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Exploring the Profound Meaning in Andre Consciencia’s Occult Works – Part 2

Exploring the Profound Meaning in Andre Consciencia’s Occult Works – Part 2

PAA: 1) How does your new Magical series beginning with your book on the Elementals fit in with your previous books. Is there a relationship?

1 – It must be understood that right after I wrote The Way of Abrahadabra, I wrote Through The Soul Mirror to The Sphere of the Sun. Then I wrote A Guide to the Elementals, then The Path of Ipsos, then and A Guide to the Quabbalah of the Spheres, then The Dragon Tarot, after which I wrote A Guide to Stellar Magic. Only then did I write The Lusitanian Grimoire and The Inner Gateways of LAM. This is the order in which I wrote the books, so you have published books mentioning Falcon Books publications that haven’t yet seen the light of day as I thought the order of releases between different publishers would be different. 

I have written other occult material after that, for Falcon Books. I believe I was born to write and since I wrote my first piece with 13 years it never stopped.

But this is to say that different publishers have different rhythms and modes of work and that the order in which books are published isn’t the same in which they are written. I wrote A Guide to the Elementals 3 years ago. This is the same year I wrote Through the Soul Mirror to The Sphere of the Sun, but it was published toward the end of 2022, taking almost 3 years. By the time it was published I had released all other books except The Lusitanian Grimoire and the Inner Gates. Yet, it was the second occult book I wrote in English, starting in the pandemics. 

This doesn’t say much about the publisher in case someone is thinking it, the time a publishing house takes to publish your book can mean the dedication is deep, rather than the rush to sell.

But it does tell about the timing of the books. I always thought of Through the Soul Mirror as part of the series, for instance. You start with Through the Soul Mirror, move to A Guide to the Elementals, and then to A Guide to the Quabbalah of the Spheres. These correspond in terms of the logic of magical progress with Initiation Into Hermetics, Practice of Magical Evocation and The Key to True Quabbalah by Franz Bardon. A Guide to Stellar Magic comes after, because Bardon did write a hidden book on astrology and it is hidden mostly at Practice of Magical Evocation.

I wrote the Grade of Jupiter thinking that it corresponded somehow with the fourth book on the card of the Emperor.

I wrote Through the Soul Mirror thinking that it corresponds with the card of the Sun, A Guide to the Elementals with the card The World, the Quabbalah of the Spheres with the Judgement, A Guide to Stellar Magic with The Moon. 

So you see, nothing is very simple here. There are sequential relations with Bardon’s books but these are only regarding the logic of progress, they are technical. If you look at it, you have The Moon, The Sun, then the Judgement and the World. These 4 cards make a sequence and they were sent to Falcon Books. Yet A Guide to Elementals would appear to be the last card while it is the second book in the publisher. How come?

Again, I use the cards as a ritual, and they are being cast for a certain end. This is the necessary sequence. The Sun shines on the World and judges it, and finally the night comes to open wide the heavenly gates. In Through The Soul Mirror you master mainly the conscious and subconscious (The Sun, watch the child and the horse) , in A Guide to the Elementals, the elements (The World, watch the four figures and the central one), in a Guide to Sphere Quabbalah, the spheres (watch the 6 persons being judged by the seventh in The Judgement), and in A Guide to Stellar Magic, the Moon card, the transplutonian influences or, more exactly, the influences from Saturn up. 

The Way of Abrahadabra is my card of the Magician, the Path of Ipsos is my card of the Priestess, the Lusitanian Grimoire is my card of the Empress, and The Inner Gateways of LAM is my card The Star.

The Dragon Tarot is my card The Wheel. I have never said that in any of the books as I don’t want people to think I’m claiming to be doing the same thing Bardon did. My books are inspired in these cards as a poet gets inspired by the sunset and the sunrise and an angel gets inspired by midday.

Now marry the Magician with the Sun, then the Empress with The World, then the Priestess with Judgement. Marry the Wheel and the Emperor, and finally let The Star and the Moon kiss.

PAA: 2) 

2 – I was hunting for signs on what else to write for Falcon Books and Aschmunadai suggested this work, and apparently Erami had planted a mirror-seed calling me forth for what would be the same end at the end of the day.

I had let these things rest in the back of my head, as I usually say. Then one day I was at the beach and stood studying the different currents and mermaids. I did that for so long that the weather started to change, the currents started to change, and I saw the inner life of the water elementals in their daily routine. I thought: how interesting would it be if I acted like their anthropologist? I had done something similar in the guise of fiction with works such as The Gem of Silence (also mentioned in this book) but they were not technical or a serious study.

This caused a strong impression in me and I knew I would write the book. Then I went to a circle of trees on the top of a mountain I usually go to for certain meditations. I started studying the trees and what beings inhabited the trees and the plants etc and the ground beneath me and I started drawing a map and identifying patterns. I did the same with all other elements and elementals, including their anatomy and habits and I started writing. The theory section of the book is more Aschmunadai oriented, so to speak, and it applies to magic in general. The practical part is purely connected to the elementals and the isolated elements.


PAA: 3) How did you approach researching and gathering information for this book?


3 – I gathered what I knew from evocations, mental wandering and communications with what people call invisible beings. This would include all cultures I had studied and to refresh my memory I researched again some of the topics to make sure I wasn’t giving erroneous information. Aschmunadai had appeared embodying the card The World, speaking through the figure in the center and he gave me a formula that would dictate the structure of the book.

Then I acted, as I said before, as an anthropologist among the elementals. Research in the field, adding to what I already knew, then I interviewed many and many elementals. These interviews have been transcripted and are in the book.

When I write my research includes practice. All must be tested.


PAA: 4) Can you describe the significance of Edinnu, the Garden of God or the Paradise of Pleasure, in relation to the enchanted realm?


4 – The Paradise of Pleasure is the realm of the senses, inner and outer. It is washed and irrigated and enchanted by four rivers, the four elements.


PAA: 5) What are some of the key conditions one must meet to enter the enchanted realm?


5 – That is an interesting question because the enchanted realm is all around us, but we stand inside it as if expelled from it. That makes the biblic perspective of Eden interesting. To enter it we must build the Garden in our microcosm.


PAA: 6) How does the magician build their own magical garden in the image of Edinnu?


6 – There are two ways that work best when put together. One is through what is known as magical equilibrium: one balances the four elements in their mental, astral and physical analogies. When so balanced, each elemental faculty stands in support of the other and by the whole that is greater than the sum of its parts, the enchanted realm is revealed to us like an open book.

The other is by following in tune with the rhythms, cycles and powers of nature, dancing and playing with the deep harmonies of nature. In other words, by breathing the Macrocosm in and fusing with its cosmic quality we restore the microcosm.


PAA: 7) What is the significance of the four philosophical elements in relation to the enchanted realm?


7 – Will, thought, emotion and instinct. By these qualities (content and force) the four elements enchant the realm (substance and continent) and give life to all things, no matter what the plane and kingdom is. Life is the enchantment.


PAA: 8) Can you provide examples of the life of the four elemental kingdoms and what animates them?


8 – The four elemental kingdoms also have the enchantment of life, they are permeated by will, thought, emotion and instinct. In the elemental kingdom of fire will has thoughts, emotions and instincts. In the elemental kingdom of air thoughts have will, emotion and instinct. In the elemental kingdom of water emotions have will, thoughts and instincts. In the elemental kingdom of earth instincts have thoughts, emotions and a will, but that means instincts become awareness or consciousness, they are not unconscious as we usually perceive them from out of our lack of connection.

These thoughts, emotions, instincts and will powers are in truth individuals, they are salamanders, mermaids, gnomes and sylphs.


PAA: 9) How does your book differ from Franz Bardon’s Practice of Magical Evocation in regards to elemental beings?


9 – It is specialized, so to speak. For once, more technical detail is given on how to work with the beings of each kingdom, from the practices that facilitate communication, to the magical organs of the beings and their esoteric anatomy, to their societies, to the triangles and circles and God assumptions. Then, it explores more than the double of the number of elementals presented at the Practice of Magical Evocation.

It explores also specific magical and quabbalistic practices taught by the sprites, and it has the sprites be interviewed directly rather than just described.


PAA: 10) How does the book explore the keys to magic, mental wandering, evocation, and the four elements according to different times and cultures?


10 – By analyzing these themes throughout the different cultures in the light of magic. From Sumer to Persia, from the Hebrew to the Celts and so on down to Hermeticism.


PAA: 11) How does the book explore the keys to magic, mental wandering, evocation, and the four elements according to different times and cultures?


11 – The sprites are evoked into the triangle according to the methods taught in the book itself. As we speak, I transcribe. I also try to describe the actions the best I can. It can be hard doing this all at once but it is possible if we are prepared for some side effects like a headache.


PAA: 12) What can you tell of the other books in the Magical Series of which A Guide to the Elementals is the first one? And what is to follow this series, if anything? 


Well, focusing on my work with Falcon Books Publishing, I consider the books get more and more revolutionary, for a lack of better word. They are innovative but draw on the Franz Bardon’s tradition, unveiling things that have been hidden in Bardon’s system but that are there exposed, just not uncovered. 

In Through the Soul Mirror to the Sphere of the Sun I try to give justice to Bardon’s concept that the whole book is meant to enoble the soul and depends on this to work to its fullness. Given all the wonders that Bardon provides us with, in terms of new experiences, I turned them toward the soul mirror so that this mirror becomes fully alive, enchanted and unbreakable. I then seal this mirror with the light of the Sphere of the Sun, that Bardon considers to be the Summon Bonum of The Practice of Magical Evocation. 

In A Guide to the Elementals altough nobody had done formal interviews with exact transcriptions etc, William Mistelle did similar. But you do have for the first time in this book a detailed method of working with the elementals and becoming the elementals that is scientific in structure and scrutinization. There is a study of all faculties and organs and processing systems inside the microcosm of each type of elemental that I found, and the study of psychological and cultural behavior, individual and collective, in the sprites, is also new and, I’d dare say, of potential great use. 

A Guide to Sphere Quabbalah, however, will start to really stir the waters, more than the previous books. I cannot speak of it too much without being a spoiler, for if I unclose my systematic discoveries of Bardon’s Quabbalah in their relation to Sphere Magic I’d already be opening the door that only the book, in its proper context, is meant to open. 

This 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 shape 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.

Four books can be found inside A Guide to the Quabbalah of the Spheres: 

– Book I The Book of Incantations (Sound)

– Book II Cosmic Elemental Kingdoms (Color)

– Book III The Machinery of the Spheres (Shape)

– Book VI The Book of Gestures (Motion)

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

It will lead you to 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 and 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.  

Then comes A Guide to Stellar Magic. While I resisted the writing of this book at first, because I felt it was too important including to myself, the beings insisted. As I started, they would constantly appear to me, guiding me while I was writing or while I was sleeping. Eventually, it gained a momentum so strong that I was forgetting to eat and feed myself.  

In History, we have Sumerian records of a catalog of omens, patterns that form in the hands or in the liver and that indicate such and such effect (such and such illness and demon). Likewise, the stars, being gods, were by Mesopotamia examined in exactly the same way (starting by the eclipses), through correspondence between observed pattern and observed phenomena.  

This methodology, in its root, is found in all branches of astrology, but astrology is not exact and terms and calculations vary with geography, which is to be expected, and with culture. Is there, then, not a unified and true beyond doubt form of astrology? One of my intentions with Stellar Magic is to answer this question.

I come up with: 

– An explanation of astrology from pre-history to the modern day, throughout East and West.

– Astrological Quabbalistic formulas.

– An astrological exploration and application of the whole system presented at The Practice of Magical Evocation, by Franz Bardon.

– Traditional astrology and its adaptation to Franz Bardon.

– The missing description to the beings of Mars in the Practice of Magical Evocation, together with a list and description of the beings of Saturn, Uranus and Pluto.

– Explorations of extraplanetary and extrasolar magic and mental wandering.

– An extensive working with Balachman and Ugripon, astrological and astronomical heads of the Earth Belt Zone.  

See, the stars might have fed the first muses of mysticism, for the hungering human, thirsty for mystery, cannot go up to them except by the transcendence of his own senses and faculties. But they are also the ultimate goal. 

Altough the mere reader may come in contact with portions of text that remind him of the realms of pure fantasy, the practitioner will find otherwise.

Finally, in The Practice of Magical Evocation the magician is working with the cosmic aspects via their personification, and in The Key To True Quabbalah, the quabbalist is working with the cosmic aspects directly through formulas and attached meditations. Astrology, in its most valid aspect, the astrology offered in this work, stands somewhere between the two. 

I have been writing three books in the line of the Falcon Books series and intended for the publisher if deemed worth, that I intend to publish as one. They refer to the spheres above the so-called veil of illusion or Paroketh: Jupiter, the Sun, and Mars. 

Jupiter will open the doors.

Even scientifically, Jupiter has an enormous gravitational sphere of influence, known as a Hill sphere. Like Jupiter’s magnetosphere, its gravitational force also extends far into space. Hill sphere is defined as the distance where Jupiter’s gravitational attraction gets stronger than the Sun’s, for objects orbiting the Sun. In hermeticism as well, Jupiter stands larger than the Sun.

For years and years I have worked with the planetary sphere of Jupiter, and for a good part of such years I had a hard time translating its teachings into practices and philosophies fit to our material mundane life. The Jovian wisdom would often escape through my fingers like blue water and red sand This book will give the opportunity for others to start on a different and more favorable ground.

The Will, Love, and Wisdom of Divine Providence are transmitted as Laws by Saturn, then organized by Jupiter into intelligence. An intelligence great enough to operate and move the whole objective world and make of every individuality an active universe in the larger cosmos.

In this work you find hermetic initiation into all twelve grades of Jupiter, defined by the Zodiac, including Jovian methods to work in all three kingdoms, four planes and spheres, through magic, quabbalah and alchemy.

Finally, the work of profound knowledge and profound wisdom is the mission of the Jovian hermetist on the Earthzone, for it is the work of the fourth Tarot Card. 

The Grade of the Sun follows. In line with the work of the Czech magician Franz Bardon, it has no other purpose than to help the readers and practitioners to tune into solar powers and principles in theory and practice, to make them enough acquainted with the corresponding mystical and metaphysical languages to contact, with caution, the intelligence of the Sun Sphere. 

It is a short, simple, and straightforward book to the extent that it is possible to discourse so practically on topics that seem so far removed from our mortal and limited existence, and yet that are to it as essential as the sunlight is to live on Planet Earth.

The work is set on two pillars, mastering cosmic creativity (pulsing activity of the void) and functioning with cosmic dissolution (repose in vacancy) and the whole body of universal wisdom and praxis that is in the balanced dynamic between these two poles.  

The Grade of Mars I’d rather not expose too much as I am still writing and have only written about a third of it. It is already plain to see, nevertheless, that it kind of puts all esoteric madness, pardon my English, on check and brings it down to Earth. It refers to the plus pole and to the most practical attitude possible. Many times, occultism becomes involuntarily a scapegoat, and people lose their whole lives in pipe dreams instead of grabbing the living life that is right in front of them. I think this book or third portion of the collective book redeems me from all the persons that might have accidently lost themselves in my own works, instead of finding themselves.  

It is inspired by the card of the Chariont, while the Grade of the Sun is inspired by The Hierophant. Together, these books compose the 4 and the 12, the Rosy Cross or the cross and the circle.

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