Lon Milo DuQuette

DuQuette — Enochian Vision Magick (2019) [DECLARADA]

DuQuette y Shoemaker (eds.) — Llewellyn's Complete Book of Ceremonial Magick (2020) [DECLARADA]

Magia ceremonial · Miembro

«Miracles are part of my job, for I am a magician. I’m not the type of magician who creates illusions to entertain audiences, but the type of who seeks to dispel the myriad illusions that hinder my own spiritual growth and enlightenment.» — la definición de mago con que se presenta: no el que produce ilusiones para un público sino el que disipa las propias. La capa de texto imprime the type of who, sic.

«Ceremonial magick is the path I have chosen to give expression to the spiritual yearnings I believe are inherent in every human being. It is my Tao, my Way, my religion, my philosophy, my psychology. But ceremonial magick isn’t my life. I already have a life, thank you. But I use magick to help make my life magick.» — pone la magia ceremonial en el lugar de la religión, la filosofía y la psicología, y acto seguido le niega el lugar de su vida.

«Aleister Crowley (1875–1947), the great twentieth-century magician, defined magick as the “science and art of causing change to occur in conformity with Will.”7 This is obviously a very broad definition of the term. In my opinion, however, it is the only one that is entirely accurate.» — adopta la definición de magia de Crowley, reconociéndola amplísima y marcando como opinión propia que es la única enteramente exacta.

«Yes, I’m proud to write for beginning students of magick. But first and foremost I write to explain things to myself. I write to find out what I know. I write the books that I wish I could have studied during the first five years of my magickal studies—books that might have saved me years of frustration, blind alleys, and wheel-spinning.» — por qué escribe para principiantes: para explicarse las cosas a sí mismo y para dar el libro que él habría querido tener en sus cinco primeros años.

«Whenever I visit London, I never fail to make a pilgrimage to the temple of history that is the British Museum. In my opinion, it is holy ground, a time machine, a vortex of human consciousness, and the material showcase of the Akashic Records.» — abre el prefacio de 2019 declarando su relación con el British Museum en términos devocionales y no eruditos; marca la opinión como tal.

«Dee’s prayers, both in English and Latin, fill page after page of his diaries and magical records. I confess I am neither inclined nor devotionally equipped to follow his exhausting example. I do, however, recognize the efficacy of prayer as an indispensable preliminary to magical operations.» — se desmarca del modelo devocional de Dee, confiesa no estar dispuesto ni equipado para imitarlo, y a la vez conserva la oración como preliminar indispensable.

«I believe that the two magicians, by taking part in this incremental process of creation, became personally attuned to the magical universe as it presently exists, and thus prepared themselves to receive and engage in Enochian magick.» — la conclusión de su Book I, marcada como creencia propia: al participar del proceso incremental de creación, Dee y Kelley se sintonizaron con el universo mágico.

«Conversely, superstition (as the word is commonly understood) has, in my opinion, no place in the arsenal of the modern magician.» — marca como opinión propia que la superstición, en el sentido corriente de la palabra, no tiene lugar en el arsenal del mago moderno.

«That being said, strange and unexpected things do occasionally happen to those who practice magick. And while I believe it is bad for one’s mental health to ascribe undue importance to these phenomena, it is important that they be dispassionately observed and recorded.» — el límite que pone enseguida a esa negativa: cosas extrañas sí ocurren, y su regla es doble, no darles importancia indebida y registrarlas con desapasionamiento.

«I confess, even with clear copies and transcriptions of the source material in front of me, it has been very difficult for me to wrap my mind around the order of the visionary events of Dee and Kelley’s years together. Because certain elements of these magical systems were often corrected or amended by the angels in subsequent visions, often occurring months apart, it is extremely difficult (for me at least) to present a clean chronology of events. The circumstances surrounding the reception of the angelic alphabet are no exception.» — la dificultad que confiesa con el material fuente: los ángeles corregían y enmendaban en visiones posteriores, y por eso no puede presentar una cronología limpia.

«Starting at the beginning, we painstakingly played with the phonetics of each word (and the word/words following) and attempted to match them with words in the Enochian Dictionary. Obviously we weren’t being very scientific, nor, I confess, very objective.» — la autocrítica de método más nítida de su libro: al cotejar los sonidos con el diccionario enoquiano, confiesa que no estaban siendo científicos ni objetivos.

«The angels did on occasion instruct Dee when and when not to use “zod,” but its universal application to a language that uses the letter z very often becomes, in my opinion, laughably cumbersome. Using the Golden Dawn pronunciation method, the simple, one-syllable Enochain word zims (“clothing”) becomes the unwieldy, four-syllable “zod-I-mezod.” You tell me which rolls off the tongue better.» — su objeción a la pronunciación de la Golden Dawn, con el ejemplo y la invitación al lector a juzgar.

«With all due respect to the knowledgeable and eloquent magicians who created the above temple opening, I believe that (unless your sensitivities as a magical artist demands it) most of it is completely unnecessary in order for you to properly activate an Elemental Tablet and effectively address the hierarchy of angels who rule the angel you may wish to contact.» — su conclusión práctica sobre las aperturas de templo cabalísticas, con la cortesía y la salvedad dentro.

«Please don’t misunderstand me. Qabalistic temple openings such as the one above work effectively enough for Enochian elemental operations. But what makes them work, in my opinion, is not the pentagrams, Hebrew god names, or Bible verses. They work because, nestled within the ramblings and tossing about of salt and water, the magician is required to recognize and address by name the spiritual forces of the elements as they are uniquely organized and expressed in the Enochian magick system. In our example above, those names are Nanta (the great angel of Earth from the Tablet of Union), Mor, Dial, Hctga (the Three Great Secret Names of God from the Elemental Tablet of Earth), and Iczhiha (the king of the Elemental Tablet of Earth).» — y en qué cifra la eficacia de esas aperturas: no en los pentagramas, los nombres hebreos ni los versículos, sino en que obligan al mago a nombrar las fuerzas elementales.

«Unfortunately, we don’t know exactly how, or even if, the magicians actually operated this particular form of magick. What we do know is that besides receiving the names and symbols for forty-nine planetary “good angels” Dee and Kelley were instructed to create a number of magical items—items that were almost entirely ignored by the Golden Dawn and Crowley. These items, I believe, can be extremely important tools for the modern Enochian magician; these are the Ring, the Holy Table, the Ensigns of Creation, the Lamen, and the Sigillum Dei Aemeth.» — lo que dice haber recuperado de los diarios: objetos mágicos que la Golden Dawn y Crowley dejaron de lado y que tiene por herramientas importantes.

«This tablet was delivered to the magicians by the angel Nalvage in April of 1584. It is an item that was acknowledged by the adepts of the Golden Dawn but never incorporated into any practice. It is something, however, I believe should not escape our attention. No name was given to this object. Some modern scholars designate it simply the Tablet of God. I shall refer to it as the Round Tablet of Nalvage.» — la pieza que añade al repertorio y el nombre que le pone, diciendo que otros la llaman simplemente Tablet of God.

«The Tablet of Union is a Great Table you can put in your briefcase; but EHNB is a Tablet of Union you can put in your pocket. —LON MILO DUQUETTE» — el epígrafe del capítulo veintiséis, el único del libro firmado por él mismo.

«was an eighteen-year-old atheist when my passion for all things magical and mystical was born out of a psychedelically triggered epiphany of selfrealization.» — fecha el arranque de su interés en una epifanía de autorrealización disparada por un psicodélico, siendo un ateo de dieciocho años.

«In a timeless slit of eternity I saw (in blinding Technicolor certainty) that all things in the cosmos—light, time, space, energy, matter, motion, and my own self—were merely cascading fractals of a supreme and awesome singularity of consciousness» — y describe lo visto: luz, tiempo, espacio, energía, materia, movimiento y él mismo como fractales en cascada de una singularidad de consciencia suprema.

«I was objective rather than subjective, active rather than passive. I began to seek out some sort of Western system of consciousness expansion and self-transformation.» — explica por qué dejó el yoga tras diez años y salió a buscar un sistema occidental de expansión de la consciencia.

«Even under the best of circumstances ceremonial magick is an awkward and difficult study, especially at the beginning.» — declara difícil y desmañado el estudio de la magia ceremonial, sobre todo al principio.

«There is no such thing as “Magick 101.” It seems that wherever one chooses to begin, one should already be familiar with (or have mastery of ) a half dozen obscure and esoteric subjects about which one is woefully undereducated. Fledgling magicians are forced to dive into the deep side of the pool and sink or swim.» — y dice por qué: no hay curso introductorio y el principiante se ve obligado a lanzarse a la parte honda.

«One thing is for certain: at the beginning of my magical career, things would have gone dramatically smoother had I a textbook like Llewellyn’s Complete Book of Ceremonial Magick—a single volume I could turn to to get a primary esoteric education in the most important subjects I needed to learn in order to properly prepare myself for postgraduate work. Such a tool would have shaved years off my magical learning curve.» — declara el propósito del volumen que coedita midiéndolo contra su propia carrera.

«I would especially like to draw the reader’s attention to the epilogue of this work, The Future of Ceremonial Magick by Brandy Williams. It will be apparent to the reader that the format Brandy is offering is different from that of the other sections. It is a true prophetic document and a breathtaking example of the visionary inner eye of a true magician. The reader is urged to read it in a meditative state.» — separa el epílogo de Brandy Williams del resto del volumen y pide leerlo en estado meditativo.

«M agic (or Magick as it is alternately spelled) is a spiritual art form older than religion.» — abre su prólogo a Crowhurst definiendo la magia como arte espiritual anterior a la religión; la capitular queda suelta en la capa de texto.

«In practice, magic is performance art staged for an audience of one—a lavishly costumed and meticulously choreographed meditation projected externally upon the screen of the magician’s own objective reality.» — y la describe como arte escénico ante un público de uno solo, meditación coreografiada y proyectada sobre la realidad objetiva del mago.

«Magic can be generically described as . . . the dramatic and ceremonial awakening of symbols and mythological archetypes and metaphors performed with intent to trigger specific changes in the magician’s consciousness.» — la definición que ofrece en forma de cita sangrada: despertar dramático y ceremonial de símbolos, arquetipos y metáforas con intención de cambiar la consciencia del mago.

«Every artist is a magician, and every magician is an artist.» — la equivalencia entre artista y mago.

«The painter’s creation is a painting; the composer’s creation is the score; but the magician’s creation is the magician—nothing else. Ultimately, the only thing the magician can directly change with magic is the magician.» — su tesis sobre el alcance de la operación: la creación del mago es el mago, y lo único que la magia cambia directamente es él.

«This is certainly not to say that the results of a magical evocation cannot not have real and tangible effects upon other people or circumstances in the objective world around us.» — el límite que dice enseguida: eso no niega efectos reales y tangibles sobre otras personas o circunstancias.

«But such apparent magical “miracles,” while sometimes eerily impressive, are ultimately the indirect result of the changes the ceremony has effected in the magician’s own character and consciousness.» — y a qué adjudica esos efectos: resultado indirecto del cambio de carácter y consciencia del operador.

«If your demonic love spell is to work, it won’t be because you or your demon has the power to neutralize her sovereign will.» — niega que el operador o su demonio puedan anular la voluntad soberana de otra persona, en el ejemplo del hechizo de amor.

«If the operation is to work, it will be because your demon has somehow helped you find a way to change yourself into the kind of person she always wanted to fall in love with.» — y adjudica el resultado, si lo hay, a que el demonio ayudó al operador a cambiarse a sí mismo.

«The spirit seldom appears as a visible cartoon character or a shimmering holographic image that flies off vowing, “Your wish is my command!”» — cómo niega la aparición espectacular del espíritu.

«Obviously, the dangers of casually tinkering with this kind of magic increase in direct relation to the magician’s own level of self-awareness and capacity for self-delusion. It should be obvious that unless you’ve already developed a significant level of wisdom and discernment, you won’t be self-aware enough to know what is or what is not in your own best interests.» — el peligro que declara: crece con el nivel de autoconciencia y con la capacidad de autoengaño del propio operador.

«The spirits are severely efficient, and your orders must be well thought out. There must be no room for loopholes in how one goes about obeying your commands. Once your conjuration lights the fuse, the demon will take the fastest, most direct path of least resistance in order to most quickly effect your mutation.» — su regla operativa: las órdenes se piensan sin resquicios, porque el espíritu tomará el camino más rápido de menor resistencia.

«Foremost among the mythological archetypes and metaphors that make up the magical artist’s palette is a vast array of ancient and traditional angels, spirits, and demons representing the entire spectrum of consciousness from godhead to your head. This hierarchy of spirits populates the magician’s inner reality and really comprises the main characters and the subject of the book you are holding right now.» — qué pone por delante en la paleta del artista mágico: ángeles, espíritus y demonios tradicionales que cubren el espectro entero de la consciencia.

«Like a chain of spiraling fractals of natural forces, archangels rule angels who rule spirits and demons and progressively more specialized and fragmented spiritual forces. The ultimate nature of these forces—like existence itself—is as aspects of consciousness.» — la jerarquía como cadena de fractales de fuerzas naturales, cuya naturaleza última llama aspectos de la consciencia.

«Quantum physicists now say what magicians have assumed for two thousand years. The universe and everything in it—all matter and energy, all qualities and principles, space/time/motion, being, awareness, and existence itself—are alive and are aspects of consciousness.» — lo que atribuye a los físicos cuánticos, sin dar fuente.

«Furthermore, they’ve demonstrated the mystical and irrational “fact” that the simple act of observing an experiment fundamentally affects the conditions and the outcome of the experiment.» — y el punto que le interesa de esa atribución: el acto de observar afecta las condiciones y el resultado.

«An eternal debate rages between those who believe in the objective existence of spiritual entities, and those who believe that all such phenomena, no matter how apparently substantial, are entirely subjective experiences.» — abre su prólogo a Laycock planteando el debate entre quienes sostienen la existencia objetiva de las entidades espirituales y quienes tienen todo el fenómeno por experiencia subjetiva.

«Where angels, demons, and spirits are concerned, I personally believe it’s all in your head—you just have no idea how big your head is.» — la posición que declara suya: todo ocurre en la cabeza, solo que nadie sabe cuán grande es su cabeza.

«Yes, the spirits are real. Yes, the spirits are imaginary. Most of us, however, cannot imagine how real our imaginations are.”» — lo repite en boca del rabino Lamed Ben Clifford, personaje que él mismo declara pseudoepigráfico.

«There have been times, however, when my field theory has been mightily challenged. Mr. Laycock’s Complete Enochian Dictionary played a curious role in one such magical bout.» — presenta el diccionario de Laycock como pieza de un episodio que, dice, desafió con fuerza su teoría.

«In 1978, as part of my perceived duties as an O.T.O.' lodgemaster, I began what would become a 23-year weekly magick class at my home in Costa Mesa, California.» — data en 1978 el arranque de su clase semanal de magia en Costa Mesa, California, que duraría veintitrés años, en su papel de maestro de logia de la O.T.O.; el troceo imprime la llamada de nota pegada como sic.

«What I wasn’t prepared for, however, was the possibility that the evocation might actually work.» — declara que no contaba con que la evocación funcionara.

«Then, to all of our surprise, he casually started to describe in great detail his vision of a desert of white crystalline sand that sprouted columns of volcanic rock.» — la visión que reporta de David Wilson, el alumno que describe como el más escéptico de la clase, tras leer dos veces la Llamada en la lengua angélica.

«We referred to D.R.’s The Complete Enochian Dictionary, and in short order discovered: Nanta, elo Hoath zorge ef. “Spirit of Earth, first worshiper friendly visit.”» — el papel que adjudica al diccionario en esa anécdota: con el ejemplar de un alumno dice haber descifrado como enoquiano con sentido la primera cadena de sílabas.

«David appeared uncharacteristically shaken by what had happened. He insisted, and I didn’t doubt his truthfulness, that he had not so much as even glanced at any of the Enochian Calls before that evening.» — consigna que Wilson aseguró no haber leído ninguna Llamada enoquiana antes de esa noche, y dice no dudar de él.

«Yet he remains the most talented seer I have ever encountered.» — añade que el don de Wilson para hablar espontáneamente la lengua angélica se apagó con la costumbre, y lo tiene por el vidente más dotado que ha conocido.

«In the final analysis, the only meaningful credential a magician can present to the world is the magician.» — el criterio con que dice medir a un mago, en su prólogo al manual de Donald Michael Kraig.

«Lon Milo DuQuette is a bestselling author and lecturer, whose books on Magick, Tarot, and the Western Mystery Traditions have been translated into ten languages. He is currently US Deputy Grand Master of Ordo Templi Orentis and is on the faculty of the Omega Institute in Rhinebeck, New York, and the Maybe Logic Academy.» — la nota de autor que cierra su libro de magia enoquiana y da los cargos con que se presenta: diputado gran maestre de la Ordo Templi Orientis para Estados Unidos y profesorado en el Omega Institute y la Maybe Logic Academy.

«DuQuette has authored many books including My Life with the Spirits (Weiser 1999), Understanding Aleister Crowley’s Thoth Tarot (Weiser 2003), The Magick of Aleister Crowley (Weiser 2003), and Tarot of Ceremonial Magick (Weiser 1995). He lives in Costa Mesa, California with his wife Constance.» — los otros libros que la misma nota de autor selecciona, todos de Weiser y tres de ellos sobre Crowley y el tarot, más el dato doméstico que el cuerpo del libro repite.

«American singer-songwriter and recording artist Lon Milo DuQuette is also an internationally recognized authority on ceremonial magick, Qabalah, tarot, and the life and teachings of noted English occultist Aleister Crowley (1875–» — de la nota About the Editors que cierra el volumen que coedita: cantautor estadounidense y autoridad reconocida internacionalmente en magia ceremonial, cábala, tarot y la vida y enseñanzas de Crowley; el tramo se corta en el cambio de plana.

«DuQuette has authored a score of books (translated into twelve languages), several of which are considered modern occult classics.» — y su obra según la misma nota: una veintena de libros traducidos a doce lenguas, varios tenidos por clásicos ocultistas modernos.

«Lon Milo DuQuette lectures worldwide on such topics as magick, tarot, and the Western Mystery Tradition. He is the author of numerous books on cere» — la nota de solapa del diccionario de Laycock, que es la única presencia suya con texto de tercero en ese troceo.

«The Orders of the Daemons STELLAS DAEMONUM DAV I D C ROW H U R S T with forewords by Lon Milo DuQuette and Stephen Skinner» — la portadilla de Crowhurst, con el nombre del autor espaciado por el OCR, anuncia a los dos prologuistas desde la cubierta.

«Foreword by Lon Milo DuQuette, author of Enochian Vision Magick Foreword by Stephen Skinner weiser books» — la portada interior de Crowhurst, que lo acredita por su libro de magia enoquiana y da el sello.

«Copyright © 2020 by David Crowhurst Foreword copyright © 2020 by Lon Milo DuQuette Foreword copyright © 2020 by Stephen Skinner» — la página de derechos de Crowhurst separa tres copyrights, el del autor y uno por cada prologuista, que es lo que sostiene tratar su prólogo como voz propia.

«Thank you to everyone who showed interest and support while this work took shape, especially Roy for his encouragement, wisdom, and feedback; Peter and the fantastic publication team at Red Wheel/Weiser; and Lon Milo DuQuette and Stephen Skinner for their kind words.» — los agradecimientos de David Crowhurst, que lo nombran junto a Stephen Skinner.

«Two books were explicitly mentioned in the essay: Lon Milo DuQuette and Christopher Hyatt’s Enochian World of Aleister Crowley (1991), and Gerald and Betty Schueler’s Enochian Magic: A Practical Manual (1996 [1985]).» — Egil Asprem nombra los dos títulos que un ensayo pone de ejemplo, el suyo con Christopher Hyatt y el de los Schueler.

«DuQuette and Hyatt’s book may be viewed as a document of the continued infl uence of Crowley’s rendition of the Golden Dawn interpretation; the bulk of the book consists of a new edition of Crowley’s Liber Chanokh and an exegesis of that text.» — Asprem describe ese libro suyo con Hyatt como documento de la influencia continuada de la versión que Crowley hizo de la lectura de la Golden Dawn.

«It could of course be brought in against DuQuette that Crowley and Regardie hardly classify as “original sources” in the strict sense either; however, the quote suggests that the approach of the authors was not dominated by wholesale “revisionism.”» — la réplica que Asprem le hace y el matiz que aun así le concede: Crowley y Regardie tampoco son fuentes originales en sentido estricto, pero el pasaje sugiere que el enfoque no era revisionista al por mayor.

«It seems that a far clearer example of a revisionist current is found in what may well have been the authors DuQuette referred to in the passage above: Gerald and Betty Schueler.» — el caso que Asprem propone como revisionismo pleno frente al suyo: Gerald y Betty Schueler.

«3 Meric Casaubon, ed. A True & Faithful Relation of What Passed for Many Yeers Between Dr. John Dee and Some Spirits. Ed. Clay Holden (orig. pub. London: Maxwell: 1659, rev. ed. New York: Magickal Childe Publications, 1992. A transcription of Dee’s diaries from May 28, 1583 to April 2, 1587. The Magickal Child edition expands on the original and includes additional material by Clay Holden and Lon Milo DuQuette. Hereafter referred to as “A True and Faithful Relation.”» — su propia nota bibliográfica declara que la edición de Magickal Childe de la relación de Casaubon lleva material añadido de Clay Holden y suyo.