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2/9/2014 The Vibratory Formula and its Use in Daily Ritual Work - Samuel Scarborough

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JournaloftheWesternMysteryTradition
No.5.Vol.1,AutumnalEquinox2003
The Vibratory Formula and its Use in Daily Ritual Work
by Samuel Scarborough
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
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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.
TheVibratoryFormulae
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
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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
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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
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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:
a. Stand with arms outstretched.
b. Breathe in deeply through the
nostrils, imagining the name of the
God desired entering with the breath.
c. Let that name descend slowly from
the lungs to the heart, the solar
plexus, the navel, the generative
organs, and so to the feet.
d. 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.
e. 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.
f. 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]
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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]
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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
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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]
HowtoUsetheVibratoryFormulaePractically
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
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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.
KabbalisticCross
In the Kabbalistic Cross we bring the Divine Light down
into our bodies and vibrate the appropriate words at
the appropriate location as we bring the Light down.
These words are: Atah, at the forehead, Malkuth, at the
heart/solar plexus, Ve-Geburah, at the right shoulder,
Ve-Gedulah, at the left shoulder, and Le-Olam and
Amen at the heart. So just how we do this? Of course
while visualizing the Divine light as it descends into our
body, we vibrate the names in a chant-like voice,
which causes the areas of our throat and head, or the
specific areas that correspond to the words to tingle or
vibrate when we say the words. In other words, when
you touch your forehead and vibrate Atah, we should
feel either the tingling in our head and throat, or in our
head, but more towards the forehead. The same is
true when we say Malkuth, but instead of out throat
and head, we should feel it in our heart/solar
plexis
[11]
, and so on with each of the points of the
Kabbalistic Cross. Here we use the Vibratory Formula
that allows us to sound like a chant rather than the
forceful Formula used in the next section.
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.
FormationofthePentagrams
In the Formation of the Pentagrams we learn to draw
the Pentagrams in the Quarters and to vibrate the
appropriate Divine Name at each of the Quarter, so
charging the Pentagrams there. Also, for the first time
we see that the Divine Names are usually written in
the description of how to do the LBRP in either all
capital letters or all capital bold letters, as in YHVH or
YHVH. I want to discuss this situation that we see in
many books and rituals. When we see in any evocation
a Divine or Angelic name written in this manner, it is a
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clue to us, the magician that this where we use the
Vibratory Formula. Simply put, we vibrate that name at
that particular spot where the Name occurs in the
evocation.
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.
EvocationoftheArchangels
The next part of the LBRP that uses the Vibratory
Formula is the Evocation of the Archangels. In the
Evocation we are facing East from the West of the Altar
and standing in the Cross Position. In this part of the
LBRP, we do not move and simply visualize the four
Archangels standing in their respective quarters facing
us as we perform the evocation.
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,
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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.
AdvancedRituals
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
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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
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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
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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
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was fond of saying, "Practice, practice, practice." This is
the only way to get comfortable with the vibratory
formulae in daily ritual work.
Index
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.:
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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

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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.
Index
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.
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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.

Index

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