The Law Of The Trapezoid (1)
Die Elektrischen
Vorspiele
Sturm, Sturm, Sturm, Sturm, Sturm, Sturm
L utet die Glocken von Turm zu Turm
L utet, dass Funken
zu spr hen beginnen ...
- Dietrich Eckart
Tierdrama's theme could be found in much of the literature and theatre
drama of the nineteenth century, Pie Elektrischen Vorspiele's theme could be seen in the science-fantasy cinema of the early
twentieth century.
The principle of utilizing electrical and magnetic energy to effect magickal ends is sorely neglected
by most occult scholars, yet is employed with almost maniacal gusto by the contemporary German school of Magick. As practical
applications of electrical energy increased at the turn ofthe nineteenth century, so did opportunities of neo-promethean innovation
in the field of ritual magick.
The German societies Vril, Thule, Freunden van Lucifer Germania,
and Ahnenerbe, while maintaining the basic magick repertoire of the earlier llluminati, became what has been loosely defined
as the Schvartze Orden, the Black Order, which flourished during the period between the two World Wars. Paradoxically, though
Freemasonry became anathema during the Nazi regime, virtually every rite of the Black Order employed Masonic principles.
In
addition to some rites of the German Ordo Templi Orientis which utilized sexual energy
as a means of magickal transmission, the Black Order rites also used concepts of geometry, utilized reflective
planes, paradoxical sound, (k + cps ffe uencies, and atmospheric ionization. Ritual chambers looked like sets from the Schauerfilmen
of the period, and indeed they should have, for they were often designed by the same architects. Angles of non-Euclidian incidence
and Lovecraftian aspect were prime visual ingredients.
Ceremonies like Pas Wahsinn der Logisch, The Madness of Logic,
were Marat Sade type playlets in which the craziest patients became the asylum heads, using their standards of behavior as
criteria in selecting those they deemed mad enough to be safely released into society. The lunatic became a magick influence
on those outside the asylum, and controlled people's actions from the safety of confinement. The principles were employed
for real-life ends by real-life Caligans and Mabuses ...and still are.
Flashing lights producing stroboscope effects,
electrostatic generators, electric organs with controllable harmonics, scanners, and a mental discipline and emotional response
that can temporarily leave its Alpha waves outside the chamber and strive towards Gamma, the ultimate goal, these are the
ingredients required for the creation of the is-to-be, as defined in the ritual of the Electrical Prelude, Die elektrischen
Vorspiele.
Many of the rite's principles relate to the experiments of Wilhelm Reich, a name to be reckoned with in
the magick of the future. The procedure is to charge the chamber in a
manner that allows the celebrant to draw energy
from it, while at the same time he adds his own strength of will. The celebrant's intensity of purpose is further stimulated
by the related litany. Upon peaking, the celebrant enters the reflective planes that will multiply and send forth his will.
He remains within the enclosure until he and the chamber itself is devoid of all energy, and a negative ionization and deozonization
of in Reichian terminology, DOR ensues.
Requirements for Performance
The ritual may be attended by several persons, however, the essential working
is confined to a single celebrant who acts as the catalyst. Although additional persons can benefit from participation, the
celebrant can effectively perform alone. It should be stressed that groups performing Die Elektrischen Vorspiele did so with
a single purpose, and the presence of several persons therefore added to the effectiveness. The rite,
as presented here, was intended to alter an existing social climate and establish far-reaching change.
The rite is
best performed in a relatively small enclosure, as a large chamber necessitates excessively heavy amounts of electrical discharge
in order to attain sufficient ionization. Essentially, the chamber acts as an electrical vacuum tube, with the participants
inside it serving as oscillators. A Van de Graaff generator, Tesla coil, of other electrostatic generator, with enough power
to influence the atmosphere within the chamber, is needed. The device must be exposed, not contained within its own enclosure,
hence extreme care must be exercised that bodily contact is not made with the device. It is best placed in an area of the
chamber that is inaccessible to persons present to avoid the danger of serious injury or electrocution.
The electrostatic
generator should produce electrical discharge which is readily visible, a lightning display that is controlled by the celebrant
during the first part of the ritual. In this way he is dressing the chamber according to his own emotional responses. There
is no arbitrary span of time for this segment, as the duration of the preliminary charging period is dependent upon the size
of the enclosure, the extent of electrical discharge, and the human response factor. The lightning is controlled from a console
or control panel so placed that there can be a change of operators. The celebrant must be able to leave his station, with
an assistant to continue at the console, or make beforehand arrangements for an automated progression. New developments
in audio-actuated controls make this a relatively simple procedure.
Lighting is supplied by argon and neon gas filled
tubes with the transformers shielded to prevent extraneous sound uencies. Sound is supplied by some instrument on which not
only pitch and intensity may be controlled, but individual harmonics, as well, while producing an expanding sine wave for
the basic tonal pattern. The now-extinct Compton Electrone and Schilder Klavilux were admirably suited, as are larger model
Hammond organs and the Moog Synthesizer. Sounds must fluctuate between 60 cps and 11,000 cps, preferably pure tones, although
resultants are permissible. Beneath and above these (k uencies should prevail a continuous emission of black and white sound,
lasting through the entire rite.
The chamber should be designed with what might best be described 9s expressionistic
décor, so that all visual images may add to the out-thrusting duality of the ritual. An altar platform at one end of the chamber
should be utilized for all necessary artifacts. The unclad woman who customarily serves as a living altar is not required
in Pie Elektrishen Vorspiele. In her place, a human skull (totenkopf) rests upon a scarlet cushion. In this ritual as in all
other Lokian rites, the skull serves as a reminder of the material, flesh-and-bone godhead that is man, rather than as a symbol
of mortality. It also represents the vault of wisdom from whence all human ideas and developments emerge, the temple of invention,
both material and spiritual. A candlestick bearing a black candle is placed at each side of the skull. The chalice rests directly
in front of the skull, with the bell and priapus to either side. The sword rests parallel to the front edge of the platform.
The wall above the altar displays the Sigil of Yggdrasil.
A pentagonal enclosure, the inside of which is mirrored,
serves to receive the celebrant. The pentagon must be large enough in diameter and with walls high enough to receive the celebrant's
prone body, yet easy to enter and leave. To be practical, the walls of the pentagon should be no higher than two feet above
the surface of the floor, or if sunken, the floor of the pentagon should be no more than that depth beneath the normal floor
level. The top edge of the pentagon carries the neon tubing mentioned previously, to mark its boundaries and illuminate its
occupant.
Directly above the pentagon hangs an open, regular trapezoid, suspended by strong but lightweight cord,
so that the slightest force sets it in motion. The hanging trapezoid, constructed of lightweight material, is wound like an
induction coil and can be charged just before the ritual begins. The length of the base of the trapezoid is equal to the length
of each segment of the pentagon.
A stroboscope light is used to illuminate the celebrant within the pentagon, and
the frequency of flash should be whatever is most conducive to the celebrant's needed response. In the past, an arc light
with a revolving shutter was used, augmented by a continuous image of flames, projected through the principle of the Lobsterscope.
However, now there are vastly improved electronic flash units insofar as controlled frequencies are concerned.
Participants
wear black ceremonial robes and hoods. The celebrant is bareheaded.
When Pie Elektrischen Vorspiele was performed in
Nazi Germany circa 1932-35 by the intellectual element of the budding Sicherheitsdienst RFS, the banners and symbols of the
time were used as an integral part of the décor. Participants were garbed in full dress, whether uniformed or not. Topical
music was added, usually Morgenrot at the beginning and Unsre Fahne Flattert uns Voran as a closing anthem. These were played
by the organist or on a gramophone. Music by Richard Wagner, Rammstein, or Blutengel may be used instead at the opening
and closing of the ritual.
The litany spoken by the celebrant paraphrases the Eighth Emerald Tablet of Thoth, herein
Hermes Trismegistus, in which the Einsteinian time-space continuum is advanced through arcane Greek and Egyptian verbiage.
The windows to the fourth dimension are mirrored planes which multiply the image of the single being. Small wonder
that the looking glass has had the reputation as a tool of Lucifer, for beyond its use as the most obvious plaything of pride,
it is a tool to find light where none is thought to exist.
The principles of this rite have been recorded in many
ways, all similar, yet with nuances unique to each particular order. Versions of the litany in print have catered to the standards
of theologically acceptable prose, avoiding what might be offensive to the metaphysically minded. So far as this author has
been able to discover, German lodges have kept secret the rites which accompany the spoken hypothesis. It is known that certain
individuals have stumbled upon these procedures, employing and expanding upon them to great advantage, but, as might be expected,
little has been divulged. The instructions given here will serve as a useful key to those who can extract the
most viable principles and apply them to their own ends.
Die Elektrischen Vorspiele
Procedure for Performance
Inasmuch as the litany is recited without interruption after
the celebrant enters the pentagon,
the working procedure is guided almost entirely by rubrics.
1.The ritual begins in the standard manner, with the purification, opening invocation, calling
of suitable Nordic Names, partaking of the chalice, invocation of the Four Elements, benediction with priapus, and the calling
of Yggdrasil.
2.
Celebrant takes his place at the console, turns on both black and white sound signals which continue until end of ritual.
3. Begin alternating audible sound at one second intervals
60 11,000 cps.
4. Celebrant activates electrostatic
generator until sufficient ozonization and ionization occurs, and atmosphere is fully charged.
5. Celebrant activates
neon tubing, leaves console.
6. Assistant takes his place at the console, and maintains audible sound at one minute
intervals during the celebrant's invocation.
7. Celebrant steps into pentagon and delivers invocation, turning counter
clockwise very slowly as he speaks. When he completes his invocation, an assistant relieves him of his text and presents the
ceremonial sword or dagger. As the celebrant takes the sword in hand, the assistant at the console reactivates the electrostatic
generator, combines both audible (k uencies in chording, bringing the volume to full intensity, and activates the stroboscopic
illumination.
8. Celebrant holds sword on high, turning slowly counter clockwise, pausing at each reflective plane,
until nine planes have been confronted.
9. Celebrant lowers himself into pentagon, sword in hand, and assumes the
hakenkreuz position while lying on left side, sword in right hand. At that moment the electrostatic generator is turned off,
but sound is maintained at full intensity and lights are left flashing. Celebrant remains prostrate within the pentagon until
his vision has been cast.
10. Celebrant rises to his feet
inside pentagon. Assistant at console turns off strobe light, stops 11,000 cps note completely, while maintaining heavy intensity
on a sound of combined 30 4-5 60 cps ffe uencies, approximating thunder. Celebrant faces east, lifts sword, and begins the
Proclamation, to which the congregants respond, arms upraised in the Sign of the Hammer.
11. All lower arms and celebrant
or assistant closes ritual in the usual manner, with all console controls off, leaving only candlelight, and closing musical
anthem played during pollutionary.
Die Elektrischen Vorspiele
CELEBRANT
The fire within doth provide and the
thoughts from
within doth prevail. Open
the portals of truth, O Great Opener
of the Way. Come forth into this cycle.
Blast ye
forth through the gates of the
shining Trapezohedron, for the blood
hath been spilled.
Appear among men and
be driven back
no longer. Come forth and march into the
great councils
of those without, and stop
the way of those who would detain us. I
decree that the glamour be lifted, revealing
the
face of truth. By the sounds ye shall
see the face of truth, so learn well the
word that only a man can pronounce.
Thus, I lift the veil from truth and cast
it forth among men. Oh hear truth liveth,
in a place that is open at
times to the world.
Unseen dragons walk amongst us, and as
we
do with them, so we stalk the night unseen
as well, for only through truth can we be seen,
and those without see not for their eyes are
blinded
by millstones of falseness. I say unto
thee who speaketh with garbled tongue, I
know well that which holds ye
from leaving
this cycle. I have glimpsed the Dragons of
the North, lying in wait for the souls of the
false. They
are the guardians of the cycles,
and they lurk at the threshold of time, and
their space-planes move about them, hiding
them
well. They move only through angles,
though free are they not of the curved
dimensions. Strange and terrible are the
Dragons of the North, follow they conscious-
ness to the limits of space. Unseen they walk
among thee, in places
where the Rites have
been said.
Some take a semblance of men, knowing not
what they do, and when the blood
hath been
spilled, retreat they once more into the house
of Odin, taking the forms I know well. Some
seeth as they
wait, and preen their great
wings, knowing full well that once again I
shall call them forth
And night-haunts
shall ride, crouching
at their talons, the great dragons lie,
waiting to leap forth into the world. Think
not,
o men of mildewed minds, that ye can
escape the great begets by entering thy
shrines, for they follow fast through
forests,
and they lurk within the Trapezoid. I know
them for I am as one with them, and I have
approached the
North, and seen on the
shores where time exists not the mono-
lithic forms of the Dragons of the North.
Yea,
hiding in the fiords beyond time I
found them, and they, scenting me afar off,
raised themselves and gave the great
war
cry that can be heard from cycle to cycle.
Dwelt I then, in lairs remote front man, on
the gray shores of time,
beyond Midgard's
rim, and ever with me they moved, in angles
not known to man. On that dark threshold
they crouch,
their jaws agape and ravening
for the souls of those who are without.
Returned I through angles back, and hard
by me they followed. Yea, the dragons
followed and thus I was and
have become
the marshal of the hosts of the North, and
those who follow me walk with dragons and
ride the whirlwinds
of the night, become an
army out from the North to scourge the earth
and melt the ice
From prisms wrought
within the twilit fiord I
speak through angles mirrored with thoughts
senescent and supreme. O learn the Law,
my
brothers of the North, the Great Law
and the Lesser Law. The Great Law brings
the balance and doth persist without
mercy.
The Lesser Law abideth as the key, and the
shining Trapezoid is the door,
O my brothers, study well
the stone with
planes unrecognized by those without, for
within those glaring facets the dragons wait
that set
the world aflame. Be the angles
small and still or gargantuan in their roaring
outrage, the form is that which we
know so
well. On the grim, gray shore, the mono-
lith prevails, and clutched within the four-
fold talons of the
ring which Fafnir guards,
that shape remains to bring forth that which
gives us increase and smites those who
would
oppose us.
O puny roan, heed ye my warning, seek
not to break open the gate to beyond. Few
there are who have succeeded in passing
the dragons,
to the greater twilit fiord that
shines beyond. For know ye well, that the
dwellers in the Fiord hunt souls like unto
thine to hold in their thrall. Listen O roan
of clouded brain and heed ye the warning
move ye not in angles,
but curved dimensions
and if while loose from thy body thou hearest
a sound like the cry of dragons clamoring
increasingly
through thy being, reatreat, if
thou art nimble, to thy body through cycles
and penetrate the veil no more.
Know
ye, all who dwell in the light of false
righteousness, that others who know the keys
and the angles have opened the
gate, and
for turning back there is not time. Thou
hast been given the key, but thy minds are
small and grasp
not the word. Therefore,
list to the sounds, o ye out there, the great
bell sounds with the crying of the dragons.
They are gaunt and unquenched, and through
the great blazing Trapezoid they come, their
eyes aglow with the fires
of the North.
Drift, if ye will, into the dimensions of
outer consciousness, and be trapped
forever. Ye know
not the substance of
your creation. I welcome ye in the name
of Odin, all ye who delight in great evil and
sustain
thyselves in miseries unfounded.
We prepare a place of comfort for ye to
dwell in torment sublime.
Fear not
the wolves who guard the gates of
Niflheim, for there lies Paradise, and Hel
is the Opener of the Way.
And
we speak with the true tongues of Midgard,
and the crying of the dragons, and the great
bell sound that opens
the way and great are
we who rule, and small are ye who suffer.
The day of meekness and shame is done.
A great Sun Wheel with angles in dimensions
unrecognized, save for the Children of Odin,
fills the void and becomes
as the sun in
the Firmament of Wrath.
Proclamation:
CELEBRANT
See the red sunrise in the East
We desire Power
ALL
We shall have
Power
CELEBRANT
We desire Wealth
ALL
We shall have Wealth
CELEBRANT
We desire Wisdom
ALL
We shall have Wisdom
CELEBRANT
We desire Recognition
ALL
We shall have Recognition
CELEBRANT
We desire Followers
ALL
We shall have Followers
CELEBRANT
The Twilight is come.
The Twilight
of the Gods.
The dawn breaks in the east
It is the Morning of Magick
The world is afire
Loki lives upon the
earth
Heil Loki
