is enthusiasm simply an ecstasy; for it is a reelevation and transition to a more excellent condition of being. But delirium and ecstasy evince a perversion to that which is worse. Hence, he who is an advocate for the latter, speaks, indeed, of things which happen to those that energize enthusiastically, yet does not teach that which is precedaneous. But this consists in being wholly possessed by divinity, which is afterwards followed by mental alienation.

(2) But it is necessary to investigate the causes of divine mania. And these are the illuminations proceeding from the Gods, the spirits imparted by them, and the all perfect domination of divinity, which comprehends indeed every thing in us, but exterminates entirely our own proper consciousness and motion. This divine possession, also, emits words which are not understood by those that utter them; for they pronounce them, as it is said, with an insane mouth, and are wholly subservient, and entirely yield themselves to the energy of the predominating God. The whole of enthusiasm is a thing of this kind, and is effected by these causes, though this must not be considered as asserted with consummate accuracy.

(1) CEREMONIAL magic is the ancient art of invoking and controlling spirits by a scientific application of certain formulæ. A magician, enveloped in sanctified vestments and carrying a wand inscribed with hieroglyphic figures, could by the power vested in certain words and symbols control the invisible inhabitants of the elements and of the astral world. While the elaborate ceremonial magic of antiquity was not necessarily evil, there arose from its perversion several false schools of sorcery, or black magic.

(40) But magic spells; how can their efficacy be explained?

By the reigning sympathy and by the fact in Nature that there is an agreement of like forces and an opposition of unlike, and by the diversity of those multitudinous powers which converge in the one living universe.

There is much drawing and spell-binding dependent on no interfering machination; the true magic is internal to the All, its attractions and, not less, its repulsions. Here is the primal mage and sorcerer- discovered by men who thenceforth turn those same ensorcellations and magic arts upon one another.

Love is given in Nature; the qualities inducing love induce mutual approach: hence there has arisen an art of magic love-drawing whose practitioners, by the force of contact implant in others a new temperament, one favouring union as being informed with love; they knit soul to soul as they might train two separate trees towards each other. The magician too draws on these patterns of power, and by ranging himself also into the pattern is able tranquilly to possess himself of these forces with whose nature and purpose he has become identified. Supposing the mage to stand outside the All, his evocations and invocations would no longer avail to draw up or to call down; but as things are he operates from no outside standground, he pulls knowing the pull of everything towards any other thing in the living system.

The tune of an incantation, a significant cry, the mien of the operator, these too have a natural leading power over the soul upon which they are directed, drawing it with the force of mournful patterns or tragic sounds- for it is the reasonless soul, not the will or wisdom, that is beguiled by music, a form of sorcery which raises no question, whose enchantment, indeed, is welcomed, exacted, from the performers. Similarly with regard to prayers; there is no question of a will that grants; the powers that answer to incantations do not act by will; a human being fascinated by a snake has neither perception nor sensation of what is happening; he knows only after he has been caught, and his highest mind is never caught. In other words, some influence falls from the being addressed upon the petitioner- or upon someone else- but that being itself, sun or star, perceives nothing of it all.

(9) And if you ask, "These orgies, what is their nature?" You will hear again: "It is forbidden to mortals uninitiated in the Bacchic rites to know."

(9) The lords were astounded. "Sacrifice yourselves now, let us see it! We really like your dances!" said the lords. "Very well, Sirs," they answered. And they proceeded to sacrifice each other. Hunahpú was sacrificed by Xbalanqué; one by one his arms and his legs were sliced off, his head was cut from his body and carried away; his heart was torn from his breast and thrown onto the grass. All the Lords of Xibalba were fascinated. They looked on in wonder, but really it was only the dance of one man; it was Xbalanqué.

(2) And what they did was very little. They only performed the dance of the puhuy [owl or chumowl], the dance of the cux [weasel], and the dance of the iboy [armadillo], and they also danced the xtzul [centipede] and the chitic [that walks on stilts]. Furthermore, they worked many miracles. They burned houses as though they really were burning and instantly they were as they had been before. Many of those of Xibalba watched them in wonder.