The Necronomicon
Dec. 30th, 2004 02:59 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
masque12As promised, my essay. This will likely be the first in a series of essays on Lovecraftian Magic, which may be compiled into a book later.
Lovecraftian Magic
"I am, indeed, an absolute materialist so far as actual belief goes; with not a shred of credence in any form of supernaturalism – religion, spiritualism, transcendentalism, metempsychosis, or immortality."
- H.P. Lovecraft
So the Old Gent claimed. But why then does his work have such a fascination for those who practice magic? Why do people continue to seek the "Necronomicon", when anyone knows that it is a fictional construct? Lovecraft blended dream visions, modern notions of science and existential dread in ways that have inspired writers and occultists ever since. Lovecraft's cosmology is so appealing because it is based on the presumptions of our world, not on the antiquated medieval notions present in the "real" grimoires of the past. Rather than the hierarchies of angels and demons appealed to in the medieval grimoires, Lovecraft started from a premise grounded in the science of his day, and then confronted his logical, reasonable characters with the realization that everything they know is wrong. In his own words:
"Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large."1
H.P. Lovecraft was a staunch materialist, who happened to write weird fiction that has fascinated occultists for years. While his stories leave something to be desired in terms of plot, he was a genius when it came to creating a sense of foreboding. In his essay "Supernatural Horror in Literature" he wrote:
"The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present, and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain -- a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."2
The best of his stories evoke this very sense. It is notable that many of Lovecraft’s stories aren’t very scary when one reads them, but they can wake one up in the middle of the night when the sense of impending doom and futility creep into one’s dreams. The story "Nyarlathotep" is a good example of this, nothing particularly scary happens in it, but a sense of impending doom hangs over the rather prosaic events in it, which plotwise are rather inconsequential. The ideas and concepts present in his work has a way of sinking into one’s subconscious and breeding doubt about the true nature of our reality.
"The one test of the really weird is simply this -- whether or not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers; a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe's utmost rim."3
Much of magic involves evoking this same sense of contact with things outside, even if only to put one in an effective frame of mind for the working of one’s will.
"As to what is meant by 'weird' -- and of course weirdness is by no means confined to horror -- I should say that the real criterion is a strong impression of the suspension of natural laws or the presence of unseen worlds or forces close at hand."4
That sense often doesn’t even need to be based on anything real, as long as it sets the mood correctly. With the proper mindset and atmosphere, one can successfully perform a working based on Lord of the Rings, or Star Wars, or the fiction of H.P. Lovecraft. Which brings me to the Necronomicon.
The Necronomicon is probably the most notorious grimoire that was never written. Invented by HP Lovecraft as a literary device in his fiction, it has captured the imagination of thousands. Numerous versions of it have been created, but none can live up to the idea of the book as described in the Lovecraftian fiction. Lovecraft himself acknowledged this; when asked if he would ever write it, he said, "... one can never produce anything even a tenth as terrible and impressive as one can awesomely hint about. If anyone were to try to write the Necronomicon, it would disappoint all those who have shuddered at cryptic references to it."5 This is precisely the source of its power.
The Necronomicon has power precisely because it does NOT exist; it can be thought of as a kind of Platonic ideal of the "forbidden tome." Many magicians, this writer included, are incorrigible bibliophiles. Many old grimoires are available for free online, but people still buy the bound versions that can sometimes be found, simply because it "feels" better. There is a glamour associated with books that cannot be enjoyed elsewhere, even if one possesses the content of said book. This is why the Necronomicon is so fascinating and frustrating. The idea that one might stumble across it in a dusty bookstore somewhere has power, and sends shivers down the spine. The little teaser excerpts that Lovecraft put into his work just add to the mystique, hinting at forbidden secrets just beyond one's grasp. Nothing in the George Hay or Simon versions of the book can compare with
"The Old Ones were, the Old Ones are, and the Old Ones shall be. Not in the spaces we know, but between them, They walk serene and primal, undimensioned and to us unseen. Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again."6
Just reading that sends a tremor of greed and anticipation down one's spine. If only we could get our hands on it. The fact that the people in the fiction end up mad or dead half the time just adds to the mystique. Could we be one of the rare people who remain unscathed, nay, derive power from the Necronomicon? Its non-existence can be turned to our advantage. We can write excerpts from our own version. If one takes into account theories of the "Akashic records" or Lucien’s library7 from the Sandman comics, perhaps we really are tapping into the "real" book.
"Memories and possibilities are ever more hideous than realities."8
This statement is key to the use of Lovecraft’s fiction in one’s magical practice. The fact that there is no "real" Necronomicon frees one up to incorporate the idea of it into their magical work without fetters. As with the fiction, the most important aspect of Lovecraftian magic is mood. Ideally one wants to evoke the atmosphere of Lovecraft’s fiction at its best, the sense that there are hidden truths waiting to be found just beyond the mundane geometry of our own reality. Props, costumes, and snippets from the fiction help this enormously. Make replicas of the Mythos sigils such as the Elder Sign, or craft a Shining Trapezohedron. One of the more effective "props" one could make is a Necronomicon of their own. There are always a number of them on eBay for sale, usually filled with gibberish, but they look properly aged, bound with leather, full of dark illustrations, and are beautiful works of art. To combine that with actual rituals would be a wonderful project, and a welcome addition to anyone’s ritual chamber. Instructions for the construction of these type of props can be found on the internet.9
One doesn't have to be distracted with whether one is doing it "right", as is often the case in magical circles, where people argue endlessly about the interpretations of traditional works. One can simply go through the Mythos lore and be inspired. In fact, this technique will probably yield results more effective than any of the various editions available for sale. It allows the practitioner to fully utilize the Mythos as filtered through their own subjective universe, making it more real to them. Combine elements from stories that have nothing to do with each other, such as "The Haunter of the Dark" and "Beyond the Gates of the Silver Key" if it will suit your purposes.
"The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life."10
As long as we have that imagination, and the ability to detach from the everyday, we should be able to use the Mythos to great effect. Forget the fact that Lovecraft and his cronies invented it about 80-odd years ago. All systems of magic were invented by someone at some point, and few of them are as fully realized as the Mythos. After all, with "true" lore, we have lost a lot of it over the centuries and there is much we don’t know. With Lovecraft and his compatriots, we have their whole body of lore available for the taking. All it takes is a bit of reading and ingenuity. As Lovecraft himself observed: "The process of delving into the black abyss is to me the keenest form of fascination...11" This is probably the root of occultists’ fascination with his work.
The Hounds of the Barrier are waiting for you. Do you dare open the Gate?
Endnotes
1. H.P. Lovecraft, In a letter to Farnsworth Wright, July 5, 1927.
2. H.P. Lovecraft, "Supernatural Horror in Literature."
3. H.P. Lovecraft, "Supernatural Horror in Literature."
4. H.P. Lovecraft, In a letter to Wilfred Blanch Talman, August 24, 1926.
5. H.P. Lovecraft, letter to James Blish and William Miller, May 13, 1936.
6. H.P. Lovecraft, "The Dunwich Horror."
7. Lucien’s library, for those who aren’t fans of the series, contains every book anyone has ever even considered writing.
8. H.P. Lovecraft, "Herbert West -- Re-Animator."
9. "Propping Up the Mythos," http://www.miskatonic.net/pickman/mythos/
10. H.P. Lovecraft, "Supernatural Horror in Literature."
11. H.P. Lovecraft, Letter to Frank Belknap Long, February 27, 1931.
Lovecraftian Magic
"I am, indeed, an absolute materialist so far as actual belief goes; with not a shred of credence in any form of supernaturalism – religion, spiritualism, transcendentalism, metempsychosis, or immortality."
- H.P. Lovecraft
So the Old Gent claimed. But why then does his work have such a fascination for those who practice magic? Why do people continue to seek the "Necronomicon", when anyone knows that it is a fictional construct? Lovecraft blended dream visions, modern notions of science and existential dread in ways that have inspired writers and occultists ever since. Lovecraft's cosmology is so appealing because it is based on the presumptions of our world, not on the antiquated medieval notions present in the "real" grimoires of the past. Rather than the hierarchies of angels and demons appealed to in the medieval grimoires, Lovecraft started from a premise grounded in the science of his day, and then confronted his logical, reasonable characters with the realization that everything they know is wrong. In his own words:
"Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large."1
H.P. Lovecraft was a staunch materialist, who happened to write weird fiction that has fascinated occultists for years. While his stories leave something to be desired in terms of plot, he was a genius when it came to creating a sense of foreboding. In his essay "Supernatural Horror in Literature" he wrote:
"The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present, and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain -- a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."2
The best of his stories evoke this very sense. It is notable that many of Lovecraft’s stories aren’t very scary when one reads them, but they can wake one up in the middle of the night when the sense of impending doom and futility creep into one’s dreams. The story "Nyarlathotep" is a good example of this, nothing particularly scary happens in it, but a sense of impending doom hangs over the rather prosaic events in it, which plotwise are rather inconsequential. The ideas and concepts present in his work has a way of sinking into one’s subconscious and breeding doubt about the true nature of our reality.
"The one test of the really weird is simply this -- whether or not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers; a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe's utmost rim."3
Much of magic involves evoking this same sense of contact with things outside, even if only to put one in an effective frame of mind for the working of one’s will.
"As to what is meant by 'weird' -- and of course weirdness is by no means confined to horror -- I should say that the real criterion is a strong impression of the suspension of natural laws or the presence of unseen worlds or forces close at hand."4
That sense often doesn’t even need to be based on anything real, as long as it sets the mood correctly. With the proper mindset and atmosphere, one can successfully perform a working based on Lord of the Rings, or Star Wars, or the fiction of H.P. Lovecraft. Which brings me to the Necronomicon.
The Necronomicon is probably the most notorious grimoire that was never written. Invented by HP Lovecraft as a literary device in his fiction, it has captured the imagination of thousands. Numerous versions of it have been created, but none can live up to the idea of the book as described in the Lovecraftian fiction. Lovecraft himself acknowledged this; when asked if he would ever write it, he said, "... one can never produce anything even a tenth as terrible and impressive as one can awesomely hint about. If anyone were to try to write the Necronomicon, it would disappoint all those who have shuddered at cryptic references to it."5 This is precisely the source of its power.
The Necronomicon has power precisely because it does NOT exist; it can be thought of as a kind of Platonic ideal of the "forbidden tome." Many magicians, this writer included, are incorrigible bibliophiles. Many old grimoires are available for free online, but people still buy the bound versions that can sometimes be found, simply because it "feels" better. There is a glamour associated with books that cannot be enjoyed elsewhere, even if one possesses the content of said book. This is why the Necronomicon is so fascinating and frustrating. The idea that one might stumble across it in a dusty bookstore somewhere has power, and sends shivers down the spine. The little teaser excerpts that Lovecraft put into his work just add to the mystique, hinting at forbidden secrets just beyond one's grasp. Nothing in the George Hay or Simon versions of the book can compare with
"The Old Ones were, the Old Ones are, and the Old Ones shall be. Not in the spaces we know, but between them, They walk serene and primal, undimensioned and to us unseen. Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again."6
Just reading that sends a tremor of greed and anticipation down one's spine. If only we could get our hands on it. The fact that the people in the fiction end up mad or dead half the time just adds to the mystique. Could we be one of the rare people who remain unscathed, nay, derive power from the Necronomicon? Its non-existence can be turned to our advantage. We can write excerpts from our own version. If one takes into account theories of the "Akashic records" or Lucien’s library7 from the Sandman comics, perhaps we really are tapping into the "real" book.
"Memories and possibilities are ever more hideous than realities."8
This statement is key to the use of Lovecraft’s fiction in one’s magical practice. The fact that there is no "real" Necronomicon frees one up to incorporate the idea of it into their magical work without fetters. As with the fiction, the most important aspect of Lovecraftian magic is mood. Ideally one wants to evoke the atmosphere of Lovecraft’s fiction at its best, the sense that there are hidden truths waiting to be found just beyond the mundane geometry of our own reality. Props, costumes, and snippets from the fiction help this enormously. Make replicas of the Mythos sigils such as the Elder Sign, or craft a Shining Trapezohedron. One of the more effective "props" one could make is a Necronomicon of their own. There are always a number of them on eBay for sale, usually filled with gibberish, but they look properly aged, bound with leather, full of dark illustrations, and are beautiful works of art. To combine that with actual rituals would be a wonderful project, and a welcome addition to anyone’s ritual chamber. Instructions for the construction of these type of props can be found on the internet.9
One doesn't have to be distracted with whether one is doing it "right", as is often the case in magical circles, where people argue endlessly about the interpretations of traditional works. One can simply go through the Mythos lore and be inspired. In fact, this technique will probably yield results more effective than any of the various editions available for sale. It allows the practitioner to fully utilize the Mythos as filtered through their own subjective universe, making it more real to them. Combine elements from stories that have nothing to do with each other, such as "The Haunter of the Dark" and "Beyond the Gates of the Silver Key" if it will suit your purposes.
"The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life."10
As long as we have that imagination, and the ability to detach from the everyday, we should be able to use the Mythos to great effect. Forget the fact that Lovecraft and his cronies invented it about 80-odd years ago. All systems of magic were invented by someone at some point, and few of them are as fully realized as the Mythos. After all, with "true" lore, we have lost a lot of it over the centuries and there is much we don’t know. With Lovecraft and his compatriots, we have their whole body of lore available for the taking. All it takes is a bit of reading and ingenuity. As Lovecraft himself observed: "The process of delving into the black abyss is to me the keenest form of fascination...11" This is probably the root of occultists’ fascination with his work.
The Hounds of the Barrier are waiting for you. Do you dare open the Gate?
Endnotes
1. H.P. Lovecraft, In a letter to Farnsworth Wright, July 5, 1927.
2. H.P. Lovecraft, "Supernatural Horror in Literature."
3. H.P. Lovecraft, "Supernatural Horror in Literature."
4. H.P. Lovecraft, In a letter to Wilfred Blanch Talman, August 24, 1926.
5. H.P. Lovecraft, letter to James Blish and William Miller, May 13, 1936.
6. H.P. Lovecraft, "The Dunwich Horror."
7. Lucien’s library, for those who aren’t fans of the series, contains every book anyone has ever even considered writing.
8. H.P. Lovecraft, "Herbert West -- Re-Animator."
9. "Propping Up the Mythos," http://www.miskatonic.net/pickman/mythos/
10. H.P. Lovecraft, "Supernatural Horror in Literature."
11. H.P. Lovecraft, Letter to Frank Belknap Long, February 27, 1931.
