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satanicbible.peperonity.net

17 ingredients satanic magic

THE INGREDIENTS USED
IN THE PERFORMANCE
OF SATANIC MAGIC
A. Desire
THE first ingredient in the performance of a ritual is desire, otherwise known as
motivation, temptation, or emotional persuasion. If you do not truly desire any end
result, you should not attempt to perform a working.
There is no such thing as a "practice" working, and the only way that a magician could
do "tricks" such as moving inanimate objects, would be to have a strong emotional
need to do so. It is true that if the magician wishes to gain power through impressing
others with his feats of magic, he must produce tangible proof of his ability. The
Satanic concept of magic, however, fails to find gratification in the proving of magical
prowess.
The Satanist performs his ritual to insure the outcome of his desires, and he would not waste
his time nor force of will on something so inconclusive as folling a pencil off a table, etc.
through the application of magic. The amount of energy needed to levitate a teacup
(genuinely) would be of sufficient force to place an idea in a group of people's heads half-way
across the earth, in turn, motivating them in accordance with your will. The Satanist knows
that even if you succeeded in lifting the teacup from the table, it would be assumed that
trickery was used anyway. Therefore, if the Satanist wants to float objects in mid-air, he uses
wires, mirrors, or other devices, and saves his force for self-aggrandizement. All "gifted"
mediums and white-light mystics practice pure and applied stage magic, with their blindfolds
and sealed envelopes, and any fairly competent stage magician, carnival worker, or lodge-hall
entertainer can duplicate the same effect - although lacking, perhaps, the sanctimonious
"spiritual" overtones.
A little child learns that if he wishes for something hard enough, it will come true. This is
meaningful. Wishing indicates desire, whereas prayer is accompanied by apprehension.
Scripture has twisted desire into lust, covetousness, and greed. Be as a child, and do not stifle
desire, lest you lose touch with the first ingredient in the performance of magic. Be led into
temptation, and take that which tempts, whenever you can!
THE INGREDIENTS USED
IN THE PERFORMANCE
OF SATANIC MAGIC
B. Timing
IN every successful situation, one of the most important ingredients is the proper
timing. In the performance of a magical ritual, timing can mean success or failure to an
even greater extent. The best time to cast your spell or charm, hex or curse, is when
your target is at his most receptive state. Receptivity to the will of the magician is
assured when the recipient is as passive as possible. No matter how strong-willed one
is, he is naturally passive while he is asleep; therefore, the best time to throw your
magical energy towards your target is when he or she sleeps.
There are certain periods of the sleep cycle that are better than others for susceptibility to
outside influences. When a person is normally fatigued from a day's activities, he will "sleep
like a log" until his mind and body are rested. This period of profound sleep usually lasts
about four to six hours, after which the period of "dream sleep" occurs which lasts two or
three hours, or until awakening. It is during this "dream sleep" that the mind is most receptive
to outside or unconscious influence.
Let us assume the magician wishes to cast a spell on a person who would usually retire at 11
o'clock in the evening, and rise at 7 o'clock in the morning. The most effective time to
perform a ritual would be about 5 o'clock in the morning, or two hours before the recipient
awakens.
It is to be emphasized that the magician must be at his peak of efficiency, as he represents the
"sending" factor when he performs his ritual. Traditionally speaking, witches and sorcerers
are night people, and understandably so. What better schedule on which to live, for the
sending of thoughts towards unsuspecting sleepers! If only people were aware of the thoughts
injected into their minds while they slept! The dream state is the birthplace of much of the
future. Great thoughts are manifest upon awakening, and the mind that retains, in conscious
form, these thoughts, shall produce much. But he who is guided by thoughts unrecognized is
led into situations that will later be interpreted as "fate", "God's will", or accident.
There are other times in each person's day that lend themselves to the receiving of the will of
the wizard. Those times when day-dreaming or boredom ensue, or when time hangs heavy,
are fertile periods of suggestibility.
If a woman is the target for your spell, do not forget the importance of the menstrual cycle. If
man were not dulled through his stifling evolutionary development, he would know, as an allfours
animal knows, when the female was most sexually inclined. Man's snout, however
unsullied by cheap opiates, is not normally equipped to ferret out such tell-tale erotic scents.
Even if he were so endowed with such olfactory powers, the object of his quest would most
likely "throw him off the scent" through the use of massive doses of perfumery to cover and
smother the "offending" effluvium, or eliminate detection completely, by the astringent action
of powerful deodorants.
Despite these discouraging factors, man is still motivated to desire or be repelled, as the case
may be, by his unconscious recognition of the change in woman's body chemistry. This is
accomplished in the form of a sensory cue, which is olfactory in its nature. To go backwards,
in what would amount to a return to the all-fours animal, would seem to be the best exercise
for the conscious application of these powers, but to the squeamish might smack of
lycanthropy. There is, however, an easier way, and that is to simply ascertain the dates and
frequency of the menstrual cycle of the woman who is your target. It is immediately before
and after the period itself that the average woman is most sexually approachable. Therefore,
the magician will find the sleep period during these times most effective for the instillation of
thoughts or motivations of a sexual nature.
Witches and sorceresses have a much greater range of time in which to cast their spells
toward the men of their choice. Becuase man is more consistent in his sexual drives than
woman (although there are many women with equal or even greater lusts), day to day timing
is not as important. Any man who is not already drained of all sexual energy is a "sitting
duck" for the proficient witch. The time of the year following the spring equinox is the most
fraught with sexual vigor in a man, and he asserts himself accordingly; but the witch, in turn,
must work her magic stronger, as she will find his eyes will stray.
Should the fearful ask, "Is there no defense against such witchery?" it must be answered thus -
"Yes, there is protection. You must never sleep, never daydream, never be without a vital
thought, and never have an open mind. Then you shall be protected from the forces of magic."
THE INGREDIENTS USED
IN THE PERFORMANCE
OF SATANIC MAGIC
C. Imagery
THE adolescent boy who takes great care in carving, on a tree, a heart containing his
and his love object's initials; the little chap who sits by the hour drawing his conception
of sleek automobiles; the tiny girl who rocks a scuffed and ragged doll in her arms, and
thinks of it as her beautiful little baby - these capable witches and warlocks, these
natural magicians, are employing the magical ingredient known as imagery, and the
success of any ritual depends on it.
Children, not knowing or caring if they possess artistic skill or other creative talents,
pursue their goals through the use of imagery of their own manufacture, whereas "civilized"
adults are much more critical of their own creative efforts. This is why a "primitive" magician
can utilize a mud doll or crude drawing to successful advantage in his magical ceremonies. To
HIM, the image is as accurate as needs be.
Anything which serves to intensify the emotions during a ritual will contribute to its success.
Any drawing, painting, sculpture, writing, photograph, article of clothing, scent, sound,
music, tableau, or contrived situation that can be incorporated into the ceremony will serve
the sorcerer well.
Imagery is a constant reminder, an intellect-saving device, a working substitute for the real
thing. Imagery can be manipulated, set up, modified, and created, all according to the will of
the magician, and the very blueprint that is created by imagery becomes the formula which
leads to reality.
If you wish to enjoy sexual pleasures with the one of your choice, you must create the
situation you desire on paper, canvas, by the written word, etc., in as overstated a way as
possible, as an integral part of the ceremony.
If you have material desires, you must gaze upon images of them - surround yourself with the
smells and sounds conducive to them - create a lodestone which will attract the situation or
thing that you wish!
To insure the destruction of an enemy, you must destroy them by proxy! They must be shot,
stabbed, sickened, burned, smashed, drowned, or rent in the most vividly convincing manner!
It is easy to see why the religions of the right-hand path frown upon the creation of "graven
images". The imagery used by the sorcerer is a working mechanism for material reality, which
is totally opposed to esoteric spirituality.
A Greek gentleman of magical persuasion once wanted a woman who would satisfy his every
desire, and so obsessed with the unfound object of his dreams was he, that he went about
constructing such a wonderful creature. His work completed, he fell so convincingly and
irrevocably in love with the woman he had created that she was no longer stone, but mortal
flesh, and alive and warm; and so the magus, Pygmalion, received the greatest of magical
benedictions, and the beautiful Galatea was his.
THE INGREDIENTS USED
IN THE PERFORMANCE
OF SATANIC MAGIC
D. Direction
ONE of the most overlooked ingredients in the working of magic is the accumulation
and subsequent direction of force toward an effective end.
Altogether too many would-be witches and warlocks will perform a ritual, and then go
about with tremendous anxiety waiting for the first sign of a successful working. For
all intent and purpose, they might as well get down on their knees and pray, for their
very anxiety in waiting for the desired results only nullifies any real chance of success.
Furthermore, with this attitude, it is doubtful that enough concentrated energy to even
perform a proper ceremony could be stored up in the first place.
To dwell upon or constantly complain about the situation upon which your ritual would be
based only guarantees the weakening of what should be ritualistically directed force, by
spreading it thin and diluting it. Once the desire has been established strongly enough ...
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