Direct magik can be a staggeringly difficult way to begin your venture into the Magickal world, but, as one begins to understand the philosophies and ideals behind it, it becomes apparent that this is ultimately one of the most flexible and rewarding systems available to the serious modern magician. It is difficult because, instead of using rocks, or wands, or daggers to symbolize what you wish, it assumes a priori that the practitioner has a decent level of mental conditioning and the ability to concentrate for extended periods of time. The more complex a spell is the more components it will have that the magician must consciously juggle, and thus the requirement to build one's concentration further as skill level increases. As a matter of definition, Direct Magick is the application of a specified type of energy to mystically perform a task. It should be noted from the outset, however, that energies of any sort are not intelligent and will perform in a dumb fire manner, thereby relying on the magician to coordinate them in a meaningful way to achieve a desired effect.
Many critiques against this system use the "It's doesn't teach you anything" approach. Well, you're right; I forgot my magick words, my mommy took away my magick knife, and the dog ate my grimoire. In some arts, that means you are no longer a magician. The entire point of Direct Magick is to shed the "enlightenment" and "purification" binding of many types of morality and deity-based magickâs (though using entities or deity-figures is not a problem in itself) and let the magician develop themselves as they see fit, without the nonsense, while still retaining the power of a full-fledged occultist. It keeps in view the fact that magick is metaphysical and that concentration is the sole key to power. Others use the "There's nothing to it. It's too simple!" approach in trying to undermine direct magick. Again, the entire point is to cut directly to the heart of the matter in spell casting and skip the aspects of spell casting which is a matter of preference to the magician. There are no words, you don't need sticks or rocks or metal or ceremony. It is not a vulgar magick; on the contrary, it is the pure use of only that which really matters: the energies themselves, isolated and championed (though this type of extremism may or may not fit the needs of the caster, which is an issue later addressed).
So how does it work? First, leave superstition at the door. Everything that works in magick works for a very good reason. Instead of relying on myth, superstition, ritual, or feel-good accept-it-all philosophies, the direct magician looks for ways to affect their environment themselves by acknowledging what is fixed, what is variable, and how these two possibilities interact in a given situation. Magick is not a break from reality or a surreal adventure into the wild unknown -- it is a planned sequence of coerced unlikely events, which appears fantastic when seen from the outside. As time progresses and studies go further, there is a realization that magic is the manipulation of energies unseen and (as of yet) unmeasurable. These energies/unique methods have been identified by their properties and were given to discreet study by defined "castes" of occultism. This is how the fourteen castes of direct magic were formulated. The question, still, is, "How do I use them?" The answer is found in the study of the nature of Will. "Will" is the term used in occultism to refer to the application of the entire being -- emotion, intellect, desire, and other facets of concentration -- and apply them in a meaningful and fantastic way to the energies, which respond to it. Will, in this sense, is the application of the entirety of the occultist's mind to the movement of the intangible powers around them. Reconciling perception and reality is the key to understanding the nature of Will. With this in mind, we continue on the path to power.
Often times in magic we are brazenly presented with a great deal of information dressed up as plausible occultism. Given poor reasoning or, in some cases, no reasoning, we are often asked to "accept" and be "open-minded" about things which can not possibly be, or which are so unlikely as to be practically impossible. This is not open-mindedness if we first listen to a philosophy then do not judge it. The term for that is gullibility. First off, one principle to remember about magick is that it follows the limits and laws of reason and physics like anything else. The abstract nature of many facets of occult philosophy is often misconstrued to imply that anything is possible. One of the first principles of magic, in this measure, is that you cannot leave common sense behind. The modern academic disciplines are not to be ignored while studying occultism simply because they do not specifically aim to prove the innate influential power of what occultists have coined "Will" on ambient energies. The occult scientist, assumably at least reasonably well-versed in philosophy, physics, psychology, literature, history, chemistry, mathematics, and especially abstractions of logic and rhetoric, will be the most analytic, able-minded, and most aptly equipped student to see the subtle changes and intricacies that mass around us with each moving moment. With a firm grasp of human academics, a love of learning, and knowledge of the proper methods to expand knowledge of unknown territory, studies will flourish and true occult power will be in the hands of the wise.
The first major question to getting started in magic, generally speaking, is to make some decisions about religion and a caster's own belief system. Religion comes into play in many different areas in a person's life and it is important to review your own stance in the greater scheme of things before hopping into something that may be seen as morally reprehensible. If these things are not settled right from the beginning they will crop up again, I will guarantee, and will become a gnawing difficulty until it is settled in one way or another.
What is your religion? Is it compatible with magick? Do you wish to change religions to a magical one or simply merge what you have? There is much debate on this topic, but here is my opinion: Most religions ban magic as evil and have severe penalties, either now, in the eternal, or both for practitioners of any form of magic. More than likely, your current religion will not mix with magic. Many practitioners have to break from their current belief system and form/join a comfortable hybrid religion. Also, the option of simply abandoning what you currently know as religion and radically changing your belief system is open. It rarely works, due to moral and emotional conflicts, but it is still an option. This is not to imply that occultism in itself is anything close to religious, but only that religion usually labels all magic or most types of magic as evil and either discourages it entirely or severely limits your options with it.
The second major question confronting magicians is, "What is my nature?â This question spawns many different answers. Some like aggressive magic to attack an adversary, or a friend's adversary. Many use protective magic to shield themselves and their friends from the stormy blast of other magic. Many people abandon the idea of combative magic all together and opt for enchantments to ease the burdens of life on everybody, such as blessings and prosperity spells of one variety or another. Here are the major classes of magician (as far as I can tell, all possible spells can be accounted for within these castes):
[Note: These are only the most vague descriptions. Read the advanced pages for a more complete understanding of the details of an art.]
After deciding what you want (or, more accurately, what you are able to do), it is time to confront the third, and most difficult question of magic.
The third question of magic is the most difficult because of all the options it presents: What do you want? This is by far the most difficult. At this point the magician must decide how to shape their universe. The most common answer received to this question is people saying "Power". Power is a good start, but it has to be refined. Here's where the ability to analyze your desires comes in very handy, and in a practical way. A person who wants power can take that concept and use it, but must think "Power over what?â That can be reduced even further to "Power over which aspect of that thing?" To become perfectly precise about what you really want is essential. Break it down to the minutest matters until you come up with something that can be used in a spell. The smallest of components in this process comprise the building blocks, which eventually equate to that original desire of (in keeping with this example) Power.
The first question of magic is one that should basically remain static throughout your time as a magician, barring any personal epiphanies. The second is a little more liquid and may change periodically throughout one's life. The third question has the highest volatility and changes every time you want something new, thus needing to be answered thousands of times over as your needs change.
The Basics of Practice - Fundamental Ability
There are a few fundamental tasks that all caster types of any discipline should understand how to do. The first one is that of basic enchantment and second is generic skill with energy manipulation. For a particularly good page (with a Wiccan slant, therefore focused on "white" style magicâs), They can give you a decent idea of what it is like to work with the energies of enchanting and may aid in becoming familiar with the overall feel of magic's intricasies. Remember that, regardless of which caste seems like the one you may want to try, the instructions of basic magic are similar. Everyone of any art simply has to become familiar with the feel of working with a mystic energy. There are also the philosophical and human aspects of magic that have to be dealt with before proceeding into "magic". Too often, magic is seen as a split from reality rather than a magnificent extension of the latent power of the human will over the causative mortal realm. It is a tool -- neither good nor evil -- that we can use to our advantage or detriment. One of the first things to realize is that logic is an active part of the understanding of magic. Things work for a reason, and understanding logic helps us understand why they do. I strongly encourage those that are interested in magic to first ground themselves in the basics of the hard sciences (such as what is "Energy, and Thermodynamics, mansoori and applied philosophy.
Now, keeping in mind the basic list of caster types given on the previous page and the disciplines that concern their use, choose your energy type (fate?). You will, as a rule, fall under one of these categories if you take the time to review the spells that you have cast in the past and/or evaluate the answers to the third question on the previous page and decide in terms of pragmatism which is most useful at this time. At this point you may not have a list of spells. Don't fret about it if you are totally new to magic -- you can make a record of spells as you go along and simple make decisions as would best fit your needs for the moment. These castes are set out as a guideline to help you identify what kind of spells you use most frequently and to aid in defining a type of energy to focus on (which is not critical at this very moment, since this is only the second beginning page, but is rather something to keep in mind for later). Though one primarily can only devote enough time to the furtherance of one caste, considering the vast amounts of material to cover when attempting to refine any given art, very minor abilities from any or all of the other castes may manifest due to the holistic nature of the interplay of energies in the cosmos. These additional minor gifts do not mean that you will be able to pick up and perform many arts, but prove rather that there is occasionally a small degree of overlap in the castes and a minor amount of flexibility in their use/definition. Some spells do exist, furthermore, which a magician of any sort will be capable of casting due to relatively low skill requirements. Either way though, if I could offer one bit of advice, it would be this: Take Your Time! The decision process is long and hard. You cannot just sit down one night, ponder your brains out and emerge with the answer (normally; there are some people out there that are just plain gifted at everything, though). It takes a long time to figure out just what your talent is because of the emotional associations that people attach to the caste names. One may sound better, or seem like exactly what you want, but your spells will tell the truth of where you fit. The intrinsic of every art have to be explored to ensure a wrong decision is not made, and keep in mind to search every aspect. Some people want to be Summonerâs, but are simply not good at it while they are good at elemental magic but do not like it. This may be the case, but do not let Emotion overcome Utility. Do not disclude magicâs that you do not like the sound of for that reason alone. Try diligently to find out what you can do, and then determine what you can do with it.
Focusing power occasionally referred to as "Mana", which has its roots in Roman mysticism, is literally as easy as breathing. Ever wonder why magicians, if they are so powerful, don't simply run out into the entire world and smite their foes in great miraculous blasts of fire and lightning? Here is why -- at the foundation of magic. One must focus occult energies ambient in their environment (on some level -- perhaps not at the material level). A single focused exertion of occult power is taxing. It is difficult like any other act of concentration and mental endurance. Magic is a refined art based on honing one's own ability to grasp and focus on the direction or concentration of a specific energy pattern or phenomenon. To focus, you can try this extremely simple ritual (note, this ritual does not use "tools" like most of the worthless rituals out there and still relies on the magician to mindfully exert themselves on their environment's energies):
1. Clear out your mind a bit. Relax. Be sure you have full control over your mind and that it is not cluttered with confusing and distracting thoughts.
2. Consider your spell. Know what you are going to do, precisely how you are going to do it, and what will happen when it is complete. Plan ahead and do not make things up as you go along. The emphasis here is to know what the mechanism, which will make your spell work, is to be, and then to actualize it.
3. Desire the mechanism that you want to become reality. Think of it, feel it, want it, and exert as much mental power as you can, emotional or otherwise, into the realization of this effect. Beyond wishful thinking though, the insistence of creating the mechanism is an example of Will. This approach is similar to that used in Reiki, for those familiar with the practice. Some people even visualize aiding them, but there is more to be said about that particular approach. For now, suffice it to say it has potential to be subversive to the effectiveness of a spell.
This prepared ritual is a beginner's technique and should work splendidly until one is capable of simply using sheer thought to congeal/aim specific energies while in any situation or any location. Please note that it is a ritual and can be discarded or adhered to as one wishes as soon as competency in basic energy manipulation is attained.
One common principle in magic is that the person themselves has no true power by them self. All power comes from exertions on the external. The practice of focusing energy from the external and exerting existing ambient power on the external is a foundational precept for any caster type that wishes to have their skill available at any given time rather than endure the tedium of having to cast a circle, open the circle, conjure a spirit, use the spirit, recall the spirit, banish the spirit, and close the circle, et cetera according to whichever ritualist paradigm is being used. This shows most clearly the utter beauty of using direct magicâs as are listed on this site as opposed to many other mainstream ideologies which rely on expensive trinkets, elaborate preparations, meaningless actions of rote memory, or the presence of other people to work.
As time passes and one gains experience in using this most simple process, it will become apparent that one's skill is increasing and that spell crafting no longer needs to be structured by the three-step method mentioned above. In much the same way as stretching exercises allow one to stretch further, and running practice allows one to run faster/farther, so culling the mystic energies around you and focusing them allows for stronger concentration, precise direction, and hastier structuring for successive spells. This is a practice, which requires dedication. Like any athletic competition, your skill will increase according to how much you put into it. The precision and efficiency of a spell, the skill of the caster, the condition of the caster's mind, and the amount of variables present to be manipulated all play a part in the efficacy of a spell. It can only be as good as you allow it to be.
I will note, however, that there is an alternative method that is often used other than gathering to a point and releasing, as mentioned above. Rather than hoarding anything, the other variation to casting is to take into account the largest area possible and focus the energies from that expanse further, thereby skipping the middle step of focusing it to an area. Instead of drawing from an artificial ambient energy pool, this method uses a tremendously large pull on powers at the furthest reach of a caster's influence and brings it to focus for a spell. This method requires more concentration than the aforementioned Collection/Volition pairing, but tends to become the favored method of intermediate and advanced casters as they progress.
The keys to advancement in magic are eternal: Order, Diligence, Concentration, Truth, Discipline, and Sacrifice. Once this process has been championed, one can continue on in their studies of magick.
The Basics of Practice - Spell Construction
Safe magic hinges on comprehending that document .By now, as a quick recap, the first Beginning page is a brief rundown of the castes, their manipulative basis, and their general function, as well as pointers on choosing one to study if this is a time in your casting that you are prepared to do so. The second Beginning page presents the ability to manipulate occult energies (though a specific type is not defined, at that point). This page is about the basic way to perform a spell (the formal writing and refinement of spells is covered a bit later on). The information on this last technique-based Beginning page represents the final stage in becoming an apprentice or novice magician of any casting art.
Practical magic requires you to understand your:
Power Source
Proficiency
Purpose
Given this information, the first thing to do is to determine where the power for your spell is going to come from. False magicâs are ones that rely on nothing or just say "belief will do it". Belief, at face value, is wishful thinking unless there is some kind of mechanism to make the whole thing work. To this end, the power source of your spell should, ideally, be identified and isolated. For example, if a caster was using a necromantic technique and wished to heal a friend, it would be to the detriment of someone else. This is an aspect known as vampiric necromancy (discussed further on the advanced page). Crudely speaking, a necromancer draws on the powers of death, so, in that case, a suitable donor (voluntary or not) would have to be found (it may seem like a contradiction to speak about healing with death essences, but, for the sake of simplicity, I'll leave it at that without an explanation. Suffice it to say it can be done, though not directly). A life magician, in contrast, would be able to realign the energies of the target and tend to their injury on the ethereal level, in turn hurting nobody and gaining what they desired. A Summonerâs would send a spirit of some sort (be it demon, angel, geist, or some other kind of sprite) to the person in question, and so on and so forth for the castes as may be applicable. All possible variations can be classified under the caste structure. There are many different options available but each one has a different method to achieve the same result, and also a different price to pay. Think of your objective and then think of the options available to you considering your casting tendencies (which will eventually fall into a caste if you examine your spells). Sometimes the cost isn't worth the benefit, and such things have to be taken into consideration at every spell. Because of the cost/benefit relation between magical effort and results, and because of the limitations imposed by reality on the caster, it is always best to understand precisely what the source of your power is and to identify what steps are necessary to achieve any particular result with that source.
Think of your objective once more and think of how much it will cost you to obtain that goal. Much like a car which must burn fuel at a relatively slow rate to be considered worth driving, so the magician, to be effective, must acknowledge that they may not have the most refined control over the energy in question right from the beginning. Learning to "burn fuel" efficiently is part of the learning process, and something, which will improve with experience. The key to this point, quite simply, is refinement. Refining one's own technique to achieve the greatest effect with the least amount of effort. Remember that these are relative terms, also. At first, even if the energy itself is not limiting when considering a particular goal, the casters own ability to exert sustained concentration to continue the spell may become an impediment. To realistically evaluate what your limits are will prevent a lot of silly errors from entering your spells and will keep the attempts at the practical level. For example, a new magician once asked me how they could make themselves look more attractive using magic. There is a way to do it, but the fact of the matter is that, for someone of her skill level, it was prudent to simply use everyday cosmetics. Her skill level in Psychism was insufficient to support a prolonged group illusion such as a "glamour spell" (the colloquial name for changing the perceptions of another through magic), and thus a mundane solution was more practical. Refining your technique is a matter of experimentation. Try different things. Try different techniques for the same spell. Which one was quickest to give results? Did the quality of the results meet your expectations? Tinker, try, record, examine, repeat.
Lastly, one must evaluate purpose. This point is the most difficult to ascertain. It must be remembered that mystic energy, like any of the measurable energies, are not intelligent and are not capable of conforming to circumstances as they change (the exceptions to this rule being arts where there is a distinct intelligent power being called upon, such as the deities of a celestial magician or a Summonerâs). Consider the tangible energy Electricity, for example; we cannot speak to a battery and send out its energy to light a light bulb, nor can we send out a mystic energy to blindly perform a goal. Instead, we set up the circumstances (wiring, switch, and light bulb), which will cause the energy to perform usefully, and then introduce the energy to a given situation (toggle the switch) to get the desired effect (shining light bulb). Setting up the circumstances for a Fame spell, for example, would be (most importantly) to identify that it is not really "fame", as a thing, that we have to focus on in the first place. "Fame" is a term we use to note the fact that many people know of a single entity (logo, person, corporation, deity, etc). To achieve fame, then, is not to send out an energy to bring fame to you as though it were a thing to be found, but rather to assist in realizing the components of fame, which could be (as another example) to influence people around you to take notice of your presence, which is a form of mind control, which is mage craft, which is psychoscriptive intervention (Psi). The upshot of all that is that your image or personality is impressed upon the minds of those that took notice of you, which contributes to fame (a concept), which is the ultimate success of the spell. This might be an impractical or outright silly example, but hopefully it effectively illustrates the means of evaluating a spell's purpose and how to go about using magic to attain that goal. A lot of the confusion in magic, in every facet and in every discipline of any path or type of practice, is simply understanding desires and evaluating language. Just like "fame" isn't a single thing, but rather the result of many factors, critically analyzing one's spell goals and comparing those to personal desires can reveal many things. "[Language] becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts." Either way, one must be very cautious when deciding what their purpose is and in analyzing it until it can be broken down into component parts.
When you are ready to proceed, prepare yourself mentally. You must be prepared for real results, for the gravity of what you're about to do, and for the manipulation of the occult energies you have studied through the use of the exercise set out in the Beginning 2 page. Clear your mind of disruptive thoughts that will distract you from concentrating 100% on your magical task at hand. Direct Magic and the effectiveness of spells cast using its methods is entirely dependant on the mental strength of the magician, so ensure that there are no lagging thoughts about dinner, what time it is, or where you left your pen.
To cast the spell, think again of your Power Source, Proficiency, and Purpose. Think of it vigorously, vividly, and precisely. Move the energies available and let it naturally flow in proper proportions to produce a single effect. Believe it or not, that's it. That's all there is to casting a spell. In theory, it is very simple. That is the benefit of spell casting using Direct Magic: less time fussing over stick and drawing measurements and more time spent performing spells that work. As a bit of a dampener to this point, however, it should be noted that the success or failure of a spell relies heavily on the conditioning and mental resilience of the caster and that having hundreds or thousands of early failures while getting used to the system is quite common. Failure is a learning experience as well, but often the repeated failures of early attempts stops many magicians from flourishing under this pure and simple form of casting. Keep at it and eventually the spells will start to work. This is the one thing that occultists starting from scratch with this system much cling to and remember at all times. Eventually, when you find the winning combination of factors, the spells will start to work. The question is not if they work, but when. The rewards of this art go to the patient, disciplined, and studious practitioner. It can be a frustrating process, but it does work with practice. Some people are lucky and get it the first time and some will not find their method until the one hundred and first time. It just depends on how accurately you have carried out these steps, the resilience of your focus, and the conditions available in a given situation, which are and are not manipulable.
The Parting of Ways
Now, at the end, all the required knowledge to access power stores is acquired for the "on-hand" magic user. There is a list of notations for your particular art on this page if you wish to know more about how to proceed. It is probably a good idea to read this but, if you are already having success, leave this page and continue what you're doing. Remember that if this page and/or the advanced pages are not covering a question or concern you may have, you can email me or make use the advisor(s) supplied through The Library of Knowledge to ask an experienced practitioner the specifics that are being left out. These arts aren't in any particular order, but rather in the order that I thought of them. Also, keep in mind that this page (as with most of The Library of Knowledge) is just a pointer to give you a friendly nudge in the right direction. The specifics of what spells to develop, what to name them, and the other little tidbits are still up to the diligent magician to discover. Remember also, as a last point, that these castes are just to describe what kind of work falls into which caster type. You do not have to necessarily definitively and strictly fall only into one caster type as long as you only plan to use lower powered to intermediate spells of that type.
White Magician: The White art practitioner has among the easiest arts to advance in. The idea behind it is simple: stasis and purification. "Negentropy", as it has been called. Purity and the harnessing of power to the most refined level is the ultimate goal of advanced white magic. The main focus for you, as a caster of this sort now, would be to learn the basic uses of herbs, oils, runes, and stars, moving eventually to the highest power of White Light. These former references can be used to find sources of White Magic information, though they are meaningless within themselves. The creation of familiar spirits is a topic that some choose to study as well when wishing to learn about purification and delicate control over one's environment. Incidentally, they are also useful for locating information and prompting the caster in the right direction while studying. The more advanced caster may wish to create a magical "node" in which they can exercise absolute magical authority when they need to. A node is a concentration of magical energies into an area for experimental or emergency purposes. This favored method of practice is an ethereal saturation of a given area with the energy that is known as "White Light", famous in the New Age movement, and is the basis for White Magic spells. The caster can shape the magical auras of the trees, rocks, plants, and other items to concentrate on a nexus, thereby making it a magical focal point for them to continue their work. Often considered a form of protective magic, it is not limited to offensive or defensive strictures. The applications of white magic, as with every other caste magic, are manifold. Learning how to neutralize an area and experiment with cleansing an area of magical influence is one of the most famous aspects of white magic, along with the ability to mute the spells of other casters or to calm natural mystic phenomenon. The White Mage can be a powerful practitioner with far-reaching influence on their world. Enjoy the excursion into the white, protective, and healing arts.
Black Magician: The black magician is one of the most infamous in occultism. The rumors and tales of their dark art and their insidious practice covers everything from evil deities to sacrifice, similar to the stereotype of the Satanist, though in a more tribal sense. The fundamental essence of black magic is similar to the common concept of entropy. The main thing to focus on at all times when practicing an art like this is attaining tangible or noticeable results. Do not just assume that anything has ever happened. One of the unfortunate stereotypes that follow black magic, aside from the perverted rituals of amorality, is lack of ability due to the mass influx of those interested in reaping the negative attention and shock effect. Because of this, I strongly advise practitioners to be diligent in their studies and casting and not allow the mystique to overwhelm pragmatic rationalism. Be sure that if you cast a degrading spell that something (perhaps not even your intended target) has deteriorated, shifted, or something to that effect. In the beginning, stick to simple spells that have only one mechanism to concentrate on (i.e. Things which are simply cause and effect, not manifest only after a chain of domino lesser effects). It must be done that way at the beginning or else future results run the risk of being crippled or barely noticeable. Later, refine the amount of energy and the focus control thereof through experience. Focus on one type of magic at first, such as erosion. Do not attempt to begin by casting shielding and corrosive spells back-to-back, or alternating between physical effect spells and various hexes. Try to perfect one thing and then move on to something else. The Black Magician is to always increase their repertoire of destructive spells, but only after having attained some degree of proficiency in past attempts. Always seek out new spells and of a different sort. Do not be discouraged, even after a few minimal results (if it really comes down to that). The black mage has quite a reputation to live down, but it is nothing that stolid study cannot solve.
Psi Mage: A Psi Mage has one of the most taxing arts of all, not because it is somehow intrinsically more difficult to perform, but because of psychological damage and the potential for severe self-delusion. Take some time to honestly consider how this skill will be used before temptation is staring you in the face so as to avoid moral qualms and crises. This all ties back to the. The Three Questions of Magic presented on the first Beginning page, but it is most critical for a Psi mage to know themselves before attempting to know the mind of others. Psi Mages focus on the mind with an approach not incredibly common in occultism anymore known as Zen. The quieting of one's own mind allows for interpretation of the emanations of another's mind, and which in focus the Psi mage must attempt to either bore through their own mental noise by some kind of force or to simply quiet themselves. Self-control by attaining a Zen state seems to be the favored method of the advanced psionicist due to the results it can bring. Many mages begin by attempting "charming" type spells in which the caster attempts to magically win the loyalty of another by empathically or telepathically touching their mind. It is an advanced type of telepathy and empathy, which allows the mage to truly understand their surrounding beings and be able to live at one with them. Also, this highly psychic tendency usually allows the skilled Mage to bring peace to an otherwise turbulent situation, or subversion and discord to what would otherwise be a serene and coordinated place. Once tuning in with the minds of another, the Mage becomes sensitive to the thoughts of those around them, sensing emotions more vividly, and suspecting feelings that are masked from others. Their magical abilities flow from understanding "the occult and hidden virtue of things" (as Solomon would say). To work seamlessly within their environment so as to cast a spell without disrupting natural order is a high power of the Mage, and that which allows them a peaceful existence wreathed in potent mystic workings. Using the sensitive arcane powers of Psi Magic, one may soon find that their lives become child's play compared with the hardships others must simply endure. As adversity arises, the Mage will find them able to avoid most or all of these dilemmas (save for the obvious ones, like death) and thus spare a great deal of pain and frustration.
Nature Mage: The Nature Mage is part of their environment. Their intimate bond with nature affords them privileges in communication and sensation that most people will miss out on -- things which can be beneficial to the mental or physical well-being of the caster in certain circumstances. The most curious thing about nature magicâs is the view that many of them tend to adopt concerning their position in the universe. Their cosmology tends to turn to a neo-Wiccan or druidic standpoint, declaring themselves as one with the grand order of nature and born of the earth. Harmony and balance tend to be something strived for as well. With lesser emphasis on harmony, which tends to sway in accordance with the personal preferences of the caster, balance seems to be a universally key issue among nature mages. Finding their place in the world and in the cosmos by communicating with the earth, earth spirits, or the spirit of earth itself are among the many methods used. There are historical reflections of these methods in the druidic traditions of grove growing, the Shamanic tradition of vision quests, and the ancient Greek methods of talking to the sprites of individual trees, stones, and areas. Roves inhabited by many famous spirits of the trees such as the nymph, dryad, sprite, pixie, and the Green Man (who was somewhat of a patron deity to the druids, at one point) and others, the Nature Mage may be granted boons for their adept sensitivity and care for their environment in many literatures, and it is a continued habit of the modern nature mage to try to not excessively disturb their surroundings. For a Nature Mage, being in tune with nature and harmonious with all things is the highest calling. Their sensitivity to the "qi of plants" allows for understanding beyond the norm and a will to discover more of the world around us. The stolid druid, the solemn shaman, and the wise mystagogue are all part of the traditions of nature magic, which live on, in modern practice.
Enchanter: Enchanters has been given too little credit for their work throughout history. Often lumped in with standard witchcraft, Herbalism, and other forms of magic, which were popular at the time, Enchantment truly does deserve a place in the occult realms as a separate and complete art form within its own right. It has often been seen in story, song, and in occult literature. Quite simply, the skill of an enchanter is to affect the properties of common material objects in such a way that they naturally bring a specified kind of result. Colloquially, enchanters have used a western five-element system to explain the potential imbued properties of any given item. Enchanting tends to be a waylaid art in favor of others because many people simply forget that it exists. It is not seen as being so flamboyant as many of the other popular arts -- specifically as being something you do not use on the spot -- though its uses are manifold and every bit as quick as any other art. One of the confounding factors of this art is the reason that many people attempt to get out of ritualism at all, however: reliance on items. The potential for enchantment of common items, as opposed to the mythical amulet and talisman, is often forgotten and tends to leave one's view of the art as a rather restrictive side-line interest rather than a topic to devote one's studies to. Despite that, there any many things that the enchanter has access to that can make the art one of the most practical available to occultists. The problem with most Enchanters is that they: a) donât keep a useful Book of Shadows. b) Aren't result oriented? If you are an Enchanter, please do the opposite of the two points previously mentioned. An Enchanter has to look for physical results in the creation of magical objects, such as talismans, amulets, tools, etc. If an item is charged with a fire blessing (let's say it's a glove), be sure that it is capable of keeping the wearer warm. If it isn't 100% effective, the spell can be refined. Keep a record of the procedure used and the result reaped. This Enchanter's journal should be of sufficient detail that you can refine your magical workings to the point that even the most extreme results of the most complex enchantments are available whenever they are needed. Another dangerous pitfall encountered by Enchanters is over-enchanting or using a previously enchanted item. Never charge an item with two opposing spells or with more than four enchantments total until an understanding of the intrinsics of the elemental magicâs has been achieved. The ethereal backlash from over-enchanting an item is sufficient to cause great harm to the one so unfortunate as to be in the way. An item enchanted with two opposing charges is considered a cursed item. It is dangerous to the user, and usually everybody in the area too. Barring the creation of a cursed item, however, the Enchanter has an interesting and incredibly useful system to employ magic in their daily life.
Elemental Witch: The goal of an Elemental Witch, at this point, is to become familiar with the conduction of elemental energy. These are the very real and tangible energies that we deal with on an every-day basis. Hot, cold, kinetics, and stasis -- they all play a factor in the control of the physical elemental weather patterns and fluctuations that carry on around us in life. Water, air, heat, and mineral are all under the dominion of the accomplished Elementalist. These types of energy are the most readily apparent type of all but also, bar none, among the most difficult to use. Elemental Magick focuses on the concentration and surging of these energies to achieve a specific purpose in accordance with the nature of the specific element being dealt with. Air tends to be the easiest to control since, by its very nature, it is always in a state of change. Earth tends, also by its nature, to be the hardest thereby resisting the will of the magician. The "trick", so to speak, of Elemental Magick is to learn what personal techniques or methods work best for you to get the element in question to obey.
Diviner: The Diviner's main job is to find out what's going to happen. There are so many varieties of exactly how to do this that there will be no advanced page of this art. It is just too varied and difficult to pin down. As a general guideline though, Diviners use a physical medium of some sort to find out what they can about the future. Every form divination imaginable is out there for the taking. Among many other types of divination are the use of clouds, tarot decks, runes, water, fire, earth, wind, sand, sticks, rocks, birds, cats, dogs, spiders, bones, intestines, blood, insects, weather conditions, feces, fingernails, palms, finger prints, the infamous crystal ball, head bumps, eye orientation, candles, saliva, spirits, fairies, sprites, hair, urine, body measurements, tea leaves, auras, dreams, wax drippings, stains, tooth alignment, eating habits, birthdays, zodiac signs, and a myriad more than I have room for on this page. Each Diviner has a different way of telling what will happen, but the basic gist is that regardless of how they do it, they do it. Diviners are often employed by magicians who have no divining power of their own to see what primary, secondary, tertiary, quaternary, etc. effects a particular spell will have on them, their friends, their target, etc. In the technological age, many people use online divination methods. These sorts of services are everywhere, and can sometimes be helpful. Usually, it is best to take your future divining needs to a real diviner though, not a randomizer-based computer program (although many people see the computer as an equally legitimate form of divining). Books on fortune and future telling abound. One does not have to look far to find a place to learn Divination.
Summoner: Summonerâs have no limitations to their advancement except experience. The ability to call, at first, lesser terrestrial spirits is where every Summoner starts, eventually moving higher and farther than before with each progressive summon. Some focus on a specific type of earthly spirit, and some just summon whatever is nearby -- either method is acceptable. The power of the Summoner lies in a mental purity that can not be matched; the ability to shield one's mind by constant self-discipline and concentration on mental stamina/ability to concentrate unbroken is key. After a short while of experimentation, different types of entities, be they angelic, demonic, Olympic, or otherwise, can be summoned with little or no trouble at any given moment. To perfect the art of spiritual synergy is a draining one, but without question Summonerâs can still hold their own as one of the most powerful types of caster available.
Healer: Healer's are channelers of the body's energies. The Healer is a realigner of magical forces to the benefit of a living being. The theory is that when the physical body is cut the ethereal body is cut as well. Both wounds will eventually heal but the ethereal cut is usually untended to. The Healer must feel the energy of the wounded, "soften" it, and mold it back into alignment with the rest of the body. Once the ethereal body is healed, the physical body will quickly follow. By the same token, the Healer can create wounds as well by disaligning the ethereal body of a target. This is rarely done, as a Healer is almost always interested in health and life (or else it's more common that someone interested in injury takes up Necromancy instead). The healing is usually not instant, but it is extremely fast. Nothing short of practice will improve a Healer in this art.
Necromancer: The art of the Necromancer is one, which begins with the simplest goal: Understand the nature of Life and Death. However simple it starts, though, that goal instantly imposes a very complex nature on the practitioner. The Necromancer's prime energy is the Death Essence and the study of the energies present at death or during frailty is the beginning of knowledge. As the Necromancer becomes familiar with the twisting ethers of decay, it becomes apparent that one cannot escape their influence even as a practitioner. With the passing of time, the Necromancer gains an understanding of the true cycles of life, the afterlife, the netherworlds, and passing even of the celestial realms. The study of disease, decay, illness, and of the nature of the soul will contribute to a full understanding of the nature of Necromantic Cursing. Also, after continued experimentation, servitors become a possibility. At the end of the line, the Necromancer learns the possibilities of soul manipulations and experiments of that nature. It is the appreciation of Death, and an admiration of the silent beauty of a life complete.
Sorcerer: The Sorcerer's dilemma is to shape, literally, the entire world. Everything in the life of a Sorcerer is fair game for modification. By modifying components of one's life with some of the unique powers available to a Sorcerer, the whole may be changed as the practitioner deems fit. A proactive modification of the world, the minds of those around, and in the spiritual realm leads the Sorcerer, ultimately, to the realization of many goals which would be otherwise unattainable. By studying the methods of the mystic arts, one can begin to see a pattern emerge of why some proactive spells work and why some won't. The Sorcerer is aware of this pattern and works to perfect weaving it into their spells. Though usually dark arts, the Sorcerer also delves into some white arts for the ability to induce proactive change on their surroundings. Ventures into the Twilight realm prove the power of these other worlds and their impact on the mortal realm.
Wizard: As the Sorcerer, the Wizard uses changes in the environment to shape their reality. The difference is the energies used and the method they are employed. Instead of forcing their will on the environment, the wizard takes a more scientific edge to their use of power and examines the intrinsics of the interactions between the Astral Plane and this plane. Instead of creating changes and making things bend to them, they take normal physical circumstances and try to work within those confines using a magical touch. Things that already exist will simply be given a magical "spin" and be allowed to continue by altering their astral form, thus making all the magicâs of a Wizard seem odd but natural. If a ball would normally roll straight, the Wizard would only make the ball veer left or right, not stop it in motion or whatnot. This extremely coy and natural form of mystic power is truly the spirit of "occult".
Celestial Magician: The Celestial magician takes many forms in the occult and religious world. There are a great many magicians of this sort who would not even consider themselves casters, but the fact remains that it classifies as occult phenomenon. The power of the Celestial caster is in otherworldly entities. Drawing from famous god-figures like the traditional Christian God, entities like Nuit, the Egyptian gods, the Roman gods, or any combination of any series from any culture of non-terrestrial higher self-sufficient beings is what defines the use of Celestial magic. The power of supplication and communication or understanding of the higher beings renders change on the natural world by the will of these creatures, sparked by the requests of their followers, much like standard prayer and peace offerings to the gods. Native American beliefs are largely Celestial magic; modern Christianity is deeply a Celestial magick
religion, and many variants thereof. The key, in this art, is to find what the entity in question desires, and then to bring change to the world by using the deity's might and wisdom.
Satanist: Having already found the source of their power in themselves, the Satanic Mage is not concerned so much with the collection process as much as the ability to release this energy and manifest it in the form of magical results. Many times, the spell process is the creation of mental demons (as suggested in many modern demonolatry books) and sending them out for a purpose, or conversely in simply taking the natural forces within the caster themselves and turning them to a purpose. There are many good resources for Satanic Mages, but many poor ones as well. The trick, in this art, to finding decent information is looking for pages that cite other sources on the topic. The community tends to be tightly knit, even if not personable, because of the harassment they get from using the term "Satanist" (which really ends up meaning Hedonism more than it has anything to do with Satan) in the presence of the monotheistic majority. The challenge for people of this art is to separate the internal magic aspects of Satanic Magick from the demonological or religions aspects and learn to use their power purely. Best of luck in this endeavor -- you'll need it.
Choosing a Caste:
Now, seeing that the castes are basically listed and explained in terms of which way the art usually develops, the hard part is often seeing if you actually fit into a caste or whether you'd be better off using a bit of them all as is necessary for a given situation (sometimes called Grey Magick, and, more commonly, Chaos Magick). The following set of "You might be" traits are not cured dogmas, but can be used somewhat as an indicator of what your practice might fall into if it is destined to move into a full-fledged caste. Notice that the premise of using this list is that before trying to identify an advanced caster class that you must already have an experience to compare these traits with. Do not use this as a pick-and-choose list for whatever sounds the most spectacular or fun but rather, after using magic for a while, use this as a gentle nudge in one direction to help you confirm your own analysis.
Indications of White Magick:
Your practice uses White Light energies.
There is a tendency for self-purification before and/or during a spell.
You have an affinity to cleanse your area, target, and self.
Indications of Black Magick:
Dark essences are being used, primarily.
You find power in the emotional negativity of yourself and others.
Indications of Mage craft:
Your primary concern is in social politics or what people think.
You are constantly trying to understand what people think and feel.
Indications of Nature Magick:
Your practice tends to beckon you to nature and the use of natural forces.
You can feel a higher presence in things that most would call inanimate.
Your magic is an extension of the natural world, not a conflict with it.
You feel a different kind of power in nature and feel prone to harness it.
Indications of Necromancy:
Your practice centers on degrading health and physical well being.
You find power in the physical suffering of yourself or others.
You use servitors but totally control all of their actions at all times.
You can sense if a person will die or if they are becoming ill/diseased.
Indications of Healing:
You can feel your own internal energies.
You can realign your internal energies if injured.
You can feel the aura of others and can realign it as well.
Indications of Celestial Magic:
You put your situations in the hands of a higher being.
You believe in a god or gods and want to, or know how to, communicate with them.
Your mystic practices incorporate the use of higher intelligences.
Indications of Satanic Magic:
Your power comes from yourself.
You are not interested in ever letting power out of your own control.
Your methods often include blessing/enchanting yourself.
Indications of Elemental Magic:
You are primarily concerned with physical manifestations.
Your art works heavily with controlling the environment.
It seems natural to you if you change the weather through mystic exertion.
Indications of Enchanting:
You are interested in the mystic potential of items.
You can sense Mana in items that have been handled by another magician.
You try to magnify or nullify the powers put into objects.
You have skill in imbuing normal things with special powers.
Indications of Summoning:
You do not want to use higher powers to control summoned spirits.
Your power focuses on calling out to spirits, but not gods.
You see or work with demons, yet do not feel afraid.
You want servitors but also want to let them think on their own.
You can talk to spirits of the dead by feeling their thoughts.
Indications of Divination:
You frequently experience Deja Vu.
You see hidden meanings in atypical events.
You can predict events spontaneously with a high degree of accuracy.
Indications of Wizardry:
You tend to see "the big picture" where everyone else is worried about trifles.
You have the ability to move outside your body.
You use magic to change small things, which drastically effect larger things by "domino effect".
Your can project yourself or thoughts of your own design to manifest on this level.
Your art seems like a "pure" sorcery.
Indications of Sorcery:
You tend to see even mundane things from a mystic standpoint.
Your practices are fervent and full of emotion.
You step into a dark plane to practice your most potent skills.
Your art seems like a "dark" wizardry, or some form of "shadow magick".
INDICATIONS YOU DO NOT YET FIT INTO A SINGLE ART:
You rely on a variety of mystic abilities.
You do not have a desire to commit to one path.
You feel confined rather than empowered by using a single discipline.
You see no need for devotion to extreme mystic abilities.
Note: This is not necessarily a reason to panic. There are times when the practitioner is legitimately not prepared to take on the discipline strains of studying through a single caste. At first, in fact, it is recommended that things be taken slowly and that all paths are given a fair trial to ensure that there is no reminiscing or regret in the future. This is not a problem, nor a sign of weakness. It is a reality that many casters face. Using whatever seems appropriate for a situation and recording it in a journal (Book of Shadows) will eventually reveal trends in your casting that will allow you to see where your talent or need lies.
INDICATIONS YOU DO NOT NEED MAGICk AT ALL:
There is a physical solution to your problems.
You couldn't be bothered to study if there are no immediately achievable results.
You already know of a few normal solutions to a problem without resorting to the Craft.
[o/a unknown]
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