Introduction
Throughout the various Western Traditions of magick there are a large body of rituals and ritual tools that are used to work the systems of magick. One of these tools is the Vibratory Formula. This formula, or tool that the practicing magician uses first came to the attention of the modern magician in the early 20^th century with the various writings of people like Aleister Crowley and Israel Regardie. It is through these people that a large group of the current systems used today were influenced. These groups consist of such a diverse grouping as to include the majority of the Ceremonial Magicians (Golden Dawn, Thelemic, neo-Egyptian, Kabbalistic, Ogdoadic, and Hermetic) and some of the Wiccans, particularly those in the Gardnerian, Alexandrian, and some of the other ecclectic Wiccan traditions. Much of the use of Ceremonial Magic in the Wiccan systems is through the influence of both Crowley and Regardie, both whom were trained by the Golden Dawn or one of its later offshoot Orders.

There are few subjects that are more misunderstood in the Western Ceremonial systems of magick than that of the vibratory formula. What is this Vibratory Formula, and how does it work? When do you use this formula in ritual work? How do you know if you are doing it correctly? What is this thing called the Great Voice? Do I shout out the name? These are some of the questions that are asked about the vibratory formula by every beginning student in ceremonial magick, as well as, the other traditions that use it. So how does a person whom is interested in doing practical magical work in the Golden Dawn System, or any of the systems that make use of this powerful tool answer those questions that arise from reading books on the Golden Dawn System and get on with actually doing practical work involving the Vibratory Formula.

These are the questions that this article will answer, along with recognizing when and where to use the Formula, and how to properly use the Vibratory Formula in daily ritual work. Hopefully, when all is said and done, anyone whom wishes to perform any ritual work within the Golden Dawn System of magick, or any other ceremonial magick system will have this much needed tool to properly vibrate the Divine Names during ritual work. The Golden Dawn System will be used in this article, but the techniques can be used by nearly any system within the Western Mystery Tradition.

The Vibratory Formulae
The power of the voice in conjunction with magick dates back to the earliest records on the subject and before. The most prominent place historically linked with the use of words in magick is, of course, ancient Egypt. It is here that we have many texts on the subject that have now been translated from hieroglyphics, and there was a system of magick specifically relating to the use of words. This system was called heka, which was derived from the god Hekau, the author of spells, incantations, and words of bewitchment.^[1] Egypt is considered the cradle of the Hermetic Tradition of the Western Mystery Tradition, and has influenced many other ancient traditions like the Kabbalah and some of the Greek Traditions, as well as, a number of the modern traditions.

In nearly every book on ceremonial magick, as well as in a couple of the primary works in Wicca, the vibratory formulae are mentioned. That's correct, formulae. There are really more that just one way to use this potent tool. There are at least three different way to use the art of vibrating the proper words of power. As a rule, the Vibratory Formula can be defined as flows:

Vibratory Formula: A method by which divine names and words are intoned forcefully and with authority in a "vibration." Properly performed, the vibration should be felt throughout the entire body and imagined to be vibrated throughout the universe.^[2]

The above definition is a good one and pretty much the standard one that you will find in trying to learn just what the Vibratory Formula is, but it does not really explain how it is used in detail. In Regardie's seminal book, The Golden Dawn, he mentions it when discussing doing the Lesser Banishing Ritual of the Pentagram (LBRP). This is probably the first place that the new student in ceremonial magick encounters the mention of the vibratory formula or vibration in general, but Regardie neglects to instruct the student just how to use this very powerful tool of the magician's art. What follows is an example of how Regardie explains how to vibrate the Divine Names.

In vibrating the Divine Names, the Operator should first of all rise as high as possible towards the idea of the Divine White Brilliance in KETHER - keeping the mind raised to the plane of the loftiest aspiration. Unless this is done, it is dangerous to vibrate only with the astral forces, because the vibration attracts a certain force to the operator, and the nature of the force attracted rests largely on the condition of mind in which the operator is.

The ordinary mode of vibrating is as follows: Take a deep and full inspiration and concentrate your consciousness in your heart, which answers to Tiphareth. (Having first, as already said, ascended to your Kether, you should endeavor to bring down the white Brilliance into your heart, prior to centering your consciousness there.)

Then formulate the letters of the Name required in your heart, in white, and feel them written there. Be sure to formulate the letters in brilliant white light, not merely in dull whiteness as the colour of the Apas Tattwa. Then, emitting the breath, slowly pronounce the Letters so that the sound vibrates within you, and imagine that the breath, while quitting the body, swells you so as to fill up space. Pronounce the Name as if you were vibrating it through the whole Universe, and as if it did not stop until it reached the further limits.

All practical occult work which is of any use, tires the operator or withdraws some magnetism, therefore, if you wish to do anything that is at all important, you must be in perfect magnetic and nervous condition, or else you will do evil instead of good.

When you are using a Name and drawing a Sigil from the Rose, you must remember that the Sephirah to which the Rose and Cross are referred, is Tiphareth, whose position answers to the position of the heart, as if the Rose were therein. It is not always necessary to formulate before you in space the telematic angelic figure of the Name. As a general rule, pronounce the Name as many times as there are letters in it.^[3]

Now after reading the above passage by Regardie, how many of us have been more confused by just exactly what it is that we need to do to vibrate the Divine Name. I know that I was when I first read this particular section and others within The Golden Dawn concerning the Vibratory Formula. Regardie even mentions several times that the student should read his other book, The Middle Pillar, to get a better understanding of how to vibrate the Divine Names and how the Vibratory Formula works. So, since I still had questions on just how to perform the Vibratory Formula, off to Regardie's The Middle Pillar I went in search of answers. Unfortunately, this only raised the same questions again and added a couple of new ones.

The name having been inhaled into the lungs by means of an inspiration, it should be silently and powerfully vibrated, the entire attention being concentrated upon this to the exclusion of all else. While in the lungs, the white light of the Kether ought to be felt descending upon the name, consecrating it to the service of the higher self. Then the name should be visualized, whilst the breath is retained, as descending from the lungs via the Middle Pillar to the feet^[4]. Here it should be again vibrated very powerfully. When the entire Tree of Life within is pulsating sympathetically to this vibration, the name rises rapidly once more to the lungs where once more it is subjected to a silent vibration.

The exhalation of the breath accompanies an audible vibration of the name. It also accompanies a gesture to be made which consists of two movements. The first is the placing of the left foot about six to twelve inches forward. The second is the raising of both hands to the side of the head, on a level with the eyes, and then flinging them forward as though to project a force emanating from within. As the arms are flung forward, the exhalation and powerful vibration aloud of the name takes place. This gesture is called the Projecting Sign.^[5]

This goes description helps, but still brings up some questions. Looking at another of the early writers on this subject we get the following:

The Vibration of the God-names. As a further means of identifying the human consciousness with that pure portion of it which man calls by the name of some God, let him act thus:

1. Stand with arms outstretched.
   
2. Breathe in deeply through the nostrils, imagining the name of the God desired entering with the breath.
   
3. Let that name descend slowly from the lungs to the heart, the solar plexus, the navel, the generative organs, and so to the feet.
   
4. The moment that it appears to touch the feet, quickly advance the left foot about 12 inches, throw forward the body, and let the hands (drawn back to the side of the eyes) shoot out, so that you are standing in the typical position of the God Horus, and at the same time imagine the Name as rushing up and through the body, while you breathe it out through the nostrils with the air which has still been till then retained in the lungs. All this must be done with all the force of which you are capable.
   
5. Then withdraw the left foot, and place the right forefinger upon the lips, so that you are in the characteristic position of the God Harpocrates.
   
6. It is a sign that the student is performing this correctly when a single "Vibration" entirely exhausts his physical strength. It should cause him to grow hot all over or to perspire violently, and it should so weaken him that he will find it difficult to remain standing.^[6]

Well, by now you should be thoroughly confused. Many of us were about to give up in disgust at this point, as so many students have in the past, after trying to understand the material as it is presented. There must be some secret to this technique that Regardie is not sharing with those of us that sincerely want to learn and do not have the benefit of a lodge or temple that can help us. Is there a secret technique for learning to do the Vibratory Formula correctly? Crowley does give us a clue in the above selection from Magick in Theory and Practice as to how the student should feel after "correctly" doing the "Vibration." Both Crowley and Regardie explain how to perform and use this basic tool that all Ceremonial magicians, and any other tradition can use, but they are both vague in their descriptions. In this case, I feel that both must have felt that a knowledgeable practioner and student would read their material with a certain amount of hands on training in a lodge or temple.

Again, nearly at the point of putting down studying practical ceremonial magick, a revelation came. It was Donald Michael Kraig's book, Modern Magick. Kraig had lain out many of the principals of ceremonial magick in a very easy to understand format, this included a detailed description of exactly how to utilize the Vibratory Formulae and what they were.

There are two methods of vibrating words, commonly known as the two vibratory formulae. The first is an internal (invocatory) formula. In this formula you cause a certain part of your body (actually part of your astral body) to vibrate. This is exemplified in the Kabalistic Cross part of the LBRP. Let's just look at the word AH-TAH. What you should do here is fully inhale until there isn't room for one more drop of air. Then use the entire exhalation to vibrate the word. Thus, the word is elongated: AAAAHHHHHHH-TAAAAAAAHHHH. I should be vibrated loudly in an almost chant-like tone of voice. The pitch is usually higher than the normal pitch of your voice. It is almost shouted. Most importantly, you should feel it vibrate or resonate within your head. Likewise, MAHL-KOOT should be felt in the groin, VIH-G'BOO-RAH in the right shoulder, etc.^[7]

Now we are given some clue as to just how we need to perform the Internal Vibratory Formula, and told how it is supposed to sound. All of us are familiar with the sound of chanting, so now we have a major clue as to what we are to sound like while performing the Vibratory Formula especially during the Kabbalistic Cross. This explained in part the Vibratory Formulae, now what about the External Vibratory Formula.

The second vibratory method is the external (evocatory) formula. With this formula the intent is to excite the atmosphere (actually the so-called astral plane) around you. This exemplified in the Formulation of the Pentagrams part of the LBRP. The method is quite similar to the invocatory formula. You inhale fully, and as you exhale, you loudly vibrate the appropriate words, in this case, God names. Here the God names are stretched out as: AAAAAAAHHHH-GLAAAAAHHH. You should use the entire exhalation in sounding the God name or words when doing the evocatory vibratory formula. The big difference between the two formulae is that in the evocatory formula you should sense that the entire universe in front of you is resonating in harmony with your vibration. Your entire body and the entire universe should be experienced as vibrating to your call.^[8]

Now these instructions are much better to follow and written so that anyone can understand them. Here there is no real mystery as to how to perform the Vibratory Formula, and any student can benefit from this instruction. Now, what about those other ideas that Regardie talked about, the spelling out of the words in flame and empowering those flaming letters, or spelling out the word according to a particular method within your body? Well these are other methods of doing the above that are and were taught to aspiring students in the magickal lodges and temples, the only thing that really matters is that those variations are very good methods to do the Vibratory Formula, but that all that any student really needs is the basics that are given in the methods described by Kraig. Certainly if you wanted to use those methods that Regardie describes and they are comfortable for you, then do them, but I would suggest that every magician should try them only after mastering the basic method from Kraig.

By now there should be some basic grasp of what the Vibratory Formula are and how to use them in basic ritual work. There is an exercise that will help both the beginner, as well as, the experienced magician with the Vibratory Formula.

To begin working with vibration, it's often useful to practice with a simple vowel tone like "ah" or "oh". Draw in a deep breath and chant the sound, stretching it out until you run out of breath. As you make the sound, try changing the shape of your mouth and the quality of the tone. You're seeking a way of shaping the sound that will set up a buzzing or tingling feeling in your throat and chest, or elsewhere in your body. The effect may be light at first, so it's wisest not to worry if you feel little. Vibration is used constantly in the rituals of the Golden Dawn magic, so you'll have plenty of opportunity to develop the skill.^[9]

How to Use the Vibratory Formulae Practically
Now that we have seen just how to do the Vibratory Formula, how is it used in everyday practice? What is the exact purpose of the Vibratory Formula? First let me answer the second question. The Formula is used to both empower the magickal working and to help in the establishment of the magician's personality. Melita Denning and Osborne Phillips in their The Foundations of High Magick best state this when they give us the reason, as well as the supportive advice to practice the use of the Voice.

An important factor, both in magical working and in the establishing the magical personality, is the finding and development of the magical voice. This is a particular way of "speaking with power": the actual tone of voice will certainly vary from person to person and may also vary from occasion to occasion, but the principles which govern its production, once learned and sufficiently practiced, are not likely to be lost.

The magician is frequently required to employ the magical voice in rituals, for the purpose of vibrating the Words of Power. The first step, however, before attempting the use of any word in this way, is to gain the use of the voice.^[10]

To start with, let's look at the most basic ritual that all Ceremonial Magicians learn, the Lesser Banishing Ritual of the Pentagram (LBRP). In the LBRP, we learn that there are several parts that we use the Vibratory Formulae. These parts are the Kabbalistic Cross, the Formation of the Pentagrams, and the Evocation of the Archangels. Now let us look at each of the parts of the Lesser Banishing Ritual of the Pentagram to see where and how we use these formulae.

In this part of the LBRP, we use the more chant like Internal Vibratory Formula. The next part of the LBRP is the Formation of the Pentagrams and the vibration of the Divine Names in the Pentagrams.

So while we are performing the Formation of the Pentagrams, the Divine Name used at each quarter is vibrated to charge the protective pentagram at that quarter. Starting in the East, we vibrate (YHVH), circumambulate to the South, vibrate (ADNI), circumambulate to the West, vibrate (AHIH), then to the North, and vibrate (AGLA). From the North we complete the Circle by returning to the East.

In this section of the LBRP we use the more forceful version of the Formulae, the External Vibratory Formula. This Formula is normally used to vibrate the Divine or Angelic Names. Now we will look at the Evocation of the Archangels, the last section of the LBRP that uses the Vibratory Formula.

Before me, RAPHAEL
Behind me, GABRIEL
At my right hand, MICHAEL
At my left hand, AURIEL

BEFORE ME FLAMES THE PENTAGRAM -
BEHIND ME SHINES THE SIX-RAYED STAR.^[12]

This is just one of the many versions of the Evocation of the Archangels^[13] that is used throughout the Hermetic community. The important thing here is the Archangel Names, which are vibrated at the point in the evocation that they occur. In vibrating these Names, the magician helps to balance the forces that are guarding the Quarters in the LBRP. I would like to point out, that in the instance of BEFORE ME FLAMES THE PENTAGRAM -BEHIND ME SHIMES THE SIX-RAYED STAR, even though it is in all capital letters, it should not be vibrated, but rather spoken a bit more forcefully. This is an exception to the rule above in figuring out what needs to be vibrated in an evocation, that and the statement is not made up of either Divine or Angelic Names.

In this section of the LBRP, we return to using the Internal Vibratory Formula that gives us a more chant like quality to our vibrations. Here is a difference to the fact that instead of using the External Vibratory Formula, the Internal Formula is used to vibrate the Angelic Names of the Archangels. Again, this is the exception to the rule. This Formula will be used with the closing used in the LBRP, the Kabbalistic Cross. This closing is the same as the opening of the LBRP and is used to link the two together.

Advanced Rituals
The basic use of the formula is used not just in the LBRP, but also in the vast majority of the advanced rituals of ceremonial magick. The Lesser Invoking Ritual of the Pentagram (LIRP), which is much like the LBRP, but rather than banish negative energies or influences, it is used to draw in energy. This ritual uses the exact same format and formulae as the LBRP described above. The Banishing Ritual of the Hexagram (BRH), sometimes known as the Lesser Banishing Ritual of the Hexagram is another ritual that makes extensive use of the vibratory formula. In this ritual the Divine name ARAITA is vibrated as in the LBRP with the drawing of the various hexagrams.^[14] The addition of what is called the Analysis of the Keyword in this ritual shows a different aspect of the vibratory formulae. In the Analysis, the practioner puts his body through the various positions of the L.V.X. signs, in which the practioner spells out the letters "L", "V", and "X" with their body. At the end of which the IAO (pronounced EEEEE-AAAHHHH-OOOOHHHHH) is strongly vibrated while the head of the practioner is tilted upwards.^[15] This position of the body at the end of the ritual gives a different tone and feels to the vibratory formula as it is performed. In many cases the practioner will not only feel slightly lightheaded, but also a sense of euphoria.

The techniques discussed earlier in this article can be used in even other more advanced rituals than the LBRP, LIRP, or the BRH. The use of the vibratory formulae so far has been in a basic format for the magician, now we look to a more advanced degree that the formulae are used. The consecration of the working tools of the magician uses the same basic layout as regards the use of the vibratory formulae. Let us look at a couple examples of the consecration of the working tools of the magician. The first example of the consecration of a tool will be in the manner of the Golden Dawn. In the following example I will be looking at the charging of the Sword in the Consecration of the Magic Sword.

O Mighty Power who governeth Geburah, Thou strong and terrible Divine ELOHIM GIBOR, I beseech Thee to bestow upon this Magic Sword Power and Might to slay the evil and weakness I may encounter. In the Fiery Sphere of MADIM, may it be wielded and tempered to unswerving strength and fidelity. May Thy Great Archangel KAMAEL bestow upon me courage wherewith to uses it aright and may The Powerful Angels of the Order of SERAPHIM scorch with their flames the feebleness of purpose which would hinder my search for the True Light.^[16]

In the above part of the Consecration Ritual of the Magic Sword, the same words or ideals are vibrated through the vibratory formula. In this case, the Divine Name ELOHIM GIBOR, the sphere of MADIM, the name of the Archangel KAMAEL (sometimes spelled Camiel, Camiul, Chamuel, Kemuel, or Khamael)^[17], and the Angelic Host SERAPHIM. These are the things that the beginning magician learns to vibrate in the basic rituals of the LBRP, LIRP, and BRH.

The next example of a consecration is also for the consecration of the magic sword, but his one is in the form used in Wicca. Look at the use of divine names within the following ritual. As the ritual is written, the divine names are not written in all capital letters or bold, so the practioner does not know if the words are to be vibrated or not. In any event, the formula of the ritual is the same as from ceremonial magick, and the divine names could certainly be vibrated perhaps lending a certain amount of extra power to the charging of the tool.

I conjure the, O Sword [Athame], by these Names, Abrahach, Abrach, Abracadabra, that thou servest me for a strength and defense in all magical operations against all mine enemies, visible and invisible. I conjure thee anew by the Holy Name Aradia and the Holy Name Cernunnos; I conjure thee, O Sword [Athame], that thou servest me for a protection in all adversities; so aid me now.

I conjure thee, O Sword [Athame] of Steel, by the Great Gods and Gentle Goddesses, by the virtue of the heavens, of the stars and of the spirits who preside over them, that thou mayest receive such virtue that I may obtain the end that I desire in all things wherein I shall use thee, by the power of Aradia and Cernunnos.^[18]

The use of the vibratory formulae can be continued in further advanced magickal workings such as in the creation of talismans. The use of the vibratory formula in the creation of talismans for use in magickal workings can give the benefit of charging the talisman with the proper energies desired by the magician. The following example of charging a talisman with the appropriate Divine, Archangelic, and Angelic names vibrated at the places noted shows how the vibratory formulae is to be used in a ritual other than the various banishing and invoking rituals.

"I conjure and command thee, (name of spirit), thou who art Ruler of the element (or) Intelligence of the planet (or) Spirits of the celestial sphere of (name of element, planet or celestial sphere), in and b the Great Name (Name of God), and in and by the mighty archangel (name), and in and by the angel (or) angelic host (name), that thou wilt direct thy power into this creature of talismans, and give it such strength as it may require to fulfill this purpose…"^[19]

In the above example, if the magician where charging a talisman with the energies of Mercury, then the magician would vibrate the names TAPHTHARTHARATH (name of spirit), ELOHIM TZABAOTH (Name of God), RAPHAEL (archangel name), and BENI ELOHIM (angelic host), and would forcefully say MERCURY (name of planet).

Further uses of the vibratory formulae can be to vibrate the various Divine or Holy name found on the Enochian Tablets of the Enochian system of magick developed by John Dee and Edward Kelly in the 16^th century. The Enochian names can be a bit tricky to pronounce and often give the beginning magician a difficult time. That is why I am mentioning them here. The use of Enochian in any ritual is most definitely an advanced for of ritual magick and should be undertaken only by the advanced magician. That being said though, the various Enochian Names that come up in ritual work are vibrated just like the Hebrew Divine Names, the only difference would be the pronunciation of the word.

Conclusions
Now we have looked at the various Vibratory Formulae and how they are used in daily ritual. The two most important Formulae that are used are the Internal Vibratory Formulae, which has a higher pitch and gives a more chant like quality to the voice, and the External Vibratory Formulae, which has a lower pitch and is more forceful so that the sound can excite the atmosphere and the astral. Regardless of the tone involved, both of these Formulae are performed virtually the same. The magician inhales fully, and then vibrates the appropriate word or Name with a full exhalation of the breath.

The Vibratory Formulae, while shrouded in mystery over the last century has caused many aspiring magicians no lack of headaches in trying to decipher the manner in which this very important tool of the ceremonial magician is used. The practice of not fully explaining the Formulae in various books on ceremonial magick has helped lead to a decline, in my opinion, in people seeking to learn ceremonial magick. The Vibratory Formulae are the most basic of the tools that magicians need to help them begin in the Great Work and is something that should be mastered by every aspiring magician.

If the LBRP is the base upon which all other ceremonial ritual rests, then the element of the Vibratory Formulae which is within the LBRP should be better explained to the student, otherwise we students lack the ability to work magick within our ourselves or the Universe. I sincerely hope that this paper goes a long way in explaining the Vibratory Formulae and how it is used within our daily ritual work.

This tool, though used most often by ceremonial magicians, has great benefit for any tradition of magick that employs it. Whether the magician is a ceremonial practioner or Wiccan, the use of the various vibratory formulae in daily ritual work can help the magician to be closer to the Divine essence, to reach that state which all magicians seek, the reunification with the Higher Self. Like anything that is worthwhile it requires perseverance to reach that illusive goal. As Regardie was fond of saying, "Practice, practice, practice." This is the only way to get comfortable with the vibratory formulae in daily ritual work.

Bibliography

Agrippa, Henry Cornelius. Three Books of Occult Philosophy. Edited and annotated by Donald Tyson. St. Paul, Minn.: Llewellyn Publications, 1997.

Bardon, Franz. The Practice of Magical Evocation. 5th ed., Wuppertal, West Germany: Dieter Ruggeberg, 1991.

Barrett, Francis. The Magus. New York, N. Y.: Citadel Press, 1989.

Budge, E. A. Wallis. An Egyptian Hieroglyphic Dictionary, Vol. 1. New York, N. Y.: Dover Publications, Inc., 1978.

_____________. An Egyptian Hieroglyphic Dictionary, Vol. 2. New York, N. Y.: Dover Publications, Inc., 1978.

_____________, Translator. The Book of the Dead. New York, N. Y.: Bell Publishing Co., 1960.

Cicero, Chic, and Sandra Tabatha. The Essential Golden Dawn. St. Paul, Minn.: Llewellyn Publications, 2003.

_____________. Ritual Use of Magical Tools. St. Paul, Minn.: Llewellyn Publications, 2000.

_____________. The New Golden Dawn Ritual Tarot. St. Paul, Minn.: Llewellyn Publications, 1991.

_____________. Self-Initiation into the Golden Dawn Tradition. St. Paul, Minn.: Llewellyn Publications, 1998.

Crowley, Aleister. Magick in Theory and Practice. Secaucus, NJ: Castle Books, 1991.

Davidson, Gustav. A Dictionary of Angels. New York, N. Y.: Free Press, 1971.

De Angeles, Ly. Witchcraft: Theory and Practice. St. Paul, Minn.: Llewellyn Publications, 2000.

Denning, Melita, and Phillips, Osborne. The Foundations of High Magick. St. Paul, Minn.: Llewellyn Publications, 1991.

_____________. Mysteria Magica. St. Paul, Minn.: Llewellyn Publications, 1992.

_____________. Planetary Magick. St. Paul, Minn.: Llewellyn Publications, 1989.

Farrar, Janet, and Stewart. A Witches' Bible. Custer, WA: Phoenix Publishing, Inc., 1996.

Fortune, Dion. Applied Magic and Aspects of Occultism. London: Aquarian Press, 1987.

_____________. Esoteric Orders and Their Work and The Training and Work of an Initiate. London: Aquarian Press, 1987.

Greer, John Michael. Earth Divination Earth Magic. St. Paul, Minn.: Llewellyn Publications, 1999.

_____________. Circles of Power. St. Paul, Minn.: Llewellyn Publications, 1997.

Griffin, David. The Ritual Magic Manual. Beverly Hills, Ca.: Golden Dawn Publishing, 1999.

King, Francis, ed. Ritual Magic of the Golden Dawn. Rochester, VT: Destiny Books, 1997.

King, Francis, and Skinner, Stephen. Techniques of High Magic. Rochester, VT: Destiny Books, 1991.

Kraig, Donald Michael. Modern Magick. St. Paul. Minn.: Llewellyn Publications, 1997.

Levi, Eliphas. Transcendental Magic. York Beach, Me.: Samuel Weiser, Inc., 1992.

Regardie, Israel. A Garden of Pomegranates: Skrying on the Tree of Life. 3rd ed., St. Paul, Minn.: Llewellyn Publications, 1999.

_____________. The Golden Dawn. 6th ed., St. Paul, Minn.: Llewellyn Publications, 1992.

_____________. The Middle Pillar: The Balance Between Mind and Magic. St. Paul, Minn.: Llewellyn Publications, 1998.

_____________. The Tree of Life: An Illustrated Study of Magic. St. Paul, Minn.: Llewellyn Publications, 2001.

Savedow, Steve. Goetic Evocation. Chicago: Eschaton Productions, Inc., 1999.

_____________. The Magician's Workbook: A Modern Grimoire. York Beach, Me.: Samuel Weiser, Inc., 1995.

Schueler, Gerald, and Betty. An Advanced Guide to Enochian Magick. St. Paul, Minn.: Llewellyn Publications, 1992.

_____________. Egyptian Magick. St. Paul, Minn.: Llewellyn Publications, 1997.

_____________. Enochian Magic. St. Paul, Minn.: Llewellyn Publications, 1996.

Zalewski, Pat. Talismans & Evocations of the Golden Dawn. Loughborough, Liecestershire: Thoth Publications, 2002.

_____________. Z-5: Secret Teachings of the Golden Dawn; Book I: The Neophyte Ritual 0=0. St. Paul, Minn.: Llewellyn Publications, 1991.

Zalewski, Pat, and Chris. The Equinox and Solstice Ceremonies of the Golden Dawn. St. Paul, Minn.: Llewellyn Publications, 1992.

Notes

[1] Budge, An Egyptian Hieroglyphic Dictionary, Vol. 1, p. 515.

[2] Cicero, The Essential Golden Dawn, p. 288.

[3] Regardie, The Golden Dawn, p. 487.

[4] Authors note. This technique of vibrating a Divine Name while visualizing it inside the heart or chest is known as the Invoking Whirl of Vibration.

[5] Regardie, The Middle Pillar, p. 93.

[6] Crowley, Magick in Theory and Practice, pp. 378-379.

[7] Kraig, Modern Magick, p. 44.

[8] Kraig, Modern Magick, p. 44.

[9] Greer, Circles of Power, p. 78.

[10] Denning & Phillips, The Foundations of High Magick, p. 295.

[11] In some cases or variations of the LBRP, the vibration would be felt in the groin or even in the feet. It depends completely on the style of the LBRP that the magician uses and prefers. In any event, any of these areas are the "correct" location for the vibration of Malkuth to be felt. - the Author.

[12] Regardie, The Golden Dawn, p. 54.

[13] The major difference between the different versions is in the wording. Most of this wording change is in the final statement of the Evocation, BEFORE ME FLAMES THE PENTAGRAM - BEHIND ME SHINES THE SIX-RAYED STAR. This statement can be, FOR ABOUT ME FLAME THE PENTAGRAMS, AND UPON ME SHINES THE SIX-RAYED STAR; FOR ABOUT ME FLAMES THE PENTAGRAM, AND IN THE COLUMN SHINES THE SIX-RAYED STAR; …AND WITHIN ME SHINES THE SIX-RAYED STAR; or any number of other variations. They are all correct for the groups or persons that use the different wordings. - the Author.

[14] Cicero, Chic and Sandra Tabatha, The New Golden Dawn Ritual Tarot, pp.168-170.

[15] Ibid, p.170.

[16] Cicero, Ritual Use of Magical Tools, pp.210-211.

[17] Davidson, A Dictionary of Angels, p. 80.

[18] Farrar, A Witches' Bible, part II, pp. 44-45.

[19] Greer, Circles of Power, p.228.