By Lon Milo DuQuette, Aleister Crowley
Volume II of The better of the Equinox via Aleister Crowley, deals a treasure chest of dramatic rituals.
The Equinox grew to become the traditional for English language esotericism within the early twentieth century, aptly termed the "Encyclopedia of Initiation" through its primary editor and contributor, Aleister Crowley. This ten-volume assortment had extraordinary sort, intensity, and the application of its contents surround Qabalah, tarot, yoga, and the fundamental papers of Crowley's instructing order, A. A. regrettably, a lot of this fabric is at the moment out of print.
The better of the Equinox, quantity II, curated through pupil and U.S. Deputy Grandmaster common of the O.T.O., Lon Milo DuQuette, collects the simplest of Crowley’s fabric from either in-print and out-of-print versions of The Equinox. For Crowley creditors and the curious alike, this is often an available, reasonable quantity filled with excessive magick and secrets.
About the Author:
Aleister Crowley (1875-1947) grew to become the main greatly learn writer in 20th-century occultism. He redefined magick as a box of inquiry and endeavour via his books and the orders that he led the A.A. and the O.T.O. Lon Milo DuQuette is a author and lecturer within the box of the Western secret Traditions and is nationwide and overseas governing officer of Ordo Templi Orientis, the most influential magical societies of the C 20th.
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His wife was called Gerd, the daughter of Gymir, and from his alternative name – Yngvi, or Yngvi-Frey – the Swedish royal dynasty, the Ynglings, is named, and is descended. This is fairly straightforward legendary genealogy. But the Vanir are stranger than this. As we have seen, Snorri’s pseudo-history is a good way of incorporating the gods of Old Norse mythology into a plausible history of the Scandinavian royal house, and of allowing stories about the gods to take their place in a Christianized history.
It has been suggested that 42 GODS AND GIANTS the women (or woman with two names) who caused such chaos among the Æsir – Heid/Gullveig – were perhaps Freyja, especially given their associations with sei r. But it is not anywhere explained why or how Freyja – if it was indeed her – came to practise her magic arts among the Æsir, causing them such consternation, and indeed the great war itself. There is just the faintest shadow of that old situation characteristic of so much Old English and Old Norse literature: the woman in the enemy hall, stolen and held by a rival tribe, a little like Hild, who was abducted and found herself impossibly caught between husband and father.
What, we may ask, drives Odin to seek out more and more arcane secrets, challenging giants in their own halls, giving up one of his eyes, or risking his life by tasting death? The most compelling answer to this question belongs, strictly, in the final section of this chapter: Odin is constantly checking on the likelihood of what he most fears, which is that his precious son Baldr is fated to die, the first act in the great drama of Ragnarök, when all the gods will perish. 32 GODS AND GIANTS Odin’s role as the god of war is not much represented in Old Norse mythological narratives about the conflicts of gods and giants, even though most of the kennings applicable to war in skaldic poetry take it for granted.