Tag Archives: Alpha Et Omega

Adeptus Major

Today I am going to do a survey of the grade of 6=5 Adeptus Major, by examining how the various different offshoots of the Golden Dawn –  the Alpha et Omega, the Stella Matutina, the Holy Order of the Golden Dawn, and the Fellowship of the Rosy Cross – decided to deal with the subject. The one thing they all have in common is that they agree the grade has to do with Geburah – in the same way that 5=6 Adeptus Minor is to do with Tiphereth – but there the similarities end. Each different faction went off in their own direction, having different ideas about what the Adeptus Major was actually meant to do.

As far as I am aware, none of the published Adeptus Major rituals are used by modern day Golden Dawn orders – they have gone on to use different or modified versions.

Alpha Et Omega

The cover for "Book of the Concourse of the Watchtowers" by Tabatha Cicero, featuring a reconstructed version of the Tablet Of Union.

The Book of the Concourse of the Watchtowers, by Sandra Tabatha Cicero

The Alpha et Omega 6=5 so-called Ritual has now been published: as an appendix to Tabatha Cicero’s new publication, “Book of the Concourse of the Watchtowers.” I say so-called because the version published is not a real ritual. It does not have an opening or closing, nor does it have any drama in it. It consists of one chief officer, the “Conferring Adept,” teaching the signs and words of the grade to the Aspirant, who is prompted throughout the ceremony by a conductor. The explanation of the Tarot cards is brief. If anything, it is more of a fragment of a ritual – perhaps part of something that remains unpublished, or a work-in-progress.

The only interesting thing, IMHO, is that the brief explanation of the nature of the signs gives a tantalising glimpse into what Mathers might have imagined the work of an Adeptus Major to be – i.e. the use of Geburah-force to subdue evil entities – although no detail is given about the Adeptus Major curriculum itself. It is also interesting in that the symbolism anticipated the ideas the Crowley expressed about the nature of the Adeptus Major grade in the latter’s John St John.

Stella Matutina

Now the Adeptus Major ritual of the Stella Matutina is a far more interesting affair. An incomplete version of the ritual was published by Pat Zalewski in his book Secret Inner Order Rituals of the Golden Dawn: fortunately though, I have seen a copy dating from a Stella Matutina temple circa 1916, so I have been able to compare. Now this is a proper ritual. It has drama, it has beautiful ritualistic speeches, but most importantly it introduces in the course of the ritual several key qabalistic concepts which provide much food for thought. The ritual should be read in conjunction with the account of W B Yeats’ own experience of this ceremony, which is printed in George Mills Harper’s Yeats’ Golden Dawn, which gives details of the astral work that went on invisibly as the ceremony took place.

This ritual lays much emphasis on the Shekinah – the divine presence of God – who is here portrayed by a female officer. Why the Shekinah? I believe the answer must lie in the fact that in Gematria, “Geburah” is equivalent to “Debir,” which is the Holy of Holies, where the Shekinah was said to reside upon the Ark of the Covenant between the wings of the two kerubs. The aspirant is therefore the High Priest, who goes into the Holy of Holies (actually the Vault of the Adepti which has been re-dressed for the occasion) and after a period of meditation discovers the Shekinah, who first comes to him (or her) like a light-bearer in darkness.

An interesting feature is that the Aspirant remains completely silent throughout the ceremony, until formally released at its climax. It is worth noting that quite separately Wynn Westcott did indeed describe the Adeptus Major grade as:

“…a degree of death and solemnity—referring to the precedent stage of obscuration, during which silent study and meditation may be considered as the typical condition…”

Flying Roll XVI, the History of the Rosicrucian Order.

One is tempted to speculate that in this respect the Stella Matutina ceremony is probably more to what Westcott intended than that of the AO! Unlike the AO ceremony, which is nothing but signs and an explanation thereof, the Stella Matutina 6=5 mentions two signs (“thou shalt avert thy eyes from evil as did Isis on the right … thou shalt withdraw from evil as did Nephthys on the left,”) but does not really demonstrate what they are: obviously part of the esotery that was only transmitted from person to person.

The lacuna in Zalewski’s ritual amounts to three-fifths of the oath being omitted (the oath of an Adeptus Major is in five parts), as well as an instruction that the Aspirant is censed in the form of a Pentagram, before being led out temporarily before the next point in the ceremony. When read in full, the oath of the Adeptus Major reveals that the duty of the new initiate is to apply the severity of Geburah to his or her own moral nature, whilst emphatically being merciful to the faults of others.

I found one mistake when I first read Zalewski’s version, however: when I checked, I found that the mistake had been in the original ritual! Namely: the wrong passages of the Sepher Yetzirah are quoted when the aspirant is given the teachings of the Paths of Mem and Lamed.

A sort of curriculum has emerged as to what the Stella Matutina envisioned for the Adeptus Major grade. Although on first reading it does not seem much, from my own personal researches I believe that additional papers were also issued to the adepts which suggested ways in which the Adeptus Major practices could be extended to achieve extremely sophisticated results. In any event, the lines “try to find your own Path for the Inner Life,” and “now is the time to fill in gaps of the 5=6 syllabus and to choose your special subject in which to qualify,”  conceal more than they reveal: I get the impression that Felkin, the author of the Stella Matutina 6=5 ritual, believed that if the Adeptus Minor grade was equivalent to a Bachelor’s degree in Magic, then the Adeptus Major was equivalent to a Master’s.

Holy Order of the Golden Dawn / Fellowship of the Rosy Cross

Aleister Crowley in A.'.A.'. regalia making the sign "Vir."

Whaddaya mean, I’m not the prophet of a new aeon?

The Holy Order of the Golden Dawn Adeptus Major Ritual has now been published in Regardie’s Complete Golden Dawn System of Magic. It catches Waite as he was beginning to embrace mysticism, yet had not completely thrown off all of the trappings of the original GD. Now here is a curious thing: despite superficial differences, much of the underlying structure of the first Waite ritual is identical to that of the Stella Matutina version. E.g. the aspirant remains in silence until released in the final part of the ceremony, he or she goes into the Vault for a period of meditation, before encountering the Shekinah, who leads the aspirant out. Intriguingly, Waite identifies the Shekinah as Nuit, and the newly advanced aspirant as Horus. Could this in fact mean that Waite was a secret Thelemite (extremely ironic given the caning he received from Crowley in the Equinox)? Or perhaps when Crowley received the Book of the Law, the Gods were telling him not to become the prophet of a new aeon, but that he was now ready to become an Adeptus Major?

After the Holy Order of the Golden Dawn closed, Waite founded the Fellowship of the Rosy Cross. The grades are named after those of the Golden Dawn – but Waite finally took the opportunity to abandon the last vestiges GD dogma of which he disapproved and finally do his own thing. Nevertheless, the FRC Adeptus Major ritual still displays certain similarities to the version he wrote for the Holy Order of the Golden Dawn. There is a sojourn within the sanctuary, the Shekinah makes an appearance – but the insistence of silence is strictly removed. Needless to say, any references to Horus and Nuit have been removed.

As far as I know, there was no curriculum per se for the FRC grades – I believe that Waite intended the ceremony itself to be both the initiation into and the teaching of a given grade. In this sense the FRC is rather like a masonic version of Rosicrucianism. I did hear one senior esotericist say that this being the case, an initiate could theoretically be advanced through each grade at successive meetings, or slightly less than a year if they met every month, although I doubt very much that this would happen in practice.

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Music In Theory & Practice 3: The Hexagram and Middle Pillar Rituals

More rituals scored according to Macgregor Mathers’ system of attributions.

The Lesser Hexagram Ritual

The Lesser Ritual of the Hexagram, composed by Alex Sumner © 2011.

The Middle Pillar Ritual

The Middle Pillar Ritual, composed by Alex Sumner © 2011.

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Music In Theory and Practice – Part 2

S L Macgregor Mathers

Mathers’ corollary to “The Chromatic Method”

Following on from yesterday’s post, I would like to review a similar method which Macgregor Mathers gave to the Alpha et Omega – it is set out in full detail in Pat Zalewski’s book Inner Order Teachings of the Golden Dawn.

Like Case and Bennett, Mathers made an association with colours and musical notes – however he differs in several important aspects. Firstly, Mathers starts with the assumption that Red = F, not C as in the Case / Bennett system. Secondly: there are no sharps or flats in Mathers’ system. Thirdly, the Seven planets follow a scale starting with the F above middle C, and ascending in the same order as the walls of the Vault of the Adepti. Hence:

Hebrew Letter Colour Note
Heh Pe Shin Red F
Vau Red-Orange F or G
Zayin Resh Orange G
Cheth Amber G or A
Teth Beth Aleph Yellow A
Yod Yellow-Green A or B
Lamed Daleth Green B
Nun Green-Blue B or C
Samekh Gimel Mem Blue C
Aayin Tau Indigo D
Tzaddi Kaph Violet E
Qoph Vermilion E or F

This system has its advantages – and disadvantages. From a musicological (read: “snobbish”) point of view, some of the reasons that Mathers gives for adopting the particular peculiarities of this system are suspect and inconsistent, and smack of “dumbing down.” The only reason I can see for starting with Red = F and treating the planets as he does is to make use of the spaces and lines of the Treble Clef. Perhaps if he was confident with leger lines we might have had a whole different secret teaching! It could, of course have been to allow Adepti to play the piano one-handed, the left-hand being left free to hold a ritual implement or something.

However, Mathers’ aversion to sharps and flats is something else. The reason Mathers gives for avoiding it touches upon a problem that musicians have had to deal with for thousands of years, namely Temperament. It is impossible to tune the twelve-note chromatic scale so that all intervals are “perfect” – therefore, historically, several different methods have been proposed including the Pythagorean, “Just Intonation” (like Pythagorean but with easier arithmetic), “Well Tempered” (made famous by Bach’s Das Wohltempierte Klavier), and “Equal Temperament,” amongst others. The upshot of this is that depending on which system of Temperament you are using, the actual tuning of some chromatic intervals might vary by as much as 10Hz – enough to create an out-of-tune “beating” sound, assuming two different instruments had been tempered differently.

How did the Secret Chiefs, from whom Mathers claimed to derive this teaching, resolve the problem of Temperament? Um, well, the unfortunate fact is that although they were willing to lay down minutiae on a whole host of other topics, they conveniently passed on this one: the simplest way for Mathers to resolve the situation was to avoid using sharps and flats.

Of course, on the other hand, Mathers might have interpreted “Quit the night and seek the day,” as meaning “avoid the black keys and play only the white keys.”

What we thus have from Mathers is therefore a reduction of the chromatic scale to the F-Lydian mode – ironic, as Mathers complained about using modes as well.

HOWEVER: the very fact that Mathers’ system is completely unsophisticated compared to the Case/Bennett system is in fact its greatest advantage – because it allows Hebrew words to be chanted in simple melodies. This in turn makes it highly conducive to teaching a temple full of initiates whose musical talent may well range from hardened rock-musicians reared on Frank Zappa and Led Zeppelin to, well, drummers. By way of example, I shall now attempt to re-score the Lesser Banishing Ritual of the Pentagram according to the note-values suggested by Mathers.

The Lesser Banishing Ritual of the Pentagram, composed by Alex Sumner © 2011.

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Vestigia Through The Looking Glass

To London yesterday for an evening at Treadwell’s dedicated to Vestigia Nulla Retrorsum, aka Moina Mathers. Twenty seven people were crammed into the downstairs meeting room to hear three speakers give their take on this very important figure in the history of the Golden Dawn.

Moina (née Mina Bergson, 28 February 1865 – 25 July 1928) was an artist by training, joining the Slade School in 1880. She always expressed an interest in getting back to her artistic career, but her involvement with magic, her husband S L Macgregor Mathers and poverty (arising therefrom) meant she never quite made it. As a magician, she is noted for the facts that she was a very talented clairvoyant, and helped channel a lot of the Golden Dawn’s inner order material. Moreover, however, she was instrumental in creating (with her husband) the “Rites Of Isis” – and therefore became one of the first modern Isian Priestess.

Christine, one of the speakers, had managed to translate two accounts written by contemporary French journalists of the Mathers’ “Rites of Isis” – and they appeared to be very impressive ceremonies. One journalist, André Gauché, seemed to be happy embroider his account with a certain amount of lurid fiction, although it did correspond in large parts with another account of a public ceremony staged at the Great Paris Exhibition of 1890. Mathers’ husband claimed that he and his wife were genuine Isis worshippers and also pantheists.

Unfortunately, despite the fact that the Golden Dawn was pioneering in insisting on admitting men and women on terms of perfect equality, because history of the time was written by men, there was a lot of focus on the Order’s male founders and not so much on its female members, such as Moina. Consequently there is not so much actually written about her comparatively speaking. Regarding details of her later life, she became ill in 1927, and passed on in 1928. What personal effects she had she left to her younger brother Paul Bergson. However her most important legacy – what she contributed to the Golden Dawn and subsequent Alpha Et Omega, suffered in 1939 when the then head of the AO burned the Order’s possessions, including a lot of furniture and papers which were painted or created by Moina.

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