The Vibratory Formula

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.

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.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 follows:

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.

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

The ordinary mode of vibrating is as follows:

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

Then formulate the letters of the Name required in your heart, in white, and feel them written there. Be sure to formulate the letters in brilliant white light, not merely in dull whiteness as the colour of the Apas Tattwa. Then, emitting the breath, slowly pronounce the Letters so that the sound vibrates within you, and imagine that the breath, while quitting the body, swells you so as to fill up space.

Pronounce the Name as if you were vibrating it through the whole Universe, and as if it did not stop until it reached the further limits.

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

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

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.

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. (More ...)