The Pentagram Ritual

Composed from various sources related to the

Hermetic Order of the Golden Dawn

by

Mazohir

Take a steel dagger in the right hand (or use the index finger). Face EAST.

Perform the Cabbalistic Cross as follows:

Imagine, at the first word intoned, a brilliant white light descend from above.

Touch the forehead and vibrate ATEH (thou art)

Imagine that same brilliant white light form a 6 inch diameter sphere just above the crown of
your head.

Touch the middle of the solar plexus and vibrate MALKUTH (Kingdom)
Imagine a shaft of light descending from the Crown Sphere and descend to the feet where
another 6 inch sphere expands just under your feet.

Touch the right shoulder and vibrate VE-GEVURAH (and Power)

Imagine a 6 inch sphere of brilliant white light appear just next to the right shoulder.

Touch the left shoulder and vibrate VE-GEDULAH (and Glory)

Imagine a shaft of light emerge from the right Sphere and cross your breast to expand and form
another Sphere at your left shoulder.

Clasp the hands before you and vibrate LE-OLAHM (for ever)
At this point imagine clearly the cross of light as it extends through your body.

Hands as before, with the dagger between fingers, point up, vibrate AMEN

Note: Any image or figure traced in the air with the finger, dagger or other magical instrument, is
to be imagined in brilliant scintillating white Light. In more advanced working, other colors may
be used. Make sure that all images drawn are correct, as brilliant as possible, and complete. The
beginning and end of a drawn Pentagram must come completely together.

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Draw, in the air facing EAST, a banishing Earth Pentagram as shown in the diagram, and
bringing the point of the dagger to the center of the Pentagram, vibrate the Name Y H V H
(pronounced YAHD HEY VAU HEY)

Imagine that your voice carries forward to the LIMITS of the UNIVERSE.

Without moving the dagger in any other direction, trace a semicircle before you as you turn
toward the SOUTH. Again trace the Pentagram, bring the dagger to the center of it, and
vibrate the Name ADNI, (pronounced AH-DOH-NEYE)

Again, trace the semicircle with the dagger to the WEST, trace the Penta- gram, bringing
the dagger to the center, and vibrate the Name AHIH, (pronounced EH-YEH)

Then, turn towards the NORTH, while tracing the circle, trace the Pentagram, bring the
point of the dagger to the center and vibrate the Name AGLA, (pronounced either AH-GAH-
LAH or ATAH GIBOR LE-OLAHM ADONAI)

Return to the EAST, completing tracing the circle of brilliant white Light, bringing the
dagger point to the center of the EAST Pentagram.

Extend the arms in the form of a cross, say: BEFORE ME (then vibrate) RAPHAEL
(pronounced RAH-PHYE-EHL)
Imagine a scintillating brilliant white Archangel in front of you and facing you. In his/her right
hand is a magical Sword held with the point upright. The background is a pale, pure, bright
yellow. Cherubs can be imagined near the Archangel. Imagine a gentle, refreshing breeze,
cleansing and purifying the air.

Then, say: BEHIND ME (then vibrate) GABRIEL (pronounced GAH-BREE-EHL)

Imagine a scintillating brilliant white Archangel behind you and facing you, holding in their right
hand an exquisite silver Chalice. He/she is standing on a Cerulean-blue ocean and dolphins or
mermaids are nearby. Imagine feeling the mist and cool spray of the ocean breeze.

Then, say: AT MY RIGHT HAND (then vibrate) MICHAEL (pronounced MEE-CHYE-EHL)

Imagine a scintillating brilliant white Archangel at your right, facing you, and holding in their
right hand a transparent scarlet red Wand with a scintillate pure diamond top. Waves of scarlet,
red-orange and orange fire in the background. Also, SEKHMET, with a scarlet disk above her
head, emerald green Uraeus, scarlet dress from just below breasts, tight-fitting, down to her
ankles, is in the flames. She holds, in her left hand, a scarlet-red lotus wand. In her right hand,
she holds an emerald-green ankh. Small black salamanders can be seen moving among the
flames. Imagine you feel the heat and power emanating from the SOUTH.

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Then, say: AT MY LEFT HAND (then vibrate) AURIEL (pronounced AWE-REE-EHL)
Imagine a scintillating brilliant white Archangel at your left, facing you, and holding between
their hands a Disk with a scintillating white Pentagram in the center. The ground is russet-brown,
the leaves of the trees are olive-green, there are black shadows from the trees in a number of
places, and the light is citrine (light yellow-green.) Feel the solidity of the Earth, and imagine the
odor of the leaves and muskiness of the ground.

Now, say: ABOUT ME FLAMES THE PENTAGRAMS, AND IN THE COLUMN SHINES
THE SIX-RAYED STAR.
Imagine the complete circle of brilliant white light at whose quadrants are the 4 Pentagrams. At
the center is the Cabbalistic Cross of Light extended through one's body.

Repeat the Cabbalistic cross, and, according to some occultists, stamp your right foot at the
conclusion of the complete operation. The Banishing Ritual of the Pentagram is performed
preliminary to any magical operation and precedes the Invoking Ritual of the Pentagram.

Note: The subject of the vibration of Names of Power is discussed at length in other sources. The
Names should be pronounced inwardly in the breath, vibrating it as much as possible and feeling
that the whole body throbs with the sound and sends out a wave of vibration directed to the ends
of the Earth, according to Regardie. Time and continuous practice of the Ritual, once in the
morning prior to the Invoking Ritual, and once in the evening are standard recommendations,
and will produce the desired result. There is no particular frequency or degree of volume that is
suitable for every individual. Each person must practice to find the resonant vibration that will
work for him/her. Some benefit can be obtained by listening to the chants of Tibetan Monks that
can be found on cassette and CD. Other occultists assert that definite somatic effects will
manifest when the vibrated Names are performed correctly, such as tingling in certain areas of
the body. I believe it is important to vibrate the Names at the same time one imagines the Name
in scintillate white Light, rushing upward thru the body and outwards toward the end of the
Universe in the particular direction one is working with. It is important to pronounce the Names
correctly and clearly and, according to Traditional Jewish sources, never pronounce the Names
casually, but only in Holy or Theurgic Work. One is admonished to NEVER lower the hand or
Magical Instrument while tracing the Circle or at any other time, unless specifically instructed to
do so.

Copywrite © 1993 mazohir

Further notes on the Pentagram Ritual

1. As a form of communion with the Divine, the Invoking Ritual should be used in the morning
(preceded by the Banishing Ritual), and the Banishing in the evening.

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2. As an exersize in concentration: Seated in meditation or lying down, formulate yourself
standing in a Magical Robe, holding the Magical Dagger. Imagine yourself in this form to go to
the EAST, feel yourself there by mentally "touching" the wall, opening your "eyes", stamping a
"foot" on the floor, etc. Perform the Qabalistic Cross and Pentagram Ritual exactly as you would
in physical reality, but perform it mentally, especially paying attention to vibrating the Names
and holding images clearly in the mind. Observe the results in the Astral Light and, when
complete, imagine your mental self to walk back and stand behind your physical body and will
yourself to be reabsorbed into it.

3. As a protective barrier or to banish a negative force, obcessive thought or impure magnetism:

Give a mental image [such as a hybrid being representing what the thought, force or entity feels
like or how it affects you] to the force, obcessive thought, impure magnetism, or astral entity ,
project it with the Saluting Sign of a Neophyte (of the Hermetic Order of the Golden Dawn), and
when the image is about 3 feet away, prevent its return with the Sign of Silence. (See Regardies:
THE GOLDEN DAWN) Then imagine the image or form in the EAST, before you, and perform
the BANISHING RITUAL of the PENTAGRAM, seeing it dissolve mentally on the other side of
the Ring of Fire, with the Pentagrams at the four Quadrants. If advanced enough, different
Elemental Banishings appropriate to the Element associated with the thought, energy, or entity
may be used, otherwise, the Earth Banishing Ritual of the Pentagram is used.

4. The history of the Pentagram Ritual is somewhat obscure, according to recent occultists. No
other operations like it devolve from antiquity, says Regardie, although some form must
necessarily have been used for banishing. According to Regardie, Eliphas Levi makes the first
reference to the Pentagram Ritual in TRANSCENDENTAL MAGIC: "The sign of the Cross
adopted by the Christians does not exclusively belong to them. It is also Kabbalistic and
represents the oppositions and tetradic equilibrium of the Elements. There were originally two
methods of making it (the Cross); one reserved for the priests and initiates, the other set apart for
the neophytes and profane. Thus, for example, the initiate, raising his hand to his forehead said:
'Thine is', then brought his hand to his breast, saying: 'the Kingdom', then, transferred his hand to
the left shoulder saying: 'Justice', and finally, to the right shoulder, saying: 'and Mercy'. Then,
joining his hands together, added: 'through the generating age'. TIBI SUNT MALCHUT ET
GEBURAH ET CHESED PER AEONAS - a sign of the cross which is absolutely and splendidly
Kabbalistic, and which the profanations of the Gnosis have entirely lost to the official and
militant church. The sign made in this manner should precede and terminate the Conjuration of
the Four". That Levi's work is the first place that Regardie finds reference to the Ritual is not
surprising since, according to LEGENDA DES FRERES AINES DE LA ROSE CROIX: Levi
was the 52nd Imperator of the Rose Croix, succeeding Lord Bulwar Lytton, 51st Imperator,
author of ZANONI, and succeeded by W. Wynn Westcott, 53rd Imperator of the Rose Croix,
Supreme Magus of the Societas Rosicruciana in Anglia, and one of the founding Heads of the
Hermetic Order of the Golden Dawn.

5. Tradition, still used in Tibetan and Orthodox Jewish Kabbalistic circles, holds that Names of
Power should be vibrated , not merely spoken. Occultists affirm that the student must discover
this mode of pronouncing the Words him/herself, since no two individuals are alike and can
produce the same vocalization. Some have used a high-pitched, even shrill voice, to appropriate
effect, while others affirm a deeply resonated pitch or one that is slightly higher than ordinary

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vocalization is most suitable. Some individuals even vary the pitch during an Operation.
Regardie, in THE MIDDLE PILLAR, affirms that each syllable should be evenly vibrated, no
syllable being accentuated at the expense of another. A number of occultists claim that the test of
the proper "vibrating of the Names" is that it should should be felt in every part of the body,
particularly in the hands and the soles of the feet, where a distinct "tingling" sensation will be felt
upon vibrating the Names and Words forcibly, but not necessarily loudly. Qabalistically, the
manifestation of Power and Light emanating downward on the Tree of Life, begins in the
Cardinal Signs of the Four Elements and ends in the Mutable Signs that rule over the furthest
extension of each Elemental Power or Light in each corresponding Qabalistic World. In the
Microcosm or Man, the furthest extension of the Light of each Element occurs in his limbs. Viz:
Virgo, in the hands; Gemini, in the arms; Pisces, in the feet; and Sagittarius, in the thighs or legs.

6. Different imaging of the Archangels at the four Quadrants of the Universe have been described
by various contemporary occultists. One has already been given, which uses background colors
and imagery that is consonant with Hermetic and Rosicrucian Philosophy concerning the four
Elements and their Inhabitants. Other imaginings involve the use of the Magical application of
the Laws of vibrating opposites, such as imagining the Archangels to be clothed in garments of
contrasting opposite colors that correspond to the Element of a particular Quadrant. Another
imaging involves the analysis of the Hebrew letters that comprise the Name of the Angel,
Archangel or other entity. For Raphael, the 1st letter, RESH, is attributed to the Sun, so that the
head of Raphael has a Solar Glory about it; the 2nd letter, PEH, is attributed to Mars, so that the
body of Raphael is Martial in appearance; and finally, the ALEPH-LAMED or EL which
concludes the Name is attributed to Elemental Air and Libra. This indicates that, according to at
least one occultist of note, the images should weild the Sword and the Balance, the Sword being
the weapon of Air and the Balance attributed to Libra. Initially, the student should imagine only
what he/she is capable of imaging clearly and brilliantly. At first, the forms will appear to be
static, almost posterlike images, but will gradually take on a "living" quality of their own. Instead
of seeing, for example, an Archangel robed in scarlet red and emerald green as if merely painted
on a card, the student will perceive a feeling, a sensation that "a power, an intelligence" exists in
the form he/she is imagining. The robes may move and scintillate like shot silk, having a peculiar
vibratory appearance. The student may "feel" the Element of the Archangel to manifest itself: in
moving breezes for AIR; the cool sensation of the Ocean mist, for WATER; the powerful heat
and Light for FIRE; and the solidity, stability and muskiness for the EARTH Element. The
inhabitants of the Elements may appear on their own, as Salamanders for FIRE; Undines or
Mermaids for WATER; Sylphs or Churubic-like figures for AIR; and small Gnome-like beings
for EARTH. Some of the techniques involve slight knowledge of Hebrew letters and their
Qabalistic correspondences in the Tarot, which some esotericists assert to be the pictorial
representation of the Tree of Life extended in the Four Worlds. These techniques can be used at a
later time, and incorporated when one has mastered the Hermetic/Qabalistic knowledge found in
various authors on Occult Philosophy. Manly Palmer Hall, although encyclopedic in his
knowledge concerning the Hidden Wisdom, was very cautious when giving explicit instruction
involving MAGIA. Regardie and authors connected to the secret teachings of the Hermetic Order
of the Golden Dawn, such as Dion Fortune, Paul Foster Case, Ann Davies, A.E. Waite, and
others were at times suggestive, sometimes obscure, purposefully or otherwise, and sometimes
quite open in revelation. A number of those authors were violating their Magical Oaths of that
Order by disclosing certain Knowledge, others were intentionally veiling their knowledge, while

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others knew little but pretended to know much. The prudent student must be on their guard and
practice skepticism in regard to much that has been published on "occultism". Other authors,
sworn to secrecy at initiation into various Orders, such as Papus, Eliphas Levi, Stanislaus de
Guita, and others, included intentional "blinds" to lead the profane or uninitiated away from true
Gnosis.

To trace the Earth Banishing Pentagram, according to certain occultists, use a small, straight-
bladed steel dagger, or index finger of the right hand, or a wand, bring the outstreched right arm
over and down to the left side, to a point in front of the body corresponding to just about the
middle of the thigh. Move the arm and hand straight upwards to a point directly above the head
as far as the arm will reach. Descend straight down towards the right side of the body, coming to
the point in front of the right thigh that would correspond to the same point on the left side of the
Pentagram. These movements will have traced a large inverted "V", about 2-3 feet high. Move
the outstreched arm over towards the left to slightly above the left shoulder, as far to the left as
your arm will go. Then, trace it horizontally, straight across to a point just above the right
shoulder and as far as the arm went to the left, but no further, trace the line to the right. And last,
bring the arm and hand straight down, diagonally, to connect back to where you started from.
This last part is very important, according to a number of occultists: that the complete connection
of the beginning and ending of the lineal drawing of the Pentagram, both in the imagination, and
as drawn by the Magical Weapon is ABSOLUTELY CRITICAL. This is true of all lineal figures
traced in the Astral Light.

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 20th 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

6
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.

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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]

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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]

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

9
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

10
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.

Kabbalistic Cross
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.

Formation of the Pentagrams

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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 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.

Evocation of the Archangels

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, 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

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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

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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 16th 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

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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.

The Lesser banishing ritual of the pentagram (or the LBRP). This ritual should be memorised as
soon as possible on your magickal path, and practiced daily. Since divine names of God, which
correspond to each elemental quarter, are used to charge the pentagrams, and the archangels of
each quarter are called to watch over your area, the circle formed with these magickal ritual acts
as an impenetrable barrier to unwanted magickal forces and allows you to proceed with your
magickal working.

This ritual is split into three parts for easier understanding and memorization.

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Steps
Method 1 of 4: The Kabalistic Cross

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1.

Stand in the center of your room, facing east, and imagine that you are a towering
figure and the earth is a tiny sphere below you. Feel yourself to be the center of the
universe.

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2.

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2

Look up into space and imagine a sphere of white brilliance. See this light descend to
the top of your head.

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3.

Reach up with your right hand (or ritual dagger (Athame) and pull this white light
down to your forehead. When you do this vibrate the word ATAH (ah-tah).

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4.

Move your hand down your body, feeling the light being drawn down through you
in a beam. Touch your breast, move your hand over the groin area, pointing down,
vibrate MALKUTH (Mahl-koot [h], and imagine there is now a shaft of light running
through you, connecting the light source above your head, to the earth below you.

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5.

Touch your right shoulder and imagine that a beam of light from the shaft passes
through that point and your right side, into space. Vibrate VE-GEBURAH (v'ge-boo-
rah).

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6.

Do the same with your left shoulder and vibrate VE-GEDULAH (v'ge-doo-lah).

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 7.

Bring both of your hands to your breast and clasp them together as if praying and
vibrate LE-OLAHM, AMEN (lay-oh-lahm, ah-men). You are now standing in the
center of a cross of light that reaches to the ends of the universe.

Method 2 of 4: The 4 Pentagrams

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1.

Move to the east of your area (or at least be facing east) and trace with your
finger/wand/Athame a large banishing pentagram in the air before you. Visualise it
glowing in flaming blue light. Perform the Sign of the Enterer and vibrate YOD HEH
VAV HEH (yode-heh-vahv-heh). Perform the sign of silence.

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2.

Keeping your finger or tip of dagger in the center of your pentagram, move to the
south quarter, and trace a bright white line to the center of the south of your circle.
These lines connect your pentagrams.

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3.

Trace another pentagram the same way, now perform the sign of the enterer and
vibrate ADONAI (ah-doe-nye). Perform the sign of silence, remembering to keep your
right arm out in front of you.

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4.

Carry the white line of light to the west, repeat the steps of tracing and charging
your pentagram, but this time vibrate EHEIEH (eh-hey-yay).

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5.

Carry the light to the north, do the same one last time, and vibrate AGLA (ah-gah-
la)

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6.

Carry the white line of light back to the east, and connect all your pentagrams
together. You should now be surrounded by four blue flaming pentagrams in the 4 equal
corners of your circle you've just made.

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 7.

Walk back to the center of your circle and turn clockwise to face east.

Method 3 of 4: The Calling of The Archangels

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1.

Once again, visualise the Kabbalistic cross you made earlier, extend your arms out
to make this shape. Look in front of you (east) and say, Before Me, RAPHAEL (rah-fay-
el). Try to feel his presence and feel the airy breeze hit your face.

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2.

Imagine another presence behind you and say, Behind Me, GABRIEL (gah-bree-el).
Try to feel the element moisture of water on your back.

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3.

Look to your right and say, On my right hand, MICHAEL (mi-kai-el). Feel the heat
of fire.

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4.

Look to your left, and say, On my left hand, URIEL (or-ee-el), try to feel the sense of
solidity given off by this quarter.

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 5.

Face east again and contemplate the flaming pentagrams around you, saying, For
around me shines the pentagram... Then visualise a brilliant hexagram within your
chest and say, And within me shines the six rayed star.

Method 4 of 4: Finishing up

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1.

To finish, simply repeat the steps of the Kabbalistic cross one more time.

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 Don't forget to vibrate the names of the angels.

 Remembering the order of the angels may be difficult for some, it was for me at start,
heres the formula i used: 'ragma' (RGMA). Raphael, Gabriel, Michael, Auriel.
 When you vibrate these names, feel the power and energy of the divine name running
through your fingertips and into the pentagrams.
 The translation of the Kabalistic Cross is "For Thine is the kingdom, and the power, and
the glory forever, unto the ages."

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  The sign of the enterer is when you bring your hands up to the sides of your head, take a
deep breath in, step forward with your left foot and thrust your hands (or one hand, one
wand/Athame) into the pentagram, this is when you charge it with the power of a divine
name. As you step back, remember to keep your index finger/wand/Athame still in the
pentagram before you trace your lines.
 The banishing pentagram is traced as: start from the bottom left corner (point), then up,
down, left, right, and back to starting point.
 If you want to add greater power to this ritual, visualise the archangels as you call upon
them.
 When tracing your pentagrams in the quarters, you are moving in a clockwise direction.
 The sign of silence is simply putting your left index finger over your lips as you step back
after the sign of the center, as if you were telling someone to "shh"
 Vibrations should be said loudly and clearly, and with a monotonous voice that you
should imagine is echoing powerfully throughout the universe.
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