I. VAMA MARGA Foundations Of The Left-Hand Path - staticfly.net
I. VAMA MARGA Foundations Of The Left-Hand Path - staticfly.net
I. VAMA MARGA Foundations Of The Left-Hand Path - staticfly.net
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
meet again at some later time to exchange any relevant experiences that may<br />
427<br />
have occurred after the orgy. Magicians learn how effectively their wills have<br />
disrupted the world around them by paying attention to the synchronicities<br />
and odd coincidences that so often manifest in the wake of a working. <strong>The</strong><br />
intense bond forged by sex magicians during the orgy can last for a<br />
considerably long time, with the side- effect that strange or unlikely parallels<br />
and repeating themes will often emerge in their separate lives. It can also be<br />
quite interesting for celebrants to compare their dreams in the weeks<br />
following an orgy, for the same reason. Collating this post-working<br />
information, should it surface in any significant manner, can often provide<br />
the catalyst for future group incursions into the daemonic realm.<br />
Alone Together<br />
Finally, the left-hand path magician who considers the orgy as a possible<br />
tool for his or her sorcery and initiation must keep in mind an essential<br />
paradox. <strong>The</strong> sinister current strives to steer clear of plugging into group<br />
consciousness, preserving the severe isolation of the magician's self-created<br />
state of independent being. <strong>The</strong> orgy, of course, derives part of its great<br />
power for effecting internal and external change from the deliberate linking<br />
of many magician's psyches through shared erotic energy And yet, this very<br />
linkage – strengthened by the inexorable pull of sexuality over the nervous<br />
systems of the celebrants – can actually serve to distract from the sovereign<br />
and autonomous nature of the self. How easy it is for any act of sex magic to<br />
lessen rather than sharpen that distinct sense of self-awareness that drives<br />
the sinister current. <strong>The</strong> overwhelming excess of sensation and psychic<br />
melding that takes place at the height of an orgiastic rite multiplies this risk,<br />
and necessitates well-developed powers of self-control.<br />
Few other magical methods can be forged into such a forceful<br />
weapon for bending the stuff and substance of matter and mind as the group<br />
sex working. But as with any weapon worth its weight, orgiastic magic<br />
requires that its explosive powers are handled carefully for maximum<br />
efficiency.<br />
428<br />
429<br />
XI.<br />
Pain/Lust<br />
<strong>The</strong> Rites <strong>Of</strong> Dominance And Submission<br />
I teach the art of turning anguish to delight.<br />
—Georges Bataille, Inner Experience<br />
A Heritage <strong>Of</strong> Sacred Suffering<br />
Little remains to document the precise nature of the mystery religions of<br />
Greece and Rome but we know that the initiatory application of erotic pain<br />
played a role in some of these rites of self-transformation. Although the exact<br />
form of these rites is now lost to us, the so-called Villa of the Mysteries in<br />
Pompeii, preserved beneath volcanic ash for centuries, permits us a glimpse<br />
into a lost tradition. On the wall of one of the chambers in the villa, a<br />
remarkable succession of murals illustrates a secret process of initiation<br />
presided over by Dionysus, or Bacchus.<br />
In the first painting in the series, a sacred text appears to be read,<br />
perhaps an invocation of the god of erotic frenzy and divine intoxication.<br />
<strong>The</strong>n, offerings are made, which result in an act of divination. <strong>The</strong> phallus of<br />
Dionysus is unveiled to his newest female initiate. She then undergoes a<br />
ritual death, enacted by submitting to flagellation, kneeling before another<br />
initiate, who seems to be comforting her during her ordeal. She is then<br />
portrayed performing the Dionysian dance of the bacchante as preparation<br />
for the hieros gamos – the sacred marriage to the god, most likely carried out