The Satanic Bible

by Michael A Aquino

  physical universe of the natural neteru as well.

  It is the ka that, through the ab, enters the

  natural universe through “identity gates” such as

  pictures or statues of the individual, or utterance of

  the individual’s name(s) (the ren), as well as

  through conducive locales such as temples and

  geological & architectural anomalies.

  While the ba may, particularly posthumously,

  lose awareness of itself through the paradoxical

  expansion of that consciousness into its entire

  perceptive field, the ka remains immortally finite,

  distinct, and otherness-separate. Thus in an

  expressive, active sense it becomes the externally-

  identifiable individual beyond physical death.

  Nowhere is the ka better illustrated than in

  initiate Bram Stoker’s The Jewel of Seven Stars.

  Film treatments of this work, such as Hammer’s

  Blood from the Mummy’s Tomb and the more

  recent The Awakening, have done it a grotesque

  disservice. In Stoker’s original text it is in no sense a

  horror story, but rather a fascinating and romantic

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  mystery: Who was Tera of ancient Egypt, this

  marvelous sorceress-queen who took with her to her

  tomb only a ruby scarab inscribed with the

  constellation of the Thigh of Set (our “Great Bear”)

  and the hieroglyphs mer (love) and men ab

  (patience)? Listen to the words of the woman of our

  own era with whose ka Tera came gently to merge:

  I can see her in her loneliness and in the

  silence of her mighty pride, dreaming her own

  dream of things far different from those around

  her. Of some other land, far away under the

  canopy of the silent night, lit by the cool, beautiful

  light of the stars. A land under that Northern star,

  whence blew the sweet winds that cooled the

  feverish desert air. A land of wholesome greenery,

  far, far away. Where were no scheming and

  malignant priesthood; whose ideas were to lead to

  power through gloomy temples and more gloomy

  caverns of the dead, through an endless ritual of

  death! A land where love was not base, but a divine

  possession of the soul! Where there might be some

  one kindred spirit which could speak to hers

  through mortal lips like her own; whose being

  could merge with hers in a sweet communion of

  soul to soul, even as their breaths could mingle in

  the ambient air! I know the feeling, for I have

  shared it myself. I may speak of it now, since the

  blessing has come into my own life. I may speak of

  it since it enables me to interpret the feelings, the

  very longing soul, of that sweet and lovely Queen,

  so different from her surroundings, so high above

  her time! Whose nature, put into a word, could

  control the forces of the Under World; and the

  name of whose aspiration, though but graven on a

  star-lit jewel, could command all the powers in the

  Pantheon of the High Gods. And in the realisation

  of that dream she will surely be content to rest!

  In Love and Patience we are taught the secret

  of true immortality - not the repulsive reanimation

  of corpses ( anastasis nekron) of Christianity, nor

  the vague confusion of reincarnationists - but the

  - 201 -

  infinite radiance of one’s MS by its most magnificent

  expression, and with a serene transcendence of

  natural time.

  The last two emanations are unique in that

  they must arise from the individual, and require

  initiate consciousness to do so, per the formula

  Xepera Xeper Xeperu (“I Have Come Into Being and

  Created That Which Has Come Into Being.”).

  7. Sekhem

  The neter-emanation. While the term

  sekhem is ordinarily translated as “power”, this is

  misleading, because it is power in a very rarified

  sense - that emanating from the neteru themselves.

  For this reason it is also described as “the power of

  the stars” through which the neteru manifest in the

  natural universe. The sekhem combines with the ab

  (as, in effect, a temple within one’s consciousness),

  to draw down the essence of one or more adored

  neteru to indwell therein.

  Activation of the sekhem has another effect:

  every incidence infuses the Initiate with more of the

  neter invoked, to the cumulative degree that the

  Initiate’s personality becomes accented by the

  neter’s: seeing as that neter sees, speaking as that

  neter would speak, acting as that neter would act.

  Hence it is the sekhem which makes possible, and

  ultimately consecrates priesthood of a neter in the

  individual so aligned. Once this transformation has

  taken place, it cannot be undone; at most it may be

  sublimated or repressed, but only at great cost to the

  priest’s or priestess’ very sanity.

  - 202 -

  8. Akh

  The star-emanation. Beyond the priesthood

  of the sekhem is the akh, in which the Initiate rises

  to the company of the neteru as one of their essence,

  i f n o t o f t h e m a b s o l u t e l y . S u c h o n e i s

  indistinguishable from the actual neteru except by

  the neteru themselves. Such a mode of existence

  departs completely from all concern with physical

  displacement within natural-universal references or

  boundaries, manifestation, or action, and affects

  otherness only by the radiance of its presence. While

  it does not destroy any of the other emanations, it

  permeates all of them, such that henceforth they all

  exist in conformity and concert with it.

  - 203 -

  III

  Belial

  Gloria Terrae

  - 204 -

  - 205 -

  “Of a Neophyte, and How the Black Art Was

  Revealed unto Him by the Fiend Asmoel”

  - Aubrey Beardsley, 1893

  - 206 -

  - 207 -

  14: Magic

  A. The Magician

  It is the curse and the blessing of humanity to

  exist simultaneously in two worlds: that of the

  tangible real and that of the intangible ethereal.

  Unlike all other animals we are not content

  with physical life’s sensations; despite sober

  argument and methodical science we never quite

  believe that “this is all there is” to our existence. We

  are drawn, some gently, as in fantasy and dream,

  some more insistently and passionately, to -

  something else, something greater, something that

  lifts our being and our significance clear out of

  nature, far beyond the realms of atoms and

  molecules: an magnificent mælstrom of gods and

  daemons for whom “reality” is but a poor crutch for

  brutes on the periphery of their much larger

  universe.

  If the mystic is content to dream about this

  other universe and the artist to convey glimpses of it

  in music, paint, or pen, it is the passion of the

  magician to intera
ct with it. The magician seeks to

  draw its presence and power into the lesser world, to

  change that world by its touch.

  - 208 -

  The magician fumbles at this. There are no

  ordinary tools Here that he can reliably apply There,

  and the great rays of the gods that flow so inexorably

  and thrillingly through “nature” are just as elusive.

  They are to be glimpsed out of the corner of one’s

  eye, unexpectedly. The magician struggles to fashion

  new and different tools for control which he, in his

  semblance as sentient, natural man-beast, can use

  reliably and repeatedly, as one would a wrench or

  hammer.

  To non-magicians his efforts may appear

  bewildering, even foolish. They are illogical. They

  don’t make sense. They are but “melted into thin

  air”. Perhaps they are even harmful in that they

  entice others into the same useless folly, draining

  energy which might better be put to serious,

  practical labor. The magician may thus find himself

  ignored as an irrelevant eccentric, perhaps even

  ostracized as someone dangerously insane.

  Yet he continues with his great work, his search

  for tools. Sometimes he thinks he has indeed found

  or fashioned just such a different kind of wrench or

  hammer, and he writes down descriptions of it and

  instructions for its use. Sometimes other magicians,

  in their quest for tools, come across what he has

  written and try his ideas for themselves. And

  sometimes they indeed seem to work, and so

  another brick has been added to the bridge between

  Here and There. Let us now examine, and perhaps

  venture out upon that bridge.

  The Temple of Set defines magic according to

  two general categories: White and Black. These

  have precise meanings which may quite different

  from the way the terms are casually used by

  nonSetians. To begin with, neither category is

  inherently “good” or “evil”; the categories

  - 209 -

  encompass techniques only. Either may be used for

  intentionally or unintentionally beneficial or

  harmful purposes.

  B. Definition

  Individual humans find themselves juxtaposed

  to the Objective Universe (OU) as created and

  Natural Law (NL)-ordered by the neteru, and a

  variable number of Subjective Universes (SU)

  created by oneself and/or other discrete intellects.

  Magic consists of the language and tools by

  which an individual renders either type of universe

  intelligible and is thus able to methodically interact

  with and influence it.

  Such language & tools may be considered as a

  continuum: a sliding-scale: When widely-known and

  generally-accepted [particularly pertinent to the

  OU], they are called “science”. The more obscure

  and unknown are called “magic”.

  As we have seen, academic science seeks to

  discover and codify the “how” of NL science; it

  regards the “why” as undiscoverable because it is

  metaphysical.

  Religions are such because they propose to

  understand and explain metaphysics. And as we

  have also seen, all but the Satanic/Setian do so

  ineffectively, on the basis of baseless myths and

  vague, tautological argument. Their magic thus

  amounts to more- or less-elaborate self-deception,

  and is herein defined as White Magic (WM).

  Actual, functional magic prerequires the

  realization and acceptance of the individual as an

  entity and discrete intelligence external to OU & SU;

  a D5 being. It is this premise which both

  materialism and conventional religion fear to

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  acknowledge or accept. This is the true reason they

  both fear “5D language & tools”, which they [and

  we] call Black Magic (BM). The difference,

  obviously, is that Black Magicians do not fear them,

  and indeed actively pursue and apply them.

  Also different from popular superstition and

  stereotype: There is no morality inherent in

  either WM or BM. They are tools only, and any

  moral values, motives, decisions come from the user

  of the tool, not the tool itself. So WM can be used

  nefariously and BM benignly. [Morality & ethics in

  magic are treated in detail later.]

  It is axiomatic in conventional religions that

  the OU as created and ordered by El reflects his

  prejudices, e.g. “morality”. Therefore WM is good

  and acceptable insofar as it panders to El and does

  not insult him. Religious-ritualized WM is

  accordingly called “prayer”, along with ceremonies

  which glorify the supposed moral aspect of El.

  Accordingly WM is useful only within the limits

  of prayer and glorification. Anything beyond that

  would be an insult to, a usurpation of El and thus

  blasphemy.

  As you’ve probably figured out by now, the

  Satanic Bible’s purpose is first to explain the reality,

  the actuality of the OU/SU environments and the

  phenomenon & distinction of independent

  humanity, which was done in “Lucifer”.

  This next section, “Belial”, is an introduction to

  BM and its application. Assuming, in other words,

  that you now understand what Satanism really is,

  this is where you learn what you can do with it.

  - 211 -

  C. Universal Language

  1.

  Objective

  The structure and mechanisms - NL - of the OU

  are omnipresent and immutable. Thus NL need only

  be discovered, established through repetition (the

  “laboratory method”), codified, and used: science.

  Appropriately the language of science is fixed,

  structured, sufficiently tied to OU phenomena that it

  shares their phenomenological consistency and

  reliability: mathematics, chemistry, physics, etc.

  Non-scientific language can be and is used to

  dialogue and speculate concerning the OU. In

  “respectable, academicing” settings, however, effort

  is made not to venture far afield from known,

  scientific laws and theories accepted as laws.

  2. Subjective

  To the extent that SUs are constructed

  reasonably and rationally, the tools of science and

  the language of logic can be applied therein as well,

  somewhat less reliably than in the OU, of course.

  But SUs can also differ extraordinarily from

  OU “reality”, and as they do, their tools and

  language stray commensurately from science and

  logic.

  At the imaginative and creative extreme of

  fantasy, the language and tools depart completely as

  well; now they exist in a reality of their own. This is

  the realm of magic.

  - 212 -

  Defined in this specific context and application,

  magic is “the art and science of causing change in

  accordance with will” 109.

  Within the completely malleable SU it is

  equally fl
uid and free, simply providing a means for

  displaying, discussing, and enjoying the creative

  infinite. Friedrich Nietzsche referred to this as “the

  building of horizons” [beyond the known], and in

  the visual arts of the Decadents, Surrealists,

  Expressionists, and Art Deco Modernists it finds its

  visual sensory extreme, as in literature with the

  poetry of Clark Ashton Smith110 and James

  Thomson111, and the prose of Lord Dunsany, Edgar

  Allan Poe, H. Rider Haggard, Jules Verne, Bram

  Stoker, Abraham Merritt, and H.P. Lovecraft.

  Dwelling and wandering amidst such pure

  fantasia, magic is “completely at home”: an artistic

  and sensual interpretation and accentuation of its

  surroundings. And indeed as such, no more

  remarkable than an artist’s paintbrush.

  D. Tools

  1.

  White Magic

  Conventional religious ritual is a device for

  autohypnosis of the celebrant and varying degrees of

  mass-hypnosis for the audience. The mechanical

  liturgies have a relaxing, dulling effect upon the

  mind, placing it in the ( alpha-wave) mood most

  109 Aleister Crowley’s famous definition.

  110 Cf. “The Hashish-Eater, or The Apocalypse of Evil”.

  111 Cf. “The City of Dreadful Night”.

  - 213 -

  receptive to the conditioning (i.e. the sermon or

  other main body of the ritual).

  WM is a highly-concentrated form of such

  ritual. The practitioner seeks a focus of his

  awareness and powers of concentration via an

  extreme degree of autohypnosis. The technique may

  be used simply for meditation or entertainment

  through mental imagery (“astral projection”). Or it

  may be used to focus the will towards a desired end -

  a cure, curse, etc. To accomplish this, the magician

  envisions a god or dæmon with the power to achieve

  the goal, then concentrates his will into an appeal.

  The god or dæmon then carries out the appeal, more

  or less effectively - depending upon the strength of

  the magician’s conviction of its power as a

  functioning entity. 112

  From a LHP perspective, all conventional

  religious, and RHP “occult” ritualism falls under the

  heading of WM. Intrinsically it is inauthentic and

  impotent. Its power derives rather from what it gets

  people to believe and do when it is used as a

  psychological individual- or mass-control device.