Fama Fraternitatis - 1614

Wiewohl wir nun wohl wissen, daß es umb ein ziemliches noch nicht an dem, da wieder unserm Verlangen oder auch anderer Hoffnung mit allgemeiner Reformation divini et humani, solle genug geschehen, ist es doch nicht unbillich, daß, ehe die Sonne auffgehet, sie zuvor ein HELL oder dunkel liecht in den Himmel bringt und unter dessen etliche wenige, die sich werden angeben, zusammen tretten, unsere Fraternitet mit der Zahl und Ansehen des gewünschten und von Fr.R.C. fürgeschriebenen Philosophischen Canons, einen glücklichen Anfang machen oder ja in unserer Schätz (die uns nimmermehr aufgehen können) mit uns in Demut und Liebe genießen die Mühsamkeit dieser Welt überzuckern und in den Wunderwerken Gottes nicht also blind umbgehen.

Vi vet dock att det enligt vår åstundan och andras förväntningar efter någon tid kommer en allmän reformation av både gudomliga och mänskliga ting. Ty innan solen går upp, upplyses himlen av
MORGONRODNADENS ljus. I väntan på denna reformation församlas några få som med sitt antal skall utöka vårt brödraskap, höja dess anseende och stärka dess förhoppningar och ge de av Fr.R.C. föreskrivna Filosofiska Canons en lycklig begynnelse. I all ödmjukhet och kärlek skall dessa nytillkomna tillsammans med oss dela våra skatter, som aldrig skall förgås, och så lindra denna världens möda och inte längre vandra ovetande om kunskapen om Guds underbara verk.

Howbeit we know after a time there will now be a general reformation, both of divine and humane things, according to our desire, and the expectation of others: for it is fitting, that before the rising of the Sun, there should appear and break forth AURORA, or some clearness, or divine light in the sky; and so in the mean time some few, which shall give their names, may joyn together, thereby to increase the number and respect of our Fraternity, and make a happy and wished for beginning of our Philosophical Canons, prescribed to us by our brother R.C. and be partakers with us of our treasures (which never can fail or be wasted) in all humility, and love to be eased of this worlds labor, and not walk so blindly in the knowledge of the wonderful works of God.


Det brittiska ordenssällskapet Hermetic Order of the Golden Dawn och den tyska Frimurarlogen L'Aurore Naissante, vilket grundades i London 1888 respektive Frankfurt-am-Main 1807, delade på samma hebreiska namn Chevrah Zerach Bequr Aur, förevisat i gyllene gult vid bloggens huvud, vilket ordagrannt kan översättas till “Stigande Gryningsljusets Sällskap”. Denna tyska Rosenkorsiska Frimurarloge i Frankfurt, vilket måste anses vara det ursprungliga modertemplet till GOLDEN DAWN, kallade sig på tyska även Loge sur Aufgehenden Morgenröthe, vilket kan översättas till “Gryende Morgonrodnadens Loge”. Detta skiljer sig åt från den engelska seden att översätta orden Bequr Aur till “Golden Dawn” eller “Gyllene Gryningen”. Med anledning av Rosenkorstraditionens tyska ursprung är en mer korrekt översättning av Bequr Aur, genom franskans L'Aurore Naissante och tyskans Aufgehenden Morgenröthe, inget annat än GRYENDE MORGONRODNADEN. Denna hänvisning till ett stigande gryningsljus, morgonrodnad eller aurora är en klar hänvisning till den allmäna reformationen omnämnt i det ovan citerade stycket från Fama Fraternitatis. Denna blogg har dock valt att behålla den försvenskade anglo-saxiska termen GYLLENE GRYNINGEN för att denna, invand som den är, lättare associeras med den Rosenkorsiska tradition som här ämnas att framställas.

Licht, Leben, Liebe

måndag 23 augusti 2010

Regarding the use of Flashing Sounds with the Lesser Ritual of the Pentagram


A couple of months ago I answered a query regarding a method of using tonal sounds with the performance of the Lesser Pentagram Ritual. The system of correspondences between the Hebrew letters and the musical notes is question has been widely distributed thanks to the books of Paul Foster Case, who used sound and colour to elaborate a interesting formula of healing. According to Darcy Kuntz this correspondence system between the Hebrew letters, tonal sounds and colours actually came originally from some notebooks belonging to Allan Bennett, one of the early mentors of Aleister Crowley and a highly regarded Adept of the pre 1900 Hermetic Order of the Golden Dawn. To his merit Allan Bennett were one of the few London Adepti who sided with S.L. MacGregor Mathers when the Isis-Urania Temple No. 3 schismed with the latter.

Now I haven’t been able to verify myself these highly interesting findings of Mr. Kuntz, which he disclosed to us in his The Golden Dawn Court Cards as drawn by W.W. Westcott, published in 1996 as the fourth volume of The Golden Dawn Study Series. This particular pamphlet from Holmes Publishing Group is one of the most interesting in the series edited by Mr. Kuntz. Besides presenting Westcott’s hand drawn court cards and the intricate system of sub-elemental sigils attached to them, Mr. Kuntz reveals the notebook information from Allan Bennett in an appendix called “On Flashing Sounds”. However, I trust the scholarly integrity of Mr. Kuntz enough to take it for granted that Allan Bennett was the source of these correspondences, even though Paul Foster Case of course doesn’t name his source other than that of his own “Master R.” But as with the rest of Case’s reliance upon the Golden Dawn tradition, he doesn’t give it the credit it actually deserves.

But what complicates matters somewhat is that the official lectures on the correlation between sound and colour in the Golden Dawn Inner Order follows an entirely different correspondence system, which suggests that Allan Bennett developed his own personal system. Thus this “unofficial” system from one Adept became the basis upon which Paul Foster Case built his own teachings on sound and colour used in the Builders of the Adytum or B.O.T.A.

According to Paul Foster Case and Allan Bennett the correspondences between the Hebrew letters, the musical notes and the colours are thus:

So, at can be seen, the actual correlation lies between the sound and the colour. Thus the musical tones are attributed to the 22 Hebrew letters according to the traditional correspondence between the letters and the colours. Paul Foster Case recommended his initiates at the level of Zelator to use this correspondences between the letters and sounds when performing the Lesser Ritual of the Pentagram. Thus each letter were supposed to be fully vibrated and also according to its designated tonal frequency.

I have personally attended several B.O.T.A. sound and colour sessions in a group setting and both listen to and partaking in this both beautiful and peculiar way of vibrating the words of power contained in the names of the Archangels and Divine names of God. I have also watched an R.R. et A.C. Adept perform a full Lesser Banishing Ritual of the Pentagram using Paul Foster Case’s attributions. In my opinion, the ritual takes another life and the musical scale really adds beauty to it. It does resemble something of a Gregorian chant and really lifts the spirit of the listener. However as I haven’t used this system of sound and colour in my own Ceremonial Magic I can but imagine that it is highly effective although quite hard and requires a natural ear for the tones (no room for tone deaf Adepts here).

Now, the original query concerned the difficulty in using the tonal scale when vibrating certain hard consonant letters, for example the letter Peh in Raphael. I tried to help the querent after some ruminations on my own and came up with the following suggestions. I thought I would share this with my readers, so here it is.

First off, I recommend anyone interested in doing practical research into this peculiar system of sound and colour, according to Bennett and Case, to look up the local B.O.T.A. study group. B.O.T.A. regularily has Sound and Colour meditations open for the public. Thus my recommendation is to visit one of these and to partake in a full session, which uses many of the words of power from the Lesser Ritual of the Pentagram. While being there the opportunity presents iself to also ask the B.O.T.A. folk regarding the intricacies of this matter. However, you won’t see anyone performing a LBRP as Paul Foster Case only taught that to his Zelatores and in Chapter Work. In the particular Pentagram Ritual paper he suggests to use the correspondence between sound and colour, or else to use traditional vibration.

As I said before, I know that it is possible to perform the LBRP using the tonal system as I have seen and heard it myself. But I don’t know today how it was actually done as I heard it almost a decade ago, and I cannot simply access that memory. But I can imagine how it might be done. One of the letters is easy – “B” or Beth – such as in Gabriel. Actually it should be pronounced “Gavriel”. Most often when Beth is transcribed into english it is rendered as “b” when it often should be rendered as a “v”. This correct transcription alone solves the puzzle for most instances.

The good thing about me not remembering how the Adept in question vibrated the tones is that I cannot give away any secrets. Had I known how then my lips would have been sealed. But today I must rely on my own speculation, and being in a mood of sharing freely, I have decided to divulge my thoughts as being grateful to the querent originally stimulating my creativity.

Often Hebrew words are pronounced with vocals between consonants that are marked out with “dagesh” and “niqqud” points, which solves the rest of the puzzle, at least for the majority of cases. Therefore one should intone the vocal sound following or preceding the consonant. Thus to vibrate and spell out each Hebrew letter in each Word of Power in the LBRP I suggest the following:

IHVH or Yod He Vau He – each full word for each letter in the Tetragrammaton is spelled with the same tone, i.e. the letters “YOD” are vibrated with F Natural, “He” with C Natural, “Vau” with C Sharp, and “Heh” (final) with C Natural.

ADNI is pronounced as A-Do-Na-I – “A” is vibrated with E Natural, “Do” with F Sharp, “Na” with G Natural, and “I” with F Natural.

AHIH is pronounced as E-He-I-eH (the final “H” is silent) – “E” is vibrated with E Natural, “He” with C Natural, “I” with F Natural and “e(H)” with C Natural.

AGLA is pronounced as A-Ge-L-A – “A” is vibrated with E Natural, “Ge” with G Sharp, “L” with F Sharp, and “A” with E Natural.

RPhAL is pronounced as Re-Pha-E-L – “Re” is vibrated with D Natural, “Pha” with C Natural, “E” with E Natural, and “L” with F Sharp.

GBRIAL is pronounced as Ga-V-R-I-E-L – “Ga” is vibrated with G Sharp, “V” with E Natural, “R” with D Natural, “I” with F Natural, “E” with E Natural, and “L” with F Sharp.

MIKAL is pronounced as M-I-Cha-E-L – “M” is vibrated with G Sharp, “I” with F Natural, “K” with A Sharp, “E” with E Natural, and “L” with F Sharp.

AVRIAL is pronounced as A-U-R-I-E-L – “A” is vibrated with E Natural, “U” with C Sharp, “R” with D Natural, “I” with F Natural, “E” with E Natural, and “L” with F Sharp.

If one prefers to also vribrate the Qabalistic Cross may I suggest to follow the usual vibration in one pitch as there are a couple of short consonant letters there which is hard to solve, or one may leave out these letters but vibrate the vocal tones as far as one can, such as the following (letters within brackets are silent):

AThH MLKVTh VGBVRH VGDVLH LOVLM AMN is pronounced as A-Ta-(H) (E Natural & A Natural, as the final H is left out) Ma-L-K-U-T (G Sharp, F Sharp, A Sharp, C Sharp, & A Natural) Ve-Ge-V-U-R-a(H) (C Sharp, G Sharp, E Natural, C Sharp, D Natural, & C Natural) Ve-Ge-D-U-L-a(H) (C Sharp, G Sharp, here I cannot solve the “D” letter so it is left out, C Sharp, F Sharp, & C Natural), Le-O-U-La-M (F Sharp, A Natural, C Sharp, F Sharp, & G Sharp) A-M-eN (E Natural, G Sharp, & G Natural).


4 kommentarer:

Sekhmet sa...

This is the first place i have read of Allan Bennett having a special connection with the color/sound attributions as taught in the B.O.T.A. system, however I believe PFC was to some degree influenced by Edward Maryon's book "Marcotone - The Science Of Tone-Color". Frequencies and where they resonate through the octaves ~ that is the key to it.

A couple of things to keep in mind regarding the GD material is nowhere near all of it has been published, and the material that is published contains some very definite blinds, one would assume the intention was for students to figure certain things out for themselves. However, The colors utilised in the basic B.O.T.A color/sound work are the standard GD King Scale for paths 11-32

If you start at the note C/Red and apply the three primary, three secondary and six tertiary colors to the piano keyboard following the B.O.T.A. attributions you get a spectrum. Some interesting insight into the nature of polarity to be gained for those prepared to meditate on the piano with the color attributions applied to it thus.

PFC as a pianist would have known this, though the keyboard as a spectrum and it's relation to polarity is not taught by rote in B.O.T.A.

Sincerus Renatus... sa...

Ave Sekhmet!

Thank's for you valuble insights in this matter.

In Licht, Leben und Liebe

Anonym sa...

Another very good article. I can confirm Darcy's comments and have a copy of Bennett's original notes. While a copy of his notes (just one page of one of his notebooks) was also found amongst the 5=6 papers of a Whare Ra/Stella Matutina member it seems most unlikely that Paul Case ever had access to Bennett's own findings which were never intended to be be published. I agree with Sehmet that Case was indeed influenced by Maryon's book but do not agree that published GD material contains any blinds. Errors yes and often vast misunderstanding in the commentary which accompanies it but never blinds as it was never intended to be published but kept secret. There is also published material purporting to be original GD/SM teaching but which in fact is merely the creation of modern 'occultists'. Of course, regarding genuine material, that released to particular Grades did not contain information reserved for higher Grades on the subject.

T. F.

Sincerus Renatus... sa...

Care Frater Tony,

Thank you for your kind words. Thank you also for corroborating Mr. Kuntz' findings, which gives another piece into the puzzle.

It's interesting how Case and Bennet independently could have reached to the same conclusions (if Case in fact didn't have access to Bennets notebooks).

Personally I wouldn't rule out this possibility of Case reading Bennet, especially considering that Whare Ra had copies (of pieces) of Bennets notebook as you state. This suggests that they were circulating between Temples, to some extent. Why shouldn't they eventually had reached the American Temples then?

In Licht, Leben und Liebe