If you have material desires, you must gaze upon images of them - surround yourself with the smells and sounds conducive to them - create a lodestone which will attract the situation or thing that you wish!

To insure the destruction of an enemy, you must destroy them by proxy! They must be shot, stabbed, sickened, burned, smashed, drowned, or rent in the most vividly convincing manner! It is easy to see why the religions of the right-hand path frown upon the creation of "graven images". The imagery used by the sorcerer is a working mechanism for material reality, which is totally opposed to esoteric spirituality.

A Greek gentleman of magical persuasion once wanted a woman who would satisfy his every desire, and so obsessed with the unfound object of his dreams was he, that he went about constructing such a wonderful creature. His work completed, he fell so convincingly and irrevocably in love with the woman he had created that she was no longer stone, but mortal flesh, and alive and warm; and so the magus, Pygmalion, received the greatest of magical benedictions, and the beautiful Galatea was his.

D. Direction

ONE of the most overlooked ingredients in the working of magic is the accumulation and subsequent direction of force toward an effective end.

Altogether too many would-be witches and warlocks will perform a ritual, and then go about with tremendous anxiety waiting for the first sign of a successful working. For all intent and purpose, they might as well get down on their knees and pray, for their very anxiety in waiting for the desired results only nullifies any real chance of success. Furthermore, with this attitude, it is doubtful that enough concentrated energy to even perform a proper ceremony could be stored up in the first place.

To dwell upon or constantly complain about the situation upon which your ritual would be based only guarantees the weakening of what should be ritualistically directed force, by spreading it thin and diluting it. Once the desire has been established strongly enough to employ the forces of magic, then every attempt must be made to symbolically give vent to these wishes IN THE PERFORMANCE OF THE RITUAL - NOT before or after!

The purpose of the ritual is to FREE the magician from thoughts that would consume him, were he to dwell upon them constantly. Contemplation, daydreaming and constant scheming burns up emotional energy that could be gathered together in a dynamically usable force; not to mention the fact that normal productivity is severely depleted by such consuming anxiety.

The witch who casts her spells between long waits by the telephone, anticipating her would-be lover's call; the destitute warlock who invokes Satan's blessing, then waits on pins and needles for the check to arrive; the man, saddened by the injustices wrought upon him, who, having cursed his enemy, plods his way, long of face, and forrowed of brow - all are common examples of misdirected emotional energy.

Small wonder that the "white" magician fears retribution after casting an "evil" spell! Retribution, to the guilt-ridden sender, would be assured, by their very conscience-stricken state!

E. The Balance Factor

THE Balance Factor is an ingredient employed in the practice of ritual magic which applies to the casting of lust and compassion rituals more than in the throwing of a curse. This ingredient is a small, but extremely important one.

A complete knowledge and awareness of this factor is an ability few witches and warlocks ever attain. This is, simply, knowing the proper type of individual and situation to work your magic on for the easiest and best results. Knowing one's own limitations is a rather odd bit of introspection, it would seem, for a person who should be able to perform the impossible; but under many conditions it can make the difference between success and failure.

If, in attempting to attain your goal through either greater or lesser magic, you find yourself failing consistently, think about these things: Have you been the victim of a misdirected, over-blown ego which has caused you to want something or someone when the chances are virtually non-existent? Are you a talentless, tone-deaf individual who is attempting, through magic, to receive great acclaim for your unmusical voice? Are you a plain, glamorless witch with oversized feet, nose, and ego, combined with an advanced case of acne, who is casting love spells to catch a handsome young movie star? Are you a gross, lumpy, lewd-mouthed, snaggle-toothed loafer who is desirous of a luscious young stripper? If so, you'd better learn to use the balance factor, or else expect to fail consistently!

To be able to adjust one's wants to one's capabilities is a great talent, and too many people fail to realize that if they are unable to attain the maximum, "a half a loaf can be better than none". The chronic loser is always the man who, having nothing, if unable to make a million dollars, will reject any chance to make fifty thousand with a disgruntled sneer.

One of the magician's greatest weapons is knowing himself; his talents, abilities, physical attractions and detractions, etc., and when, where, and with whom to utilize them! The man with nothing to offer, who approaches the man who is successful with grandiose advice and promise of great wealth, has the alacrity of the flea climbing up the elephant's leg with the intention of rape!

The aspiring witch who deludes herself into thinking that a powerful enough working will always succeed, despite a magical imbalance, is forgetting one essential rule: MAGIC IS LIKE NATURE ITSELF, AND SUCCESS IN MAGIC REQUIRES WORKING IN HARMONY WITH NATURE, NOT AGAINST IT.

A. NOTES WHICH ARE TO BE OBSERVED BEFORE BEGINNING RITUAL

1. Person performing ritual stands facing the altar and symbol of Baphomet throughout ritual, except when other positions are specifically indicated.

2. If possible, altar should be against west wall.

3. In rituals performed by one person the role of priest is not required. When more than one person is involved in the ceremony, one of them must act as priest. In a private ritual the sole performer follows the instructions for the priest.

4. Whenever the words "Shemhamforash!" and "Hail Satan!" are spoken by the person acting as priest, the other participants will repeat the words after him. The gong is struck following the other participants' response to "Hail Satan!"

5. Conversing (except within the context of the ceremony) and smoking are prohibited after the bell is rung at the beginning, until after it is again rung at the end of the ritual.

6. The Book of Belial contians the principles of Satanic magic and ritual. Before attempting the rituals in the Book of Leviathan, it is imperative that you read and understand the complete Book of Belial. Until you have done so, no degree of success can be expected from the thirteen steps which follow.

B. THE THIRTEEN STEPS

1. Dress for ritual.

2. Assemble devices for ritual; light candles and shut out all outside light sources; place parchments to right and left of the altar as indicated.

3. If a woman is used as the altar she now takes her position - head pointing south, feet pointing north.

4. Purification of the air by ringing of the bell.

5. "Invocation to Satan" and "Infernal Names" which follow (see Book of Leviathan) are now read aloud by priest. Participants will repeat each Infernal Name after it has been said by priest.

6. Drink from chalice.

7. Turning counter-clockwise, the priest points with the sword to each cardinal point of the compass and calls forth the respective Princes of Hell: Satan from the south, Lucifer from the east, Belial from the north, and Leviathan from the west.