‘A Magical Study Series’ with Andre Consciencia

The Magical Series from Andre Consciencia, published by Falcon Books Publishing. This series is incredible! From working with Andre here at Perseus I have been fortunate to see not just the written word from Andre but also the deeply practical application of his words via his courses ‘Introduction to Magic‘, ‘Magic and Mystical Introspection‘ and most recently the ‘Ceremonial Magic and the Bardon Tradition‘. Now these already blow me away with their depth, but the Magical Study Series I think I can safely say is on a different level. Those courses I am sure ultimately arrive at a place where the student is Magically Independent and ready for more, ready for Divine Providence to open up a deeper journey than what has already been seen by the student. Well…this is it! I think for those who have done the work over the years and decades this Magical Study Series is for you. Now of course if you are a Franz Bardon student then this series will fit neatly in with your training and open up new avenues for you to explore. If you are not a student of Franz Bardon but have long been a practitioner, of perhaps other magical, energetic or meditation systems then I still think you will gain much from this work. It feels very much like Andre is bringing into this world something that has been there waiting for us, but perhaps on mass we were not ready. But now in 2024 the time is right for the second books of this series to be released.

I know it might sound like I am overdoing the praise! But seriously I am not. So often we get great books but they are still often a reinterpretation of what we already have. This series is like nothing else, it is fresh and is the fruit of Andres practice.

Please enjoy the following excerpts from Volume 1 and the newly released Volume 2.


Volume 1: A Guide to the Elementals

The realm of elementals is often called the enchanted realm, it is the realm that is being enchanted by the word as in the creative power of light. In a way, it is the natural world inside the creative power of light.

In the book we are mostly concerned with certain features of Edinnu, the Garden of God or the Paradise of Pleasure, that is, the heavenly region directly connected to the senses.

Entrance is subject to certain conditions. The Sumerians had at the door their scorpion versions of the sphinx, angels whose gaze was death, and the Jewish Paradise had the flaming sword that would smite the visitor. These are representations of the ecstatic states of trance where the elements stop being seen in their limited form and become infinite as four aspects of the Divine. 

It is, thus, important for the magician to build his own magical garden in the image of this Edinnu before travelling through the cosmos, just like the ancient Persian hero Jamshid is warned by Ahura Mazda (Divine Providence) about a freezing winter approaching and so builds his magical garden on top of a mountain to save himself and the world. That is, the magician is to be firm in his own magical equilibrium, for even though we will not yet dare to eat from the Tree of Life, we will drink from the Edenic Rivers.  

This book will explore the nature of the mind, soul, and body, the nature of the four philosophical elements, the four elemental kingdoms, the life of the four elemental kingdoms, and that which animates it. A magician following the Bardon tradition will feel at home reading it, for the book explores its aspects.

All in all, the work makes a complete Grimoire on its own and an area of elemental specialisation for all those following the hermetic tradition and the goetic path concerning the art of evocation, adding over 40 beings beyond those mentioned by Bardon at the Practice of Magical Evocation and many additional hermetic meditations derived from quabbalistic formulas. 

In it the keys to magic, mental wandering, evocation, and the four elements are given according to different times and cultures in the light of universal knowledge, clairvoyance is deeply applied to the study of the different sprites, and the sprites of the elements named by Franz Bardon are interviewed in the triangle of art directly to the readers. 

Chapter 2 Journeying the Elements

From a Hermetic Viewpoint

In hermeticism, just as the scientist dissects his object of attention to better and more methodically study its components, we divide the Other World into five elements, of which four are the subject of this book: Earth, Water, Air and Fire. It is a vision more akin to the ancient Persian, the term Magician actually deriving from the

Mazdian magi, whose prayers were towards the sun, moon, earth, fire, water and winds, manifestations of the omnipresent light. We may even affirm that the Zoroastrians had a better understanding of this subject than Aristotle, for to them the divine, represented by heat and moisture, was of the substance of the four elements in their light, and the elements in the material world were their cold and dry facets.

Elements and Elementals on Zoroastrianism and Manichaeism

In the Zoroastrian vision, we would be forced to see the Hebrew Garden of God as the sphere of the quintessence and the four rivers that surround it as a crust divided into two layers, the four divine virtues being the four elements of the omnipresent light of existence, and then the four grosser elements that are material and side effects of existence. Franz Bardon explained things more or less as Aristotle, in that the elements came progressively, but at the same time, in their merging with Neoplatonism, Zoroastrian sages spoke of the Endless Light from which came an all-embracing fire, it emanating the spirit of the power of the soul and the spirit of the power of nature. From the combination of the last two came out cosmic substance. In turn, this cosmic substance, by connecting with the spirit the power of the soul, would create a Firmament that would finally generate the substratum of the four elements, the four elements functioning as the seeds of the world and the substance of Being.

This seems to explain exactly the process of the creation of the Zone Girdling the Earth, mentioned by Bardon, and then its various layers rising again into the Endless Light. In the structure presented by Zoroastrianism, there is the Infinite, and in the Infinite the first form of consciousness is omnipotence in which something or nothing has acted. From the realization of this act comes the all-embracing fire of omniscience, where the infinite becomes conscious of itself. The spirit of the power of the soul is the divine self therein obtained, that is, the divine dimension of time, eternity, the notion of entity unconditioned. The spirit of the power of nature is as divine ego, divine identity and it is the radiation of omnipresence and the divine dimension of space, the spaceless, for omniscience must know if not all time and space, the timeless and the spaceless.

The timeless and the spaceless put together to form the cosmic dimension of the Akasha, from where an everlasting firmament, the Zone Girdling the Earth, emerges. It mirrors immortality and omnipresence as time and space, and exhibits their theatrical interactions through Being, projected in the four elements.

Some Mazdeans proceed to speak of seven elements, it being that the mineral kingdom, the vegetable kingdom and the animal kingdom derive from the four elements, and the secret job of the beings of the four elements is to foster and keep them. They are, therefore, fashioners and guardians of the creations of Ahura Mazda.

In Manichaeism the old Persians thought of these elementals as the sons and armours of the primordial man, indicating the possibility of the magician who has attained Godhood to create natural elementals of a substance beyond that of the elementaries. This is because Manichaeism seems to be the microcosm of the cosmic Zoroastrian vision, that is, while Zoroastrians saw creation as a cosmic process in the infinite without, Manichaiests saw creations as coming from the inside outwards. The Garden of God is here the Paradise of Light, surrounded by what we know as the Akasha on whom dwell the mind and the four powers of the mind: intelligence, reason, thought and cognition. These four powers put together constitute the soul. The conjunction of mind, its powers and the soul is, in the tradition of Manichaeism, the first form of man, as this type of being is able to perceive polarity in undefined light and to order darkness and chaos, unveiling the objective or phenomenal world. In turn, it is by the reflective power of such perceived objects that he is able to see matter. To them, there is no material quality in any of the four elements, matter being but an illusory distortion, and where we place the earth element they have the element of light.

I will speak no further of this, but let the mature magician extract the key himself instead, for such a key is of the very essence of mental wandering and magical evocation, making it possible at once.

Volume 2: A Guide to Sphere Quabbalah

This I think is going to be a book that those doing the work will truly appreciate. It is a book that goes into such depth, that goes above beyond what has come before. Here is the official information from the publisher and a very generous excerpt:

This book leans over aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is a book divided into four parts that serve the magician, the theurgist and the learning quabbalist. 

The book is concerned with the operation of the triad regarding the human being, according to the teachings of Hermes, the patron of music.

The quabbalist leaves this work with his soul free from the illusion of the material world, his senses infinite, free of limitations. He starts to hear the eternal songs of praise inside all creatures, the music crystallized inside all shapes and architecture, divine melodies in everything. 

When the soul fully regains its original auditory sense of clairaudience, it starts to hear the music of the spheres and the spirit of the quabbalist joins the celestial choirs, taking part in the eternal good that controls the spheres.

In this book, you will also find:

  •  An exploration of the divine tones and the way of creating rhythm and melodies with their aid.
  •  It explores the cosmic elemental kingdoms and sphere elementals and how the different cosmic letters correspond to the elemental fluids of the different spheres.
  • The way of combining shape with the tones and the quabbalistic mechanics of the spheres is given, together with a tripolar method of working with the original Hebrew letters, including the method to create elementaries of these letters.
  • Finally, the reader will be able to learn bodily motions corresponding to the spheres, tones and Bardon’s cosmic letters, the so-called quabbalistic yoga

The Spheres, the Elements and the Cosmic Letters

We should start by remembering that each tone in The Key to the True Quabbalah seems to represent a different planetary sphere. Each tone has also a number of cosmic letters that should be intoned in that very same tone, and such cosmic letters represent the elements of such sphere. Such elemental regions we will explore, not in the order imposed from the divine microcosm to the divine macrocosm, from the C tone of Mars to the B tone of Neptune/Uranus, but from down below to up above, from the Earthzone (C#) to the Neptunian/Uranian sphere (B tone).

In C# we find the Earthzone, or Zone Girdling the Earth. We have given it the black oscillation of the Akasha. Its letter is the cosmic letter Y, governing the rhythm of life and harmony over the earth and the akasha principle in matter. If we imprint its pink color upon the black, we obtain the violet color, for the akasa goes, in descendant order, from black to dark violet and violet. In the Neptune/Uranus sphere we also have the letter U, which is pretty much like the Y letter but deeper, being responsible for the akasha principle and, again, for the akasha principle in matter. Its color is black and if we imprint it on the Uranian lilac we obtain the darker shade of violet, so that, in a way, the Earthzone is as an elemental region of this highest of spheres, and the 1 (Neptune/Uranus) and the 10 (Zone Girdling the Earth) are directly connected, as polarities of each other. 

Some letters have been attributed to the Akasha, and they represent planetary elements we cannot fully understand from inside our present sphere. While the known elemental regions attributed to the Earthzone are the kingdoms of fire, air, water and earth (elements through which the Zone Girdling the Earth regulates contraction, expansion, refinement and density in matter), the Y is as a particular state of the akasha that labors upon the Earthzone.  

It is from the Y and from the U, from sphere 10 to 1, that the elements of fire, air, water and earth ascend and descend to particular spheres of the cosmos from 9 to 2. Their elemental regions may be found in particular planets whose nature can reflect them in the akasha. 

D# The Moonzone

In the Silvery-white oscillation of the Sphere of the Moon we can find a continuation of the elemental kingdom of water into the spiritual regions. It is depicted in the cosmic letter Ch, responsible for purity. This kingdom may be penetrated by (while standing in the Moonzone) uttering the Ch in the D# tone quabbalistically and imprinting upon the silvery-white of the Moon the violet color of the letter Ch. The magician will be met with a beautiful silver-violet color where he may find the water elementals of the Moonzone, of which we shall give one example.

Pharuan 

Pharuan has a strange, exotic, abnormal but beautiful and sparkling appearance. She teaches the rhythms of all things in their connection to all other things, so that the magician may become a mathematician of the sensory perceptions. Pharuan holds the spiritual mysteries of growth, sensuality and fertility. 

Now in the Moonzone there appears another elemental region depicted by the cosmic letter Õ (Oe), responsible for evolution even inside the quintessence. It is as the akashic form of the earth element, and the magician may unblock this elemental region by, inside the Moonzone, pronouncing the Õ quabbalistically in the D# tone, imprinting its orange color into the silvery-white, by which he will shift into a zone of pure white-orange. In here, he may find the earth elementals of the Moonzone, of which, again, we shall give one example. 

Sulipar

Sulipar appears to me in an animalistic shape very hard to describe, something between a fluffy white silk worm, a lizard and a gnome. When he sits up he becomes very elegant in a strange manner, more in the likeness of a cricket, and he holds a silver flute. By playing his flute he can change the qualities of all material things and make them more kin or averse to other things, eventually changing substance and even physical form. This being, therefore, can teach a lot on alchemical Quabbalah and on the gravity between the microcosm and the macrocosm, and holds sway of gravity and magnetism, or better put, the gravity of magnetism.

D The Sphere of Mercury

In the orange oscillation and the D vibration of the sphere of Mercury we can find three laboring elements. Two are elemental forces per se, and the other is a particular graduation of the Akasha. This particular graduation is contained in the cosmic letter E, of a violet akashic color: the zone of labor accessed is reddish gray and responsible for omnipresence. 

The omnipresence (E, Mercury) of harmony (Y, Earthzone) is expressed in the elemental regions of the moon according to Ch and Õ. In the moonly earth element it manifests as transformation, in the water element it manifests as rhythm. 

But beyond the region accessed through the E letter in Mercury, there is an element between fire and air accessed via the C letter, responsible for giving form to divine ideas or transforming divine ideas, and one elemental kingdom of water accessed via the M letter, being the cosmic root of the water element itself. We may envision the M as the top of the triangle with Ch and Õ below, while the C works in quadripolarity with Ch and Õ. That is, while the M has the rarified aspects of rhythm and transformation, being the fluid principle, the C completes (as both fire and air) the Ch water and the Õ earth, in such a way that the Mercury Sphere and the Moonzone are partly part of the same laboring structure. 

The fire aspect in C conceives the ideas, its air aspect has them radiate, the Ch gives them rhythm and the Õ the capacity to transform and be transformed.  

The sphere magician may then pronounce quabbalistically, in D tone, the cosmic letter C inside the Sphere of Mercury, adding the C’s vermillion color to the orange oscillation of Mercury, entering by such means the reddish orange realm, where he will meet the fiery/airy elementals of the Mercury Sphere. Huoran is an example. 


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