The Art and Practice of Astral Projection

«The wall and the towers symbolize the boundary between the physical plane and the Astral plane» — lee el arcano del Tarot como mapa: los dos planos y la frontera entre ellos

«This is the path of progress for man. If man follows the ordinary progress of advancement he should, in course of time, enter these inner planes freely, and that while still livin» — y qué adjudica a ese paso; el corte de página trunca la frase

«Anne Besant and C. W. Leadbeater are full of information about the inner planes and man’s inner bodies» — declara su fuente: la literatura teosófica. *Anne* por *Annie* es del original

«The books by Col. Powell – “The Etheric Body”, “The Astral Body” “The Mental Body”, “The Causal Body”» — y enumera los cuatro cuerpos de Powell, que es de donde toma la nomenclatura

«Most all the books published by the branch of the Theosophical Society whose headquarters is in Adyar, Madras, India and whose American Headquarters is in Wheaton Illinois – contain valuable information about the inner plane» — remite a la rama de Adyar por su nombre y sedes

«1. Little System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 2. Dream Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 3. Body of Light Method» — el índice declara sus tres métodos, que es la arquitectura del libro

«For practical work in Astral projection I offer the following courses – 1. The “Little” method. 2. The “Dream” method. 3. The “Body of Light” method. 4. The Symbol System method» — son CUATRO métodos, no tres: el índice de la p. 8 omite el del Símbolo

«Again I am not going to claim that I am the sole repository of Occult Knowledge on these things as other teachers do» — declina la pretensión de exclusividad, y se la adjudica a otros maestros

«With the exception of the» — y acota qué es suyo: solo el *little system*

«it was because of the information and knowledge that I secured of the Inner planes, by means of this system, that I was enabled to» — cómo describe la génesis de sus métodos, unos a partir de otros

«If you do not grasp the information fully I am again asking you to take my word for these things until you are able to do your own studies and research on them and experience them yourself» — lo que pide al lector mientras tanto: crédito provisional hasta la experiencia propia

«This book is lovingly dedicated to Ophiel’s mean, violent, and stubborn disposition!» — dedica el libro a su propio carácter, y se refiere a sí mismo en tercera persona a lo largo de toda la dedicatoria.

«If it had not been for this stubborness, however, Ophiel would have laid down and died from sheer mortification and disappointment many years ago.» — sostiene que sin esa terquedad habría abandonado años atrás.

«Ophiel was assigned a job in this world before he was born. His job was to bring Occult knowledge thru and to give PRACTICAL TEACHINGS AND INSTRUCTIONS IN ITS USE FOR THE BENEFIT OF OCCULT STUDENTS.» — adjudica a su tarea un origen anterior a su nacimiento, y la define como traer conocimiento oculto y darlo en forma de enseñanza e instrucción prácticas.

«Ophiel was not allowed this knowledge before hand and to force him into the path, and to keep him in the path, all material things were taken away from him as one takes a baby’s toys away when it comes time for it to do things other than play. In addition everybody and everything, were forced to let him down; and let him down violently and in a particularly stupid manner. All plans, all dreams, all desires, all projects, were made to fail in a very silly looking way so that it appeared very funny to strangers, his friends and relatives. He was not even allowed alcohol or nicotine (and just barely coffee and tea) to alleviate these painful mental blows but had to take it-sweating it out without any help.» — describe la privación como método deliberado: se le retiraron los bienes materiales, se hicieron fracasar sus planes y se le negaron el alcohol y la nicotina.

«However the object of all this was to force him to turn to his Inner resources and to conquer all with nothing but his own Inner.» — y el propósito que adjudica a esa privación: obligarlo a valerse solo de sus recursos internos.

«This was done and the Inner resources are now working.» — da la operación por cumplida, sin más prueba que su afirmación.

«In the major Arcana of the pack of the Tarot Cards there is a card, number 18, called “The Moon”» — abre el libro con un arcano mayor del Tarot, el 18, al que llama *The Moon*: el mapa del que saca su teoría de los dos planos.

«This Tarot card portrays, starting at the bottom of the card and proceeding upward, first, a pool of water, then a shore lined with some rocks and plants. A path starts at the edge of the pool and winds up thru the middle of the card and ends off to the left upper top side of the card. At the start of the path and just coming out of the water is a crayfish. In the foreground of the scene are two animals, one, a wolf, is on the right side of the path and the other, a dog, is on the left side of the path. In the middle of the card-scene is a wall with a gap in the middle thru which the path passes. On each side of the gap is a high tower.» — y describe la iconografía pieza por pieza —estanque, orilla, sendero, cangrejo, lobo, perro, muro con brecha y dos torres— antes de leerla.

«As you can see the path leads from the physical plane on thru the gap between the two towers and into the Astral plane.» — lee el sendero de la carta como la ruta que atraviesa la brecha del muro y entra al plano astral.

«Most all books in the world deal with the land before the wall. A few occult books deal with the land beyond the wall.» — reparte la literatura en dos: casi toda trata la tierra de este lado del muro y unos pocos libros ocultos la de más allá.

«And hardly any at all, as far as the author has been able to find out, after a long search, deals with how to enter, and travel thru the Astral plane, in safety, and return to the physical plane, at will.» — y acota lo que declara faltar tras una larga búsqueda: cómo entrar, viajar con seguridad y volver a voluntad. La reserva —hasta donde el autor pudo averiguar— va dentro de la cita.

«Strangely enough, in all inner plane matters, it apears, from the material standpoint, that it is the preparation that counts most and not the doing, after the preparation, that counts.» — sostiene que en materia de planos internos pesa más la preparación que la ejecución, y lo enuncia con una reserva —al parecer, desde el punto de vista material— que va dentro de la cita.

«hopefully, all sorts of good things will happen to replace the dastardly goings on of the Piscean Age, which rules, among other undesirable things, prisons, restrictions, and such like.» — adjudica a la Era Pisciana las prisiones y las restricciones y espera su relevo; la frase arranca en la plana anterior, donde la enlaza con la llegada de la Era de Acuario.

«Their natural projections were accompanied by definite physical symptoms which symptoms looked very strange to others and even took on the appearance of insanity!! So much so, that the student was afraid to consult a doctor or psychologist for fear of being thought going insane.» — sostiene que la proyección espontánea trae síntomas físicos que otros leen como locura, hasta el punto de que el estudiante no se atreve a consultar a un médico.

«Ophiel receives a constantly increasing number of letters from young persons, sixteen, fourteen, and even twelve years old who seem to be projecting quite naturally.» — declara una correspondencia creciente de adolescentes que proyectan sin método; el dato es suyo y no lo documenta.

«It would seem that the next coming generation once removed will be projecting as a matter of course, a fact of daily life living and probably manifesting all kinds of other psychic faculties which are not usual y apparent.» — pronostica que la generación siguiente proyectará como cosa de todos los días y desplegará otras facultades psíquicas; el original imprime *usual y* por usually.

«Many changes have taken place in the last few years, not the least of which are changes in social attitudes towards old taboos.» — y sitúa ese pronóstico en un cambio de actitudes sociales frente a los tabúes antiguos.

«It is a peculiar characteristic of monotheistic religions that they desire to FORCE their ONE GOOD IDEA onto others – all the way down from Akhenaton to Puritans.» — objeta a las religiones monoteístas el querer imponer su idea única, y tiende la línea de Akenatón a los puritanos.

«The old religions of multiple Gods and Goddesses were tolerant of each other and persecutions for religious ideas were unknown.» — y les contrapone las religiones politeístas antiguas, a las que adjudica tolerancia mutua y ausencia de persecución.

«When you “see” these colors you will know you are making progress. The first thing to appear is the solid back. Then the colors begin to appear thru the black as is shown where the colors are lined inbetween with black. The black then thins out and away and the colors become more brilliant and finally burst out into the blinding pure white Astral Light.» — prescribe una secuencia de progreso leída en el color: primero el negro compacto, luego colores que asoman entre él, y al final el estallido de luz astral blanca. El original imprime *solid back* por black.

«There is no subject, of the Occult, that has attracted more attention from Occult students than the subject of Astral Projection.» — sitúa la proyección astral como el tema que más atención atrae entre los estudiantes de lo oculto.

«No greater achievement, in Occult arts, seems more desirable than that achievement of being able to leave the physical body – in full consciousness – “travel out” in the material, and the immaterial world, invisible, undetectable, able to go anywhere and everywhere without let or hinderance, observing persons, actions, events, freely – then returning to the physical body with full memory of the “trip-projection”.» — y enumera lo que el concepto corriente promete: salir del cuerpo en plena conciencia, ir a cualquier parte sin ser visto ni estorbado, y volver con memoria entera del viaje.

«In addition, to this generally accepted concept of Astral Projection, Occult novels and semi-serious-occult literature are full of wonderful stories of students, who had mastered this Art, and their adventures as they roamed around the earth and even went to other planets!!!» — separa de ese concepto la literatura de aventuras ocultistas, con sus viajes a otros planetas, y la nombra como novela y ocultismo semiserio.

«But what drives the poor ordinary occult student mad with frustration is that when he looks in the same occult books to find out HOW TO LEARN TO PROJECT he finds nothing about that part of the subject.» — y ahí pone su queja de partida: los mismos libros que celebran el arte no dicen cómo aprenderlo.

«All that the occult books generally have to say is that when he is “ready” he will find out how to do it or they might say that when he finds his “master” the master will teach him how to do it.» — objeta las dos respuestas usuales de la literatura oculta, que aplazan la instrucción a que el estudiante esté listo o a que aparezca su maestro.

«To the real earnest occult student, anxious to make true progress in this Art, this kind of talk is for the birds.» — y las descarta sin ceremonia.

«So I will tell you now that knowledge on any Occult subject, that you are seeking, is available now somewhere in an Occult book; and not necessarily out-of-print or high priced either. There seems to be some kind of an Occult law about this.» — sostiene que todo conocimiento oculto buscado ya está impreso en algún libro asequible, y lo eleva a una suerte de ley oculta que no fundamenta.

«I am telling you this so that you will understand that I am not claiming to be the sole giver-out-of-occult-knowledge that so many other teachers claim to be.» — declina la pretensión de ser el único dispensador de conocimiento oculto, y se la adjudica a otros maestros.

«Therefore to get accurate Occult knowledge and practices you must search for them. There are three factors that govern this search however. One factor is that you have to look for the right books and put out some money to buy them. Two factor is that you must have a minimum amount of Occult experience and knowledge to be able to recognize true Occult knowledge when you see it printed. And factor three is that you must have a minimum amount of Occult experience to be able to apply this knowledge to make the best use of it.» — y pone tres condiciones a esa búsqueda: dar con los libros correctos y pagarlos, tener experiencia bastante para reconocer el conocimiento verdadero al leerlo, y tenerla para aplicarlo.

«I have covered this field for 30 years and, by hard work, I have accumulated the necessary Occult knowledge and practices. I can give you both the knowledge and practices as fast as you can learn them.» — y funda ahí su título de maestro: treinta años de recorrer ese campo disperso y juntar las piezas.

«These four methods will differ from each other in ranging from the very easy to the very hard and with various degrees of intensity and application needed. You will learn each method progressively in turn and the experience you gain in the first method will carry over into the other following methods.» — ordena los cuatro métodos de fácil a difícil y sostiene que la experiencia del primero se transfiere a los siguientes.

«First – I want you to understand that work in and on the Occult is of the nature of an Art, and must be considered and practiced as such.» — clasifica el trabajo oculto como arte, no como oficio, y de esa clasificación cuelga el resto de sus prescripciones.

«A painter of pictures follows no one’s directions but follows his own ideas entirely as to what to paint down on his canvas.» — desarrolla el contraste con el pintor de brocha gorda: el artista no sigue instrucciones ajenas.

«A man can be a real artist only if he can open his inner being and let the basic creative instincts come out and express themselves, regardless of what others think, or want, and regardless of the consequences.» — y ahí pone la condición del arte, que traslada tal cual a la práctica oculta: abrir el ser interior y dejar salir el instinto creador.

«So to practice Astral Projection, and/or the Occult Arts, you have to have two things – One, Have something of the Soul of an Artist in you and then be able to let it out in expression.» — de donde saca sus dos requisitos para practicar; el primero es tener algo del alma del artista y saber soltarla.

«You must do as the artist does – perfect a technique of an Art – and then let your inner being out to use the technique. In the degree that you can do this is the degree of your successful powers of welding the Occult Forces.» — fija el orden de la práctica —primero perfeccionar la técnica, después dejar salir al ser interior a usarla— y hace depender de ello el poder alcanzado.

«We cannot all be Leonardo da Vincis but we can all learn something about Art and we can learn to express it in our little way, which may turn out to be a lot or a little, but always more than nothing.» — y rebaja la exigencia: no promete genio, promete grado.

«And the Second thing is – You should know that no thing in the physical-world-universe is what it is supposed to be, or is, according to what people think it is. This is especially true about the Inner Planes. Everything about the Inner Planes is different than what it is supposed or thought to be.» — el segundo requisito es una advertencia: nada en el universo físico es lo que se supone, y menos aún los planos internos.

«Different from what the churches say it is – different from what the spiritualists say it is.» — y nombra a los dos que declara equivocados: las iglesias y los espiritistas.

«In many cases things do not work because basic theory is wrong but would work if a little knowledge was introduced. Many times a thing works, as I said, BUT NOT BECAUSE OF THE REASON THAT IS GIVEN FOR IT WORKING AND WITH THE RESULTS THAT YOU MIGHT EXPECT.» — distingue dos fallas: la práctica que no funciona por teoría errada, y la que sí funciona pero no por la razón que se le adjudica ni con el resultado esperado.

«The Occult Art of Astral Projection is definitely one of the above designated things. Astral Projections do work BUT NOT WITH THE RESULTS YOU EXPECT, because the Inner Planes are not what you thought they were or were taught they were. THE INNER PLANES ARE QUITE DIFFERENT THAN WHAT THEY ARE THOUGHT TO BE.» — y mete su propio arte en esa segunda clase: sostiene que las proyecciones funcionan, pero no con el resultado que el practicante espera.

«So I suggest you forget what you have been TOLD the inner planes are like or speculate on what you are going to see and experience – learn the Art – practice the Art – and follow where the results lead. You will then KNOW what the inner planes are like from first hand personal knowledge and not from hearsay.» — de ahí su prescripción de método: olvidar lo aprendido de oídas, practicar y seguir a donde lleve el resultado, para saber de primera mano.

«You should have learned, or at least heard, that a man consists of a number of “things” called “Bodies” A Physical body, an Etheric body, an Astral body, (a higher» — enumera los cuerpos que da por sabidos —físico, etérico, astral, mental y causal— y ahí queda la lista cortada por el fin de plana, que separa el astral superior del inferior.

«Now it is true that the noun “body” applied to these “bodies” does not mean the same thing as it does when it is applied to the physical body. But there is really no other good word to use except “centers of consciousness” which is true but then there is also a certain kind of organization about each of these centers and for that reason they can be called bodies too.» — acota el término: llama cuerpos a esos centros sabiendo que la palabra no significa lo mismo que en el cuerpo físico, y prefiere centros de conciencia salvo por la organización que les reconoce.

«The English language is not very rich in words describing the higher things and for this reason there is much confusion about the finer points of many meanings. In this book I will put these marks “-“ before and after a word and when I do this you are to give it another look as to its meaning.» — achaca a la pobreza del inglés la confusión de estos términos, y anuncia una marca tipográfica propia para avisar al lector de que una palabra pide segunda lectura.

«As there is no very good definition of a Soul in Occult literature that fits the facts, as one who knows about it from experience of the inner type, we turn to the dictionary and see if we can find anything there to help us.» — declara que la literatura oculta no da una definición de alma que se sostenga ante los hechos, y por eso acude al diccionario.

«The dictionary is not of much help either. The dictionary says that the word Soul means Spirit and when we turn to Spirit we find that the dictionary says the word Spirit means Soul!!!!» — y objeta que el diccionario devuelve una definición circular: alma remite a espíritu y espíritu a alma.

«Therefore to get on with our study I will tell you that we have to turn to Alchemy to get the meaning of the word Soul. The word Soul means Spirit and the word Spirit means AIR!!!» — resuelve el círculo por la alquimia, que es la fuente que declara: alma igual a espíritu igual a aire.

«The quality of Air is MOTION – or AIR IN MOTION. ANYTHING THAT MOVES IS ALIVE THEREFORE THE QUALITY OF LIFE IS MOTION – not motion as such but MOTION IN THE SENSE OF LIFE-MOVEMENT – the ability to life-live and more.» — y precisa que no es el aire físico sino su cualidad, el movimiento, del que hace signo de la vida; la salvedad arranca al final de la plana anterior.

«So therefore the SOUL QUALITY of a man is living, the ACTION OF LIVING and of course this quality does go beyond the bodies that are merely the vehicles of living-life.» — de donde saca su definición de alma: no una cosa sino la acción de vivir, que excede a los cuerpos por ser estos meros vehículos.

«So you can see plainly that the basic meaning of Soul and Spirit are grossly misinterpreted and are used wrongly by all religious bodies.» — y adjudica a todos los cuerpos religiosos el uso equivocado de los dos términos.

«The ordinary everyday idea of this term “Astral Projection” is – A man separates “something” of himself from his physical body and with this “something” goes “out” somewhere, and then returns to his physical body with full memory knowledge of where he has been and what he has done.» — formula la idea corriente de la proyección astral —separar algo de sí, salir con ello y volver con memoria— antes de desmontarla.

«Well we now know that he did not travel “out” as a “spirit” in a “thing” called a “spiritual” body, so what did he travel out in?» — y niega la lectura espiritista del fenómeno, dejando la pregunta por el vehículo abierta.

«Now here is a very important matter. In fact the following information is the heart of Astral Projection. I discovered this myself and therefore I am free to tell you about it freely.» — presenta lo que sigue como el corazón del arte y se adjudica el hallazgo, del que deriva su libertad para publicarlo: no lo recibió bajo juramento.

«You, as a man, possesses a number of bodies thru and in which you function, and have functioned, all your physical life. Each of these bodies has a “plane” corresponding to it and thru which it draws certain things that make up your life on this physical plane. Therefore you are no stranger to these bodies and to these planes!» — sostiene que a cada cuerpo le corresponde un plano del que extrae lo que sostiene la vida física, y que por eso el practicante no llega como extraño.

«It is said that in and during sleep you have always left the physical body and done many things and went many places. This is an old occult doctrine.» — atribuye a doctrina oculta antigua, no a sí mismo, la salida nocturna del cuerpo durante el sueño.

«IF THE ABOVE IS TRUE WHY DON’T YOU REMEMBER YOUR NIGHTLY PROJECTIONS? – THE REASON WHY YOU DON’T REMEMBER IS THAT THE BULK OF YOUR CONSCIOUSNESS IS IN THE PHYSICAL BODY AND REMAINS THERE MOST ALL YOUR LIFE UNLESS YOU CONSCIOUSLY TRANSFER IT ELSEWHERE!!!!» — y explica el olvido por reparto de la conciencia: el grueso se queda en el cuerpo físico salvo que se lo traslade a propósito.

«AND NOW YOU HAVE THE SECRET OF ASTRAL PROJECTION in a nut shell. YOU DO NOT PROJECT» — anuncia el secreto del arte como una negación —no se proyecta ningún cuerpo— y la frase queda cortada por el fin de plana.

«ANYTHING. ALL YOU DO IS TO TRANSFER CONSCIOUSNESS TO ANOTHER BODY OTHER THAN THE PHYSICAL.» — la continuación en la plana siguiente completa la tesis: lo único que ocurre es una transferencia de conciencia a otro cuerpo.

«YOU ARE GOING TO LEARN TO PROJECT YOUR CONSCIOUSNESS TO THE BODY YOU HAVE THAT CORRESPONDS TO THE BODY OF THE PLANE YOU WANT TO GO TO.» — y convierte la tesis en regla de operación: se traslada la conciencia al cuerpo que corresponde al plano al que se quiere ir.

«However for all practical purposes you can consider the action as a projection, and it is a kind of a projection - a projection of consciousness however instead of a “body”. We will, therefore, continue to refer to our work as projection and speak as if we project a body etc.» — conserva el término proyección pese a haberlo corregido, y declara el uso como licencia de lenguaje.

«For the purposes of your study, and I hope that you will take my word for it now until you do your own research on the matter, there are only three planes that you can “project” to. The first of these planes, and the nearest to the physical body-plane, is the Etheric plane. The next plane, and a little farther away from the physical plane yet very close to it, is the lower Astral. The next plane and still farther away from the physical plane is the higher Astral.» — fija en tres los planos a los que dice que puede proyectarse —etérico, astral inferior y astral superior— ordenados por distancia al físico; el pedido de crédito provisional va dentro de la cita.

«Now there are still higher planes than these, of course, but in those higher planes all FORMS begin to “thin” out so there is really nothing to which to project to in those higher planes. These higher planes, and your higher bodies that correspond to them, are really nothing but abstract principles, you ARE THEM.» — y excluye los planos superiores por una razón interna a su sistema: allí las formas se adelgazan y no queda nada a que proyectarse, porque el practicante ya es esos principios.

«I am going to start with the physical plane which is really the very first plane and which you might think you are throughly familiar with, but there are still many things that you, and others, do not know about your physical plane – body and its possibilities.» — empieza por el plano físico, del que sostiene que el practicante ignora buena parte de sus posibilidades.

«The physical body is the final instrument of al the other planes, the end result as it were, and it is of this fact that we do not know how to take full advantage of!» — y le adjudica el papel de instrumento final de todos los demás planos; el original imprime *al* por all.

«One of the Occult teachings regarding the planes is that a man cannot take fullest advantage of any one plane until he has gained some knowledge, and CONTROL, of the plane above that one – we cannot fully use any one plane until we have some power on the plane above it.» — atribuye a la enseñanza oculta, no a sí mismo, la regla de que no se aprovecha un plano sin conocer y controlar el de encima.

«The reason for this is that each plane is positive to the one below and negative to the one above it.» — y funda esa jerarquía en una polaridad: cada plano es positivo respecto del inferior y negativo respecto del superior.

«I want to call to your attention, at this time, that even if you never learn to project at all – not likely – this study is going to do you a great deal of good in Living this physical life.» — ofrece un beneficio de reserva para quien no llegue a proyectarse: el estudio mismo serviría para vivir la vida física.

«For the time being keep in mind that the physical plane is the end plane of a number of “inner” planes, and what you “DO” on the inner planes determines the final “effect” on the outer physical. You cannot recall – remember this too much.» — y sostiene la dirección de la causa: el plano físico es el último de una serie, y lo que se hace en los internos determina el efecto de fuera.

«For purposes of understanding this more you can picture the physical body as of a sort of honeycomb-like construction and the Etheric body fills those honeycomb-like cells like honey fills the ordinary honeycomb.» — da su imagen del cuerpo etérico: el físico como panal y el etérico como la miel que llena sus celdas.

«If the eyes are trained by looking thru a piece of glass stained with a certain dye of a certain color, it is then possible to see the Etheric body surrounding the physical body like a kind of white shadow commonly called the Aura.» — prescribe un procedimiento para ver el cuerpo etérico —entrenar el ojo mirando por un vidrio teñido— y lo identifica con lo que se llama aura; no dice qué tinte ni de qué color.

«The next time you ascend or descend in a very fast elevator note the “sinking” feeling that you have in the “pit” of your stomach. This sinking feeling is due to the Etheric body moving out of contact with the physical body due to the pressure of the rapid movement of the elevator.» — ofrece como prueba accesible la sensación de hueco en el estómago en un elevador rápido, que adjudica al cuerpo etérico desplazándose del físico.

«It is possible during certain times of the 24 hour period of a day to “thicken” the Etheric Body so that it can be seen and felt by others. The Egyptians had developed this type of magic to a great degree. They had a very common symbol for this Etheric double or Ka as they called it. The symbol was two uplifted arms joined in the middle where the shoulders would be.» — sostiene que hay horas del día en que el cuerpo etérico puede espesarse hasta hacerse visible y palpable, y adjudica esa magia a los egipcios, con el Ka y su jeroglífico de dos brazos alzados.

«A physical body that is part starved all the time is rather loosely connected with its Etheric Body and the separation is rather easy. A healthly well fed well nourished physical body is very tightly connected with its Etheric double. However you can practice for a time a rigid diet and achieve some results. However don’t expect too much.» — liga la facilidad de separación al estado de nutrición del cuerpo y admite en la misma frase el límite de la dieta como recurso.

«During the last war many people were found dead in London without a physical mark on them. A bomb had exploded nearby and the combination of fear, shock, and terrific vibration had driven the Etheric Body out of the Physical Body so far that it could not reestablish connections, as it could do in the elevator example when the lighter pressure was removed by the stopping of the ride.» — adjudica a esa mecánica las muertes sin herida durante los bombardeos de Londres: miedo, choque y vibración habrían expulsado el cuerpo etérico sin retorno.

«The Astral Plane is much more important than the Etheric Plane in that this plane has a much more wider application to the Physical Universe than the Etheric Plane.» — jerarquiza los dos planos por alcance sobre el universo físico.

«The Etheric plane is somewhat personal in its application to you and is small, narrow, and limited.» — y describe el etérico como estrecho y personal, frente a un astral que la plana siguiente llama grande.

«Many more of Nature’s Forces course thru this plane than any of the other planes and their application is widely distributed; whereas the forces, by the time they enter the Etheric Plane began to become individualized and personalized.» — sostiene que las fuerzas de la naturaleza corren por el astral con aplicación amplia y solo se individualizan al bajar al etérico.

«The Astral Plane differs from all other planes in another respect in that there is a Lower Astral and a Higher Astral. The lowest part of the Astral Plane is very much like the Etheric where they come together and the highest part of the Astral Plane is very much like the Mental Plane where they come together. None of the other planes have lower and higher levels so well 15 marked. The Etheric is the Etheric and the Mental is the Mental but the Astral contains elements of each of these two planes all mixed up which is what makes this plane so fascinating.» — singulariza el astral por tener franja baja y alta bien marcadas, contiguas al etérico y al mental, con elementos de los dos mezclados.

«The Astral plane must be entered into very carefully, and with absolutely the correct technique, or there can be trouble of an annoying nature.» — y le pone una advertencia de método, acotando el peligro a molestia y no a daño.

«Forms, such as they are, on the Astral Plane are very fluid in that they flow about and change shapes and appearances very easily and quickly. As basic forces have a wide play on the Astral Plane there is much color which is the Force itself. All Astral forms are composed of many points of colors so much that the realm is called the Star plane or Astral which means star.» — describe las formas astrales como fluidas y hechas de puntos de color, y deriva el nombre del plano de esa apariencia estrellada: el color sería la fuerza misma.

«On the higher Astral “forms” have practically no form at all but colors take over completely as the Astral blends into the Mental plane. The Mental plane is the plane of forces and has absolutely no form or forms at all. The entire Mental realm is all colors which are vibrations themselves.» — y ordena la serie por pérdida de forma: en el astral alto mandan los colores, y el mental es puro color-vibración sin forma alguna.

«There is a type of magic in which a person can enter this Mental plane with a form made up of lower matter. The “form” being brought “up” from “below” as it were. Or to explain it to make it fully clear – A form is organized on a much lower plane and then this form is “taken” up into the Mental plane. When this is done properly a great deal of powerful work can be accomplished by the operator.» — menciona una magia que sube al plano mental una forma organizada abajo, y la remite al trabajo avanzado sin darla.

«You possess an Astral body, of course, but there is no material way that you can become aware of it as you can of the etheric body. It will not be possible for you to see the Astral body until you are advanced enough to take and succeed in one of the advanced courses mentioned in this book in the last section.» — niega al cuerpo astral la vía de comprobación que dio para el etérico, y condiciona verlo a sus cursos avanzados.

«The Astral body and the Astral plane are very tricky to “work” with and require some experience as to what you are doing and how to do it. It would never do to enter this plane without having definite experience in some kind of lesser projection work first. The method I am going to give you to start this work with is admirable for gaining this necessary experience.» — de ahí el orden que impone: nada de entrar al astral sin haber hecho antes proyección menor, para lo que ofrece su primer método.

«You also possess a Mental body and a Causal body. Not too much can be said about them (and certainly not in this little book). YOU ARE THEM - The mental body and the Causal body are not used for projectiontraveling so as this book is primarily about projections these bodies will not be mentioned further.» — retira del libro los cuerpos mental y causal por no servir al viaje, y de paso los identifica con el practicante mismo.

«We now know that a man has several other bodies besides the physical body. We now know that each of these bodies has a plane to correspond to it, and it is on these corresponding planes that the corresponding body consciousness projects to: from the physical plane, as a base, as the physical plane is where our consciousness is centered now.» — resume su teoría: varios cuerpos, un plano correspondiente a cada uno, y el físico como base desde la que parte la conciencia.

«We have found that the Etheric and Mental Planes are quite distinct by themselves from the others but the Astral Plane is one of gradual change from the lowest part to the highest part.» — y separa el astral de los otros dos por ser gradiente y no región definida.

«(Actually there is no such thing as largeness, smallness, up, down, sideways or anything like that on the Astral plane or, indeed, on any plane except the physical.» — retira el sentido literal de todo el vocabulario espacial que viene usando: arriba, abajo, grande y pequeño solo valen en el plano físico.

«We have found that, due to its interesting complexities, the Astral Plane has attracted most of the attention of those who want to practice the Art of Projection.» — adjudica al astral el grueso de la atención de los practicantes, por sus complejidades.

«We have found that instead of real y “projecting”, as it seems we do, we are merely transfering our personal consciousness to another body and living and moving in that body, the same as we do now in the physical body.» — repite su corrección de fondo: no hay proyección sino traslado de la conciencia personal a otro cuerpo, donde se vive igual que en el físico. El original imprime *real y* por really.

«I did, however, feel that I should mention the Etheric and upper and lower Astrals as all the other teachers leave them out entirely (they probably don’t know about them) and the student should know what he is doing at all times.» — objeta a los demás maestros haber omitido el etérico y las dos franjas del astral, y les adjudica ignorancia entre paréntesis.

«Many times projections are different and the student can recognise from the character of the “scenery” what plane he is on.» — y da un criterio para orientarse: el carácter del paisaje indicaría en qué plano se está.

«The questions in the order of their frequency are:- 1. Why don’t other writers give exact directions as to the Practice of the Art of Astral projection the same as you do? 2. Is it wrong to learn the Art of Projection?» — agrupa las preguntas que dice recibir siempre, ordenadas por frecuencia; la lista queda cortada por el fin de plana.

«3. Is it hard to learn this Art? 4. Is there more than one way to project? 5. What results can I expect to achieve by learning this Art? 6. What can one expect to “see” “over” “there”?» — y las cuatro restantes, que la plana siguiente completa: dificultad, variedad, resultados y qué se ve del otro lado.

«The answer to this question is – Our Solar system, in making its rounds about the belt of the Zodiac, has entered the House of Aquarius. This means that the old age of Pisces has passed away.» — explica el silencio de los otros autores por astrología de eras: el sistema solar habría entrado en la casa de Acuario y con eso terminó la de Piscis.

«The Aquarian forces are better than the Piscean forces which, among other things, stood for prisons, and the world has certainly been in prison for the past 2000 years. That age is now past and the people are responding to this new age ruled by Uranus who is a higher Saturn in a sense.» — y adjudica a las fuerzas piscianas las prisiones de dos mil años, frente a un Acuario que hace regir por Urano, al que llama un Saturno superior.

«Now-a-days the psychic-etheric powers of people are awakening spontaneously. Many people are having psychic experiences and many other people are projecting naturally: and do not know the reason for it, or what it means, and are looking for explanations.» — sostiene que los poderes psíquicos despiertan hoy solos, y que quienes proyectan sin saber por qué buscan explicación.

«In olden times people were not ready for this work in large numbers but only as individuals would ready themselves to receive advanced knowledge. Then these individuals had to seek out those who could give them this advanced knowledge» — contrapone el pasado, donde el conocimiento avanzado se buscaba de uno en uno y había que dar con el maestro.

«Therefore when a person acquired this knowledge, and other occult knowledge, from a teacher he was put under oath not to reveal this knowledge to anyone else freely. Again this kind of teachingknowledge was given out by secret societies as part of their training for their members and the kinds of oaths they had to take were terrific not to reveal the knowledge to» — y ahí pone la causa del secreto: el juramento que imponían maestros y sociedades secretas; la frase queda cortada por el fin de plana.

«So when one of these people would write a book they would tell ABOUT IT but not TELL IT.» — de donde saca su fórmula para la literatura del género: contar sobre el asunto sin contarlo.

«For example the book “Practical Astral Projection” by Yram, which is Mary spelled backward, (why I’ll never know) he tells about WHAT he did but makes only a vague reference as to HOW IT WAS DONE.» — pone a Yram por ejemplo de ese defecto, y da el seudónimo por Mary al revés sin explicar el porqué.

«But I trust, you understand, that I got this knowledge myself thru my own meditation efforts and therefore I am under no obligation not to reveal it and so I do.» — funda su derecho a publicar en no haberlo recibido de nadie: dice haberlo sacado de su propia meditación y no estar atado por juramento.

«I, myself, never felt anything right or wrong about projection one way or another anymore than I would feel it was wrong to paint pictures or carve statues.» — responde a la pregunta moral igualando la proyección a pintar o esculpir: ni bien ni mal, un arte.

«The early users of anything new have to be of an unconventional nature in order to even notice new things. This type of person is apt to experiment too much with other conventions such as sex and other taboos. And it is these things that gets the old maids and old foggies all upset.» — explica la mala fama del asunto por la clase de gente que estrena lo nuevo, a la que atribuye experimentar también con el sexo y otros tabúes.

«Try to take the learning of this Art in your stride and avoid doing other things in an unconventional manner.» — y aconseja al lector separar una cosa de la otra, por prudencia social y no por moral.

«I have heard the argument advanced that with developing these powers some persons would take an unfair advantage of other people who do not develop their powers. Well the answer to that is that the work is open to all who want to do it and if they don’t believe in it and will have nothing to do with developing their powers they are in the same position as anyone who will not advance with the times.» — recoge la objeción de que estos poderes darían ventaja injusta, y la contesta con que el trabajo está abierto a quien lo quiera.

«If you have these kind of doubts I guess it is something you will have to battle out for yourself. My assurance is not your assurance.» — y ahí se detiene: declina resolverle la duda moral al lector.

«There are uses of these Arts that are questionable but this is a matter for the individual to work out for himself after he learns the Art.» — admite usos cuestionables del arte y los deja al criterio de cada quien, después de aprenderlo.

«What you do learn to do is to transfer your consciousness to these other bodies and RETAIN MEMORY of the transfer. Your quickness in transfering over depends upon your grasp of the basic principles and then following directions accurately as to practices in the courses I offer.» — acota qué se aprende de veras: no a usar los otros cuerpos, que dice que ya se usan, sino a trasladar la conciencia y retener la memoria del traslado.

«But then again I would feel optimistic about a person who did not know very much about the Occult yet had a burning desire to succeed in this Art. And then again I would have doubts about a person who knew a great deal about the Occult yet just dabbled around in it.» — pone el deseo por encima de la erudición como pronóstico de éxito.

«A short time ago I dropped in at a place in Southern California that had once been a very active occult society led by a man, who was said to be a good psychic and was a good writer on Occult subjects. After his death there has been a steady decline in the activities of the group until now they look as if they are just waiting to be covered over. I talked with a woman working there (1960) who told me she had been there since 1918 – 40 years!!» — refiere una visita a un centro ocultista californiano en decadencia; la fecha entre paréntesis es del original.

«reply was that SHE DID NOT WANT ANY THING LIKE THAT! So here is a woman who has been sitting around an occult center for 40 years and wants no development of her latent powers! So she never got any! What an advertisement for the place! Why would she hang around an occult center for 40 years if she does not want anything from it? She might as well have stayed at home and washed dishes for all the good it did her.» — y remata la anécdota con la mujer que llevaba cuarenta años allí sin querer desarrollo alguno, como prueba de su tesis del deseo.

«So the real answer to this question is – If you want it you’ll get it. If you don’t want it you won’t get it. And this is true of anything in the world.» — de donde saca su respuesta a la pregunta por la dificultad, que traslada del método a la voluntad.

«The answer is – Yes there are quite a few different ways to project and many variations in each way. The differences in ways are also the differences in what kind of projections you want to make. If you want to make an Etheric Projection, that is one way. If you want to make an Astral Projection that is another way. There are also obscure ways that I have heard about but never used myself as they over-lapped the other ways.» — reconoce varias vías y variantes, distintas según el tipo de proyección buscada, y admite otras que dice no haber usado.

«“little” course, which I discovered and developed myself, all these things are in Occult books and have been for many hundreds of years.» — la frase que la plana anterior deja cortada se completa aquí: salvo el *little system*, que reclama como hallazgo propio, todo lo demás dice que está en libros ocultos desde hace siglos.

«A certain amount of Occult knowledge is absolutely necessary for the successful practice of this work. Until you can get this for yourself it is very hard to make progress. Therefore it is vitally necessary to have an experienced person to help you thru the first stages of this great work.» — sostiene que sin un mínimo de conocimiento oculto propio no hay avance, y de ahí deriva la necesidad de un guía experimentado al principio.

«Yet those big teachers did not want to leave the field entirely void of practical working knowledge in case some did develop by themselves, which they do all the time. The Masters therefore wrote many books in which they put down certain things partly but leave out much more. Then, as I said, when a man reaches a certain development he recognises this hidden truth and uses it.» — y da su explicación de por qué los maestros escribieron a medias: dejaron lo práctico oculto en el texto para que lo reconociera quien llegara a cierto desarrollo.

«For example – In the collected works of Paracelsus there is an account about creating a homoculus, or an artificial man, out of the elements as it were. Everyone has assumed that this meant the creation of a little physical man of water, earth, fire, and air. A test tube man as it were.» — toma la receta del homúnculo de Paracelso como caso de esa escritura cifrada, y objeta la lectura literal de fabricar un hombrecillo físico; el original imprime *homoculus*.

«Even the great writer Sommerset Maghum in his novel The Magician has Oliver Haddo creating a deformed little monster in a bottle.» — y adjudica esa lectura literal a una novela, con su personaje Oliver Haddo; el nombre del novelista va como lo imprime el ejemplar, sin cotejo con facsímil.

«This Homoculus legend is a perfect example of Occult hidden-knowledge that is so frustrating to the beginner until he begins to understand.» — y hace de la leyenda el ejemplo mayor del conocimiento oculto escondido que frustra al principiante.

«What does Paracelsus actually mean in this legend? What is he talking about? I am going to tell you what he means but you will have to take my word for it now until you can do your own work on it and then you will KNOW and do not have to take anyone’s word for it.» — se propone decir lo que Paracelso quiso decir, y vuelve a pedir crédito provisional hasta que el lector lo compruebe por su cuenta.

«WHAT THEY ARE TALKING ABOUT IS THE CREATION OF A BODY» — y ahí da su lectura, cortada por el fin de plana en mitad de la frase.

«OUT OF THE MATERIAL OF THE NEXT PLANE!!» — la plana siguiente la completa: el homúnculo sería un cuerpo hecho con la materia del plano contiguo.

«This work is part of the Body of Light method that I have on my list of projection methods as method 3.» — y enlaza esa lectura con su tercer método, el del Body of Light, del que hace la práctica que la leyenda cifraría.

«This legend means that you can learn to make a “body” out of the material of the next plane, to which body you can learn to transfer your consciousness so that you can do many different things on the next plane by working in and thru this body.» — explicita la operación: fabricar un cuerpo con material del plano siguiente y trasladarle la conciencia para obrar allí.

«You can also learn to influence circumstances and events on the physical plane by working with this body from the Etheric-Astral planes. Not by direct action effect but in accordance with the laws of the physical plane, which is a course itself.» — le atribuye además efecto sobre el plano físico, y acota cómo: no por acción directa sino conforme a las leyes del propio plano físico.

«Answer – The very first thing you would acquire is a good sound basis of practical working Occult knowledge which is an achievement of no little consequence and should stand you in good stead for your other Occult work. The second thing you would acquire is that as you learn to project, and become more and more proficient in it, you should begin to acquire a knowledge of the inner planes that should help you to arrive at Illumination.» — enumera los resultados que promete: primero una base práctica de conocimiento oculto, después un conocimiento de los planos internos que encamina a la Iluminación.

«This knowledge could not fail to help you thru this mad physical life so that you will be what is known as a Successful Person. Then, when people see you succeeding, they will enquire why, and when they find that you practice the Occult Arts, and this is the reason for your success, they will want to know more about it, and will come to you in droves for help.» — y les añade un rendimiento mundano: el éxito visible que atraería a otros a preguntar.

«(Never offer Occult Knowledge or help to anyone» — pone una regla de discreción, entre paréntesis y a caballo de dos planas: no ofrecer conocimiento oculto a quien no lo pida.

«Until they recognise a need for it, it is useless to them and only results in trouble for them and for you. Until it works for you do not TALK about it to others. It will only sound silly if it has not worked for you so that they can see it themselves).» — y la fundamenta en el efecto, no en el secreto: sin necesidad reconocida no sirve, y sin resultado propio suena ridículo.

«Another thing you should acquire is that you should be able to explore and map out the inner planes, or rather set up your own paths thru these inner planes as there is nothing there now.» — promete además cartografiar los planos internos, y aclara que más bien se trazan rutas propias porque allí no hay ninguna hecha.

«This physical world is the tail end of a number of other “worlds” as you know and the CAUSES OF THE END RESULTS on this plane are in those inner planes. When you know how to penetrate them and study the causes of coming events you can alter those events somewhat depending on your power to do so.» — sostiene que las causas de lo que ocurre aquí están en los planos internos, y que penetrarlos permite alterar los sucesos por venir en la medida del poder alcanzado.

«The most important thing, that can be achieved, is to learn, in a positive way, how to contact your Inner Powers, or Forces, or whatever name you feel like giving them and, which is still more important of all, learn how to USE your Inner Powers in a positive manner. You have them, you know, but as long as you do not use them, by being ignorant of them, they stand there, doing nothing to protect you, while you suffer the “slings and arrows of outrageous fortune”» — pone por encima de todo el contacto y el uso activo de los poderes internos, y cierra con un verso de Shakespeare que no atribuye.

«You are incarnated in a physical body for the purpose of learning how to conquer matter – (thy kingdom come, thy will be done ON EARTH as it is in heaven) – and if you do not start to learn» — declara el fin de la encarnación —aprender a vencer la materia— y lo apoya en una frase del padrenuestro; la oración queda cortada por el fin de plana.

«how to conquer matter you will have to come back time and time again, over and over, until you do learn this lesson to overcome the illusion of matter.» — y la completa con reencarnación: quien no aprenda la lección vuelve hasta vencer la ilusión de la materia.

«A start has to be made somewhere to learn about the other bodies you possess, and to learn how to use them. To learn how to transfer your consciousness, from the physical body to these other bodies at will, is just about the best and most pleasant rewarding type of growth that you could find to advance along the path leading to Illumination.» — y adjudica al traslado voluntario de la conciencia el mejor camino de crecimiento hacia la Iluminación.

«For example to be more specific – can you set or lie down and bring up images of persons or things into your mind mirror? Can you see, perhaps dimly, these figures and shapes? Can you then use your willimagination to move them about and place them in different positions and make them do different things? Everyone can do this to some extent. Do you know what these images really are? These images are Etheric-Astral matter images and you are seeing them with the third eye. The single eye mentioned in the bible.» — usa la imaginería mental corriente como prueba al alcance de cualquiera, y la identifica con materia etérico-astral vista por el tercer ojo, que empareja con el ojo único de la Biblia.

«You are not going to conquer matter by fleeing back up the descending evolution path, like the Hindu’s Yogis do, by trying to ignore matter, by going into trances, practicing Samadi and ignoring all the rest of India’s miseries.» — objeta al yoga hindú huir de la materia por el trance y el samadhi, y le imputa el abandono de las miserias de la India; el original imprime *Samadi*.

«You are going to conquer matter only by facing it, studying it to find out its reasons for being, and LEARNING HOW TO MANIPULATE IT.» — y contrapone su vía: enfrentar la materia, estudiar su razón de ser y aprender a manipularla.

«There may be other ways of learning how to handle matter and thus arriving at Illumination but this way will do for most of us until a better way comes along!!!» — con la reserva puesta en la misma frase: admite que puede haber otras vías.

«The answer to this question is – I, myself, am so curious that when I have successful projection I explore all over so hard that I often wake myself, up, if I am in the dream method.» — responde a qué se ve del otro lado con experiencia propia, y admite que la curiosidad le corta las proyecciones despertándolo.

«found that I could see the reflecting ether very well and I practiced going back along the reflecting Ether time track as well as forward. I have caught glimpses of cities 1000 years in the future and also as little as 20 years in the future. I was in such a free state that time that I deliberately went around looking for calendars and I found one in a store with the date 2000 something on it.» — declara haber recorrido hacia atrás y hacia adelante lo que llama la pista temporal del éter reflector, y haber buscado calendarios para fechar lo visto.

«I am working hard to develop this facility and I hope very much to be able to bring back some real knowledge sometime. I admit now that I am somewhat shaky on these trips and I can get easily rattled going thru one of these scenes as after all a thing like this is not too easy or simple a matter.» — y acota el alcance de eso: dice estar todavía inseguro en esos viajes y no traer aún conocimiento firme.

«Other times I find that I can reach a plane where it is easy to manufacture thought forms for certain kinds of duties (there is a technique to this as they have to be made correctly and endowed with life and emotion and energy in a definite manner. They can then be directed to perform certain jobs. This is another course in its self.» — menciona la fabricación de formas de pensamiento con encargo, y la remite a otro curso: habría que hacerlas bien y dotarlas de vida, emoción y energía.

«I did discover that there are definite “entrance places” scattered over the first inner plane for those who have just died and the surroundings around them are very much like earth.» — sitúa lugares de entrada repartidos por el primer plano interno para los recién muertos, con un entorno que dice parecido a la tierra.

«I would not plan on contacting your departed relatives on the next plane by the use of these projection methods I am teaching. It is not that you would be bared by entities there but the road there is beset with strange difficulties and things are much different on that plane than what the world thinks it is.» — desaconseja usar sus métodos para visitar a los muertos, y acota el motivo: no que haya entidades que lo impidan, sino que el camino está lleno de dificultades.

«Until you understand fully the state the newly dead are in things are just mixed up and is nothing like what the churches teach it is or even what the spiritualists have taught about it for so many years. The newly arrived dead are in a dream state and do not recognise you or their surroundings with any degree of accuracy.» — sostiene que el recién muerto está en estado de sueño y no reconoce ni al visitante ni su entorno, contra lo que enseñan iglesias y espiritistas.

«For example I did visit my Father one time. My father has built for himself a duplicate of the same silly place he lived in on earth for so many years. The earth house-place has been torn down now for many years, as it was no good, but my Father still lives on in his Astral-matter duplicate and he wouldn’t listen to me anymore now than he would then when he was» — ofrece como caso propio la visita a su padre, que habría reconstruido en materia astral la casa donde vivió; la frase queda cortada por el fin de plana.

«alive. So there he will have to stay until he wakes up himself. I can do nothing for him. So for heaven’s sake don’t plan on using this Projection Art to contact those who have passed on as it just won’t do you or them any good and your visit will be of no comfort to anybody.» — y la remata en la plana siguiente sin consuelo: no puede hacer nada por él, y el visitante tampoco obtendría nada.

«Our first instructions on the Art of Astral projection is the method known as the “little” method (my name for it). I discovered, and perfected, this method myself. This method is the best I have ever found for making a start in this Projection Art. This method has many things to recommend it. The main thing is that it is very safe. This method requires the student to be in control of his senses at all times so no negative conditions can develop.» — presenta el *little method* como hallazgo y nombre suyos, y funda su seguridad en una condición de método: exige control de los sentidos en todo momento.

«This method requires study and work on the inner side of things which study-knowledge is of great basic value in all occult work and your achievements in this line can be extended to many other branches of the occult as they are all connected together. On the other hand this system does not require too much knowledge to start to work on, and to use the system, and the work can be carried out with a minimum of study, in the beginning.» — y le reconoce dos virtudes a la vez: sirve de base a cualquier trabajo oculto y pide poco conocimiento para empezar.

«All the “little” work is on the Etheric Plane and from that plane you can influence others, and circumstances, very well. This power is a very great asset indeed.» — sitúa todo ese primer método en el plano etérico, desde donde adjudica influencia sobre personas y circunstancias.

«And, best of all, successful work with this system gives practical experience to prepare the student for the work in the advanced systems. What a beginning student needs most of all in occult work is something safe and positive to work on, and with, to develop his inner tools and to gain valuable experience as to what to expect to “see” when he does project later on with the more advanced systems.» — y le da su función en la serie: preparar al principiante con algo seguro antes de los sistemas avanzados.

«In this “little” system for your first projection work you are going to» — anuncia el carácter del primer ejercicio; la frase queda cortada por el fin de plana.

«act-project in a rather natural way. You are not going to go thru walls or thru closed doors or things like that. You are not going to go too far from the body. Later on, as you develop in this work, you can do all those things, go as far as you please etc. but for the very first work you will keep it very much like physical movement.» — y la plana siguiente la completa: la primera proyección imita el movimiento físico, sin atravesar paredes ni puertas cerradas ni alejarse del cuerpo.

«You are going to travel a preselected route there and back. You are going to pick out a route to follow and stick to that route until you master it. So the first thing to do is to select your “trip” route.» — y fija el ejercicio: una ruta preseleccionada de ida y vuelta, repetida hasta dominarla.

«Say, for example, you decided to go from your bed room to the laundry room in the basement. Say the route lies along the hall, down the stairs, across the kitchen, down the basement stairs, across the basement to the laundry room and then back the same way.» — da el ejemplo doméstico con que ilustra la ruta, del dormitorio al lavadero del sótano y de vuelta por el mismo camino.

«This means that you walk over the route many times looking at it and getting every detail of it in your mind-memory. Notice every little thing about it. Notice things that you never noticed before. If you want to succeed in this work you will not do this just once or twice but many times. You will memorize the whole area-route so that you can recall it to memory without difficulty. It will not hurt for you to draw a diagram of the route. I cannot repeat this enough – do everything possible to fix the route in your memory.» — prescribe recorrer físicamente la ruta muchas veces hasta poder evocarla entera, y admite el recurso de dibujarla.

«Select at least six points along the route that have some special outstanding characteristic about them, a characteristic that you can fix in your memory easily. These points can be a picture, a spot on the wall paper, a crack on the floor, a vase or anything like that.» — pide al menos seis puntos con alguna marca distintiva —un cuadro, una mancha del papel tapiz, una grieta, un jarrón— fijables en la memoria.

«set down opposite the first point and look at it steadily for 5 minutes the first day and increase this to 15 min. in about 10 days. Do this for each point in turn. That is do it for as long a time as is necessary for YOU to learn each point and to recall it to memory accurately.» — gradúa el ejercicio en el tiempo: cinco minutos por punto el primer día, quince a los diez días, y lo que cada quien necesite.

«Now for heaven’s sake don’t cut this work short. If you get impatient and try to start the projection working without memorizing these recall points enough you are not going to get results and then you will be disappointed and will get mad and blame me for the failure.» — y adjudica de antemano el fracaso a la impaciencia del estudiante, no al método.

«The reason for the repeated looking at selected points along a selected projection route is to fix firmly the points in your mind-memory. Why do this? Your memory is directly connected with the Inner Planes more so than it is connected with the physical plane. When you look at an object physically you are not looking at it with just the physical eye alone, you are also looking at it with the ‘Etheric eye’ and the ‘Astral eye’ and the ‘Mental eye’. But as I said before your center of consciousness is in the physical body for the time being, and when you look at a physical object, with physical sight , with the idea of recalling it to memory you are stimulating the etheric-astral sight too.» — da la razón del ejercicio: la memoria estaría más conectada con los planos internos que con el físico, de modo que mirar con el ojo físico estimula el etérico y el astral.

«Keep this point in mind – when you use the physical body you are using the other bodies too.» — y lo generaliza: todo uso del cuerpo físico pone en juego a los demás cuerpos.

«I first experimented with the sense of smell. I put 6 different scents at the different places along the route. I remember that I used Vanilla for the first point, Peppermint for another, Chanel #5 for another, Carnation for another, Rose for another, Violet for the last.» — refiere haber ensayado el olfato, con seis aromas asignados uno a cada punto de la ruta; uno de ellos es un perfume comercial de la época.

«This idea was very satisfactory. It got so that as I recalled the memory of the scent along with the visual memory of the particular point very accurately. Then I experimented with sounds. I took a music teachers pitch pipe and assigned a note to each point.» — da el ensayo por satisfactorio y añade el oído, con una nota de diapasón por punto.

«It seems remarkable but in time I could recall the scent and ‘hear’ the sound in my imagination along with the visual image. However as all the senses are in the “other” bodies too it is not too strange that they can be developed too and in fact your successful transfer of your consciousness to the other bodies means that you will learn to use the other bodies as well as you now use the physical body.» — sostiene que llegó a evocar aroma y sonido junto con la imagen, y lo explica porque los sentidos estarían también en los otros cuerpos.

«You are going to do more than just project, you are going to learn to ‘live’ in your other bodies, consciously» — amplía el objetivo del libro más allá del viaje: aprender a vivir conscientemente en los otros cuerpos.

«Remember there are two more senses that you will have to develop on the etheric plane too in order to function there right. The sense of taste and the sense of feel. However you can leave this for now as about the only sense you need for your projection work is the sense of sight and the use of the sense of hearing and smell to reinforce the sense of sight.» — nombra el gusto y el tacto como pendientes en el plano etérico, y acota qué basta por ahora: vista reforzada con oído y olfato.

«I regret that so much preliminary work is necessary for you to do but this Projection Art is a great work and it is well worth your time and much pains and money.» — lamenta la extensión del trabajo preliminar y la justifica por el valor del arte, contando el dinero entre lo que cuesta.

«especially so IF YOU LEARN TO CONTROL YOUR EMOTIONAL BODY AS YOU MUST SOONER OR LATER. It is not the mind that makes trouble in life but your emotions and FEELINGS.» — pone el control del cuerpo emocional como condición del avance, y sitúa el estorbo en las emociones y no en la mente.

«In Magical work, dealing with the next planes, thorough preparation is the key to success.» — hace de la preparación minuciosa la clave del trabajo mágico.

«I have known people who started this work the same as you are doing and during the preparations and before they were half done with the preparations they began to Project!» — y refiere casos de estudiantes que empezaron a proyectarse antes de terminar los preparativos.

«I am telling you a real Occult secret now. In any work you do of a magical nature IT IS DURING THE PREPARATIONS FOR THE WORK THAT THE WORK IS REALLY DONE.» — de donde saca lo que llama un secreto oculto: en cualquier trabajo mágico, el trabajo se hace durante los preparativos.

«The reason for this is that everything on this plane is the reverse of the next plane above this one. ON THE ETHERIC PLANE WHEN A THING IS CREATED IN THE FIRST PLACE (see last section) THE MEANS OF ITS CREATION IS DONE AFTER THE THING IS CREATED, and comes into being automatically.» — y lo funda en una inversión: en el plano etérico el medio de la creación se produce después de lo creado, y por sí solo.

«This reverse creation is one of the Laws of the Inner Planes.» — a la que da rango de ley de los planos internos.

«You can do the following work the way you relax best. The natural way is, of course, lying down. I have found that it can be done sitting down, and some prefer it that way. I have done enough work to enable me to know that this projection can be made while you are awake and moving about!!» — deja libre la postura —acostado, sentado— y declara haber proyectado despierto y en movimiento.

«In my personal case I am free in the middle of the day and I find that I can project quite well during a mid-day nap. However not everybody can be free at that time so your projection period will be something that you will have to work out for yourself.» — da su propio horario, la siesta, y deja al lector fijar el suyo.

«If you are interupted during one of your projections along your route, no matter how urgent it is, turn about and ‘come’ back to your body by means of your memory route and reenter the body correctly and slowly and then “wake” up and get up.» — prescribe qué hacer ante una interrupción: volver por la misma ruta memorizada y reentrar al cuerpo despacio, por urgente que sea el motivo.

«Recall to your memory the first point-spot. Look at this memory picture of the point for a time. Realize that you are now looking at the Etheric Image of this spot.» — el primer paso de la operación: evocar el punto y reconocer lo evocado como imagen etérica del lugar.

«Realize that you are now projecting. Then take each of the routepoints in turn and project yourself to each of them one at a time to the end of your route. When you reach the end turn around and come back the same way.» — y el recorrido entero de la ruta punto por punto, con el regreso por el mismo camino.

«When you have done this operation for a long time and you are thoroughly familiar with it, you then add the following work – Start at the first place of your route, your bed or your chair – Image yourself raising out of bed, or your chair, and starting your route. At first YOU WILL SEEM TO BE LOOKING AT YOURSELF DOING THE ACTION.» — añade después el verse a sí mismo levantarse y echar a andar, y advierte que al principio se mirará desde fuera.

«When you have done this for a while and you are familiar with yourself doing the actions AND FULLY REALIZE THAT IT IS YOU WHO ARE DOING THE ACTIONS IN DUAL – THEN MAKE THE ATTEMPT TO TRANSFER YOUR CONSCIOUSNESS, YOU, YOURSELF, TO THE IMAGE OF YOURSELF THAT YOU ARE WATCHING – Try to see thru the eyes of the image, feel it about you, feel yourself into it.» — y ahí sitúa el paso decisivo: trasladar la conciencia a la imagen que se está mirando, ver por sus ojos y sentirse dentro.

«The image is your etheric body and you are watching it thru the ‘eyes’ of the ASTRAL BODY – when you WORK on or SEE any part of yourself you are working or seeing thru the body ‘above’ that body. So in this case you are transfering down and not up.» — adjudica la imagen al cuerpo etérico y la mirada al astral, por una regla que enuncia ahí: se ve cualquier cuerpo desde el inmediato superior.

«Hold your consciousness into the Etheric body and go thru the route to the end and back keeping yourself in the image. See thru the eyes of the image and perform all the actions with the etheric counterparts of the physical body, the etheric arms and legs etc. Keep doing this until you are perfect at it.» — y manda sostener la conciencia en el cuerpo etérico y obrar con sus miembros a lo largo de toda la ruta.

«ONE DAY THE TWO BODIES WILL FUSE INTO ONE BODY AND YOU WILL OPEN» — promete como resultado la fusión de los dos cuerpos; la frase queda cortada por el fin de plana.

«ANOTHER KIND OF AN EYE AND YOU WILL FIND THAT YOU ARE REALLY THERE IN THE ETHERIC BODY FOR REAL AT THE SAME TIME YOU WILL BE CONSCIOUS OF THE PHYSICAL BODY TOO AND YOU WILL KNOW THAT YOU ARE DUAL AND CAN AND DO FUNCTION IN BOTH BODIES AT ONCE.» — y la plana siguiente la completa: se abriría otra clase de ojo y se sería consciente de los dos cuerpos a la vez.

«Don’t lose your head when this happens. By this time you should have had so much practice along these lines that you should feel no great surprise.» — y descarta el sobresalto apelando a la práctica acumulada.

«Stay out as long as you feel like it but don’t go too far away for this first time. When you are ready to return to your physical body go about it the same as you would physically, return to the body and WILL TO TRANSFER YOUR CONSCIOUSNESS TO THE BODY. And you will open your physical eyes and ask yourself “was it a dream?” And was it?» — prescribe el regreso como si fuera físico y con voluntad expresa de trasladar la conciencia, y deja abierta la pregunta por el estatuto de lo vivido.

«It goes without saying that you must keep calm at all times and do not allow yourself to get excited over daily happenings. If you become excited and all nervous easily and allow these things to happen it will hold you back in your projection work. Many people do not succeed because of this reason alone. Excitement, loud noises and all kinds of disturbances just don’t go with Occult work and certainly not with this kind of Occult work.» — pone la calma como condición y adjudica a la excitación el fracaso de muchos.

«You really should not do this projection work when other people are about, especially if you are likely to meet them on your route. As you get more powerful in your projections the time can come when they will SEE you with their physical eyes and think they are seeing a ghost, and indeed they are, and scream bloody murder!» — desaconseja practicar con gente cerca porque, avanzada la práctica, llegarían a verlo con los ojos físicos y lo tomarían por un fantasma.

«(Many of the ghosts that are seen are 25 etheric projections).» — y ahí adjudica a proyecciones etéricas buena parte de los fantasmas que se ven; el 25 dentro de la cita es el folio corrido del original, que la capa de texto mete en mitad de la frase.

«Act with modesty and restraint, especially at first, AND DO NOT TALK ABOUT YOUR OCCULT WORK TO THOSE WHO KNOW NOTHING ABOUT IT AND ARE NOT INTERESTED IN IT.» — y repite la regla de discreción, ahora en versalitas.

«The old books say that for this kind of work you should choose a sunny day or a calm night when there is no wind or other disturbances in nature going on. If there is a storm raging or excessively hot this will effect the Ether and the Etheric Plane and will have an effect on your projection.» — atribuye a los libros antiguos la elección del día sereno, y añade su propia razón: la tormenta y el calor afectarían al éter.

«There will be times when you cannot project at all!! There will be times when it will be moderately easy to project or moderately difficult to project. There will be times when it will be a cinch to project and, in fact, you might find yourself ‘out’ unconsciously.» — admite una variabilidad que no depende del practicante: días imposibles, días difíciles y días en que la salida ocurre sin querer.

«These times are governed by the phases of the Moon and the transits of the minor planets. It is absolutely necessary that you should understand this. It is not so much the phases of the Moon, in a primary sense, but the effect of these phases on your personal self. In general certain phases of the Moon effect all projections except those of the most experienced and powerful operators. Then again your personal work is influenced more or less outside of these main influences by, let us say, your personal horoscope set up.» — y la adjudica a las fases lunares y a los tránsitos de los planetas menores, acotando que lo que pesa es el efecto de la fase sobre cada persona y su horóscopo.

«The only way to get this straightened out is to keep track of your work in a note book and record the good times and the bad times and to correlate them with Moon Sign references. In this way you will find out, in time, what you can do and when you can do it and when you cannot do it.» — prescribe llevar cuaderno de sesiones y correlacionarlo con las referencias lunares, que es cómo propone convertir esa variabilidad en pronóstico.

«It is possible to check constantly which phase of the Moon is ruling as well as what sign the Moon is in. By constantly noting these changing phases, and the signs, and matching them against your projection experiences you will arrive at the best times for your work. This is the proper way to learn this Art.» — prescribe cotejar fase y signo lunar contra las propias sesiones hasta dar con las horas buenas, y lo declara el modo correcto de aprender el arte.

«You can get both the MOON SIGN BOOK and the ASTROLOGICAL CALENDAR from www.llewellyn.com I assure you need them and, in addition, they possess much useful practical astrological information that is ready understandable.» — nombra las dos efemérides que manda usar y da la dirección de la editorial; la dirección web es de esta reimpresión, no de 1961.

«Real Occult books containing real Occult knowledge are as scarce as hen’s teeth. There is so much endless TALK and endless educational instructions of theory with very little or ABSOLUTELY NO PRACTICES.» — repite su queja de fondo contra la literatura del ramo: mucha teoría y ninguna práctica.

«The few books that have been published consisted mostly of stories of people-persons who had achieved Astral projection, in some natural way, and then told WHAT THEY DID BUT NOT HOW THEY DID IT. Or how you can do it.» — y clasifica lo publicado como relatos de quienes proyectaron por vía natural, que cuentan qué hicieron y no cómo.

«Oh there were all other kinds of Occult information available, and in some detail – You could easily find out how to conjure various demons and make them show you where treasure was hidden – this knowledge available from the 15th century etc. but to learn how to release your self from your physical body (?) and then get back again has always been a great mystery.» — contrasta esa escasez con la abundancia de instrucciones para conjurar demonios y hallar tesoros, disponibles desde el siglo XV.

«Every real Occult student felt that it could be done, but how??? (The knowledge was available but it was held up by the secret societies heretofore mentioned).» — y adjudica el bloqueo a las sociedades secretas: el conocimiento existía y estaba retenido.

«Whatever one may think of Aleister Crowley he certainly did the Occult movement a great service when he gave out openly the Occult knowledge he had been given in the Rosicrucian Society he had joined and with which he had broken.» — le reconoce a Crowley el servicio de publicar lo que había recibido en la sociedad rosacruz de la que se había separado, con la reserva sobre su persona puesta en la misma frase.

«When this knowledge was examined it was found that much of it had been taken from material that had been printed for several hundred years already! but had disappeared from circulation due to obscure reasons.» — y acota el hallazgo: buena parte de aquel material llevaba siglos impreso y solo había desaparecido de circulación.

«This discovery stimulated the search and research of independent students along these lines and the results of their work was published immediately, and made available for use, and not tied up in some secret group and given out for group reasons etc.» — sostiene que de ahí salió la investigación independiente, publicada de inmediato en vez de retenida por un grupo.

«Among the early independent students in this field of Astral projection was a self-taught pioneer worker by the name of Mr. Oliver Fox.» — y nombra a Oliver Fox como pionero autodidacta de esa línea.

«In the early 1920’s there appeared a book written by Mr. Fox called “Astral Projection”. Apparently the book apeared in this one edition only and was not reprinted. It is now long out of print and copies are hard to come by.» — fecha el libro de Fox en los años veinte y lo da por edición única, agotada y difícil de conseguir.

«In this book Mr. Fox teaches a system of Astral Projection which he calls the Dream Method of Astral Projection. Mr Fox says that he discovered this system himself and experimented with it for a period of 30 years prior to the date of the publication of the book.» — atribuye a Fox el nombre y el hallazgo del método del sueño, y le adjudica treinta años de ensayo previos a publicarlo, según lo que el propio Fox dice.

«The basic idea of this Dream Method was that a person could, starting with a dream, learn how to “wake” in the midst of the dream and, from that point of awakening, start a train of Inner events that could lead to a type of Astral projection.» — resume la idea del método: despertar dentro del sueño y desde ahí encadenar sucesos internos que llevan a la proyección.

«I, myself, am greatly indebted to Mr. Fox because this system was the very first I ever found of a do-it-your-self-nature. I followed Mr. Fox’s system with great interest and great application about eight years ago» — se declara deudor de Fox por haber sido el primer sistema autodidacta que encontró, y fecha su propia práctica ocho años atrás.

«discover the “little system”, that you have already studied, and to rediscover and renew the Body of Light method, which method will be the next to be studied by you. Also to rewrite and modernize the “Symbol method” system which you will find last given in this book.» — y hace derivar de ahí sus otros tres métodos: el *little system* como hallazgo, el del Body of Light como redescubrimiento y el del Símbolo como reescritura.

«Mr. Fox’s method is entitled to a very definite place in the basic work of every sincere Occult student and great credit should be given to him for his courage in following up and publishing 28 the results of his studies in those early days when all Occult matters were viewed with suspicion.» — le reconoce a Fox lugar propio en la formación de cualquier estudiante, y valor por haber publicado cuando lo oculto era sospechoso.

«Mr. Fox’s system of Astral projection, and all the other systems of Astral projection, are more than just attempts to attain some spectacular developments along Occult lines; you are going to find out some REAL THINGS about our physical world that is going to enlighten you in a marvelous way.» — sostiene que estos sistemas no buscan lo espectacular sino enseñar algo real sobre el mundo físico.

«Mr. Fox’s original material took up a whole book but he treated a great many other matters which he explained in great detail. Such things as the POSSIBLE dangers (which never were there) of Astral projection. Many of the other things that he mentioned I have taken from this section and put into the next two systems as we know more about these details now-a-days than the pioneering Mr. Fox did.» — declara cómo trató la fuente: recortó a Fox y repartió lo demás entre sus otros dos métodos, y descarta de paso los peligros que Fox describía, que dice que nunca existieron.

«“Before” the real Astral plane is reached there is definitely another plane that exists before the Astral plane. As you progress in your projection work you will find out more about this “first” plane, which is called the Etheric plane, as you know something about from your work on the “little system”, and you will, in time, come to recognize the planes by the “scenery” that you are “viewing”. What I would like to have you understand for now is that, almost without exception, when you make ANY projection you first» — antepone el plano etérico al astral y sostiene que casi toda proyección llega primero ahí; la frase queda cortada por el fin de plana justo antes del verbo.

«Later it will be shown that there is a sort of automatic series of projections that take place once you have successfully made the original projection to the Inner planes. What I want you to remember now is that your first “arrival” on the Inner planes will very likely be the Etheric plane. Be prepared for this fact.» — y anticipa una serie automática de proyecciones que se dispara una vez hecha la primera, con el aterrizaje en el etérico como lo más probable.

«I want to tell you here about a great Occult secret that I have discovered by my own efforts coupled with a few hints given to me by a noted Psychic in one of his lectures. I am sure that the following is well known in the secret societies, but could not be given out before, and constitutes one of those “secrets” that was reserved for the elect.» — presenta lo que sigue como secreto propio, y declara la parte que no es suya: unas pistas de un psíquico conocido al que no nombra.

«IT SEEMS TO BE TRUE THAT THERE IS ANOTHER LIFE “OVER THERE” THAT YOU LIVE WHEN YOU SLEEP “HERE”.» — y ahí lo enuncia, con la reserva dentro de las versalitas: parecería haber otra vida que se vive allá mientras se duerme aquí.

«When I first discovered this I first thought that that life “over there” was automatic and that all persons lived it but I have since found that you have to develop this life “over there”. That is you do have a “body” over there now, as you have some kind of an organization, called a body, on each of the planes, but to live this “over there” life you have to wake up to a large degree “there”; and organize this other body and organize this other life, for action and movement, before you can participate in the full benefits of that life “over there.”» — corrige su propia primera lectura: esa vida no sería automática ni común a todos, sino que hay que despertar allá y organizar el cuerpo y la vida para tenerla.

«For example, as you may have suspected, it appears that a great many things can be done “over there” that can effect “here”. It is thus possible for a man to build a life “over there” that can influence “here” very strongly.» — adjudica a esa vida efecto sobre esta, hasta permitir construir allá algo que influya fuerte aquí.

«I am convinced that all the great successes, of this physical life, have done this second life building; and it is this second life that gives them the drive and inspiration and power to carry on “here” etc.» — adjudica a esa segunda vida el impulso de todo el que triunfa en esta, y lo declara convicción propia.

«Many people think they do not dream because they do not remember their dreams. The facts seem to show that everyone dreams, even animals.» — sostiene que todos sueñan, animales incluidos, y que la impresión de no soñar es falta de memoria.

«Our dreams are quickly forgotten because they are very lightly impressed on our memory due to the lack of critical observation, to be described in detail later. Critical Observation is the main factor in this work of recovering your dream memories.» — y adjudica el olvido a la falta de lo que llama observación crítica, que hace factor principal de todo el método.

«When you first awake in the morning you will find that you have a reasonable amount of dream memory retained. Concentrate on this memory and follow it up as fast as you can. Write down key words and sentences to enable you to recall details later.» — prescribe atrapar el resto de sueño al despertar y anotar palabras clave para reconstruirlo después.

«record of your dreams, writing down as much detail as you possibly can. I, myself, find this boring but the quicker you keep these records the quicker can you learn this technique of dream recovery. The choice is up to you.» — manda llevar registro escrito y admite en la misma frase que a él le resulta aburrido; la oración arranca al final de la plana anterior.

«Notice how, during your dreams, you accepted the most outrageous events and situations as natural and THOUGHT NOTHING OF IT. What does this suggest to you if this is the first time you ever thought of it? OBVIOUSLY THERE IS SOMETHING IN YOUR DREAM LIFE THAT IS DIFFERENT FROM YOUR WAKING LIFE WHICH ALLOWS YOU TO ACCEPT THE MOST OUTRAGEOUS THINGS AS PERFECTLY NATURAL and does not cause you a quiver in your dream.» — hace notar lo que considera la anomalía central del sueño: que en él se acepta lo más disparatado como natural.

«By stopping any further awakening and reversing the trend of the awakening process you can RETURN TO THE DREAM. That is you sort of can “dream” it over or continue the dream with more or less consciousness.» — prescribe el segundo paso: frenar el despertar y volver al sueño para continuarlo con algo de conciencia.

«The next step will be to watch your dreams in action. Strive to keep on a line not awake and not asleep. Allow the dreams to flow along as they will and make no attempt to do anything more than to watch.» — y el tercero: sostenerse en la línea entre vigilia y sueño y limitarse a mirar, sin intervenir.

«Let us say that you are walking down the street of a city in a dream. As you walk along you glance into the street and you see a strange sight – You see a smal automobile to which are hitched 8 green horses! The 8 horses are drawing the small automobile down the street at a lively clip. In your dream you merely glance at this sight and then proceed to go on about your dream business.» — construye el ejemplo con que enseña a reconocer el sueño: ocho caballos verdes tirando de un automóvil, mirados de reojo y sin extrañeza.

«Now if you actually saw this sight on a street in your city while awake you would be bound to take definite notice of it. Why is it that you do not notice it in a dream? The obvious answer to this question is that you are not awake enough to arouse your sense of attention so that it grasps the situation enough to ACT on it.» — y adjudica esa indiferencia a un grado insuficiente de atención, no a la rareza de la escena.

«If you are going to awake enough to deeply understand that this is a dream then you will wake up and no longer be dreaming. If you are going to sleep deeply enough so that you accept this strange sight as natural then you are sleep and dreaming and cannot make any further move of value to you in your study of this inner plane.» — plantea el problema como una franja estrecha: despertar del todo termina el sueño, dormir del todo lo vuelve inservible.

«The particular facility that is required, to enable you to recognize any strange dream sight scene AND TO ACT ON IT, is a facility which is cal ed the “Critical Facility”. The word critical comes from a word that means judge and the basic meaning of the word judge is adjustement.» — nombra *Critical Facility* a esa capacidad y la deriva por etimología de juzgar, que a su vez hace venir de ajustar.

«This CRITICAL FACILITY is closely allied to waking life. Your work is to bring this critical facility to bear on your inner dream life. You recal that we said previously that in Astral Projections you do not project anything but consciousness, your consciousness. By means of the directions to be given, and by practicing them, you will, in time, learn to project a large degree of your consciousness to the inner planes and still remain asleep.» — la adscribe a la vigilia y fija la tarea: llevarla al sueño para proyectar buena parte de la conciencia sin dejar de dormir.

«You might say, to describe it more easily, that you first get a hand hold on the inner plane and then pull the rest of yourself thru to there!!» — y da su imagen de la operación: primero se toma con la mano el plano interno y luego se tira del resto de uno hacia allá.

«Well at first thought it seems almost impossible to develop such an ephemeral thing so that it will work. However it will work. And the way to make it work is thru a combination of Will Power and Desire.» — admite la dificultad de cultivar algo tan tenue y adjudica el recurso a la voluntad y el deseo.

«We are all more or less familiar with the strange ability we have of hearing a tune of new music and then find ourselves humming it in a few days. This is exactly the same process that will make the CRITICAL FACILITY A REALITY IN YOUR DREAM LIFE. Still another strange facility ability that we all have is that of reading a story, or seeing a moving picture, and then finding out the next day that we have dreamed about that story or picture. This carry-over is quite common.» — y lo funda en dos experiencias corrientes: tararear días después una música oída una vez, y soñar con lo leído o visto en el cine la víspera.

«All you really have to do is to think and desire a great deal about developing the Critical Facility and you will find yourself using it in your dream life.» — reduce la técnica a pensar y desear mucho esa facultad hasta encontrarla operando en el sueño.

«In real life you would stop and stare at the sight and many questions would run thru your mind like this – Is it an advertising stunt? Is the car broken down? If so then why in the world have 8 horses and why are the horses green? What is this all about?» — devuelve el ejemplo de los caballos a la vigilia para mostrar la sarta de preguntas que ahí sí se dispararían.

«As I said questions like this would run thru your mind until you were uncomfortable at having no answer. The same thing happens in a dream. When you have developed enough Critical Facility, the dream discomfort» — y traslada esa incomodidad al sueño; la frase queda cortada por el fin de plana.

«would grow and grow until you reached the point where you could stand it no longer. You will then either wake up OR YOUR CRITICAL FACILITY WILL BECOME STRONG ENOUGH TO TAKE OVER IN YOUR SLEEP.» — la plana siguiente da el desenlace: la incomodidad crece hasta que se despierta o la facultad crítica toma el mando dentro del sueño.

«IT WILL COME TO YOUR DREAM CONSCIOUSNESS THAT YOU ARE DREAMING!!! This point will mark a great achievement in your Occult projection work.» — y ahí sitúa el reconocimiento de estar soñando, que declara un gran logro del trabajo.

«I have decided to call this state of not-awake-not-asleep, the NEITHER STATE, and will describe it more fully later.» — bautiza ese estado intermedio como el *Neither State*, nombre que declara suyo.

«With the consciousness that you are dreaming will come another kind of consciousness – that of being DUAL. For the first time you will realize that there is – are TWO OF YOU. One YOU in the dream and one YOU at home in bed asleep!!! This is a sensation you will not forget!!» — y le añade una conciencia doble: un yo en el sueño y otro en la cama, sentidos a la vez.

«With the knowledge that you are dreaming, AND KNOW IT, you proceed to disregard all the appearance of the dream and do anything that you feel like doing. Actually you are now in an etheric projection.» — a partir de ahí manda desatender la apariencia del sueño y obrar a voluntad, y declara eso mismo una proyección etérica.

«If you want to you can start looking for the Silver Cord that is supposed to bind you to your body. The cord has no actual substance, it is just a sort of stream of consciousness, a sensation flowing “back” to the body. You have to actually visualize it a bit in imagination in order to “see” it.» — niega sustancia al cordón plateado —lo llama corriente de conciencia— y sostiene que hay que imaginarlo un poco para verlo, con lo que separa su posición de quienes lo describen como objeto.

«They will be rather mixed up though because there is no time on the inner planes, as we know it, and “over there” things are there “all at once”. That is you can see the thing when it is new and when it is falling to pieces of old age use and the sight of both new and old at once in one is very telling, to say the least.» — sostiene que lo visto allá son contrapartes de cosas de aquí, revueltas porque no hay tiempo: lo nuevo y lo viejo de una misma cosa se ven a la vez.

«I need not go too deeply into the operating techniques of existence – function on the etheric plane as you will learn them for yourself first hand. You are being born again, which is the true meaning of the words in the bible.» — deja la técnica de estar en el plano etérico al aprendizaje directo, y lee la entrada como el nacer de nuevo de la Biblia.

«That is the way it is here when you first enter these inner planes. You have to learn the ordinary things of that plane all over again. You have to grow up again on that plane. However one very important thing is in your favour, you do have more intelligence than you did as an earth-plane child so you can bring your intelligence quickly to your aid, and qucikly learn the Inner plane workings and doings.» — compara la entrada al plano interno con volver a ser niño, con la ventaja de llevar la inteligencia ya hecha.

«I would suggest to you for the first few projections you concentrate on working your Etheric plane body. Do not attempt to explore the plane too fully at first. Stay “still” watching, studying, classifying, absorbing, experimenting carefully, and, in general, giving the same close attention to your new surroundings that you would if you were in a strange new country which, indeed, you are.» — prescribe quedarse quieto y observar en las primeras salidas, como quien llega a un país desconocido.

«Your intelligent entrance to this first plane will determine your future success in entering the other planes; which are still more different than the etheric plane; not more difficult but more different.» — y hace depender del modo de entrar al primer plano el éxito en los demás, con la corrección puesta en la misma frase: más distintos, no más difíciles.

«The “trouble” you encounter and the dire things that old maid occultists warn you against, all the times in the past that you read about Astral projection, is really nothing but this DIFFERENCE that exists between the different planes and what happens when you try to act on the Inner planes the same way that you act on earth-physical.» — reduce los peligros que la literatura anuncia a un desajuste de método: obrar en los planos internos como se obra aquí.

«Some old maid New Thought practitioner got out there one time by accident, and when she tried to come, she went, and it scared the wits out of her. So instead of trying to find out what was wrong she labeled it all hell and warned everyone to stay away.» — y adjudica el origen de esa fama a un susto mal interpretado por una practicante del Nuevo Pensamiento, a la que no nombra.

«On the Inner planes you have to ACT in accordance with the laws that govern that plane which laws are different than the laws that govern the physical plane. And until you learn these laws, and MOVE by them, you are going to find yourself in a very peculiar position when you try to do something. When you do learn these laws, and act accordingly, all will be well.» — repite la regla que sostiene su tesis: cada plano tiene leyes propias, y hay que moverse por ellas.

«Now comes another very important part of your instructions which again I have never heard of from any other teacher and which I am giving to you as my discovery. This information is as follows – It appears, as a sort of natural law on these inner planes, that once you have made a projection from the physical body to the etheric plane, and after you have been there for a “time”, THERE IS A VERY STRONG TENDENCY TO CONTINUE TO PROJECT AGAIN AND THEN AGAIN TO THE NEXT INNER PLANE!!!» — reclama como hallazgo propio una ley que dice no haber leído en ningún otro maestro: una vez hecha la primera proyección, hay tendencia fuerte a seguir proyectándose hacia dentro.

«You all know that you have dreams when everything seemed to be going along well. You were walking along in the dream and, all of a sudden, you found it more and more difficult to move about. You could not walk anymore. Your legs felt like lead. Then you might “see” something and try to run and in the ensuing struggle you will wake up etc.» — describe el sueño en que las piernas pesan y no se puede avanzar, que casi todos reconocerían.

«What has happened is that you have had another projection, as it were, and have gone over into the lower Astral from the Etheric plane. At the point where two planes come together the “scenery” is very similar and you cannot tell easily by sight where the line is. The only way you can tell is by the change required in» — y lo reinterpreta como paso del plano etérico al astral inferior, detectable solo por el cambio en la locomoción; la frase queda cortada por el fin de plana.

«locomotion-movement. “Later” the “scenery” does change.» — la plana siguiente la completa: el paisaje también cambia, pero después.

«Mr. Fox, in his book, does not describe this automatic projection as such exactly. He does describe something like the following – He says that as you walk, run, and do other things in your dream-projection you get farther and farther away from your physical body. He said that as this happens you find it more and more difficult to move. He also describes the change in “scenery” (which should have told him what had happened) that comes as you go “away” from the physical body location.» — separa su hallazgo del de Fox: dice que Fox describió los mismos síntomas —dificultad creciente para moverse, cambio de paisaje— sin reconocer qué eran.

«He also goes to some length to describe a thing he calls the Warning pain. He claimed that with this increase in distance there came a pain in the head that also increased with still more distance. Now I have never felt this warning pain. (If you do you had better contact me and I will get Mr. Fox’s original instructions to you). Finally Mr. Fox says that the pain gets so bad that you bolt back to the physical body.» — y expone la doctrina de Fox sobre el dolor de advertencia, que crecería con la distancia hasta obligar al regreso.

«Now I have never felt this warning pain. (If you do you had better contact me and I will get Mr. Fox’s original instructions to you).» — donde objeta a Fox por experiencia propia: nunca sintió ese dolor. Y deja abierta la rama contraria, remitiendo al lector que sí lo sienta a las instrucciones originales de Fox.

«However none of these things will happen to you if you follow my instructions and go about the entrance to the inner planes carefully and learn how to act there. You should have had some of this experience in your work on the “little system”.» — adjudica esos trances a la falta de método y los da por evitables siguiendo el suyo.

«The actual change-birth-over-into-the-Etheric is often accompanied by the darndest collection of NOISES THAT YOU EVER HEARD!!! Bangs. Thumps, Bumps, Rattles, Cracks, Voices calling out names, including your own, and even loud explosions. The queerest kind of noises that you ever heard in your whole life!!!» — anuncia como acompañamiento del paso una colección de ruidos —golpes, crujidos, voces que llaman por el nombre, explosiones— que declara los más raros que se hayan oído.

«Even when you have been warned about this, and told to expect it and what to expect, these noises are going to scare you and maybe scare you good.» — y admite que el aviso no evita el susto.

«After you have heard these noises for several times they should die away, but first they may change character – your name being called softly, a gentle knock on the door of the room where you are projecting. Your dog barking or your cat mewing, your bird chirping persistently. These sounds will more or less continue in your work, and always be present, but you will cease to pay attention to them in» — describe cómo cambian de carácter con la práctica —el nombre dicho en voz baja, un toque en la puerta, el perro, el gato, el pájaro— hasta dejar de notarse; la frase queda cortada por el fin de plana.

«All the noise I have left now is a sort of gentle hiss in the background. The worst noise I ever had was one time when I was working the inner planes and there was a really loud explosion that made the whole house shake, or so I thought. I jumped up saying “My Heavens the water heater has exploded” but when I went to look there was nothing, all was quiet. This was the worst noise of all. After that the noises died away.» — y da su propio estado actual, un siseo de fondo, tras la explosión que le hizo creer que había reventado el calentador.

«know that the way you cognize the physical world is thru your five senses. That is you actually CREATE YOUR/THE PHYSICAL WORLD ABOUT YOU BY MEANS OF YOUR FIVE SENSES!!!» — funda su explicación de los ruidos en una tesis fuerte: los cinco sentidos no registran el mundo físico, lo crean; el folio corrido del original separa esta frase de la anterior.

«I will not argue about this as you can find out for yourself as you enter these inner planes. That it will be necessary for you to carry your creative powers, the five senses with you, and TO TRANSFER THEM ON THRU TO THE INNER PLANES TOO, as you project. You cannot function on the Inner planes fully until you have made this transfer.» — declina discutirla y la remite a la comprobación del lector; de ella deduce que hay que llevar los cinco sentidos consigo al proyectarse.

«Thus, you see, the first transfer you made was the sense of sight. The second transfer you made was the sense of feeling as you tried to walk/move about there. These two senses are very closely connected and your transfer of them did not create any attention from you other than the ordinary difficulties above mentioned. But, however, when you started to bring thru the sense of hearing the fun starts. The sense of hearing is a sense that you do not use too much, certainly not as much as you use seeing, feeling, and the impact of the inner plane on its transfer caused all the unusual noise yet it was not really noise in the true sense of the word but only a disturbance.» — ordena el traslado de los sentidos —vista, tacto y después oído— y adjudica los ruidos al tercero, que corrige llamando perturbación y no ruido.

«take the last two senses on thru into the inner plane. I found I had no trouble with the sense of smell and the sense of taste. You will recall that I discussed some of this in the “little system” and showed you how to use the senses in setting up your stations along your route. If you did your work there you should have no trouble with this advanced work.» — deja el olfato y el gusto para el final, sin dificultad según su experiencia, y los enlaza con los aromas del primer método.

«This change in feeling is characteristic of the change that takes place when you go over the line from the Etheric plane to the Lower Astral plane. This change is the first sign you will have that you have gone over the line as I said before that the lower Astral plane and the Etheric plane are very similar LOOKING.» — repite el criterio para saber que se cruzó la línea, porque los dos planos se parecen a la vista y solo se distinguen por el movimiento.

«Let us now assume that in your Neither State projection you have reached this point, where you cannot walk anymore, and with your Critical Facility aroused so that you note it. You can say to yourself “Oh! I must be over the line.” You then stop trying to walk, remain still for a time, and then attempt to GLIDE-FLY!!! Restrain all efforts to move limbs or muscles. Will yourself off the “ground” and then will yourself forward or in any direction you want to go. You will soon get the knack of this.» — prescribe qué hacer al notarlo: dejar de intentar caminar, quedarse quieto y querer despegar y avanzar sin mover miembros.

«I, myself, when I reach the change-over-point begin to make jumps, first short then long jumps. Usually about this time my Critical Facility is fully aroused and I take off. I love to do this and often do it rather than do the more serious work of exploring the inner planes, that I should do, and get the information back to you.» — refiere su propia costumbre de dar saltos cada vez más largos, y admite que la prefiere al trabajo de explorar que dice que debería hacer.

«I will admit that at times I have the fear of falling but usually the Critical Facility will tell me that there is no law of gravity on the inner planes so I let myself fall and end up with a good sound smack! but I am unhurt of course.» — admite miedo a caer y cuenta que se deja caer porque no habría gravedad allí, con golpe seco y sin daño.

«As I said to you before the Dream Method is a sort of automatic projection method that comes into action automatically as you dream in sleep. This system is very valuable but it lacks the personaldirection-ability that is developed in the other methods in which methods you start from awake and go to the Neither State instead of going to sleep and coming back to the 34 Neither State as you do in this Dream Method. However you should have this dream Method in your development and so here it is.» — acota el alcance del método del sueño: sirve, pero le falta la dirección personal de los otros, porque se entra dormido en vez de despierto. El folio corrido del original parte la frase en dos.

«As you move about the Lower Astral plane you might find yourself before a building of some kind. If you desire to enter this building you will, at first, go thru doors and windows. Later as you become more experienced you will go thru walls and thru closed doors. At times I have gone thru walls easily and other times bounced off depending upon the degree of Critical Facility that I had at the time. There is a strange sensation as you go thru a wall. A sort of drawing out and pulling thru feeling. I enjoy it very much and so will you when you get used to it.» — gradúa la práctica en el astral inferior: primero puertas y ventanas, después paredes, y admite haber rebotado según el grado de facultad crítica que llevaba.

«As you explore about remember that there is a tendency to “advance” along the Lower Astral into the Higher Astral and so you may find yourself coming to a place where Astral matter begins to disappear and lights of colors begin to take its place. I advise you to stop there. You can do this by your will plus your Critical Facility. Stop and return to the Lower Astral regions as your exploration of the higher planes should be done by means of the other systems in this book rather than this Dream Method.» — y manda detenerse donde la materia astral se disuelve en luces de color, reservando el astral alto para sus otros sistemas.

«Make a point, as soon as you can, of stopping and examining the “matter” of whatever place you happen to find yourself. You should find it composed of many thousands of fine points of lights and it should be moving about gently and have a sort of pulsation that should be quite noticeable. Study this all the time proceed cautiously at all times and use common sense always.» — prescribe examinar la materia del lugar, que describe como miles de puntos de luz en movimiento con una pulsación perceptible.

«The name of this Operation-Creation of a Body of Light – means that you, by following the procedures herein outlined, can create, on the Inner planes, a body-vehicle that you can use for Astral projection and for many other things, and in many other ways for Inner plane work. This “Body of Light” Creation is, basically, an extension of you!» — define ese cuerpo como vehículo fabricado en los planos internos para proyectarse y para otros usos, y como extensión del propio practicante.

«It has been said before, and I will repeat it again, and again, the outer physical plane is the result of INNER PLANE activities. You cannot be successful in handling the outer plane until you begin to master the Inner planes (the reason being that each lower plane is negative to the plane above it)» — vuelve a la jerarquía de planos como fundamento de todo: no se maneja el plano externo sin dominar los internos, porque cada plano es negativo respecto del de encima.

«It will stand to reason then the only way to influence this outer physical plane is to “work” on it from the Inner.» — y saca la consecuencia operativa: al plano físico se lo trabaja desde dentro.

«While it is true that this is the first time (that I know of) that these directions have been presented in exactly this way and for this purpose, to help you to help yourself, this knowledge is not NEW. Every single thing that has ever been done on this earth plane has been done thru first working on the Inner planes.» — reclama novedad solo para la presentación, no para el conocimiento, y con la reserva puesta entre paréntesis: hasta donde él sabe.

«Forty years ago, when I first “took up” the Occult, the first thing that attracted my attention was Astral Projection. All thru these 40 years I have given this subject my greatest attention. I first gathered all the information-data that I could about Astral Projection. After a great deal of study of this material I began to see some method to it; and gradually evolved the four systems that you are being given, here, in this book. Systems that I have tested and found to work.» — fecha en cuarenta años su dedicación al asunto y describe sus cuatro sistemas como destilados de todo el material reunido y probados por él.

«Further research has shown to me that these four systems are basic and are known to many people who, however, secured this knowledge from others, under pledge of secrecy, which pledge keeps them from teaching them freely to those who desire to learn this Art, or even using it for themselves.» — sostiene que esos cuatro sistemas son conocidos por muchos, atados por juramento de secreto que les impide enseñarlos y hasta usarlos.

«These systems can be used for many other things than just to enter those Inner planes and explore them. After you have mastered the systems given in this book, to the best of your ability to do so, you will find that you can enter the Inner planes with many different kinds of purposes in mind 36 and carry out these purposes, with positive results. Results that will astound and delight you.» — y les adjudica usos más allá del viaje: entrar a los planos internos con propósitos definidos y obtener resultados.

«This Inner plane body is naturally built up and/or constructed out of the “matter” of the Inner plane. The “matter” of the Inner plane glows with a light of its own and the deeper into the Inner plane one goes the brighter glows the Inner plane matter.» — sostiene que ese cuerpo se construye con materia del plano interno, que describe luminosa y más brillante cuanto más adentro.

«This Inner plane matter seemed like stars to the early clairvoyants and they gave this plane its name – Astral Plane – or star (like) plane. Also the name clairvoyant came from this same source. The word clairvoyant means clair - light and voyant - seeing – light seeing, or seeing by the Inner plane light.» — y saca de ahí dos etimologías: astral por estrella, y clarividente por ver a la luz de ese plano.

«This Inner light effect holds throughout all the Inner planes. In the Etheric plane it is rather subdued and consists of hardly more than a glow. It is in the Astral plane that it has the real star like quality of intense points of light.» — gradúa esa luz por planos: apenas un resplandor en el etérico y puntos intensos en el astral.

«As one leaves the lower Astral and proceeds higher the light increases from small points to large points and when one leaves the Astral to enter the Mental plane everything becomes all light, all forms disappear in this blinding light of all colors.» — y la lleva al extremo en el mental, donde toda forma desaparece en luz cegadora de todos los colores.

«Also all matter in the lower planes starting with the Etheric will have the appearance of moving or flowing slowly about. As you become more and more familiar with these Inner planes you will learn to “stop” now and again and examine the nearby matter carefully. The intensity of the light glow and its movement will show you where you “are”.» — de donde saca un instrumento de orientación: la intensidad del resplandor y su movimiento dirían en qué plano se está.

«It is important that you should learn the following ritual and master it completely. It looks very simple and sounds like nothing but I have found that this simple looking thing is one of the most highest and most powerful rituals that a man can use. I know that when I first saw it, and used it, I didn’t see anything much in it but I found later that it went right up to the very top of the powers that govern and rule this physical cosmos! I was ashamed that I had not recognised it sooner, and better, for what it is. So don’t you make the same mistake I did.» — presenta el ritual que sigue como de los más altos y poderosos que puede usar un hombre, y admite haberlo menospreciado él mismo al principio.

«1. Touch the forehead and say ATOR (Thou Art) 2. Touch the lower breast and say MALKUTH (The Kingdom) 3. Touch the right shoulder and say VE-GEVURAH (and the power) 4. Touch the left shoulder and say VE-GEDULAH ( and the Glory) 5. Clasping the hands and fingers together before the breast say LE-OLAHM (forever AMEN) 6. This cross exercise is the preamble of the next section» — da la cruz cabalística paso a paso, con el toque, la palabra hebrea y su traducción; el ejemplar imprime *ATOR* donde la fórmula corriente lleva Ateh.

«7. Face East. Visualize a steel dagger in your right hand, *Trace a banishing Earth Star, called a pentagram then – 8. When you have completed the star stab it in the center with the dagger and say – YHVH (pronounced YOD-HEH-VAV-HEH)» — y sigue con el pentagrama de destierro trazado al Este con daga imaginada y apuñalado en el centro con el nombre de cuatro letras.

«9. Still holding out arm and dagger turn to the South. Trace another star in the same way and say A D N I (AH-DON-NAI) 10. Turn to the West and trace star and say A H I H (EH-HE-YEH) 11. Turn to the North and trace star and say A G L A (AH-GAL-LAH)» — reparte los otros tres nombres divinos por los puntos cardinales restantes, con su pronunciación.

«12. Return to the East. Extend arms in the form of a cross facing East and say – “Before me is Raphael.” “Behind me is Gabriel,” “On my right hand is Michael,” “And on my left hand is Auriel.” “Before me flames the Pentagram and behind me shines the Six rayed Star.» — y cierra situando a los cuatro arcángeles alrededor del operador vuelto al Este, con el pentagrama delante y la estrella de seis rayos detrás.

«Take a teaspoonful of Whiskey, Brandy, or Rubbing alcohol, if necessary, and place it on some fire proof material. Do this in a dark room or at night. (Don’t waste the whiskey or burn the house down!) Light the liquid and note carefully the color of the blue flame, and also how it wavers as it burns. Watch this flame, get the color in your mind.» — prescribe encender una cucharadita de alcohol a oscuras para memorizar el color y el temblor de la llama azul, con la advertencia doméstica en el paréntesis del original.

«Practice recalling the color to mind by looking at it and then closing your eyes and recalling the color. Do this for as long as it is necessary for you to recall this color anytime you think of it. At other times you can practice with a piece of blue colored paper, if you can find a close match, but use the flame as much as is necessary until you get this down perfect, and can bring the wavering blue color to mind anytime» — y manda ejercitar la evocación del color con los ojos cerrados hasta traerlo a la mente donde sea, con el papel azul como recurso auxiliar; la frase queda cortada por el fin de plana.

«During this time of learning the visualization of the blue flame you are to keep up the work on the Rubic-exercise. As you work, however, start to visualize the dagger outlined in blue flame and as you make the stars see them outlined in blue flame, also the circle, as you make it.» — monta ese color sobre el ritual: daga, estrellas y círculo se ven en llama azul.

«When your motion-Rubic-exercise is done you should be standing in the center of a blue flame circle with four blue flame stars at each quarter of the earth, that is one blue flaming star at each of the four cardinal directions of the earth.» — fija la imagen resultante: el operador en el centro de un círculo de llama azul con una estrella encendida en cada punto cardinal.

«At times the work will proceed easily and visualization clear as a bell. At other times the work will be hard to do and the visualization dull. Note both of these times in your Moon Sign Book and see if you can find anything about these times that are similar.» — admite que la visualización sale unos días y otros no, y manda anotarlo en la efeméride lunar para buscar el patrón.

«You are facing the East. Say (later you will vibrate) this Name EURUS (E-U-RUS). Enlarge the blue flame star. Visualize a scene like this thru the star. A beautiful dawn. Pink to rosy clouds. The East is the quarter of Air whose Archangel is Raphael whom you have invoked now for some time. So FEEL AIR. Let this AIR wash over you. Let it pierce you through and through. IMAGINE AND FEEL a soft COOL morning breeze coming from the dawn clouds and passing over you. The name of this East wind is Eurus so name it and call it.» — abre el ejercicio de los vientos por el Este, cuarto del Aire y de Rafael, con el amanecer, la brisa fresca y el nombre Euro.

«After a time finish with the East and, gently erasing it from your mind, turn to the South. Say NOTUS (NO-TUS). The South is the quarter of Fire so visualize the tropics. Feel it, warm to hot, visualize blue seas, white waves dashing on rocky coral reefs, palm trees swaying in the warm breeze. Feel the gentle heat coming from this quarter and let it warm you through and through. Finish and erase from your mind.» — sigue por el Sur, cuarto del Fuego, con el trópico y el calor, bajo el nombre Noto.

«Turn West. Say ZEPHYRUS (ZE-PH-ER-US) The West is the quarter of Water so picture and feel gentle misty rain on your face.» — y por el Oeste, cuarto del Agua, con la llovizna en la cara, bajo el nombre Céfiro; la visualización sigue en la plana siguiente con la cascada y la sensación de humedad.

«Now turn North. Say BOREAS (BOR-US) The North is the quarter of the element of earth.» — y cierra por el Norte, cuarto de la Tierra, bajo el nombre Bóreas.

«These quarters have no relation to the usual ideas of Air, Fire, Water, Earth, but are concerned only with the principles of them. Hence the quarter of Earth, North, is not the north pole of the earth but the North quarter of Earth.» — acota de inmediato el sentido de los cuartos: no son el aire ni la tierra físicos ni el polo norte, sino principios.

«It is in the quarter of Earth that all the other forces end. In fact all forces end in Earth, and the North quarter. Hence Earth is the great end storehouse of ALL THINGS AND FORCES. You will find in Earth all the things you are looking for and all the things that you need to make you happy.» — y hace del cuarto de Tierra el almacén final donde terminan todas las fuerzas, y donde estaría lo que se busca.

«So therefore when you visualize the quarter of Earth you first visualize all the vast areas-fields of things that make up the food for people. Great fields of ripened grain and vast fields of ripened corn. Vast orchards of Fruit trees loaded with fruits of all kinds. Then visualize great herds of animals grazing on their foods, the green grasses. All is plenty and full of Peace. Beyond this fertile land stretch forests of trees that furnish the materials for our homes. Then beyond these forests rise mountain peaks. These mountains contain mines of metals that supply other of our needs. And on the tops of these mountains is ice and snow which gathers there and then melts and flows down to the plains thru streams and rivers to nourish and water the growing things below.» — da la visualización del Norte en cadena: mieses, huertos, rebaños, bosques, montañas con minas y las nieves que bajan en ríos a regar el llano.

«To continue this exercise is the work of a lifetime. Every time you do this it should bring you closer to the Elemental forces from which all material things are created. (The word matter, material, all come from the same root as the word Mother, mater, comes from, one meaning of matter is “with one”.)» — declara el ejercicio trabajo de una vida y liga materia con madre por etimología, sin dar autoridad para la lectura que propone.

«Occult students will know that in the Western set up system of the Gods, or any kind of a God system set up, there is always one top God, the female counterpart of which all things come» — sostiene que todo sistema de dioses tiene un dios supremo cuya contraparte femenina es el origen de todo; la frase queda cortada por el fin de plana.

«In our own western system we have an early God Saturn. Saturn is the first fully organized God that appears in the system. The Gods before Saturn were more or less disorganized forces, or rather unorganized forces. Saturn’s father was Uranus, which also means the vast sky, or space; Saturn displaced his father and became the ruler of all things (up to that time).» — y da la genealogía con que lo ilustra: Saturno como primer dios organizado, desplazando a su padre Urano, al que glosa como el cielo vasto.

«Note that each God had a wife. The wife, of a God, is not really a wife in the sense of the word but means the opposite counterpart of the male God. The opposite God – Goddess – of Saturn is better known as Isis. Isis is the Great Goddess Mother and the Great Mother from which comes all things.» — lee las esposas de los dioses como contrapartes y no como cónyuges, e identifica la de Saturno con Isis, la Gran Madre.

«Actually any and all things that you do “down here”, any physical action at all, is not limited to the physical plane but extends “up” and thru all the planes clear up to the very “top”. You cannot do anything physical without doing something Etheric, Astral, Mental and Causal as well. You use all the planes all the time, at once, and the same time, everytime, you do something physical.» — sostiene que ningún acto físico se agota en su plano: cada uno obra a la vez en el etérico, el astral, el mental y el causal.

«I have every reason to believe that those people who are not world successes in the fullest meaning of the word, that is physical world successes, are not employing the Inner Planes to the proper advantage. Many people are very rich on the Inner Planes and yet cannot transfer these riches to the physical plane!!!!» — adjudica el fracaso mundano a no aprovechar los planos internos, y describe a mucha gente rica allá que no logra traer esa riqueza aquí.

«Now, of course, many people do not want to make this transfer and that is up to them. If they really do not want to do it because they have some other kind of wrong ideas about money, fame, etc. then they too are making a mistake that will have to be corrected sooner or later. If, however, the non-transfer is due to a break in their work, and understanding, then this is not good and the break should be repaired as quickly as possible. To what class do you belong?» — separa dos causas de esa falta de traslado —no quererlo por ideas erradas sobre el dinero, o un fallo del trabajo— y deja la pregunta al lector.

«The first exercise you will do will develop your connection between you and your physical body. The second exercise will show you how to extend this connection to your whole body. The third exercise will show you how to actually make the connection between this new body connection and the first Inner body. Then will come exercises that will definitely connect up this series of bodies into ONE. You will then have your Body of Light.» — ordena la construcción del Body of Light en cuatro pasos, de la conexión con una parte del cuerpo físico a la unión de la serie entera en uno solo.

«First exercise – Start by looking at your right hand. Look at it as if you never saw it before. Hold your right hand up before you. Turn it both ways. Move all the parts of it every way they will go and note the actions carefully. Then, holding the palm up before you, move the thumb over the palm of the hand and SAY OUT ALOUD – THUMB. Then bend the finger down over the thumb-palm and say FIRST-FINGER. Then bend the second finger down over the palm and say THIRD-FINGER. Then bend over the little finger and say LITTLE FINGER. Do this slowly and very carefully and watch-feel the actions-words HARD. Get into the FEELING OF THESE ACTIONS» — da el primer ejercicio de conciencia corporal: mover cada dedo mirándolo y nombrándolo en voz alta, y quedarse con la sensación.

«Do this exercise about four times the first day and later increase it to about 10 or 12 times during the day or whenever you think of it and can find the privacy necessary. Don’t stew over the exercise but do it when you feel like it and do it easily and without pressure.» — y lo dosifica, con la insistencia en no forzarlo puesta en la misma frase.

«After some time has passed include your left hand in this exercise and increase the time on it until you are doing the exercise for about 25 times a day, or if you don’t like to do it so much then pick out your own idea of the number of times you want to do it. The point is don’t pressure and don’t constantly look for results.» — lo extiende a la otra mano y a las piernas, y advierte contra buscar resultados.

«Sometime along in here you should be able to close your eyes and see an image of your “inner” hands doing the same movements as the physical hands. Your “inner” hands should appear as grey-white-shadow-transparent hands before your “inner” eye.» — anuncia el resultado esperado: ver las manos internas repitiendo el movimiento, grises, blancuzcas y transparentes.

«Close your eyes and see your “inner” hands. Work the outer physical hands in the folding finger exercise and “watch” the inner hands do the same action. After a time work the outer-inner together and then work the inner alone. However don’t get in the habit of doing the inner alone for a long time to come, your development requires that the two should work together for a long time.» — y gradúa el paso siguiente —trabajar fuera, fuera y dentro, dentro solo— con la advertencia de no soltar el acoplamiento demasiado pronto.

«At the end of the suggested period of time, you should be able to “see” another body before you when you close your physical eyes and open your “Inner” eyes. You should be able to see, starting with your physical hands first, a complete body before you. This body should move the same as your physical body moves and with the same motions. This body should be able to perform simple motions at your mental orders.» — anuncia el resultado del ciclo de ejercicios: un cuerpo entero visible al ojo interno, que repite los movimientos del físico y obedece órdenes mentales.

«AFTER A LITTLE TIME VISUALIZE THIS BODY OF LIGHT, THAT YOU HAVE CREATED, STANDING OUT IN FRONT OF YOU FACING EAST. Remain seated quietly and make the Body of Light go thru the ritual of the Cabalistic Cross, while you watch it mentally.» — prescribe el ejercicio central: sentado y vuelto al Este, hacer que el Body of Light ejecute la cruz cabalística mientras uno lo mira.

«When you are thru working the ritual withdraw the Body of Light back into yourself and keep it there. Do not allow yourself, at this early stage, to idly use it for anything else than the working of the ritual. Practice this working and practice the control of the Body after you are thru with the ritual.» — y manda retirarlo al terminar y no darle otro uso todavía, para no gastarlo antes de tenerlo bajo control.

«YOUR NEXT STEP WORK CONSISTS OF TRANSFERING YOUR CONSCIOUSNESS TO THIS BODY OF LIGHT THAT YOU HAVE CREATED. OR YOU CAN DEVELOP AND USE THIS BODY OF LIGHT AS A FAMILIAR FIRST, IF YOU SO DESIRE.» — abre dos ramas para el paso siguiente y deja la elección al lector: trasladarle la conciencia, o usarlo antes como *Familiar*.

«A Familiar is an old time name for a sort of assistant-associateextension of yourself which the Occultist, living in the medieval ages, was able to create, out of other planes material, using knowledge» — define el familiar como extensión de uno mismo que el ocultista medieval fabricaba con material de otros planos; la frase queda cortada por el fin de plana.

«methods from the system-knowledge of the Cabal a system.» — y la plana siguiente nombra la fuente del método: la cábala. El original imprime *Cabal a* por Cabala.

«Naturally it goes without saying that the Roman Catholic Church, which was at the height of its power during the medieval ages, was very much against this sort of thing and did succeed in supressing and killing many of the people who knew about this sort of thing and/or driving them underground – also discrediting them by labeling them witches and warlocks, the witch being female and the warlock being male.» — adjudica a la Iglesia católica medieval la supresión y muerte de quienes practicaban esto, y su descrédito bajo las etiquetas de bruja y brujo.

«The cycle of cosmic world forces have again come around to the place where the power of the Church has been greatly curtailed and these workings of Inner plane knowledge, can be rediscovered and recovered, by those who are clairvoyant, from the great store house of Astral reflecting ether images.» — y sostiene que, mermado ese poder, el conocimiento se recupera hoy leyendo el almacén de imágenes del éter reflector astral, sin cadena de transmisión humana.

«Again, as at the start of this book, I want to assure those of you who have some doubts about this work that there is nothing harmful or dangerous in this work. Actually the KNOWLEDGE ITSELF IS OLD STUFF AND HAS BEEN USED AND PRACTICED FOR UNTOLD AGES.» — niega daño o peligro en la práctica y funda la seguridad en la antigüedad del conocimiento, no en prueba alguna.

«The two instructions are called “How to be a Power in your Job, Lodge, Town, Group, School, etc. and the instruction is signed Sorel. The other instruction is called “How to change your name to a Magical Form,” and is signed Agiel.» — nombra las dos y sus firmas, Sorel y Agiel, que son nombres de espíritus planetarios y no de personas.

«The first instruction shows you how to go about contacting the counterpart of the above mentioned groups, or any other things like that, and then influencing them in any way that you want to. The second instruction shows you how to make up a magical image of your Name and to do work with it.» — y dice qué enseña cada una: contactar e influir la contraparte de un grupo, y fabricar una imagen mágica del propio nombre.

«Up to this point in this work the knowledge and training that you have acquired in creating and developing your Body of Light plus the knowledge contained in the two above mentioned instructions should enable you to enter the inner planes, to enough degree, so as to influence circumstances-coming-events in your favor. Work of this sort never ends and you will have all eternity to perfect it.» — resume lo alcanzado hasta ahí —entrar a los planos internos lo bastante para inclinar las circunstancias— y declara el trabajo interminable.

«1. As aforesaid you can use your Body of Light as an extension of yourself and, used this way, it becomes what is commonly known as a Familiar. This Familiar-Light-Body being made of the material of the» — primer uso de la lista, como familiar; la frase queda cortada por el fin de plana.

«Inner planes can enter those planes freely and effect the matter-material of those planes in any way that you direct it to do. You can start circumstances working the way you want them to work! This is a powerful tool that should stand you in good stead in this tough life.» — y la plana siguiente la completa: hecho de materia de los planos internos, entra en ellos y la afecta según se le mande, con lo que se ponen a andar las circunstancias.

«2. You can use the Familiar as a watcher. You can send it to a place where it will watch and record what is going on and then “report” the information to you when you bring the Familiar back to you. (Requires some special knowledge)» — segundo uso, como observador que va, registra y reporta al volver; la salvedad de que hace falta conocimiento especial va entre paréntesis.

«3. You can use the Familiar as a guard. You can form the Familiar into the form of whatever animal you want to, or any other form for that matter, and set it to guard something. If it is attacked it will respond back with a fighting system that is used by the animal-type-form that you are using just as if it were real and it is “real”.» — tercer uso, como guardián con forma animal a elección, que pelearía con el sistema propio de esa forma.

«4. I do not practice healing of the body as that is not my line of work but I do know that the Body of Light-Familiar can be used as a healing agent somewhat in the following manner – Transfer to the Body of Light Form the particular illness that is troubling you. You then treat-handle this illness thru your power of imagination – you alter and change the out-pictured illness, that you see in your imagination, in to a pictured condition of health. You can do this for others easier than you can do it for yourself as a rule (this is true of all occult work), but it also requires a great deal of Occult experience and power-knowledge and this work should be undertaken only after this power-knowledge and experience have been acquired.» — cuarto uso, curativo, del que se descarta a sí mismo como practicante: transferir la enfermedad al cuerpo de luz y transformar la imagen, con la advertencia de que pide experiencia previa.

«5. It is possible to rebuild, in your imagination, your Body of Light as you were when you were younger, or better than you were when you were younger, and by a system of transference change back your physical body into the image of the Body of Light; a sort of reverse process from your first building up process. This is a very important feature of this work but, again, it takes a great deal of advanced knowledge and training-developed-power.» — quinto uso, de rejuvenecimiento, invirtiendo el proceso de construcción; también acotado a quien tenga entrenamiento avanzado.

«6. All things have a counterpart on the Inner planes. In fact the real thing is there and not here.» — sexto uso, fundado en su tesis de que la cosa verdadera está en el plano interno y no aquí.

«You can go, in your Body of Light, to the “place” in the Inner planes where these counterparts are and THERE MERGE YOURSELF WITH THE» — y describe la operación como fundirse con la contraparte para controlarla; la frase queda cortada por el fin de plana.

«COUNTERPART AND THUS CONTROL IT. This is the basis of the instruction referred to before under the heading of the instructions “How to become a power in your Job, Lodge, Town, Group, School etc, signed by Sorel.» — la plana siguiente la completa y la remite a la instrucción firmada por Sorel.

«7. You can invoke, in your imagination, an image of some particular God force that you want to help you and then MERGE YOUR BODY OF LIGHT WITH THIS GOD FORCE IMAGE!!!! TERRIFIC EXPERIENCE.» — séptimo uso: invocar en imaginación una fuerza divina y fundir el cuerpo de luz con ella.

«8. You can explore the Inner planes and meet that which passes for inhabitants thereon. This instruction is given in the next section.» — y el octavo, explorar y encontrarse con lo que llama lo que pasa por habitantes de esos planos, con la reserva dentro de la frase.

«In the above, and before this, I have used the terms Body of Light and Familiar interchangeably. In these cases there is no real difference.» — declara equivalentes sus dos términos, cuerpo de luz y familiar, en estos usos.

«use somewhat on its own power as it were. That is when you created this Body of Light you endowed it with your own life force and life power, and thus it is truly an extension of yourself.» — funda la autonomía del cuerpo de luz en su origen: se le dio la propia fuerza vital, y por eso lo llama extensión de uno mismo.

«This is really nothing unusual. Everybody does this all the time unconsciously only you have done it deliberately. When this kind of work is done unconsciously the object created is usual y called a “Thought form”.» — y lo distingue de la forma de pensamiento corriente solo por la deliberación; el original imprime *usual y* por usually.

«Thus created casually they quickly disintegrate and do not last too long, barely long enough to do their job. However the work you have done has been deliberate and was done with intention and the form, thus created, can last for a long time.» — de donde saca la diferencia de duración: la forma casual se deshace pronto, la hecha con intención dura.

«When you are not using the Body of Light you must keep it inside your Aura. You do this by willing it that way.» — prescribe guardarlo dentro del aura cuando no se usa, y por sola voluntad.

«I will repeat again that there is no other way to learn to handle this earth life than to be able to enter the Inner planes and to handle circumstantial things before they can “come thru” and effect the physical plane-world about you and also effect your affairs. Believe me there is no other way to master this earth plane. I feel sure that all religions that did not teach this system have been wrong.» — sostiene que no hay otra vía para manejar la vida terrena que entrar a los planos internos, y de ahí declara erradas a las religiones que no lo enseñaron.

«All religions deal with things called miracles and claim that these miracles were caused by their God interfering with the natural order of things, for the benefit of some believer.» — y lee el milagro de las religiones como resto de esa doctrina: un dios interfiriendo el orden natural a favor de un creyente.

«I would like to also repeat here again that before you take up these systems, in all seriousness, and decide to go on thru with them: make an effort to clear out all things in your life that might hinder you in carrying them out. If this is impossible then do the best you can about getting external matters in their proper place and keep them there.» — pone como condición previa limpiar la vida de estorbos, y admite en la misma frase que puede no ser posible.

«For now I am going to say only – in coming “down” from “no-thing” to something, or coming into physical existence from no-physicalexistence, YOU, the divine-spark, gained A DIFFERENT SENSE FOR EACH PLANE YOU ADD TO YOUR OUTWARD EXPRESSION.» — sostiene que la chispa divina ganó un sentido por cada plano que fue añadiendo al bajar a la existencia física.

«So therefore in going “back up” to the Inner planes you really should “drop” a sense for each Inner plane that you re-enter. That is you really should according to the way you “came down”.» — y saca la consecuencia inversa para la subida: habría que soltar un sentido por cada plano interno al que se entra.

«And when you enter these planes unconsciously in your dreams, or other ways, there is much confusion due to this lack of one or more of the senses. And this confusion is one of the things that seem so mysterious on these Inner plane journeys.» — con lo que explica la confusión de los viajes espontáneos: se entra sin haber soltado los sentidos que sobran.

«In the next step you are going to unite your consciousness with that consciousness of the Body of Light that you have created. Basically it» — anuncia la unión de la conciencia con la del cuerpo de luz; la frase queda cortada por el fin de plana.

«consists of transfering your senses to that Body, and then functioning in and thru those senses on the Inner planes, where that Body is.» — y la plana siguiente la completa: consiste en trasladar los sentidos a ese cuerpo y funcionar por ellos allí.

«It is true that for many purposes you will hold the Body of Light in the shape of your physical body. For healing as I told you before. And for making it take the other shapes for the other purposes as also aforesaid. But for general projection work and for the transfer of your senses-consciousness to this body you DO NOT NEED A HUMAN BODY SHAPE AT ALL.» — reserva la forma humana para la curación y otros usos, y la declara innecesaria para proyectarse.

«Remember that you are learning a new Art of Living here. You are being reborn, (that is the meaning of those words in the bible) You are reversing the process by which you “came down” and you are now “going back up” and you are going to do this by your OWN DEVELOPMENT EFFORTS. Therefore you are going to have certain freedoms that you did not know about before. Freedoms which you did not have on the physical plane.» — lee la práctica como un renacer que invierte la bajada a la materia, y adjudica al practicante libertades que dice inexistentes en el plano físico.

«We can take some hints here from those writers on Scientific Fiction. These writers often project their stories into a future time when much of the physical work is done by robots. A robot, as you know, is a sort of machine man with a kind of brain that works along certain lines and is of great help to people in that it can do many kinds of work.» — toma su analogía de la ciencia ficción y define el robot como máquina con una especie de cerebro que sirve de ayuda.

«The writers soon discovered that the robots did not have to be this human shape but they could be made in all sorts of shapes to do specialised work as required. For example if a robot had to do a job that required only looking and no walking then it would be made to rest on a table and equipped with multiple sets of eyes etc. Do you understand this?» — y aprovecha el giro del género: el robot se hace con la forma que pida la tarea, no con la humana.

«The Body of Light that you have created is a sort of Robot in a sense. You can make it assume any form that you wish. The material of which it is created is plastic and will assume any form that you impress it to take.» — traslada la analogía a su cuerpo de luz, cuya materia declara plástica y capaz de tomar cualquier forma que se le imprima.

«You do not, therefore, have to create a eye structure of any kind, or even the suggestion of one. But you can if you want to. That is an Astral body does not need eyes to “see” with on the Astral plane. To see there you do not use any kind of an eyetype structure; but, to help you make the transfer, it might be all right to “put” eyes on and in the head of your man-like form of the Body of Light and then appear to use these eyes at first when you make your first efforts to transfer the sense of sight to this Inner plane body.» — niega que el cuerpo astral necesite ojos para ver, y admite el andamiaje: ponérselos al principio para facilitar el traslado del sentido.

«You will have to do this only for a time however. As you gain more experience in this work you will gradually discard this imaginary eye structure and “see” with the whole “body”, at once all over.» — y manda desmontar ese andamiaje con la práctica, hasta ver con el cuerpo entero a la vez.

«Or you could say, to make it simple, that, on the Inner Planes, all the senses merge into one sense only and that is all you need on the Inner planes.» — reduce los cinco sentidos a uno solo en los planos internos.

«Always start this work by doing the Cabalistic cross work with the circle in blue flames. Get into this habit. Especially at first.» — fija el preámbulo obligado de cada sesión: la cruz cabalística con el círculo de llamas azules.

«Bring your Body of Light in front of you. Face it away from you. Visualize yourself moving across the space to the body and entering it. That is putting your self inside the shadowy Light body. MAKE AN ATTEMPT TO SEE ABOUT YOU.» — da la operación del traslado: poner el cuerpo de luz delante, de espaldas, cruzar el espacio hacia él, meterse dentro e intentar mirar.

«I just cannot describe the following process too closely. It defies description and I just don’t have words to do it properly. When you try it you will know what it is like. The effort to “see” thru the Light body will work, if you persist in putting yourself into this body and making the attempt IT WILL WORK.» — admite que no tiene palabras para describir el paso, y lo remite a la insistencia del practicante.

«Also do remember that there is really nothing-something for you to see there. YOU HAVE TO COGNIZE THIS SOMETHING THAT I SPOKE ABOUT BEFORE AND THEN RECREATE IT IN THE TERMS OF THIS INNER PLANE WHERE LAWS ARE DIFFERENT THAN THE PHYSICAL PLANE THAT YOU JUST CAME FROM.» — acota qué se ve allí: nada dado, sino algo que hay que cognizar y recrear según leyes distintas de las físicas.

«You are starting to reverse “the fall of man into matter” of which I will have more to say later.» — y nombra lo que dice estar invirtiendo: la caída del hombre en la materia.

«Persist in holding “yourself” inside the Body of Light and pressure yourself to “see”. Will that you should see about you. It is this pressure of your Will that will accomplish the connection in course of time; and when the merging comes you will recognise it for what it is. Practice, Practice, Practice, continually.» — prescribe sostenerse dentro del cuerpo de luz y presionarse a ver, y adjudica a esa presión de la voluntad la fusión que espera.

«Remember that you will have to practice this connection almost as much as you did when you were first born on this earth. A baby cannot focus its eyes very well, thus it does not see very well at first and it is a long time before it can distinguish between objects far away and objects close. A baby will reach for the Moon I am told and not understand when he cannot get it. You will have the same thing happen to you again here.» — compara el aprendizaje con el del recién nacido que no enfoca ni calcula distancias, y advierte que le pasará lo mismo.

«Actually the “place” you are is the Etheric plane when you first “see” things thru the “eyes” of the Body of Light.» — sitúa esa primera visión en el plano etérico y no en el astral.

«The only thing that should be different is that you can now move about with a definite other body made of the same type of matter-material as the plane its self. This functioning in this kind of body will give you a new sensation of power that is very gratifying.» — y acota la novedad respecto de sus dos métodos anteriores: ahora se anda con un cuerpo hecho de la misma materia del plano.

«After you have attained some degree of seeing and some degree of moving about, the next sense you will develop is that of Feeling.» — ordena el sentido siguiente a desarrollar: el tacto.

«By function I mean accomplish actions that result in effects, which effects are transferred to the physical plane.» — define qué llama funcionar en esos planos: obrar acciones cuyo efecto se traslade al plano físico.

«As you will be on the Etheric plane, or very close to the border line of the Lower Astral, you can select an appropriate object on which to practice your Body of Light sense of touch-feeling. The “things” you see on the Etheric plane should be counterparts of things that now exist on the physical plane. Do not, however, select a counterpart of a living “thing”. Influencing live things-counterparts belongs to advanced work again.» — manda escoger para el ejercicio la contraparte de un objeto y no la de un ser vivo, que reserva al trabajo avanzado.

«Select a counterpart of some simple object, such as a chair or a table, for your first feeling work. Place the Body of Light, with you in it, in front of the object you have selected. You can now extend a “hand” from the Body of Light and touch the object.» — da el ejercicio concreto: una silla o una mesa, y una mano extendida desde el cuerpo de luz.

«The contact should bring a sensation and, of course, this sensation is different from that of a physical contact with the physical body. Again you have to practice and practice again and again this etheric contact. Run your hand over the object and try to assemble the feelings into something like recognition of some kind of form and shape. You will find that you have to create this form and add substance to it yourself as was explained before but for now just get as much ordinary feelingsense out of the contact as you can.» — advierte que la sensación no es la del tacto físico y que hay que crear la forma uno mismo, sin esperar más que un tanteo al principio.

«Your feeling will never be as perfect as physical feeling is so don’t expect too much from this but on the other hand you do not have to use the force-feeling on the Inner planes that you do on the outer physical to accomplish results.» — acota el alcance del tacto interno y a la vez lo compensa: haría falta menos fuerza que en el plano físico para obtener resultados.

«You will at first, as I said, extend an Etheric arm and do the feeling a great deal like the way you do on the physical plane. Later you will find that you can feel with the whole body at once and have no need to extend a hand-like-thing. You will learn to flow around the object and feel it that way.» — gradúa el desarrollo del tacto: del brazo extendido al sentir con el cuerpo entero, fluyendo alrededor del objeto.

«Still later you will find that you will feel by, not only “feeling” the outside of the object, flowing thru the object! You will find that on the Inner planes two objects can occupy the same space at the same time.» — y llega a atravesarlo, de donde saca que en los planos internos dos objetos ocupan el mismo lugar a la vez.

«If you would care to do some meditating then think what the reason for this can be. I would like for you to find out about the “density” of the matter on the Inner planes for yourself.» — deja sin explicar la razón de eso y la manda a la meditación del lector, con la densidad de la materia interna como pista.

«Also remember that part of the recording of sense reactions on the physical plane is due to the use of your imagination also. You will learn that on the recording of inner plane sensations the imagination will be a much more potent force to be reckoned with.» — atribuye a la imaginación parte del registro sensorial aquí, y un peso mucho mayor allá.

«In fact later when you learn to make extreme journeys into the deeper inner planes you will have to» — y anuncia la advertencia sobre la imaginación en los planos profundos; la frase queda cortada por el fin de plana.

«look out for your imagination as in those deeper planes the imagination is very powerful and the “matter” of those planes extremely fluid so much so that you can form this Inner plane matter very easily into whatever thing you are imagining at the time and it will take that form and even say (Mean) what you WANT TO HEAR.» — la plana siguiente la completa: allí la materia es tan fluida que toma la forma de lo que se imagina y hasta dice lo que se quiere oír.

«Many people have deceived themselves in this way and imagined that they were Gods or were special messengers of the Gods etc. and made no end of trouble for themselves and for others who believed them.» — adjudica a ese mecanismo el autoengaño de quienes se creyeron dioses o mensajeros suyos, y el daño causado a quienes les creyeron.

«The next three senses should be developed in the following order – Tasting, smelling and hearing.» — ordena los tres sentidos restantes.

«By this time you well know that you do not have to have a tongue or a nose to taste or to smell with. You select the object to be tasted and to be smelled and you flow the Body of Light around them and proceed to smell and taste and with the usual application of your imagination.» — y da el procedimiento para gusto y olfato, sin órgano: fluir el cuerpo de luz alrededor del objeto, con la imaginación puesta.

«You will not use these senses too much on the Inner planes but you should develop them to the best of your ability. Actual y you will use the senses of seeing and feeling more than any of the others.» — jerarquiza los sentidos según el uso que espera darles allí; el original imprime *Actual y* por Actually.

«If you will study the knowledge and do the training you will succeed in the degree that you are capable of doing so and, even in the least adaptable, of you that should be considerable.» — promete resultado en proporción a la capacidad de cada quien, con el piso puesto en la misma frase.

«5. You can cause your Body of Light to assume the form of another and can cause an actual linkage thru which you can influence the other.» — añade a la lista un uso que no había dado antes: tomar la forma de otra persona y establecer un enlace por el que influirla.

«6. You can cause your Body of Light to influence the counterpart of a Firm, Community, Town.» — y otro sobre la contraparte de organizaciones enteras; la enumeración queda cortada por el fin de plana y sigue con sociedades y logias.

«And so now we come to the last method and the greatest of them all. This method, that I am about to teach you, has been called the Tattwa method of Astral Projection or Astral Projection thru, and by means, of the Tattwa Symbols.» — presenta el cuarto método como el mayor y le da sus nombres: método Tattwa, o proyección astral por los símbolos tattwa.

«This method has also been called Clairvoyance by means of the Tattwa symbols. In the case of the following instruction-practices the distinction between Clairvoyance and Astral Projection disappears and the two things become as one for all practical purposes; which is something I have called to your attention before.» — y declara que aquí se borra la distinción entre clarividencia y proyección astral, que a efectos prácticos hace una sola cosa.

«I am here going to repeat the before mentioned Truth – the basic fact – that all outer things come from the Inner and also that the Inner is the Real “thing” while the outer is the symbol only of the Inner “THING”.» — repite la tesis que sostiene el método simbólico: lo interno es lo real y lo externo es su símbolo.

«that WE (the fallen souls!) cannot deal, successfully, with this outer world in any way other than thru the Inner world first.» — y la vuelve regla operativa, con la designación del sujeto entre paréntesis: almas caídas.

«As I said before I am sure that there is a race of people now on earth, and some of them were always on earth, that know this Truth and practice it themselves all the time. I am also sure that these people are self-born people, that they acquired the knowledge thru their own efforts and that they use this knowledge for their own benefits.» — sostiene que existe una estirpe de gente que conoce y practica esa verdad, que declara autoengendrada y en provecho propio.

«It also seems that they do not want others to have this knowledge freely as they, apparently, make no attempt to teach this knowledge to others. The few unsatisfactory conversations I have had with one of them, that I ran down myself, was to the effect that “when a person is ready the» — les imputa no querer difundir el conocimiento, y empieza a citar lo que dice haberle contestado uno de ellos, al que dice haber rastreado él mismo; la frase queda cortada por el fin de plana.

«“There is a price that must be paid for this great knowledge and this price is that of refusing to believe the world and its appearances and to turn the back on all that one has ever believed in, or ever held dear – “ “A struggle to overcome inertia, fear, and other hold-backs.” “It would seem as if this knowledge was of such a quality that it must be gotten against, and in spite of, all ordinary manners of attaining knowledge.” “This knowledge can develop ONLY against opposition – opposition is the food on which it feeds, the stimulator that creates.”» — y transcribe el precio que aquel le puso: negarse a creer al mundo, dar la espalda a todo lo tenido por querido, y una lucha contra la inercia y el miedo. La voz entrecomillada es de su interlocutor, no suya.

«I, frankly, do not know the exact reason why this knowledge is there and these people are there, and there is no attempt made to teach this knowledge for the benefit of the world.» — y declara no entender por qué ese conocimiento no se enseña, con lo que deja sin resolver lo que acaba de referir.

«I know that my own struggle was terrible. Fortunately I was in a kind of a daze all the time I was going thru the struggle. I lost every cent I had in the world. For fifteen years I was like in a desert. I did not come out of it until I begin to write these things down.» — refiere su propia travesía: quince años de desierto y la pérdida de todo su dinero, de los que dice haber salido al ponerse a escribir.

«Therefore I do not know if you people will be able to make use of this knowledge or not. I do not know if any of you people will be able to understand this knowledge or not. To be able to use it without that struggle also.» — y admite no saber si el lector podrá usar ni entender lo que da, ni si le será posible ahorrarse la lucha.

«A master did tell me once that the earth has entered the Aquarian age, some time ago, and it could be that this new age has decreed these things can now be known and practiced. In fact I was told that and I did write it down before but the significance escaped me until today.» — adjudica a un maestro la noticia de la era acuariana como permiso para divulgar esto, y admite que solo hoy entendió el alcance de lo que le dijeron.

«The basic physical appearance of these symbols will be a diagram drawn and then colored, on, at first, a clean new sheet of paper-card board and, later, when you have mastered a little Art ability you will draw-color the Symbols on parchment and keep it wrapped in silk thereafter.» — prescribe el soporte de los símbolos: cartulina al principio, pergamino después, guardado envuelto en seda.

«1. Akasa-Ether – Egg shaped, black or indigo also a shape caled the Vesica Piscis which is usual y colored indigo. The name vesica piscis is the name for the inside of a fish, cut open as it were. There is more to this shape than that but get it yourself thru your meditation.» — da el primer tattwa, Akasa, y su forma de huevo o vesica piscis, con la etimología que propone y sin agotar el sentido, que remite a la meditación del lector.

«You will not use the Akasa symbol in your first work. So make the symbol for now but do not attempt to use it. Its use requires more advanced knowledge.» — y lo retira del ejercicio inicial: se fabrica pero no se usa.

«2. Vayu-Air – Circle – colored blue medium. 3. Tejas-Fire – Triangle – red. 4. Apas-Water – Crescent – white. 5. Prithivi-Earth – Oblong – yellow.» — da los cuatro tattwas restantes con su elemento, su figura y su color.

«These symbols should be made on cards five inches by four inches.» — y fija el formato de las tarjetas.

«The supplies you will need are – 1. A good ink and pencil compass. 2. The right size paper already cut to fit. 3. A good ruler. 4. India Ink. 5. Good ink pens. 6. Genuine parchment. This can wait for some time. 7. Assorted colors of the right type. 8. Various sized brushes of good quality and a few other things.» — lista los útiles: compás, papel cortado a medida, regla, tinta china, plumillas, pergamino, colores y pinceles.

«The first symbol you will make and use will be the Earth – Prithivi symbol. An oblong painted Golden Yellow.» — fija por dónde empezar: el símbolo de Tierra, un oblongo amarillo dorado.

«An easy way to make this symbol is to set up your 4 x 5 card (keep it clean) Take your ruler and draw lightly with a hard pencil, two lines» — empieza el trazado por las diagonales de la tarjeta; la instrucción queda cortada por el fin de plana.

«from each corner to the other crossing them of course, in the center. Then take the ruler and measure 1 ½” away from the center cross on each line away from the center. Place a dot there at each point. Connect all these dots with a line. You should then have an oblong. At first, unless you make the lines absolutely accurate, you will notice slight irregularities. Practice until you make the lines straight and the oblong perfect.» — y la plana siguiente la completa: pulgada y media desde el cruce sobre cada diagonal, unir los puntos, y repetir hasta que el oblongo salga exacto.

«Now take the drawing pen and load it with ink and accurately outline the oblong. Allow the ink to dry thoroughly. When the lines are dry take your Golden Yellow water color and carefully paint the oblong bringing the color right up to the ink line with a small brush (in kit) Allow to dry etc. Before painting however remove the pencil lines from the drawing with an eraser.» — y el entintado y el color, con el borrado del lápiz antes de pintar.

«Now proceed with the circle symbol. Make the same kind of lines, from corner to corner. Then take the compass and make a circle using the point where the lines cross as the center and using your judgement as to size. Then take the compass and turn it into the ink compass, ink it and cover the pencil circle with ink. When dry remove the pencil marks. Then paint the circle blue.» — repite el procedimiento para el círculo del Aire, con el compás y el azul.

«Next you should make the triangle. Take your 4 x 5 card, divide it in half long ways, then divide it again in half middle short-ways. Now draw a line ¼” of an inch below the short middle line. Then measure up from where this lower line crosses the middle dividing line on the long ways 2” and put a dot there. Then go back to the same point you started from and measure out on each side 1” and put a dot on each» — da el trazado del triángulo de Fuego con sus medidas; la instrucción queda cortada por el fin de plana.

«point. Fill in the lines with pencil and then ink them in carefully. Make them as accurate as you can. I found that I had to make several copies several times before I got one perfect. When the ink is dry paint the triangle in red color.» — y la plana siguiente lo cierra con el entintado y el rojo, admitiendo que a él le costó varias copias antes de sacar una perfecta.

«Now make the crescent. Divide the 4 x 5 card down the middle long ways. Measure down from the top of the card 1 ¼” and make a dot there, call this dot #1. Now measure down 7/8” make a dot and number it #2. Now measure down again ½” and make a dot and label it dot #3. So you should have three dots numbered 1. 2. and 3. Now take your compass, put the sharp point at dot #1 and the lead point part at dot #3 Make a half circle, it is not necessary to make a full circle. Now put the sharp point of the compass at 51 the #2 dot and, not changing the setting of the compass, make another half circle, making the two ends of the circle meet. Where these two ends meet and cross should make a crescent.» — da el trazado de la creciente de Agua con el compás y tres puntos medidos; el folio corrido del original queda dentro de la cita.

«When the ink is dry then PAINT THE WHOLE CARD BLACK WITH THE INDIA INK LEAVING THE CRESCENT WHITE.» — y prescribe pintar la tarjeta entera de negro dejando la creciente en blanco.

«Later on, if you wish, you can experiment with painting the crescent a pale lavender and also painting the card pale lavender with the crescent black. But for now leave the crescent white and the rest of the card black.» — deja abierta una variante en lavanda y su inversa, y la aplaza.

«In your future work you will need these symbols prepared in four different ways, or sixteen in all and, including the Akasha to be made, twenty all told. You now have one symbol made up and so draw and ink the outlines of three more of each symbol.» — fija el juego completo en veinte tarjetas: cuatro versiones de cada símbolo más las de Akasha.

«The table of complementary colors is as follows – White ------------- Complemetary to Black and/or Grey. Red --------------- “ “ Green. Blue --------------- “ “ Orange. Yellow ------------ “ “ Violet. Olive -------------- “ “ Red-Orange. Blue Green ----- “ “ Russet. Violet ------------- “ “ Citrine. Reddish Orange “ “ Green Blue. Deep Amber “ “ Indigo. Lemon Yellow “ “ Red Violet. Yellow Green “ “ Crimson.» — da su tabla de colores complementarios, que es la que rige el coloreado de todo el juego; el original imprime *Complemetary* y repite las comillas de repetición en cada renglón.

«We will again start with the Earth symbol. You have now an Earth symbol – a square oblong – painted golden yellow. Take your next inked outline. Paint the square Golden Yellow. Then paint the remainder of the space on the card, around the symbol, Violet. Do a good job. Next take another inked symbol and reverse this color scheme. Paint the symbol violet and the background golden yellow. Take another inked symbol, paint the symbol violet and leave the background white. You now have the Earth symbol in four different combinations» — ejemplifica las cuatro combinaciones con el símbolo de Tierra: amarillo sobre violeta, violeta sobre amarillo y violeta sobre blanco.

«Next take the symbol of Water, the crescent. This one is a little different because of the white and black and because the paper is already white which makes it a little confusing. The symbol you have now is a white crescent with a black background. (if you want to you can use white paint on this white part but white paint is a little funny to handle and really doesn’t look very white.) However for these symbols you had better use the white paint and not depend on the white of the paper for your white symbol color. Putting the white paint on will at least give you the feel of doing something about it.» — advierte la dificultad del blanco sobre papel blanco y manda pintarlo igual, con la razón puesta en el gesto de hacerlo.

«This confusion is typical of the element of Water and its inherent nature which nature is instability and changeableness in many degrees.» — y lee esa confusión como propia del elemento Agua, cuya naturaleza declara inestable y cambiante.

«Next take the symbol of Fire the triangle. You have one in which the triangle is painted red and the background left white. Take an inked outline. Paint the triangle green and the background red. Take another inked outline. Paint the triangle red and then paint the background green. Take another inked outline. Paint the triangle green and leave the background white.» — da las cuatro combinaciones del triángulo de Fuego con su complementario verde.

«This should complete the work for the preliminary layout of your Elemental Symbols. I trust that you learned to enjoy this work. Making magical tools is a fascinating occupation. You are probably tired now and ready to take a rest from these labors but I hope I won’t startle you by reminding you that you will have to do this for some time yet and you can learn all the operating techniques from these paper cards.» — cierra la fabricación llamándola oficio fascinante, y avisa que se trabajará con las tarjetas de papel un buen tiempo.

«These symbols have reversed uses as for example if you are working for yourself you will use one kind of symbol and if you are working for others you will use another kind of symbol. If you are working for things in general you will use another kind of color arrangement.» — y reparte los usos por combinación de color: una para trabajar para uno mismo, otra para otros, otra para asuntos generales.

«The Word Symbol comes from two greek words which mean throw and together or throw together or put together as we might say. In the sense that we are using the word symbol in this book we mean inplace-of or a visible sign of something that is invisible. An outer sign symbol that will represent the force thing we deal with on the Inner plane.» — define símbolo por etimología griega y por función: signo visible que está en lugar de algo invisible.

«You have probably noticed from time to time that occasionally a symbol will represent something to which the symbol apparently has no relation and then others times symbols will have a very direct connection with the thing represented. For example, in the old days, an Inn was marked by a bunch of tree branches hanging from a pole thru an upper window. This symbol told the traveler in those days that the building was an Inn. There is a connection, no doubt, but as I don’t know about it I would not recognise this building as an Inn. However if the building had a symbol on it of a large sign board with a picture of food painted on it I would recognise the connection easily and so can anyone else. Do some meditation on symbols yourself and see what you come up with.» — distingue el símbolo cuya conexión se reconoce del que no, con el ramaje de la posada por ejemplo, y manda meditarlo.

«You have been told that these symbols represent Air, Fire, Water, and Earth, and I will admit that, at first glance, it is hard to detect any connection between these symbols and the aforesaid Elements. You have been doing some work with these forces heretofor and, although I had not explained the matter fully and in detail, it was not really necessary for you to know fully about these forces in order to get results from working with them.» — admite que la conexión entre las figuras y los elementos no salta a la vista, y que hasta aquí no hacía falta entenderla para obtener resultados.

«All the other writers have talked glibly about “forces” Elemental forces, Air, Fire, Water, Earth. etc. etc. but what do they mean? Well they just don’t explain what they mean and probably because they are fuzzy themselves about the real inner meaning of these things.» — imputa a los demás autores hablar de fuerzas elementales sin explicar qué quieren decir, y les adjudica confusión propia.

«as I also said before, they might be bared from revealing these things as they learned them under oaths of secrecy, and cannot tell them to others freely. Well what ever the reason is here it is now and learn it well.» — y ofrece la explicación alternativa que ya usó antes: el juramento de secreto.

«The “things” called Air, Fire, Water, and Earth are not really Air, Fire, Water, and Earth of the physical type you, and everyone else, is familiar with. To understand them you will have to make a radical departure from your ordinary type of thinking, and begin to really “THINK”.» — niega que sus elementos sean el aire, el fuego, el agua y la tierra físicos, y pide al lector un cambio de modo de pensar.

«“THE THINGS CALLED AIR, FIRE, WATER, AND EARTH ARE QUALITIES, QUALITIES, QUALITIES, AND NOT THINGS, PHYSICAL THINGS”.» — y lo enuncia en versalitas: son cualidades y no cosas.

«These QUALITIES are what make up the Physical Universe. Not the Inner Universe beyond the Mental plane, as was told previously, or, not beyond the point where THINGS becomes FORCES. Or, rather, were all things become one thing and all senses becomes one sense.» — acota el alcance de esas cualidades al universo físico, y no más allá del punto donde las cosas se vuelven fuerzas.

«Recall what I told you before – that as you came “down” the planes you gained another “sense” each plane you entered. Also recall I told you part of your work on illumination was to take the developed senses “back up” the Inner planes, and keep control of them instead of losing them, to a sort of half way place WHERE EARTH MEETS HEAVEN.» — y ata el asunto a su doctrina de los sentidos: llevarlos de vuelta hacia arriba sin perderlos, hasta el punto medio que llama donde la tierra encuentra al cielo.

«Let us consider the element of Air. What would the quality of Air be? (The word quality comes from the Latin word qualitas which means how-constituted, and the word constituted comes from two Latin words con-stituere; con means with and stituere means place. Any help?) If there is one thing that could be said to be the quality of Air that one thing is Motion.» — abre la serie por el Aire y le adjudica como cualidad el movimiento, con la etimología de *quality* puesta entre paréntesis.

«Air is constantly in motion. Air means the gases also and those of you who have studied physics were taught that the molecules of all gases are trying to get as far away from each other as is possible. Movement. Motion. The Ability to move. To be able to move. Moveableness. Can you see some connection between a circle and the quality of being able to move? Most all things that are round are movable. Look at wheels, gears. Anything that is round can be moved by pushing or rolling.» — y busca la conexión entre el círculo y el movimiento en lo redondo, apoyándose en la física de los gases y en las ruedas.

«Certain systems and certain teachers have compared physical creation by the following SYMBOL ILLUSTRATION. The first manifestation to flow into the outer from the inner has to be described as a single dot. DOT. Picture it. This single dot is then described as moving out to form a line (line of dots). Picture a line. Now usual y at this point they say the line of dots turns a 45 degree corner and then turns again and again and so back to the original starting point. Then lines drop down from the corners and turn again so that a square is formed.» — expone la explicación ajena que va a objetar: el punto que se hace línea, la línea que gira en ángulo y acaba formando un cuadrado.

«This, however, is not the case at all. The above described symbol development would make no allowance for the other elements of expansion, contraction, and solidity, but would make the quality of movement the only element and, by the above symbol description, make movement-ableness go directly into solidity. The actual creation process consists of each element-quality coming into play in turn and matter, such as we know it, is the result. A result combining all the qualities in one.» — y la rechaza por saltarse la expansión, la contracción y la solidez: sostiene que cada cualidad entra a su turno y la materia resulta de todas juntas.

«Let us consider the Dot as continued be-ing. Consider the dots so close together that they constitute a line continuous “And these dots are flowing into being continually.” Thus the QUALITY OF MOVEABLENESS would go on forever if the next element-quality did not come into plan-play.» — da su propia versión: puntos que fluyen sin cesar y hacen línea, con el movimiento como cualidad que seguiría al infinito de no entrar la siguiente.

«(Each element-quality creates the conditions which lead to the next element’s appearance.) (You will have to imagine too that each of these element-qualities have certain “built in” limitations which causes the element to reach an end to its activity and thus makes way for the next element to appear.)» — y pone la regla de la serie entre paréntesis: cada cualidad crea las condiciones de la siguiente y trae de fábrica el límite que la detiene.

«AND THE LINE OF DOTS, HAVING REACHED ITS LIMITS SIDEWAYS BEGINS TO EXPAND FROM THE MIDDLE OUTWARDS (see Akasa symbol).» — sitúa el primer paso: la línea de puntos, agotada a lo ancho, se expande desde el medio y da la figura de Akasa.

«I did not give you directions for making this symbol as yet because I did not want any of you to use it accidentally as it is rather difficult to use and different. Akasa is the first element and it is not so clear in its purpose as are the others and not so easily understood. Also there is no Archangel names to go with it and the names to be used have to come from some other sources of knowledge not readily available to you as a student.» — explica por qué retuvo el símbolo de Akasa: le adjudica ser el primer elemento, difícil de usar y sin arcángel propio, con nombres que dice tomados de fuentes que el estudiante no alcanza.

«The line of dots then becomes the double convex symbol called Akasa and this figure, on further expansion, becomes the Air circle symbol.» — y cierra el primer eslabón: la doble convexa de Akasa se expande hasta hacerse el círculo del Aire.

«As the element Air is formed it begins to manifest its quality of motion. Not only is its symbol a circle but it is also said to be circular in shape-form and as its quality is motion it has to move and the only way it can move is by turning around and around. And this it does, faster and faster.» — sostiene que el círculo del Aire solo puede moverse girando, y que gira cada vez más rápido.

«This turning generates heat and this heat causes expansion the same as physical heat causes expansion. This generated heat is the pressureforce that causes the next element to come into being – the element of Fire.» — y de ese giro deriva el calor y la expansión que producirían el elemento siguiente.

«The generated heat-expansion brings pressures on the circle and, due to the before mentioned limits of pressure, the circle begins to give way to another form and the element of Air begins to give way to another element, that of Fire. You will have to picture the circle being pushed out at three points and each of these points becomes the point of a triangle and thus the circle turns into a Fire triangle symbol. The quality of Fire is EXPANSION.» — describe el paso del círculo al triángulo por tres puntos empujados hacia fuera, y fija la cualidad del Fuego: la expansión.

«Now the triangle of Fire is allowed to expand only again so much due to the same forces that limited the other elements in their “size”. The only way the Fire triangle can expand is along its base and as the base expands outward the upper point collapses down and the triangle becomes a crescent, THE CRESCENT OF WATER.» — y el paso siguiente: el triángulo se ensancha por la base hasta que la punta se desploma y queda la creciente del Agua.

«Or it could be said that the over-expansion of the Fire triangle causes a contraction of the triangle INTO ANOTHER DIMENSION and this is true of each of these elements. Each of the changes is the result of the element passing on out into the next plane. Thus the symbol triangle of Fire becomes the Water crescent thru the force of contraction AND CONTRACTION IS THE QUALITY OF WATER.» — ofrece la lectura alternativa del mismo paso —una contracción hacia otra dimensión, que hace valer para todos los eslabones— y fija la cualidad del Agua.

«The force of contraction continues its course and this force makes the crescent begin to assume the oblong square shape of the element of EARTH. THE QUALITY OF THE ELEMENT OF EARTH IS STABILITY-INERTIA» — cierra la serie con el oblongo de Tierra, cuya cualidad declara estabilidad e inercia.

«The square-oblong symbol and the EARTH itself is the final result of the activity expressed in the Elemental forces from their start of their coming into “existence” and by “their” passage thru each of the elemental states, one into the other, and not by the line turning corners and ending up in a square as many of the old teachers and their schools taught.» — y vuelve a marcar la diferencia con la doctrina que objeta: la tierra resulta del paso de un elemento a otro, no de una línea que dobla esquinas.

«You can see that these symbols are not arbitrary figures but actual pictures of the real forces and the actual changes that the symbols go thru to change one into the other is the same change that the elemental force goes thru to change from one force into the others in turn.» — de donde saca la tesis del método: los símbolos no son arbitrarios, y su transformación reproduce la de las fuerzas que representan.

«In fact it is the basic teaching of Occultism that if one goes deeply enough into the deep consciousness of us all all things become one. I mentioned something about this before when I told you that if and when you penetrated deeply enough into the planes you would find that all things become one. All senses become one sense, forms disappear into colors and these colors merge into white or black etc.» — atribuye a la enseñanza básica del ocultismo que en el fondo todo es uno, y describe la disolución: los sentidos en uno, las formas en color y el color en blanco o negro.

«However for our purposes we are living on the outer physical plane and therefore all we see is the outer symbol. So that is what we have to work with, the outer symbol. As I said if you go deep enough all things become one, but long before that stage is reached there are other “connections” to the Inner thing from the outer symbol.» — y acota lo que queda al practicante: el símbolo externo, que es con lo que hay que trabajar mientras se viva aquí.

«Primitive peoples were more aware of these inner connections than we are. Primitive peoples brought on a type of clairvoyance by means of crude drugs from plants and other natural sources and were thereby able to “see” clairvoyantly these actual connections in the form of long lines of substance of the material of the etheric plane running between the outer symbol object and the disappearing into the Inner planes. Also they were able to see these connections, in the form of lines of light, connecting all objects that were related to each other, in any way, shape or form.» — adjudica a los pueblos primitivos ver esas conexiones como hilos de sustancia etérica, y lo atribuye a drogas vegetales.

«A great deal of this is told and explained in a book called “The Secret Science behind Miracles.” By Max Freedom Long.» — remite el asunto a un libro de Max Freedom Long, que es de donde declara tomarlo.

«I was in contact with him some years ago and he told me then that he was frankly experimenting and did not know too much about the exact powers that could be developed thru this study. As he was of no help to me I lost contact with him and went my own way.» — refiere el trato personal con Long y lo que este le habría admitido: que experimentaba sin saber qué poderes podían desarrollarse.

«I am now more or less in a position to be able to set up a definite course of instructions based on this book. I believe I could now teach and train anyone with a small amount of psychic tendencies-powers to begin with, to become a fair Kahuna as the practitioners of this Art are called or were called, in the old time.» — y se declara hoy capaz de armar un curso a partir de ese libro y formar lo que llama un kahuna pasable.

«You can take my word for it for now that the symbol of a thing is connected with the thing. Thus these symbols, and all symbols, are connected with the inner real things and thru this innate power connection you can connect-contact yourself, your personal self, your personality-powers, with the Inner things, and INFLUENCE THESE INNER THINGS AS YOU WILL OR WILL NOT.» — pide crédito provisional para el supuesto del método: el símbolo está unido a la cosa, y por ese vínculo se la influye.

«Also the symbols are doors thru which you can enter the inner planes, pass thru them, and then return to this plane with your knowledge.» — y añade la función que ocupa el resto de la sección: el símbolo como puerta de ida y vuelta a los planos internos.

«However you have had some instruction on working with symbols for the attainment of certain physical ends elsewhere in this book and therefore I am going to devote this section to the Art of using the elemental symbols as doors to the Inner planes AND ALSO, BY THIS METHOD, TO COME INTO TOUCH WITH THE INHABITANTS OF THOSE INNER PLANES.» — acota el asunto de la sección a usar los símbolos elementales como puertas y a tratar con lo que llama habitantes de esos planos.

«For the first Inner plane work of this system that I am now teaching you you should use the symbol of the element of Earth – the golden yellow oblong. (Later on you will learn about another form of this Earth element symbol which symbol is called Earth of Earth. In case you know about this symbol already I do not mean the Earth of Earth symbol but the ordinary golden oblong Earth symbol.)» — manda empezar por el oblongo amarillo dorado de Tierra, y distingue entre paréntesis otro símbolo, el de Tierra de Tierra, que dice que aquí no se usa.

«First – Set up your room. For this work you can have a small table in the center of the room and a comfortable chair as well as a source of good light but not too bright.» — prescribe el montaje del cuarto: mesa al centro, silla cómoda y luz buena sin exceso.

«First perform the cabalistic cross ritual. Always preceed your work with this ritual – do the four winds part also. When you have reached the fourth quarter, have invoked the Archangel Auriel and visualized the scene described previously for this quarter, then, instead of proceeding with the ritual and closing it you can stop at this point.» — antepone el ritual completo con los cuatro vientos, y manda detenerlo tras invocar al arcángel Auriel en el cuarto del Norte, sin cerrarlo.

«You may seat yourself and arrange the table and chair so that you face the quarter of the North. You should have on the table the card with the Golden Yellow oblong on it and also another card of the same size which should be blank white. You may also have a support to hold the card upright so that you don’t have to hold it in your hand during this work.» — sitúa al operador de cara al Norte, con la tarjeta del oblongo dorado, una blanca del mismo tamaño y un soporte.

«When you are ready take up the symbol and gaze at it steadily for about two-three minutes. The light should be focused on the card but not be too bright. You may blink your eyes easily. Do not strain yourself but act naturally and relaxed. If you find you can hold the card steady then hold it but if you can’t then use the stand.» — gradúa la mirada al símbolo en dos o tres minutos, con luz enfocada, parpadeo libre y sin esfuerzo.

«After two or three minutes set the symbol card down and pick up the white blank card, the oblong symbol but in the complementary color which, in this case, is violet. The violet symbol will have a tendency to disappear and then appear for some time, before it fades.» — pasa a la tarjeta blanca para que aparezca la posimagen en el color complementario, el violeta, que describe intermitente antes de apagarse.

«Now close your eyes. You will see the violet square before you by the reflex action of your sense of sight. Forcefully visualize this square and MAKE IT BECOME LARGE BEFORE YOU. That is enlarge it in your imagination until it becomes large enough to act LIKE A DOOR. NOW, IN YOUR IMAGINATION, STEP THRU THIS DOOR. SEE AND FEEL YOURSELF GOING THRU THIS VIOLET SQUARE AS IF IT WAS A DOOR. SENSE AND FEEL THE DOOR CLOSING BEHIND YOU. MAKE AN EFFORT TO FEEL YOURSELF INSIDE THE ELEMENT OF EARTH.» — y da la operación entera: cerrar los ojos, agrandar el cuadrado violeta hasta que sirva de puerta, atravesarlo, sentirla cerrarse detrás y sentirse dentro del elemento Tierra.

«You should have visualized this scenery of this North quarter many times before this. NOW YOU ARE THERE INSIDE IT!!! Make an effort to see about you. Make an effort to SEE the scene that you have visualized so many times before.» — y enlaza lo que se debe ver con la visualización del cuarto Norte ya ensayada en el ejercicio de los vientos.

«you can proceed to sound off, or vibrate, the following names – Vibrate aloud the divine name Adonaiha-aretz – three or four times. Then vibrate the name of the Archangel of Earth – Auriel (as you have been doing) then vibrate the name Phorlakh, the Angel of Earth.» — da los tres nombres que manda vibrar dentro del elemento Tierra: el divino Adonai-ha-aretz, el arcángel Auriel y el ángel Phorlakh.

«The vibration of these names should cause changes to take place in the scenery and it should come alive, colors should appear more strongly. You may sense beings there and feel that one of them approaches you.» — anuncia lo que espera de esa vibración: el paisaje se aviva, los colores cargan, y se percibe la presencia de seres.

«However do not, without further instructions, proceed to do any more than observe the “scenery” for now and for a long time. Your first requirement is to get familiar with the element and with passing thru the door easily. When this is attained you can contact me for further instructions or, by that time, your intuition will give you directions as to how to proceed.» — y prohíbe pasar de observar hasta dominar la entrada, con la instrucción siguiente reservada al contacto personal o a la intuición del practicante.

«To return to the outer earth plane from the inner earth plane you reverse the process. Step back thru the door and again feel yourself going thru the door and again feel it closing behind you. Make this return very definite and exact. Do not, for example, return suddenly by just opening your eyes and getting up physically. Keep the two planes separate and apart from each other. End the work in the Inner and return to earth following a definite path or route.» — prescribe el regreso por el mismo camino y con la puerta cerrándose detrás, y prohíbe volver de golpe abriendo los ojos: los dos planos han de quedar separados.

«Do not repeat this work-experiment too often especially at first. Take it easy. Consult your Moon Sign Book always and keep a record of the best times and those of the slow times especially. As said before advanced work along these lines is available and you should contact me before going further with this system.» — limita la frecuencia del ejercicio y vuelve a mandar el registro contra la efeméride lunar.

«You have, at your disposal, three other inner plane systems which will give you all the safe inner plane work you can handle for a long time; and to accomplish practically all you can want to accomplish for ordinary things and in ordinary magical work, especially work pertaining to your physical well being and practical work having to do with your material supply and I do mean money.» — reserva este cuarto método y remite al lector a los otros tres para todo lo ordinario, con el objeto material declarado sin eufemismo.

«This last system is truly a deep inner plane system and can bring you» — singulariza este cuarto método por su profundidad; la frase queda cortada por el fin de plana.

«into touch with the inhabitants of these Inner planes which the other three systems do not do except by accident.» — y la plana siguiente la completa: solo este pone en contacto con los habitantes de esos planos, cosa que a los otros tres solo les ocurriría por accidente.

«So stay away from too much of this advanced system until you are really ready to do this advanced work. Dealing with the inhabitants of the Inner planes is almost an Art in itself and has to be learned as were the other arts. They will not be of much use to you as you might think. These inhabitants are little more than personalized forces and dealing with them requires exact knowledge and techniques. They are not human in any way.» — acota qué serían esos habitantes: fuerzas personalizadas, en nada humanas, y advierte que tratarlas es un arte aparte y de poca utilidad.

«There are a few more applications of this symbol method that you can start using for now. Let us suppose you are seeking some special knowledge about a certain subject. You will have to find a symbol that represents that special knowledge. To find that symbol you will have to have a system of some kind in order to locate the exact symbol in relation to other things.» — abre otra aplicación del método: buscar un símbolo que represente el conocimiento que se persigue, para lo que hace falta un sistema de clasificación.

«The system I use, and teach, is the Cabal a. In the Cabal a system is a diagram called the “Tree of Life” On this tree is arranged all things. I find on this tree what thing I seek knowledge about and generally there are a number of symbols connected with that thing. I then make and color a composite symbol of the knowledge I am looking for (see above previously referred to lessons Change Name and Be a Power etc.) I then proceed to work with this symbol the same way as laid out in the preceeding instructions. I then carefully note what I see in the place I go to using the symbol as a door etc. The knowledge is very revealing.» — declara la cábala y su Árbol de la Vida como el sistema que usa y enseña, y describe el procedimiento: hallar la cosa en el árbol, componer un símbolo con los suyos y usarlo de puerta. El original imprime *Cabal a* por Cabala.

«You should make up a symbol of your astrological sign and of your planetary ruler and use them as doors to enter the Inner planes where they exist and thus learn all about them and become in tune with them. A very necessary part of your work.» — y manda hacer símbolo del signo natal y de su regente planetario para entrar por ellos y ponerse a tono.

«As your development with these four methods increases and you perfect your ability to enter the Inner planes, at will, a great deal of natural knowledge will come to you spontaneously. You should perceive the reasons for many things by your own observations and experiments.» — promete que el conocimiento vendrá solo con la práctica de los cuatro métodos, por observación y experimento propios.

«In all written Occult Knowledge (in contradistinction to oral teachings) even from as far back as 3000 years ago, - the Egyptian book of the Dead – on down to our own so-called modern New-Thought stuff, THE HOW OF THE INNER PLANES HAS ALWAYS BEEN THERE (how things are) IT WAS ALWAYS THEY WHY THAT WAS MISSING (why do things work the way they do). In this book you have a great deal of the WHY.» — invierte el diagnóstico usual sobre la literatura oculta: sostiene que el cómo siempre estuvo escrito desde el Libro de los Muertos egipcio, y que lo que faltaba era el porqué.

«Many intelligent people cannot make the HOW work without knowing the WHY.» — y adjudica el fracaso a la inteligencia misma; la frase queda cortada por el fin de plana.

«In fact the more intelligent you are the more apt you are not to be able to make the Inner plane stuff work. Or another way of saying it is that the more objective you are the more apt you are to misdirect the subjective.» — la plana siguiente lo formula: cuanto más objetivo se es, más probable resulta desviar lo subjetivo.

«Both the objective and the subjective parts of your being must be trained-forced to work with each other – the balance should be about equal – not too much of one or the other. If you are too objective you will become too skeptical of what you cannot “see” directly; and if you are too subjective you become too easily influenced by what you do “see” directly, and, in both cases you go off on the wrong track and end up where you do not want to be and doing something you do not want to do.» — pide equilibrio entre lo objetivo y lo subjetivo, y describe el defecto de cada extremo: el escepticismo de lo que no se ve, y el arrastre de lo que se ve.

«list of research books, you should get it for your study.) Yram tells us about HIS experiences and his experiments in Astral projection BUT HE DOES NOT TELL HOW TO DO IT. (He did it thru the symbol method). So what on earth good is this book to you, and your desire to learn this Art, if he does not tell HOW HE DID IT.» — y la plana siguiente formula la objeción: Yram cuenta sus experiencias y no cómo las obtuvo; el método que le supone va entre paréntesis, el simbólico.

«Yram calls the method he used “An open secret” “known to all Occultists” Open indeed!!! Now that I have given you the method, and other methods too, you can profitably get and read Yram’s book but before you had any method at all for learning HOW TO DO IT YOURSELF Yram’s book was not worth a tinkers dam.» — le imputa haber llamado secreto a voces a lo que no explicó; ahora que da el método, le reconoce al libro un uso que antes le negaba.

«Or take Muldoon’s book – The Projection of the Astral Body – Mr. Muldoon describes his experiences in some detail but he doesn’t tell you exactly how to project for yourself; except to say that projection is done thru Will Power and Desire.» — objeta a Muldoon lo mismo: detalla sus experiencias y no enseña a proyectarse, salvo remitiendo a la voluntad y el deseo.

«In my humble opinion Mr. Muldoon is a natural projector and I don’t know if he can teach others to project for themselves or not. I wrote to him years ago asking this question but I received no satisfactory answer to my question and so I made no further attempts to question him.» — lo clasifica como proyector natural y admite el límite de su juicio: le escribió preguntándoselo y no obtuvo respuesta satisfactoria.

«I have, at one time or another, tried to contact every known Occultist in the world that was living. I made many contacts but none of them were worth very much. I found out very little of value. THEY WERE ALL WHY MEN. AND THERE WAS NOT A HOW MAN AMONG THEM.» — declara haber buscado a cuanto ocultista vivo pudo y no haber sacado nada: todos serían hombres del porqué y ninguno del cómo.

«I was wondering if you came to the same conclusion as I had – that it appeared very hard to deal with the Occult in a satisfactory practical manner – that all Occult books seemed to be written by impractical psychic, mystics that either rapturize ordinary Occult laws-facts into a new kind of an emotional religion or become so vague that they cannot make themselves clear to anyone as to what they mean and why. Then there is another kind of writer that writes about the lives and works of the above mentioned Naturals and describes their born abilities which abilities they cannot pass on to you to TEACH YOU ANY WAY TO DUPLICATE THEM.» — y clasifica la literatura del ramo en dos: la que vuelve religión emocional lo que era ley oculta, y la que narra las dotes de los naturales sin poder enseñarlas.

«There is a book called “There is a river” which book is about Edgar Cayce. You will find it on our approved reading list but only to give you some idea as to what is going on in the semi-occult world.» — recomienda con reserva el libro sobre Edgar Cayce: solo para saber qué pasa en lo que llama el mundo semiocultista.

«I find myself repeating again what I said before that what studentspeople, who are deeply interested in Occult subjects, need, more than anything else, are good sound books containing factual “Why” Occult knowledge of workable theories AND GOOD PRACTICAL “HOW” DIRECTIONS AS TO HOW TO DO IT THEMSELVES. That is how to practice Occult knowledge so as to produce EFFECTS-RESULTS, ON THE PHYSICAL PLANE.» — repite lo que declara faltar: libros que den a la vez el porqué y el cómo, para producir efectos en el plano físico.

«Without results on the Physical Plane all mere knowledge and practices are worthless and valueless.» — y pone el criterio con que juzga todo: sin resultado físico, el conocimiento no vale nada.

«Dion Fortune said in one of her books – “the power, coming down the planes, is to be grounded in Earth.” and unless it is grounded it is just empty talk.» — lo apoya en una frase que atribuye a Dion Fortune sobre aterrizar en la Tierra el poder que baja por los planos; la cita es de ella y el remate es suyo.

«I am reminded of certain things I read about Aleister Crowley in a book called the Magic of Aleister Crowley by John Symonds. The author describes a series of invocations that Crowley goes thru in Paris in 1914. These invocations were addressed to Jupiter mostly and one of the things asked for was money. The results consisted of vision of various kinds but no money or very little. One gets the idea from this book that the invocations did not accomplish what was wanted of them, some money.» — toma de un libro de John Symonds las invocaciones a Júpiter que Crowley habría hecho en París en 1914 pidiendo dinero, con visiones por todo resultado.

«And the reason for no money is quite simple. According to the symbol of the Tree of Life of the Cabal a system that Crowley was using, Jupiter is located on a high abstract plane, in fact this plane is called the archetypal plane, by Occultists. This plane is where the beginnings of things originates.» — y da su diagnóstico del fracaso: en el Árbol de la Vida que Crowley usaba, Júpiter está en el plano arquetípico, donde solo empiezan las cosas. El original imprime *Cabal a* por Cabala.

«Well you can figure it yourself that if you are dealing with a force that “exists” only on a plane that has to do with beginnings of things only, how could you expect to get solid money from an invocation like that? No you would not get “solid” things, you would get only what the» — saca la consecuencia: de un plano de comienzos no puede salir dinero sólido; la frase queda cortada por el fin de plana.

«plane has to give and that would be archetypal ideas. When you want money you must invoke a God force that is much closer to earth than the archetypal plane. A God on the Earth plane.» — y la plana siguiente la completa con la corrección de método: para dinero hay que invocar una fuerza divina más cercana a la tierra.

«While you are doing this there are two additional Occult operations that you can pursue with great profit – one is to start your study of the great system of the Caballa, which you will be doing in the above mentioned books, and to assemble and draw and paint your magical tools centering around this great system. The second thing for you to do is to start to learn and practice divination!» — añade dos trabajos paralelos: el estudio de la cábala con la fabricación de las herramientas mágicas, y la adivinación.

«Divination is not fortune telling. The Art of Divination is the Art of finding out, as correctly as possible, HOW AND WHAT THE PLAY OF THE COSMIC-FORCES-CYCLES is as of the moment-hour-day-week etc.» — separa la adivinación de la echada de la suerte y la define como leer el juego de los ciclos de fuerzas cósmicas en un momento dado.

«These Cosmic forces are always moving one way or the other thru the Cosmos, sometimes strong, sometimes weak. Sometimes pulling one way sometimes pul ing or pushing another way. You might compare them with the winds that blow over the oceans. I do not know how much you know about sailing ships, I know nothing, but I can understand that the various sails on a ship can be set by means of ropes and other devices so that the ship can be put to the wind no matter, almost, from which direction the wind is coming from, can in fact, sail almost directly into the direction from which the wind is coming from.» — compara esas fuerzas con los vientos del mar y la práctica con el aparejo de un velero, que puede ceñir casi de frente; admite no saber nada de navegación en la misma frase.

«So thus it is with these Cosmic forces that influence our lives so much. If you can accurately find out which way they are set you can trim your own sails so that you can move ahead even if there is opposition ordinarily making such a move impossible.» — y traslada la comparación: sabido el rumbo de las fuerzas, se ajustan las propias velas y se avanza contra la oposición.

«In both of these systems you will make some of your magic tools yourself. You can practice on the models that I will send you but for best results you must make your own tools. But the 61 most important thing to do is to learn.» — insiste en que las herramientas mágicas las haga el practicante, aunque ofrezca modelos; el folio corrido del original queda dentro de la cita.

«For the Geomancy workings you will need a tray like a box to hold the sand and various other kinds of sticks to make the marks with. This tray-box must be able to be closed and locked so that others cannot get easy access to it. You will have to paint it a certain color and in a certain way etc.» — describe el instrumental de la geomancia: bandeja con arena, punzones, cierre con llave para que nadie más lo toque, y un color prescrito.

«The Oracle of Fortuna will have to have a number of cards drawn and colored. And various other symbols drawn and colored. Although I rediscovered this system by using Tarot cards you will use an ordinary deck of cards for various reasons.» — y el del oráculo, que aparta del Tarot con que dice haberlo hallado y pasa a una baraja común, sin dar las razones.

«I make no doubt that there was probably a time in the olden days when this knowledge was in the hands of priests and temples and that it had to be guarded more closely than now. Probably the reason for this was that all ancient peoples knew about these things, more or less, instinctively and if some knowledge of the practices did get out in the wrong hands it could interfere with much legitimate work.» — y explica el secreto antiguo por el riesgo de que la práctica cayera en malas manos, con la reserva puesta en la misma frase.

«This is not the same situation about Occult knowledge today.» — declara caducada esa situación para su época.

«In those days everyone KNEW there was something going on but the average man did not have the knowledge to understand these things. The average man could not even read. You did not have to sell anybody on the Occult in the old days, they all KNEW but there was no way the average man could learn these things except they were TAUGHT TO HIM by somebody. And they were not taught to everybody but only to those who passed the tests.» — sostiene que entonces todos sabían que algo había, sin saber leer ni poder aprenderlo salvo enseñado y tras pasar pruebas.

«Thus, of course, the worst crime in the world was to teach the Occult knowledge to those who could not pass the tests, and teach them for money.» — y reconoce cuál era el crimen mayor en ese régimen: enseñar por dinero a quien no pasaba las pruebas.

«Times are much different now. Now days the bulk of the people are completely ignorant of the powers of the Inner planes and they have to be sold on its use. Then too now days Occult knowledge will be used for entirely different things than it would have been used for in the old days. Today Occult knowledge is used in connection with natural forces and in the old days it would have been used AGAINST PERSONS TO INJURE THEM.» — invierte el cuadro para su época: hoy habría que convencer a la gente de que existe, y el uso sería sobre fuerzas naturales y no contra personas.

«Well the first thing that would seem to be to argue against this sort of thing is the obvious fact that only persons of a very low type of mind and tendencies would have any inclination to use these powers for evil purposes, what ever that means. My personal experience with this type of person is that you could not hire them with all the gold in Fort Knox to carry out physical evil actions using mental Occult powers. These persons would a million times rather work physically direct than resort to mental Occult indirect means; leaving out of consideration entirely as to their mental ability to accomplish anything along these lines thru mental Occult means, or their desire to do so.» — contesta a la objeción del uso maligno adjudicando esa inclinación solo a mentes de tipo muy bajo, que dice que preferirían mil veces la vía física directa.

«In this connection I always recall a story that I heard – After the last war was over the armed services left, on a little island in the South Pacific, a large store of canned food. This food was turned over to the Chief and his people as a gift without, however, telling them how to get the cans open. The Chief, and his men, struggled for a long time to get that food out of the steel cans but was never able to do it successfully with their primitive tools. The Chief racked his brains and finally remembered that he had seen the former owners using some stuff called dynamite to blow open the rocks and other things. He then took his boat and went to another island where there were still soldiers and he asked these soldiers to give him some dynamite and show him how to use it. The surprised soldiers asked him what on earth he wanted dynamite for and when he told them they laughed and gave him some can openers and showed him how to use them.» — refiere la anécdota del jefe isleño que pidió dinamita para abrir latas de conserva y recibió abrelatas.

«Now the point of this story is quite obvious – Why use dynamite to open a can of beans when a can opener will do a much better job and much easier? And so it follows too – why use high Occult powers to accomplish results when lesser physical-mental powers will do it and better and easier?» — y saca la moraleja que le interesa: no se emplean poderes ocultos donde bastan medios físicos y mentales corrientes.

«I say he expects it to do something for him. To relieve him of some of the heavy burdens of Physical living. To make life easy and more abundant for him.» — adjudica al buscador de lo oculto un motivo material: aliviar la carga de vivir y hacerse la vida más fácil.

«Most people are very unhappy with this physical life. They are not wise as to how to get thru life properly and the average church is far from a help when it should be a source of knowledge and power to its members and followers.» — y objeta a la iglesia corriente no ser la fuente de conocimiento y poder que debería ser para los suyos.

«The truth is that Occult knowledge and Occult powers can help you to improve your physical life BUT GENERALLY NOT IN THE WAY THAT YOU THINK IT WOULD. The application of Occult power has to be done as intelligently and correctly as any other kind of operation. Certainly not by using it as one would use dynamite to open a can of beans!!!» — concede que lo oculto mejora la vida física, con la reserva en versalitas de que no del modo que se espera, y devuelve la imagen de la dinamita.

«The first step is to start on the path. Once started you cannot turn back, as all the books say, but the truth is that NO ONE EVER WANTS TO TURN BACK!!!» — recoge la fórmula habitual de que no hay vuelta atrás y la corrige: nadie querría volver.

«Study and meditate. As you learn about the hidden things of Life that the Occult reveals to you and what it, Life, is really about you gradually learn to handle Life and to handle it properly. There comes a time when you “GO OVER THE LINE.”» — prescribe estudio y meditación como primer trecho, hasta lo que llama cruzar la línea.

«When once you have gone over the line you are then to become one of the self-born. Those who are consciously entering the Inner planes and living and working thereby.» — define al *self-born* como quien entra conscientemente a los planos internos y vive y obra desde ahí.

«have to read rapture gush about the colors of the elemental forces as Jakob Bohme when he became clairvoyant enough to see them, but how in the heck do you use them? And that is the only important thing, not how beautiful they are etc.» — objeta a Jakob Böhme el arrobo ante los colores de las fuerzas elementales sin decir cómo se usan, y declara que el uso es lo único que importa.

«Most everybody in the world suffers from a lack of Love. This is one of the most serious troubles that bothers humanity and, seemingly, one of the most difficult to handle. All I can say now is that you will have to suffer until you can develop yourself to the point when your own other-side of your Inner being comes to the point when the secret, mystical marriage takes place between your own Inner beings and the true union is accomplished, or at least starts to become a living reality in your life.» — adjudica a la falta de amor el mal más extendido, y remite su remedio a un matrimonio místico interior, sin más receta que aguantar hasta que ocurra.

«This life is never going to be perfect so don’t look for it to be accomplished. There is nothing that can MAKE YOU HAPPY. You HAVE TO BE HAPPY.» — niega que nada pueda dar felicidad y la pone del lado del practicante.

«Try to control the idea that some other person can give you happiness or the possession of some one certain person is the answer to happiness. Many people look for Occult powers to “get” some certain person in the mistaken belief noted previously. However if you will apply yourself study and go into it and deeply follow where it leads the time will come when you would not touch that former desired person with a ten foot pole and you will marvel how you could have ever thought differently.» — desaconseja usar los poderes ocultos para conseguir a una persona, y pronostica que con el avance esa persona dejará de importar.

«The same with the desire for money. You will find that you will develop sources of money supply that will be your own and you will not want anyone else’s money.» — y traslada el mismo pronóstico al dinero: fuentes propias en vez del dinero ajeno.

«Many people have been very much disappointed that they could not get sound Occult knowledge and practices from Occult books; and many people have said to me that it was impossible to get Occult knowledge from Occult books and that Occult knowledge had to be gotten from some other source.» — recoge la queja corriente de que el conocimiento oculto no se saca de los libros.

«Well the above is both true and not true for the following reasons – Occult books generally contain two kinds of Occult knowledge. The first kind of knowledge will tell “WHY” and the second kind of Occult knowledge will tell “HOW”, (or the books should contain the “HOW” along with the “WHY” but there is not too much “HOW” in Occult books for reasons that were explained before and will be repeated here again so that you will understand this thoroughly.) Forgive the repeat!» — y la contesta a medias con su distinción de siempre entre el porqué y el cómo, admitiendo que repite.

«These two kinds of Occult knowledge are equally important – certainly it would be fantastic to give a person a line of learningknowledge without telling him “WHY” AND “WHY” in detail. And it is certainly fantastic to give a man intensive Occult knowledgeinformation and then not go on and show him “HOW” to use the knowledge in a correct and practical manner.» — declara las dos clases igual de necesarias y absurdo dar una sin la otra.

«This strange anomaly was explained to you before, in this book, wherein I said that this was due to the circumstances of an Occult teacher having received Occult training from a secret society under strong oaths of secrecy and all he can do for the rest of his life is blab about the Occult but never give any decent practical working directions. You must have noticed this.» — y vuelve a explicar el desequilibrio por el juramento de secreto, que dejaría al maestro solo hablando del asunto sin poder darlo.

«Dion Fortune comes right out and says it plainly in her books.» — y adjudica a Dion Fortune haberlo dicho sin rodeos.

«However, in spite of the above facts, we must still have Occult books, incomplete as they are. After all these books do contain information that is basic and vital for your foundational training in Occult knowledge.» — y aun así defiende los libros ocultos por lo que sí traen: la base de la formación.

«Fifteen years ago I was refused admission to one of those so-called Secret Occult societies. I was very much surprised at the refusal of membership as I considered myself a devoted and hard working Occult student. After much pondering on this subject I concluded that» — refiere el rechazo de una sociedad oculta secreta y su sorpresa ante él; la frase queda cortada por el fin de plana.

«I was much too independent for them and had showed it in my responses to their lessons and questions.» — y la plana siguiente da su explicación: era demasiado independiente y lo había mostrado en sus respuestas a las lecciones.

«Now I am eternally grateful that I was not accepted for membership although at the time I was very much put out about it. I was forced, by their actions, to go ahead on, and by my own and this I did: later I made all the necessary Inner power contacts-connections that I will ever need for the rest of my life – more power than I will ever be able to use. I have material here that I will never be able to get written down as I don’t think I will live long enough to do it.» — da ese rechazo por afortunado: lo habría forzado a hacer por su cuenta los contactos internos, de los que dice tener más material del que alcanzará a escribir.

«For beginners in the Occult I would recommend four books by a man and wife team named Richard and Isabella Ingalese. The books are “The History and Power of Mind.” “Occult Philosophy,” “Fragments of Truth”» — abre la lista con el matrimonio Ingalese para quien parte de cero; el cuarto título queda del otro lado del fin de plana.

«These books are for those who are absolute beginners in the Occult and know absolutely nothing about the subject. I do not regard them as the last word on the Occult by any means nor are you to stick with them too long, as I did, or you may have to unlearn some things. They are just good enough to introduce you to the Occult and leave you with a desire for more although some of their conclusions are a bit thin.» — y los acota en la plana siguiente: no son la última palabra, hay que dejarlos a tiempo —él no lo hizo— y sus conclusiones le parecen flacas.

«Another writer of books for beginners is William Atkinson. He wrote many books on the subject treating it in many different kinds of ways. In fact he wrote so many books that he had to take another name in order to go back over the same ground to piece together some things that he left out of the first books. His second name was, I think, Du Mont.» — atribuye a William Atkinson tantos libros que habría tomado un segundo nombre para rehacer el mismo terreno, con la reserva puesta en la frase.

«Mr. Atkinson gives a lot of good practical encouragement to Occult students without giving too much of “HOW” but in this case it would be well to know what you might be expected to do after you have some Occult power.» — le reconoce aliento práctico sin mucho cómo, útil para saber qué se hace con el poder una vez obtenido.

«I was told, by a person who once worked with him, that in writing his books he would read for days and then start by setting down and writing off some lines on a piece of paper which paper was immediately taken and set up in type and final type at that! He never rewrote, or corrected, his work!» — refiere de segunda mano el método de escritura de Atkinson: leer días, escribir de un tirón, componer en tipos y no corregir nunca.

«By the time you have gone this far in your reading (and being in touch with me all the time I hope) you should be ready for Dion Fortune books which are as follows and should read in this order – Sane Occultism. Esoteric Orders and their Work. The Training and Work of an Initiate. Spiritualism in the Light of Occult Science. Through the Gates of Death. Psychic Self-Defense. The Mystical Qabalah. Cosmic Doctrine. Novels. The Demon Lover. The Winged Bull. The Sea Priestess. Secrets of Dr. Traverner, Moon Magic.» — ordena las obras de Dion Fortune en la secuencia en que manda leerlas, novelas incluidas.

«Dion Fortune sounds like a master of the Magic Art. Her books are full» — la califica de maestra del arte mágico; la frase queda cortada por el fin de plana.

«“WHY” and some “HOW”. I got a great deal out of Psychic Self-Defense and in there she actually gives some practices but the practices are things that are well known in Occult Circles.» — y la plana siguiente acota qué prácticas da: reconoce que en ese título las hay, y a la vez que son las ya sabidas en los círculos ocultistas.

«Also in her novels she gives a great deal in the way of practices in action as it were and the Occult student that is “ready” can get much from those books.» — y adjudica valor práctico a sus novelas para el lector preparado.

«Dion Fortune died somewhere around 1946 and I have not been able to find out much about her death circumstances. In fact I have been waiting for someone to write a biography of her but it has not been forth coming as yet. Some of the material in Psychic Self-Defense is autobiographical. She founded a Society called the Society of the Inner Light which is still in existence in London.» — da su muerte hacia 1946 sin más precisión, echa de menos una biografía, y anota que fundó la Sociedad de la Luz Interior, que declara viva en Londres.

«After you have gone thru some of Dion Fortune’s works you can then also take up the works of Israel Regardie. Mr. Israel Regardie is a must writer for Occult knowledge along the lines of the Qabalah and in many ways the two writers supplement each other.» — sitúa a Israel Regardie después de ella y como lectura obligada en materia de cábala, con los dos complementándose.

«At this time (1961) Mr. Regardie lives in Los Angeles and is working along Psychological lines. Mr. Regardie has published many books of his own as well as edited and arranged the material of the Society of the Golden Dawn.» — fecha el dato entre paréntesis y le atribuye a Regardie haber editado y ordenado el material de la Golden Dawn.

«One of Mr. Regardie’s books, that is much sought after and has been long out of print, is the book called “The Tree of Life.” This book is very useful to the Occult student and should be read and studied by everyone who aspires to the Sacred Art.» — destaca *The Tree of Life* como lectura obligada para quien aspire a lo que llama el Arte Sagrado.

«Another very good book by Mr. Regardie is “The Romance of Metaphysics.” This book is still in print and, to my way of thinking, has been greatly overlooked by Occult students. Mr. Regardie told me that this book’s sales have been very slow although this was some years ago. I found the book very helpful and I suggest that you get it at once.» — y recomienda otro que dice desatendido, apoyándose en lo que el propio Regardie le habría dicho sobre sus ventas lentas.

«Another little book by Mr. Regardie is the “Art of True Healing.” Also out of print but I hope to have it in print by the time you will need it.» — cierra la entrada de Regardie con un tercer título agotado que promete reimprimir.

«The books of Aleister Crowley contain much very good Occult Material but their study should be postponed until you are well along in your work.» — reconoce valor al material de Crowley y aplaza su lectura hasta estar avanzado.

«Aleister Crowley was a very strange man and acted very strange in all his ways. However much that was said about him was not really true or greatly over exaggerated.» — lo describe como hombre extraño y a la vez retira crédito a buena parte de lo que se dijo de él.

«sense of humor which was not understood, or appreciated, by 90% of people. You have to have a very analytical type of mind and much patience to winnow the wheat from the chaff in his writings and it is for this reason that I suggest you defer the study of his works until you are well along in your development.» — atribuye a Crowley un humor que casi nadie entendía, y condiciona su lectura a tener mente analítica y paciencia para separar el grano de la paja.

«Ophiel operates, and directs, a real Occult mystery school along the lines of the Western Tradition – that of the Qabalah.» — declara dirigir una escuela de misterios de la tradición occidental, y la ubica en la cábala.

«Unlike preachers (not doers) of other philosophies Ophiel’s school is FOR YOUR BENEFIT and by BENEFIT Ophiel means NECESSARY MONEY SUPPLY FIRST and twaddle-talk later.» — opone su escuela a lo que llama predicadores que no hacen, y pone el orden de prioridades sin eufemismo: primero el dinero necesario.

«You shall know the Truth and the Truth shall make you free!!!! Free!! Free from what???? Why Free from Truth, of course. Truth is ugly especially Nature’s truth.» — invierte la frase evangélica: la libertad que promete es libertad respecto de la verdad, que declara fea.

«The only real Truth there is IS YOUR OWN TRUE INNER DESIRES OF WHAT YOU WOULD» — y pone en su lugar los deseos internos del practicante; la frase queda cortada por el fin de plana.

«It is contemplated that in the near future an Occult-Society School, to teach the Occult Arts, will be started. This school will teach the Occult Arts freely and hold nothing back nor will any oaths be required of students. They will be free to use their acquired Occult knowledgepowers in any way they see fit and not be trained just for the use of some society as heretofore.» — anuncia una escuela por fundar que enseñaría sin retener nada ni exigir juramento, con el alumno libre de usar lo aprendido como quiera.

«The first type of instructions will be strictly SELF-HELP, SELF-DEVELOPMENT, and SELF-ATTAINMENT MENTAL MAGIC, ENTIRELY FOR THE BETTEREMENT OF THE STUDENT IN ALL WAYS AND, FOR THOSE WHO NEED IT, I DO MEAN PURSE WISE FIRST.» — y fija su programa como magia mental de autoayuda para el provecho del estudiante, con el bolsillo declarado primero.

«Many students have written me to ask if they will be able to “step” out of their physical body, “turn around” and “see” their physical body “lying there” by means of the projection systems given in this book. As this body-viewingoperation seems to be of such importance to so many I will here answer “yes” (subject to your personal-ability-achievement of course) and give the following information-directions as to how to do it. The body viewing operation belongs partly to the “little system” and partly to the “body of light method” and is of the etheric projection type.» — responde que sí a la pregunta más repetida —verse el propio cuerpo desde fuera—, con la reserva puesta entre paréntesis, y sitúa la operación entre sus dos primeros métodos, en el plano etérico.

«After you have gained some proficiency in “working” both the “little system” and the “body of light method” you can lay out the following arrangements – You should have a private room where you will not be disturbed. You should have a bed or a deep chair which will support the body during the operation. This done then arrange two viewing points in this room. These two viewing-points are very much like the stations you used in the “little system”. One of these points should be over the bed or chair on which you will sit or lie and the other point should be on the opposite side of the room.» — monta la escena: cuarto privado, cama o sillón que sostenga el cuerpo, y dos puntos de observación, uno sobre el cuerpo y otro enfrente.

«When all this has been arranged you then proceed about the same as you did with the “little system” You start by lying on the bed or setting on the chair and look across the room at your viewing-pointobject. Then get up physically and cross over the room and look at your viewing point intently until you have every detail fixed firmly in your mind-memory. When you have every detail of this first point firmly fixed in your mind then turn around and look at the other viewing point above your bed or chair.» — y aplica el ejercicio del primer método: mirar el punto de enfrente, cruzar físicamente, fijarlo, y volverse hacia el otro.

«Continue this route both physically and mental y. Sometimes do the “route” both physically and mentally, sometimes do the route mentally alone. Do this route very much as you did in the “body of light” method.» — manda alternar el recorrido físico y el mental como en el método del cuerpo de luz; el original imprime *mental y* por mentally.

«It is inevitable that with time, desire, concentration, and will power the moment will come when you will cross the room in your body of light turn around and “see” your physical body.» — promete como resultado inevitable cruzar el cuarto en el cuerpo de luz y verse el cuerpo físico, con el tiempo, el deseo y la voluntad por condiciones.

«Now don’t try any tricks. Don’t go making tests, especially this first time. And above all don’t panic especially this first time. Just view your body, turn around and reenter it. Then go on to perfect your projection technique.» — y prohíbe hacer pruebas o experimentos la primera vez: mirar el cuerpo, volverse y reentrar.

«The diagram in the front of the book will be colored in what is called the King scale. The diagram in the back of the book will be colored in what is known as the Queen scale. These are somewhat the reverse of each other.» — nombra las dos escalas de color de los diagramas, la del Rey y la de la Reina, y las declara inversas entre sí.

«proceed to paint the first diagram in the King scale which is as follows: Circle-Sephirah 1. White Brilliance 6. Clear rose pink 2. Light blue 7. Amber 3. Crimson 8. Violet-purple 4. Deep violet 9. Indigo 5. Orange 10. Yellow Paths 11. Pale yellow (lemon) 22. Emerald green 12. Yellow (darker) 23. Deep blue 69 13. Blue 24. Green-blue 14. Emerald green 25. Blue 15. Scarlet 26. Indigo 16. Red orange 27. Scarlet 17. Orange 28. Violet 18. Amber 29. Violet crimson 19. Greenish yellow 30. Orange 20. Yellowish green 31. Scarlet orange 21. Violet 32. Indigo» — da la escala del Rey entera, sefirá por sefirá y sendero por sendero; el folio corrido del original queda dentro de la lista.

«To make Akasha Symbol Take a 4 x 5 card. Take your ruler and divide the card down the middle the long way and divide it again the short way across the middle. Take the ruler and measure over 7/8” of an inch each side from the center point where the two lines cross in the middle of the card. Place a dot here. Take your compass. Place the sharp end on the end of the middle line where the line leaves the card. Put the other end on the dot that marks the 7/8” point from the center. Draw a half circle to the top and bottom of the card. Repeat this from the other end of the middle line. This double half circle is the Akasha symbol.» — da por fin el trazado del símbolo de Akasha que había retenido, con el compás y las dos medias circunferencias.

«You can paint it in 4 ways the same as you did the others. The colors are Indigo and deep amber. (a sort of yellowish brown, you’ll have to look this color up on the charts.)» — y sus dos colores, índigo y ámbar profundo, con la salvedad entre paréntesis de que el lector tendrá que buscarlo en una carta de colores.

«Color the cards as follows in this order – Sky and pool – blue. Leave little waves of white in the pool. Fore Ground – grass green. Ground near in front of the towers but back of the fore ground – dark brown. 70 Mountains – light lavender. Towers – Light grey, windows white. Cray fish – purple» — da el coloreado del arcano pieza por pieza —cielo y estanque azules, montañas lavanda, torres grises, cangrejo púrpura—, que es el reverso operativo de la lectura con que abrió el libro; el folio corrido queda dentro de la lista y el fin de plana la corta.

«Path – yellow, moon yellow, yods in air yellow. Also each yod has in its power pointed corner end a small red yod. Make these carefully last. Dog. – Light brown. Wolf – Dark grey.» — y la plana siguiente la completa con el sendero, los yods amarillos con su punta roja, el perro pardo y el lobo gris oscuro.

«Circle-Sephirah 1. White 6. Gold Yellow 2. Grey 7. Emerald 3. Black 8. Orange 4. Blue 9. Violet 5. Scarlet –red 10. Divide into 4 parets as shown. 1. upper Citrine 2. lower Black 3. right Russet Paths 11. Sky-blue 22. Blue 12. Purple 23. Sea-Green 13. Silver 24. Dull brown 14. Light blue 25. Yellow 15. Red 26. Black 16. Deep Indigo 27. Red 17. Pale Mauve 28. Sky Blue 18. Maroon 29. Buff flecked silver white 19. Deep Purple 30. Gold Yellow 20. Blue 31. Black» — da la escala de la Reina, con la décima sefirá partida en cuatro; el original imprime *paretes* por partes.

«You are going to notice a lot of repeats in these colors. Some of these colors are hard to find easily but we will have them in the kits mentioned. Follow some of your own ideas about these repeats and do some meditating on the idea. However many of you will have to wait until you have accomplished a great deal of research-study before all the meanings and uses of these colors will come to you. Do the colors now according to directions. You won’t use them for a long time but when you are ready you will have them.» — admite repeticiones en esas escalas y no las explica: las manda meditar y aplazar hasta que la investigación propia las aclare.

«By OPHIEL Author of ART AND PRACTICE OF ASTRAL PROJECTION ART AND PRACTICE OF GETTING MATERIAL THINGS THROUGH CREATIVE VISUALIZATION ART AND PRACTICE OF THE OCCULT» — la portada lo firma solo con el seudónimo y lo presenta como autor de una serie *Art and Practice of*, de la que este volumen es una pieza.

«This book is the first fruits of the Inner Workings. Ophiel hopes you will value it if only for what it cost him to produce it.» — presenta el libro como primer fruto de ese trabajo interior y pide al lector que lo valore por lo que le costó producirlo.

«ART AND PRACTICE OF CLAIRVOYANCE VIGNETTE LESSONS IN OCCULT POWER CORRESPONDENCE COURSE IN THE FOUNDATIONS OF OCCULT KNOWLEDGE CORRESPONDENCE COURSE IN ASTRAL PROJECTION ORACLE OF FORTUNA» — la plana de créditos imprime el resto de su catálogo, con dos cursos por correspondencia entre ellos.

«This book, an occult book, deals with the subject of how to enter this Astral plane, function there, and then return to the physical plane, with a great deal of memory-knowledge of the “trip” retained in the memory and available for study and research.» — ahí sitúa su libro, y añade una condición que lo distingue: que el viaje quede retenido en la memoria y disponible para estudio.

«This book is a practical Occult book in that it gives all the theory» — se declara libro oculto práctico; la frase queda cortada por el fin de plana y sigue en la siguiente.

«necessary to understand the subject AND THE DEFINITE DIRECTION PRACTICES AS HOW TO DO IT.» — continúa en la plana siguiente la frase cortada, y ahí completa lo que reclama tener: teoría y práctica de dirección definida, en versalitas del original.

«Not only does it give positive directions but it gives FOUR different methods of dealing with the Inner Planes.» — declara cuatro métodos, no tres: el índice de la p. 8 se queda corto respecto de lo que el libro anuncia aquí.

«This book contains all you need to make a definite start in the working of the Art of Astral Projection.» — acota su promesa a un comienzo definido, no a la maestría.

«This book places a great deal of emphasis on the preparations, as you will notice, and if you will follow these directions for the preliminary work you will have a very good chance of succeeding in learning how to make a definite inner plane projection that will delight and satisfy you.» — de ahí el peso que el libro pone en los preliminares, y el resultado que promete si se siguen: una buena probabilidad, no una garantía.

«Then when you have mastered the techniques as given in this book and you feel that you are ready for more advanced work, contact Ophiel; and it is planned that by that time more advanced work will be available for students.» — remite al lector adelantado a contactarlo, y anuncia material avanzado todavía en proyecto.

«I was originally going to include some work of an advanced nature in this book but it was pointed out to me that this might confuse the new student and he might try something before he had sufficient experience to carry out the operation and the resulting failure would discourage him.» — explica por qué dejó fuera lo avanzado, y atribuye la decisión a un consejo ajeno que no identifica.

«Therefore this book deals with beginning work only and, as said before, when you are ready contact Ophiel and indicate your interest in advanced work along these lines.» — y cierra el prólogo fijando el alcance del volumen: trabajo de principiante.

«A number of years have passed since the first edition of Art and Practice of Astral Projection appeared.» — el prólogo añadido fecha esta versión respecto de la primera edición, sin dar el número de años.

«In spite of the limitations of Ophiel’s ability to distribute and promote this book, the book has been as well received as can be expected under the circumstances.» — y evalúa la recepción de la primera edición, achacando el límite a su propia capacidad de distribuirla y promoverla.

«One good use the book seemed to have was to assist many people, who were in advance of the Age, and were already projecting naturally.» — el uso que dice haberle encontrado la primera edición: servir a quienes ya proyectaban por su cuenta.

«When the student, however, read in the Art and Practice of Astral Projection about the symptoms of first projections efforts he could recognize and identify those effects in himself, and be reasonably assured he was on the right path.» — y le adjudica a su propio libro esa función de tranquilizar por reconocimiento del síntoma.

«The colors on the cover of this book are the colors you will “see” just before you “break thru” into the Astral Plane with your newly developed clairvoyant Inner sight gained thru the work given in this book.» — adjudica a los colores de su propia cubierta el valor de señal: son los que dice que el practicante verá justo antes de romper al plano astral.

«In this little book I am going to give you al the necessary information about the Art of Astral Projection, as well as simple and concise directions, on how to practice the Art in a safe and sane manner. I am going to give you not just one method but four methods.» — promete la información completa y las instrucciones, y otra vez cuatro métodos; el original imprime *al* por all.

«Everyone will need some personal instructions and you will find, in the last section of this book, directions how to contact me personally for this personal instruction.» — y remite al lector a la última sección del libro para contactarlo, porque da por hecho que hará falta instrucción personal.

«I respectfully suggest that you stick to me for the teacher and the book for the master until you have finished it and achieved some degree of success in this Art.» — pide al lector que lo tome a él por maestro y al libro por guía hasta terminarlo y obtener algún resultado.

«along and it will be necessary for you to contact me personally (1960) to get this advanced work as I will have to be satisfied that you are ready for it but only that you do not undertake something that you are not prepared to handle, and not that I want to withhold information from you or sell it to you for a high price. In case that this book lasts for many years, as I hope it will, I will try to arrange for a successor to carry on after me.» — condiciona el material avanzado a un juicio suyo sobre la preparación del lector, niega que sea por retenerlo o venderlo caro, y prevé un sucesor si el libro le sobrevive; la fecha entre paréntesis es del original.

«I am going to divide the instructions into two parts – The Basic Theory Part and the Basic-Practical-Working part.» — divide la enseñanza en dos partes, teoría básica y trabajo práctico básico, que es la arquitectura de lo que sigue.

«I am assuming that, as you have bought this book, you have some knowledge of the Occult already.» — da por supuesto un lector con formación ocultista previa, y funda ese supuesto en el mero hecho de haber comprado el libro.

«As Soul and Spirit are wrongly used and as they have no bearing on the Art of Astral Projection, which is what we are studying here, these two words will not be used in this book any further. I would also suggest that you be very careful as to how you use them in the future as if you are going to learn Occult Knowledge you have to say exactly what you mean at all times.» — retira las dos palabras del vocabulario del libro por inservibles para su asunto, y pide al lector el mismo cuidado.

«As most projectors end up projecting to the Astral plane and as Etheric projections require special work for limited objectives, and is really on the borderline between the Etheric and the Astral anyhow, we will, after this, in refering to projections mean only Astral projections and discard all other kinds, except when specially stated.» — fija la convención de vocabulario del libro: de ahí en adelante, proyección querrá decir proyección astral.

«As I felt that this subject was new to my readers, even those who know something about the occult, I decided to confine myself to four strong courses which I shall describe below. I will name them at this time and describe them more fully later. These four do not exhaust all possible work along these lines. When you finish these courses and master them and still want more I will be available to give still more advanced work by personal contact.» — explica por qué se limita a cuatro cursos, admite que no agotan la materia y remite lo demás al contacto personal.

«I did, however, work them over and rearrange them, in modern terms, and I give supervisory directions upon personal contact as to how best study them and I watch the student to see that it is done as near correct as possible as every person is slightly different in their reactions. It does require a degree of experience and plenty of occult knowledge and theory for me to steer a student thru these courses. To know when to tell him to do more and to tell him to do less. To encourage him when he runs into one of those spells when no Occult work can be done successfully and to tell him why.» — acota qué reclama como aportación suya: haberlos reordenado en términos modernos y supervisar al estudiante uno por uno, porque cada quien reacciona distinto.

«If you want to make the points stick still better you can make, or buy from me, some symbols which have occult significance and place those symbols at these points too. (Contact me about these symbols).» — y ofrece vender él mismo símbolos de significación oculta para reforzar esos puntos.

«There are still more things that you can do to reinforce your memory but I feel that you should have enough for now. If you run into a situation in which your projections do not succeed for heaven’s sake contact me about it as in a big subject like this I cannot give positive fool proof directions in advance. I can help you if I know what is wrong so contact me fast» — admite que su libro no puede dar instrucciones a prueba de fallos en un asunto tan grande, y por eso remite el fracaso a la consulta personal.

«At first I used to allow the student to go along by himself on his own power as it were. I told him to report to me at stated intervals and also report any trouble he ran into and I trusted him to do this naturally. In actual practice it has turned out that many people got easily discouraged when something went wrong or it didn’t work fast or they ran into something of a holdup. They just dropped the work and said nothing about it and I was lucky if they didn’t get mad at me to boot.» — refiere el fracaso de su método anterior de seguimiento, con estudiantes que abandonaban sin avisar al primer tropiezo.

«Therefore in order to help you succeed in this work (and not for the money involved) I want you to keep a diary of your projection work. Put down each day what you did, the time spent on it, and the results obtained, even if you did nothing that day.» — de ahí su exigencia de un diario de práctica, con la declaración de desinterés económico puesta entre paréntesis.

«The first six weeks of your work you are to send me this diary every 2 weeks. If I find that you are doing all right then once a month. If I find you need more instructions I will give them to you. This is very important so if you want to succeed in this ART please start your diary and keep it up.» — y fija la cadencia con que quiere recibirlo: cada dos semanas las primeras seis, después una vez al mes.

«I was going to include, originally, the following in this book – How to extend travel with this system – To go to other houses. – In the same town – In other towns and places. I was also going to include directions as to how to enter the Etheric plane (because this system is an etheric one) and to handle forces therein and available for use on the physical plane. I was also going to include exercises and other things for» — enumera lo que dejó fuera del libro —extender la ruta a otras casas y otros pueblos, entrar al plano etérico y manejar sus fuerzas—; la lista queda cortada por el fin de plana.

«Now, as I consider the preliminary work that the student has to do up to now, I feel that including this advanced material would only confuse the student as this work is definitely advanced work and should come only after he has achieved a large degree of perfection in the beginning work. He might try some of his advanced work before he is ready and be disappointed. (None of this work is dangerous). I have decided to defer any further instructions on advanced work on this system until I hear from you personal y as to your progress in the beginning work and how deep your interest in this subject is.» — y explica la omisión por riesgo de confundir al principiante, con la salvedad de que nada de ese trabajo sería peligroso.

«(In the future I hope to get together ALL the reliable Occult knowledge AND PRACTICES that are available now and get them to you in a modern form and without any restrictions, of any kind, as to their use.)» — y anuncia el programa que se pone: reunir todo el conocimiento y la práctica fiables y darlos en forma moderna y sin restricciones de uso.

«It is obvious that before you can explore the tantalizing possibilities of this “second” life over there you must learn, and practice, all the 29 preliminary work as given in this book; supplemented with the other lessons and practices as given out by the Gnostic Society of Self-Development; which lessons and practices are at your disposal and service.» — condiciona el acceso a esa segunda vida al trabajo preliminar del libro, y lo complementa con las lecciones de una sociedad que dirige él mismo.

«The following instructions are divided into several parts – In the first part you are to learn how to remember your dreams. In the second part you are to learn how to recognise that you are dreaming. – In the third part you are to learn what you have to develop in order to know that you are dreaming. And in the last part you are to learn how to “wake” up in a dream and start a projection.» — divide el método del sueño en cuatro pasos: recordar los sueños, reconocer que se sueña, desarrollar lo que hace falta para reconocerlo, y despertar dentro del sueño.

«While it is true that the material originally given out about this system took up a whole book I have given you the gist of it in this section. All you need to know to practice it is given here.» — declara haber condensado en una sección el libro entero de donde tomó el método, y sostiene que lo dado basta para practicarlo.

«This section contains all the knowledge you need in the way of theorypractice to enable you to conduct a magical operation, for your benefit, called “The Creation of a Body of Light”.» — presenta la sección siguiente como una operación mágica con nombre propio, la creación del Body of Light.

«You must have noticed, by now, that this is no ordinary Occult book of the usual run of the mill stuff consisting of endless chatter about the dangers of using Occult powers for your benefit etc. etc. No, this is a book that tells you what is what and then tells you how to go and DO IT.» — opone su libro al resto del género, al que imputa charla interminable sobre los peligros de usar los poderes ocultos en beneficio propio.

«You are being given this knowledge, by the direction of Inner Powers, because the time has come when countless numbers of people are ready to learn, and use, these higher powers. And they are given now for the reason that you are to learn to use them FOR YOUR PERSONAL BENEFIT – to uplift yourself – to build yourself up – To enable you to live your life BETTER, BETTER, BETTER.» — adjudica la publicación a un mandato de los Poderes Internos y declara el fin del conocimiento: el beneficio personal del lector.

«However please bear in mind that this book is a beginning book, as it were, and you will not find very much in it about extended practices, just enough to give you an idea about extended practices, and to arouse your interest in them.» — vuelve a acotar el libro a la iniciación, con apenas lo bastante de práctica extendida para despertar interés.

«Learn this exercise throughly. Later you will expand this exercise in several directions. Do not force your learning but take it easy.» — anuncia que el ejercicio se ampliará más adelante, y pide no forzar el aprendizaje.

«I put this material in here in order to give you some thing to meditate on in connection with the development of this projection system. But I trust 39 that you are beginning to see that there is more to this book than just a system of Astral Projection.» — declara por qué mete esa digresión mitológica: quiere que el lector vea que el libro es más que un manual de proyección. El folio corrido del original parte la frase.

«You have been given some knowledge which has never been given out before to the very best of my knowledge. I am giving it to you as I would like to have you understand that many-all operations of Inner plane magical operations are very closely connected and not far apart as one would think otherwise.» — reclama novedad para lo dado, con la reserva puesta en la misma frase, y declara el porqué: quiere que se vea el parentesco entre todas las operaciones mágicas de planos internos.

«This object, the creation of a better physical life for you on the physical plane, is the avowed object of all the instructions of the Gnostic Society of Self-Development and Self-knowledge and Self-Improvement.» — declara el fin de su sociedad, con el beneficio material del practicante por objeto confesado.

«The Gnostic Society of Self-Development has two sets of instructions already prepared which instructions have been used and tested now for some time by the members of the Society. I call your attention to them and I suggest that you send for them, at this point of your development, and see how they appeal to you.» — remite el lector a dos instrucciones de su sociedad, que dice probadas por sus miembros.

«The successful use of these instructions will suggest many more uses to you and you can always contact me, while I live, and get more (written in 1960).» — se ofrece a dar más mientras viva; la fecha entre paréntesis es del original.

«You were given instructions which instructions have enabled you to construct, out of the matter of the Inner planes material, a vehicle-body-organization. You were able to “see” this body in your imagination. You were able to move it about under your direction. You were able to see it moving in synchronization with your outer physical body that is. You were told that it could do certain jobs and do some of them on “its own”. You were given some information on 43 some lessons on how to do this. You were given hints that much greater things could be done with this body and were told where to obtain the information when you required it.» — recapitula lo entregado en la sección y admite el límite del libro: dio indicios de lo mayor y remitió a dónde pedir el resto. El folio corrido del original queda dentro de la cita.

«When you finish this book you will have four systems at your disposal. Four systems by which you can enter these inner planes and accomplish works there that can influence the final workings out of final-physical-matter-effects. I hope you will use these systems to your advantage, in particular, and also don’t forget to use them for the advantage of the whole world once in a while. Its all yours go – to it!» — cierra el balance del libro con sus cuatro sistemas y pide usarlos también en provecho del mundo, no solo propio.

«I felt that I should give you all the information possible about the use of the Body of Light for the other purposes and also I did this to instruct you that many Occult operations are of many purposes instead of limited to one single thing, and some of these purposes cross over one into the other. Meditate on this.» — explica el rodeo por los usos del familiar: quería mostrar que una operación oculta sirve a varios fines a la vez.

«I rather regret that I have to mention so many of these “side points” all the time and I suppose that the critics will say something about it but I am writing this for you and not for the critics, that is I am writing it for you to learn from and about and that is not so easy in this kind of work-instructions.» — se disculpa por las digresiones y declara para quién escribe: para el lector y no para los críticos.

«However in this book I will not go too much into this phase of the subject as this book is a beginning type; that is you 46 first have to learn How to function before you can function in many» — vuelve a acotar el libro a lo inicial: primero se aprende a funcionar y después de cuántas maneras. El folio corrido queda dentro de la cita y el fin de plana la corta.

«different ways. Those who are interested, and I hope there will be many of them, can contact me later for advanced instructions.» — y la plana siguiente la completa remitiendo al contacto personal para lo avanzado.

«The treatment of the sense of Hearing will be handled on personal contact with me. This sense is not like the others.» — retira del libro la enseñanza del oído y la reserva al contacto personal, por ser distinto de los demás.

«I have now given you about all the basic knowledge and instructions necessary for you to create your own Body of Light and to use it for certain functions. The work is not easy but it is not hard. Unlike most any other kinds of work and/or training this work is very personal and also very much of a concentrated action type of which you are the center and driving force.» — da por entregado lo básico del método y describe el trabajo como personal y concentrado, con el practicante por centro y motor.

«In this operation treated in this section called the Creation of a Body of Light – You create an organized center on the Inner planes out of the material of those planes. This organized center is also called a “body” but you found that, for all purposes, it was not necessary to have the actual form of a physical body but the “body” could be formless or take any form that you desire it to take.» — recapitula la operación de la sección: crear en los planos internos un centro organizado con materia de ahí, sin forma obligada.

«So here is the knowledge. For God’s sake take it and use it and benefit by it – as it seems that I can give it to you and, other than paying for this book, you have no other price to pay.» — entrega el método declarando que el único precio es el del libro, en contraste con el que le habrían cobrado a él.

«The instructions, to follow, will be divided into three parts. The first part will consist of the directions for making and coloring the symbol cards. The symbols you will use for this first work will consist of the Tattwa symbols. First the simple symbol of the element and then compounded symbols» — anuncia la primera de las tres partes de la sección, la fabricación y el coloreado de las tarjetas tattwa; la frase queda cortada por el fin de plana.

«The second part will consist of knowledge as to reasons for such and such a card as a certain symbol and why the symbol stands for the Inner “real thing”. The third part will consist of the use and practice of the Symbols – also their extension into other things.» — y la plana siguiente da las otras dos: la razón de cada símbolo y el uso práctico con sus extensiones.

«In order to give you every assistance in making your set of symbols. I will keep on hand here all the supplies that you will need to make up these symbols. I will endeavor to set up an address thru which I can always be contacted for some years.» — ofrece vender él mismo los materiales y promete sostener una dirección de contacto por algunos años.

«You can get, and accumulate your own supplies, if you live in a large city where they can be obtained easily. Or if you have them on hand so much the better. Our only purpose in keeping these supplies, on hand, will be to help you, and to make it easy for you to make your symbols by keeping these different kinds of materials where they can be gotten easily when you are ready.» — y acota su propio negocio: quien viva en una ciudad grande puede conseguirlos por su cuenta.

«Now I am sure that there are other ways to make these symbols and a skilled draftsman could do it easily but I am writing this for ordinary people who are not skilled in this sort of work and do not do it for a living as it were.» — admite que un dibujante lo haría de otro modo, y declara para quién escribe: gente común sin oficio de dibujo.

«The only point is – you should do the work yourself - otherwise I could furnish you with fine printed symbols much better than we can make but they would not have the value to you that your own work will have. In fact they will be useless.» — declina vender los símbolos ya impresos: hechos por otro no tendrían valor para el practicante y los da por inservibles.

«I would like to call to your attention that, as far as I have been able to find out, no one else has ever taught that different kinds of symbols could be used and used for different kinds of things-operations. There has been some information given about the use of the simple symbol, the symbol with the inked outline painted in the primary color, but none about the other kinds of reversed colors, those that you have just painted.» — reclama como enseñanza propia el uso de símbolos de color invertido, con la reserva puesta en la misma frase.

«Several times here I have used different spellings for the Tattvas. I did this on purpose because different books and persons spell them differently and I want you to recognize the word no matter how it is spelled.» — declara deliberada la variación ortográfica del término, para que el lector lo reconozca en cualquier grafía.

«Now, however, I will explain the elemental forces, and their symbols, fully and completely and again, as far as I am aware, this is the only time this exact knowledgeexplanation has appeared in print.» — reclama para lo que sigue ser la única vez que esa explicación se imprime, con la reserva puesta en la misma frase.

«You will find at the end of this book a list of Occult works which are those that I consider useful to the study of Occultism and these books are the best in the world for this study. And are just about the only ones that are worth a plugged nickel when it comes to good sound practical knowledge and practices.» — anuncia la lista de obras del final y la declara lo único que vale en la materia, sin más criterio que el suyo.

«More will be said about these books later but for now I am going to tell you that I will keep these books on hand in stock at all times and you can get them from me by contacting me. I am not doing this to make money off the sale of books but I know what a time I had to find good books during the years I was studying and I was very fortunate because for a time I had some money and some time to look for these books. Some of these books will be out of print but I will try to have them, in some form, for you.» — ofrece vender él esos libros y niega ánimo de lucro, apoyándose en lo que le costó a él conseguirlos.

«these Inner planes. This is a great and terrific subject and cannot be handled in this little book. Then again this is a beginner’s book to start students out on this work. Some reference will be made to this subject later. The object of this book is to START you on the way to becoming a Master of the Art, and you will need more knowledge and technical information than I can give you while you are still learning the beginnings of this Art.» — retira del libro el asunto de los habitantes de los planos internos y declara su objeto: poner al lector en camino de la maestría, no dársela.

«(Note – Your work on the Body of Light method should have prepared you for this experience very well. In fact you will probably be functioning in the Body of Light as you go thru this door the first time. This can be automatic. In the original work as given in the sources from which this was taken there was no previous work on different systems at all. In this book you are given an advantage that previous students never had. They started the work with the symbol method with no previous experience on the inner planes. By now you have had a great deal of this workexperience and this should help you greatly).» — declara la ventaja que atribuye a su ordenamiento del libro: en la fuente de donde tomó este método no había trabajo previo, y aquí el lector llega con experiencia y probablemente ya en el cuerpo de luz.

«The whole object of this book has been to give to you, an Occult student, a good practical start along the lines of Occult development. In this book you were told that your life’s happiness depended on your control of the physical circumstances which constitute your life, that is your physical life on this Earth plane.» — declara el objeto del libro entero y la tesis que lo sostiene: la felicidad depende del control de las circunstancias físicas.

«You were told that it was possible for you, while living a physical life, to enter these Inner planes, under certain circumstances, and, after studying the Inner planes of causes, to alter causes so that effects, when they reached you on the outer physical plane, were conducive to your physical life instead of opposing it. Also in this book you were shown-taught, by four different methods, how to enter the Inner planes.» — y resume lo prometido y lo entregado: entrar en vida a los planos de las causas, alterarlas, y cuatro métodos para entrar.

«You were not, however, given any further instructions on how to actually alter the aforesaid circumstances. I did not leave out these instructions for any reason other than the fact that altering circumstances is a very advanced type of work and it was first important that you should learn how to enter these planes FIRST. This was the first part of your work and you had to learn it first. I just could not handle beginning work and advanced work at the same time, in the same book. The subject is too vast.» — admite sin rodeos lo que el libro no da: cómo alterar de hecho las circunstancias, que aplaza por no caber junto a lo elemental.

«In this book (for the first time that I can find) you have been presented with a series of directional exercises which combined both the objective and the subjective phases of physical be-ing. The objective part of you was given a series of directions-exercises; presented to your intellect, in such a way, as to constitute a challenge to it to go ahead and find out what is true, in its own way which is the only way that will satisfy it. The subjective part of you was given a series of emotional experiences, generated by the objective part’s operations, which emotional experiences satisfied many of the doubts latent in the depths of your being which doubts, being satisfied, you can go then ahead with confidence in your ability to handle your physical outer life in a more satisfactory manner which should lead to extended happiness in living. THUS MAKING THE HOW WORK!» — reclama para su libro haber combinado ejercicios dirigidos a las dos partes, con la reserva puesta entre paréntesis.

«I really should apologize. I DID NOT KNOW, AT FIRST, WHAT WAS GOING ON. I was led into the Occult, as explained in the dedication of this book but nothing else was explained to me. When given the directions and material for this book I thought this was just a book on an interesting subject, but now it appears to be much more than that as you can, and will, see for yourself.» — se disculpa por no haber sabido de qué iba el encargo: dice haber recibido las instrucciones y el material del libro creyendo que era solo un libro más.

«This book is to be the first of a series of books on Occult subjects in which the Occult subjects are to be treated from the point where other writers-teachers leave off.» — anuncia la serie que abre y la posición que reclama en ella: empezar donde los demás terminan.

«Let us take the book cal ed Astral Projection by Yram. (You will find this book listed on our» — toma a Yram por contraste y anuncia su libro en la lista de investigación; la frase queda cortada por el fin de plana. El original imprime *cal ed* por called.

«However now that you possess directions as to do it yourself you can profitably read Mr. Muldoon’s book as you will find it on the list of books that I will keep on supply for your convenience.» — y aun así recomienda leer a Muldoon una vez que se tiene método, con el libro a la venta por su conducto.

«I hope to write other books that will enable you to understand these things better. There is no reason why you should not have the best of the Physical world and the best of the Inner world.» — anuncia libros por venir y declara su premisa: no habría razón para renunciar a lo mejor de ninguno de los dos mundos.

«However you will find, in the list of books recommended here in this book, those Occult books which, in the opinion of Ophiel, are the only worthwhile books available. To go with these books will be prepared summaries and expostulations which will give, in full detail, what the book means and what the author is saying. This should be of tremendous help to the student anxious to make solid progress along the path.» — declara su lista como las únicas obras que valen, y anuncia resúmenes y comentarios propios que dirían qué quiso decir cada autor.

«I have prepared for your study two systems of Divination. One system is as old as the Earth (also as old as the Element of Earth) This system is called Geomancy or Divination by means of Earth. And the other system is one that I discovered my self thru the use of the Tarot cards, or should I say rediscovered. I call this system the Oracle of Fortuna.» — anuncia sus dos sistemas de adivinación: la geomancia, que declara antiquísima, y el Oráculo de Fortuna, que dice haber redescubierto con el Tarot.

«Now I would like to discuss the question of money for my services. It always comes up that Occult Knowledge should not be sold but given away. And I agree with this.» — abre la cuestión del cobro y concede de entrada el principio contrario: que el conocimiento oculto debería darse gratis.

«Today, in this material world, how on earth can anything be done without the exchange of money for services? Every church that I ever heard of asks for money to keep up its work. Every college that I know of takes tuition money from its students. I don’t see how I could sell this book or find students if I did not» — justifica el cobro por comparación con iglesias y colegios; la frase queda cortada por el fin de plana.

«advertise/announce for them. It is not as if I lived in a small town with a market place and I could go around and meet everybody every few weeks personal y. Typewriters, stamps, paper supplies, are all gotten for money.» — y la plana siguiente la completa con los gastos de anunciarse y con la máquina de escribir, los sellos y el papel.

«Then too there is the serious question of how many years I spent learning this Occult Art Knowledge. Years in which I did not do any profitable work earning money for which I was bitterly criticized by my family and relatives and others. I had a small income but it did not give me enough to be other than just on the edge of always needing something. I was driven to find the TRUTH ABOUT THINGS. I kept up until I did find out some truths and I did make some progress along the path. Now I can give positive directions to students about how to handle the Occult and the students can expect positive results, according to whatever natural ability they have to reproduce this Art in themselves.» — suma al costo los años sin trabajo remunerado y la crítica de su familia, y ofrece a cambio instrucciones positivas con resultado proporcional a la aptitud de cada quien.

«Then too I have found that unless a thing has a price on it it is not considered to be worth very much. Generally too the higher the price the more valuable it is considered to be. I have tried to give this knowledge away and it was thrown back in my face!» — y añade el argumento del valor percibido, con la experiencia contraria que dice haber tenido al regalarlo.

«I am going to respectfully suggest that you write to me one letter when you start on this book, enclosing one dollar to cover costs. Tell me all about yourself and how much you have studied, what books you have etc.» — fija el precio de la relación: una carta con un dólar y una relación de lo estudiado y lo leído.

«The Astral Light will contain a great deal of sound occult knowledge. Announcements, evaluations of Occult Books, evaluation of moving pictures that have Occult significance or are based on Occult matters. Additional papers from me or from others or advanced students regarding results of Occult work Etc.» — describe su boletín, con evaluaciones de libros y hasta de películas de asunto ocultista.

«These things are explained in a book called Cosmic Consciousness which you will find on our book list. This book has not too much value but you should read it at once.» — remite a un libro de su lista y lo evalúa con reserva en la misma frase: le concede poco valor y aun así manda leerlo enseguida.

«Now, of course, this is what all the books say – and then leave you to find your own way with a dull thud, as you hit the bottom of something.» — objeta a esos libros dejar al lector caído al llegar a este punto.

«In the books that I write; and in the lessons that I give; you are not going to be treated to flowery phrases and descriptions of the “sacred” and “holy” things and have to read poetry about the inner things and such» — y declara por contraste el tono que se propone: nada de frases floridas ni de poesía sobre lo sagrado.

«In this book you have already received enough good sound practical, workable Occult knowledge to set you up for a better, more successful life than you would ever have thought possible for you before. So get going!!!!» — da el libro por suficiente para una vida mejor de lo que el lector habría creído posible.

«However due to this fact, that I got the Inner plane connections myself, I am under no obligation to anyone for them, and I can give to students all the “HOW” teaching-practices and “HOW” Occult training that you can stand.» — y de ahí saca otra vez su título para publicar: sin deuda con nadie, puede dar el cómo sin límite.

«However basically tho you can, and will, still get your “WHY” knowledge from books now on the market and it is for this purpose that I call your attention to the following list of Occult books and authors which I have used and which I consider contain practical vital information.» — remite el porqué a los libros en circulación y presenta su lista como la de los que ha usado y considera útiles.

«The following list is fairly complete for your first studies. I have searched all over for every good Occult book that I have heard of and these are the only good ones that I found. If you 65 know of a book that is good and it is not on this list let me know about it and if it is good I will add it to the list later. Contact me for other more advanced books.» — declara haber buscado por todas partes y que esos son los únicos buenos, con la puerta abierta a que el lector le proponga otros; el folio corrido del original queda dentro de la cita.

«I may make up resumes of his material later for your study in which I will leave out the junk. Most of the real good material is in Mr. Regardie’s Golden Dawn anyhow.» — ofrece resumir a Crowley dejando fuera lo que llama basura, y remite el grueso de lo aprovechable a la Golden Dawn de Regardie.

«As suggested, and directed, in the previous section contact Ophiel when you have finished reading this book if you want to go further into these matters.» — repite la invitación a escribirle una vez terminado el libro.

«WANT YOUR PHYSICAL LIFE TO BE LIKE. THAT TRUTH YOU CAN REALIZE AND YOU CAN START TO REALIZE IT NOW BY STARTING TO USE THE TECHNIQUES IN THIS BOOK. AGAIN SO MOTE IT BE AMEN!» — la plana siguiente la completa y remite esa realización a las técnicas del propio libro, con la fórmula de logia por remate.

«Ophiel welcomes correspondence from those who are interested in Occult subjects and the Occult Arts. Ophiel will answer questions regarding Occult knowledge and will also give personal instructions in the Occult Arts as well as can be done by letters. Although Ophiel, in this book, asked everyone sending in a letter to enclose a dollar very few have done so.» — abre la correspondencia y admite que casi nadie mandó el dólar que había pedido.

«(Students in foreign lands do not send money because of the difficulties in exchange.) All such monies received go for normal expenses and don’t worry about Ophiel getting rich from this source! If you have no money then say so when you send in your letterquestions.» — y levanta el cobro para quien no pueda pagarlo, con la excepción de los estudiantes de fuera del país puesta entre paréntesis.

«When the time opens up other Magic subjects will be added such as Correspondence Magic – Sympathetic Magic – Natural Magic – and finally RITUAL MAGIC AND ALL THE VARIATIONS OF THE ABOVE.» — anuncia lo que piensa añadir: magia de correspondencias, simpática, natural y, al final, ritual.

«THE ORACLE OF FORTUNA – Contains a marvelously simple and uncanny system of Divination, based upon the Caballa, which can give you accurate answers to vital questions regarding your daily life activities. These answers can help you avoid trouble and guide you correctly in many useful ways. The book also contains much vital Occult Knowledge coupled with the HOW type of directions so characteristic of Ophiel’s practical way of teaching Occult Knowledge. The Oracle of Fortuna is presented to you in a series of 12 lessons in manuscript form.» — anuncia su sistema de adivinación como doce lecciones en manuscrito, fundado en la cábala.

«Ophiel teaches that the Art of Creative Visualization consists, basically, of Ten Laws which Laws, when reduced to practice, greatly increase your Power of using this Art to get what you want. Available from the distributors named below. Or direct from Ophiel.» — y su libro de visualización creativa, reducido a diez leyes, que ofrece por distribuidor o directamente.

«GNOSTIC SOCIETY LESSONS by Ophiel – Ophiel has founded a school for the study of Occult Knowledge. Membership is open to all with no restrictions what so ever. The lessons of the Gnostic Society for Self-Development cover a wide range of subjects of great interest to the Occult Student. Write to Ophiel direct for further information.» — declara fundada su escuela y su membresía abierta sin restricción alguna.

«THE ASTRAL LIGHT – Ophiel issues a news paper called “The Astral Light” from time to time. It contains much Occult Dynamite. It also contains continued articles on the Cabbala, Alchemy, and Magic.» — y describe su boletín, con series sobre cábala, alquimia y magia.

«If you will color the diagrams on the insides of the cover you will add greatly to their value to you as magic instruments and you will also make this book most personally yours. I suggest you do this and after you do this do not loan the book to anyone else but keep it wrapped up, in a square of black silk preferably, when you are not studying it.» — pide al lector colorear los diagramas del propio libro para convertirlo en instrumento mágico, no prestarlo y guardarlo envuelto en seda negra.

«Students – If you will color the Tarot Card on the other side you, again, will make this book your own most personally shown. By coloring this card you will make it come “alive” so much so the “effect” can be noticed by you, and others.» — pide colorear también el arcano del Tarot que abre el libro, y le adjudica un efecto perceptible por el lector y por terceros.

Proyeccion Astral — Corrige el término que da título al libro: no se proyecta cuerpo alguno, se transfiere la conciencia al cuerpo que corresponde al plano al que se quiere ir, y el nombre se conserva por licencia de lenguaje.

Planos — Solo tres planos admiten proyección —etérico, astral inferior y astral superior—, ordenados por distancia al físico; cada plano es positivo respecto del de abajo y negativo respecto del de arriba, y del físico salen todos los efectos.

Cuerpo Eterico — El inmediato al físico, que lo llena como la miel al panal; se ve como aura mirando por un vidrio teñido, se despega en un elevador rápido y los egipcios lo habrían espesado hasta hacerlo visible.

Cuerpo Astral — No admite la comprobación material que sí da el etérico; su plano es gradiente, con franja baja parecida al etérico y alta parecida al mental.

Plano Astral — Formas fluidas hechas de puntos de color, donde el color es la fuerza misma; de esa apariencia estrellada deriva el nombre.

Aura — Sombra blancuzca en torno al cuerpo físico, y depósito donde se guarda el cuerpo de luz cuando no se usa.

Alma — La retira del vocabulario del libro: por la alquimia la hace igual a espíritu y a aire, cuya cualidad es el movimiento, de modo que el alma sería la acción de vivir y no una cosa.

Little System — Primer método, que reclama como hallazgo propio: memorizar una ruta doméstica con al menos seis puntos reforzados por vista, olfato y sonido, y recorrerla después con la conciencia trasladada al cuerpo etérico.

Dream Method — Segundo método, tomado de Oliver Fox: recordar los sueños, reconocer el estado onírico y despertar dentro de él para iniciar una proyección etérica.

Critical Facility — Facultad de juicio que el método del sueño lleva de la vigilia al sueño; su nombre lo deriva de juzgar y este de ajustar, y se cultiva por voluntad y deseo.

Neither State — Nombre que declara suyo para el estado ni despierto ni dormido en que se sostiene la proyección.

Cordon Plateado — Le niega sustancia: lo llama corriente de conciencia que fluye de vuelta al cuerpo, y sostiene que hay que imaginarlo un poco para verlo.

Body of Light — Tercer método: vehículo organizado con materia del plano interno, extensión del practicante, sin forma obligada y capaz de tomar cualquiera; lo lee como la clave del homúnculo de Paracelso.

Familiar — El mismo cuerpo de luz usado como agente: observador, guardián con forma animal, agente de curación, receptáculo de una fuerza divina y medio para influir en la contraparte de personas e instituciones.

Symbol Method — Cuarto método, que llama Tattwa: mirar la tarjeta del elemento, pasar a su posimagen complementaria, agrandarla hasta que sirva de puerta y atravesarla.

Tattvas — Cinco símbolos elementales con figura y color propios, dibujados en tarjetas de cuatro por cinco pulgadas y después en pergamino guardado en seda; declara deliberada la variación en su grafía.

Cuatro elementos (fuego, aire, agua, tierra) — Sostiene que aire, fuego, agua y tierra no son cosas físicas sino cualidades —movimiento, expansión, contracción, estabilidad— que se engendran una a otra en serie.

Imaginación (phantasia) — Fuerza que modela la materia de los planos internos y a la vez su peligro mayor: allí la materia toma la forma de lo imaginado y hasta dice lo que se quiere oír.

Cruz Cabalistica — Ritual de apertura y cierre de toda sesión, con toques al cuerpo y palabras hebreas, ampliado con el pentagrama de destierro, los cuatro nombres divinos, los arcángeles y los cuatro vientos.

Pentagrama (estrella flamígera) — Estrella trazada con una daga imaginada en cada punto cardinal, vista en llama azul y apuñalada en el centro con el nombre divino del cuarto.

Homúnculo (el hombre artificial) — Lee la receta de Paracelso como cifra de otra cosa: no un hombrecillo físico sino un cuerpo hecho con la materia del plano contiguo.

Arbol de la Vida — Sistema de clasificación con que localiza la cosa buscada para componer su símbolo compuesto, y con que explica el fracaso de una invocación mal situada en el árbol.

Sefirot (las diez numeraciones) — Los diagramas del libro se colorean en dos escalas inversas, la del Rey y la de la Reina, con un color por sefirá y por sendero.

Clarividencia — Deriva el término de ver por la luz del plano interno, y en el método del símbolo la declara indistinguible de la proyección astral.

Secreto (lo que se jura no fijar por escrito) — Explica la ausencia de instrucciones prácticas en la literatura del ramo por el juramento que imponían las sociedades secretas, y funda su propio derecho a publicar en no haberlo prestado.

Era de Acuario — Marco con que fecha la divulgación: la entrada del sistema solar en Acuario, regido por Urano, habría terminado las prisiones piscianas y despertado poderes psíquicos espontáneos.

Adivinacion — La separa de la echada de la suerte y la define como leer el juego de los ciclos de fuerzas cósmicas; ofrece dos sistemas, la geomancia y su Oráculo de Fortuna.

Tercer Ojo — Órgano con que dice que se ven las imágenes mentales, que declara materia etérico-astral, y lo empareja con el ojo único de la Biblia.

Self Born — Nombre que da a quien ha cruzado la línea y entra conscientemente a los planos internos para vivir y obrar desde ahí.

Formas de Pensamiento — Las distingue del cuerpo de luz solo por la deliberación: las casuales se deshacen pronto, la hecha con intención dura.