Working on a new book recently – i.e. the one I intend for publication after “Licence To Depart” comes out on May 11th – I wanted to create a story that combined elements of science fiction and fantasy with the occult. More specifically, I wanted to create a plot-device which would enable one character to teleport from one place to another. The actual method of teleportation was essentially a MacGuffin to introduce the main action of the plot, i.e. the various adventures that occurred at the destination points, and the implications in terms of character development arising therefrom. I therefore threw together something off the top of my head, which as far as I was concerned was unrelated to anything of which I had previously conceived in my study of the occult, but was instead pure fiction.
Then, that night I had a lucid dream about my fictional plot-device – and it worked.
I hasten to add that of course I did not physically teleport from one place to another, it was all action taking place within my lucid dream. Nevertheless using this fictional plot-method in my own lucid dream I realised I had invented a new method of Clairvoyance.

Vayu - the Tattva of Air
At this point I shall just digress on the nature of Clairvoyance. In the Golden Dawn Clairvoyance is not the same thing as “Remote Viewing” or “Auric Vision.” It is not so much about seeing things which are occurring on the physical plane as it is about discerning the contents of the Astral plane. This is why I have to chuckle when I hear about doctors in hospitals putting things on shelves too near the ceiling, so that only disembodied spirits would supposedly be able to see them. When people who have an NDE inaccurately report what is on those shelves, these doctors claim that clairvoyance must be a hoax. To which I have to say, “No: your own definition which you have made up of Clairvoyance is a hoax. I could have told you before your experiment started that it would not provide valid evidence of real Clairvoyance.”
The classic method of achieving Clairvoyance in magic is to astrally project through a “magic door” which consists of a symbol of a magical force – e.g. a Tattva. What one sees beyond that door will be an astral representation of the qualities which that symbol represents. Ultimately, by undertaking this astral journey, one may come to learn how to manifest that magical force in physical life.
The Tattva-method of Clairvoyance is a well known practice in western occultism, but it has a potential draw-back, in that all the phenomena encountered will ultimately remain within the paradigm established by the Tattva symbols. What if, for example, one wanted to explore a magical force which was unrelated to the Tattvas – which was outside the paradigm? I keep talking about “Tattvas” but of course they are only one set of symbols in use in occultism. It is entirely possible that instead of a Tattva one could substitute something else which is more appropriate to the magical force which one wants to explore – and then use the astral projection method on that instead.
However, what if one had exhausted all the known sets of symbols in all forms of occultism … and one still wanted to explore something that was outside the paradigm-limits of all of them – what then? What if, indeed, one wanted to explore the outer limits of what is possible and impossible? It is here that the creative use of Fiction as a Magical Tool comes in useful – as I believe I had inadvertently discovered with my experiences with my plot-device.
Philosophically this is somewhat difficult to describe fully, as ultimately the only way to satisfactorily describe something which is capable of transcending all paradigms of thought is to stand outside all paradigms. But if I do that, am I not then speaking from another paradigm, albeit a new one? Whatever – I shall describe it in terms of the astral plane, as that is what I am comfortable with. What is fundamental to realise is that the so-called astral plane is not tied to any particular belief system, but applies to the entire Universe – the Known, the Unknown, Past, Present, Future, Alternate, Potential, Speculative, Fact and Fiction. From Earth to the far reaches of the Cosmos and all points in between. On the Astral Plane, it does not matter whether something is true or false in Physical Plane terms, but whether it is a Real Astral Phenomenon or not. Moreover, its reality as an Astral Phenomenon again does not depend on truth or falsehood – because if it is perceived it must exist in some sense or other – but on how important or significant it is – which is a subjective value judgement.
To illustrate my point: take for example the Archangel Michael. Is he true or false? Fact or fiction? He is undoubtedly a Real Astral Phenomenon. I imagine that fundamentalist Christian might go further and claim that he is actually true – because the Bible says so, and the Bible as we all know is not fiction. 😉

Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn.
What however about Cthulhu – an entity created by the author HP Lovecraft, who is on record as stating that he himself knew that this Great Old One and the rest of the Mythos were fictional? Is it then valid for people like Kenneth Grant or Phil Hine to go and perform magic rituals based on the assumption that Cthulhu is in fact real? In a certain way – yes it is, because it is no more outrageous than claiming it is possible to create an Artificial Elemental, which has been an established magical practice for more than a hundred years. If we assume that creating Artifical Elementals are possible, then it should certainly be possible to create Artificial Elementals out of characters who are fictional creations, whether they be Cthulhu, Gandalf, or whoever. In fact, it should be easier to create an Artificial Elemental based on a fictional creation – as opposed to say one who has been invented de novo – because the former will have a back-story already written which helps the magician to fully realise them.
The only qualification I would have to make is that whilst such a Fictional Magical being or indeed thing may produce effects on the physical plane – as indeed we must hold out the possibility of it being able to if we subscribe to the validity of Artificial Elementals working at all – the Fictional creation remains on the astral plane. It is not a paradox between truth and falsehood, it is just that truth/falsity only applies to the physical plane, whilst different rules applies to the Astral. So whilst I might be impressed by someone who was able to take a piece of Fiction and make a successful magical operation out of it, I am less than keen on people rabbiting on and on about their astral experiences as if they were “true” in the physical-plane sense of the word.
So the moral of this blog-post is: if you want to achieve anything in magic, do not get hung up on whether it fits in with any particular milieu – or whether you are comfortable working with that milieu at all. The creative magician can always find a solution, because in a very literal sense, you are only limited by your imagination.
Hang on! If artificial elementals are real, perhaps that means the Archangel Michael is an artificial elemental? Perhaps that means that … whisper it… God is both Fictional and Real! If this statement does not get me lynched by both Christians and Atheists then nothing will! 😉
The Divine Current: It works!!!
Constance: The Tragic and Scandalous Life of Mrs Oscar Wilde
In the original Golden Dawn, this was described more colourfully as:
At Whare Ra this was rendered:
In the Bristol Temple of the Stella Matutina, whence Regardie half-inched the rituals that he published in The Golden Dawn
, the corresponding passage is rendered:
So basically we can infer that the penalty was meant to be some pretty heavy-duty magic, like being struck down by a lightning bolt – only the Bristol temple decided to water it down and make it sound like some kind of fluffy-bunny politically correct version.
Now some people with an interest in esoteric Freemasonry – or at least, those people who remain in Freemasonry longer than two minutes so they can appreciate how esoteric it can be – will be aware of the Symbolic Penalties. Furthermore, they may be interested to know if they are not already aware that after you see through all the blood and gore, each Symbolic Penalty relates to a chakra: the first to the Throat; the second to the Heart; the third to the Solar-Plexus. This has further led people like Sebottendorf
to speculate that the S…s – which relate to the Symbolic Penalties – indicate the way energy flows in a particular degree.
Now let’s look again at the original Golden Dawn obligation. Whilst the Cipher Manuscript merely talks about death or palsy, the version created by Mathers says: “as if slain by the Lightning Flash.” Oh-ho! The Lightning Flash is also the symbolic arrangement of the Sephiroth on the Tree of Life! So perhaps Mathers too had this instinctive grasp of the relation between the Symbolic Penalty and the Energy Flow. Perhaps the real meaning – i.e. the real nuance that Mathers was trying to convey – was that if a Neophyte did not integrate the lightning flash (i.e. the Tree of Life) in his or her soul, then they would end up being destroyed by it instead. If this be true, and it appears quite reasonable, then we have to thank Mathers and his knowledge of the true value of Freemasonry for getting this point across.
There is however one problem with this whole business of being slain by the Lightning Flash, and that for all the oath-breakers in the original Golden Dawn there is no evidence that any of them ever suffered it. Until now. Some enterprising historian has actually discovered that at least one member of the Golden Dawn was actually struck down from creeping paralysis and was overwhelmed with misfortune after she left the order: Constance Wilde, wife of the famous playwrite. In a story published in the Sunday Express today, it is alleged that Constance Wilde left the order after only a year as a member and revealed such as she had learned to her husband. Everyone is familiar with the calamities that befell Oscar thereafter, but apparently she herself died aged 40, after having suffered from paralysis in her arms and legs.
Crikey! So the deadly stream of power does work after all! Ironic, then, that with all the people who did break their oaths and damaged the order, she was the only to succumb. Even more ironic is the fact that if you read Wilde’s output there is no evidence that he made use of any of Constance’s secrets. Want more irony? The first London production of Salome was put on in 1905 … directed by Florence Farr. 😉
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Tagged as Constance Wilde, Florence Farr, Franny Munro, Golden Dawn, Oscar Wilde, Sunday Express