combination with the other elements of the Mantra of Release,-the completed sigilbecomes the embodiment and celebration of this event.
Invocation of the Great Old Ones
I performed the invocation seated, at a table covered with a dark green cloth. (I wasfacing due north—west, but the actual, spatial orientation was not considered as being of significance in this simple rite which did not require any invocation of the ElementalQuarters, nor the casting of any Circle of Art). At the rear—centre of the table, on an ovalmat, was placed a single blue-green candle; to its right was a small, brass incense burnercontaining ‘dark musk’ joss; and to its left was a small figurine, in green resin, of a ratherspectral Cthulhu. In front of these was the Sigil of Awakening, done in black ink onwhite, A4 size paper. To the left were the texts to be used in the invocation, and to theright was a glass and bottle of red wine, to stimulate the senses and to providerefreshment.At 11.30 pm, I commenced the rite by lighting the candle and the incense. Picking up mycopy of
The Call of Cthulhu,
read Old Castro’s account of the mythos of the Great OldOnes, of how they had come to the earth from distant stars, of their twilight existence —dead and dreaming’ — within their great city of R’lyeh, and of how it had sunk beneaththe sea, and of the secret cult which had perpetuated their memory. I read the text quietly,but audibly; I was familiar with the words, and read them with a real sense of warmth andunderstanding. Then I subdued the electric light altogether, and focusing my gaze on thesolitary candle flame, I began to repeat the incantation of Cthulhu:
Ph’nglui inglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.
continued in this until the mantra became precise and fluid in its modulation; until it hadbecome internalised and fully resonant within my being.When I had persisted in this for some time and my mouth had become dry, I paused for adrink of wine. Then I took my copy of
and placing it within the small circle of light upon the table, I began to read its seventh chapter. Again, my reading was quiet, butaudible, and done with the passionate intensity of invocation: enjoying the lyrical beautyof its verses and fully appreciative of the sensual richness with which they described theintimate relations between the Adept and his Holy Guardian Angel. And, althoughCrowley himself would have been unfamiliar with the Lovecraftian perspective of myown current mode of access to his text, I found that it blended very well with my purpose.There was, of course, the familiar sixth verse which spoke of the mighty sepulchre, andcontained the ‘mantra of release’ itself; but there were other verses that alignedthemselves with my intent. Of these, the most notable were:
20: Thou hast stirred in Thy sleep, 0 ancient sorrow of years! Thou hast raised Thinehead to strike, and all is dissolved into the Abyss of Glory.