October 23, 2019
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Description of  Dagdagiel

The fourteenth tunnel is suffused with the kala of Venus represented by the Whore.

It is interesting to see how nearly H.P. Lovecraft approached the frontiers of these alien dimensions. In his book The Case of Charles Dexter Ward he alludes to the ‘sign of Koth, that dreamers see fixed above the archway of a certain black tower standing alone in twilight…’ The black tower is the Phallus of Set, the standing stone set in the twilight of the Abyss, i.e. in the crepuscular state between dream and the ‘dark abyss of sleep’.   The word Koth or Kotha appears among the barbarous names of evocation which the Gnostics used in their Agapoi, some of which Crowley restored qabalistically and used in Liber Samekh, the central grimoire of the New Aeon that contains the formulae of congress with the double or shadow-self.[17] In the elmental section ascribed to the element Earth, Kotha is there translated as ‘Thou hollow one’, the final ‘a’ being evocative. Koth therefore signifies the hollow one, the tunnel that is symbolized by the vagina of the female which emits the tenuous plasma responsive to the slightest impress of the magically directed will. Concerning this elemental section of the grimoire Crowley observes that the ‘conception is of Earth, glowing, inhabited by a Solar-Phallic Hippopotamus[18] of a Venereal nature’.

The word ChVTh, a form of Koth meaning ‘the beast of the reeds’[19] has the number 414 which is that of the Limitless Light (Ain Soph Aur), one of the triple veils of the void beyond Kether. It is also the number of AZVTh (Azoth), the fluid, i.e. the supreme secretion or kala that dissolves all molecular structure with its infinitely corroding light. Lovecraft has conceptualized this notion in terms of his own scientific materialism as Azathoth, the blind and idiot chaos at the center of infinity.[20] The name Azathoth is composed of two distincts concepts, Aza and Thoth.  According to W. Henning[21] Az is ‘the evil mother of all demons’. Coupled with Thoth, one og whose type is the dog-headed ape ar cynocephalus, she resumes the feminine side of the guardian of the Abyss.[22] Azoth comprises the initial and final letters of the alphabets of three ancient languages : Aleph and Tau (Ath) in Hebrew; Alpha and Omega, in Greek; A and Z, in Latin.

The word Koth as Cheth (ChITh), 418 is of vital importance in the New Aeon for it is the number of the Great Work in its highest alchemical phase, viz : the dissolution of all molecular structures,[23] as adumbrated in Al. II. 44.[24]

 

Path: 14 (Ghaghiel-Satariel)
Totems of Spirit: Dove; Sparrow
Disease of Tunnel: Syphillis; Nymphomania; Gonorrhea
Musical Key of Tunnel: F Sharp
Siddhi of Tunnel: Distillation of Love Philtres
Gematria: 55; 193; 1051
Tarot: Atu XIV (Empress)

Dagdagiel instructs the witch in the methods whereby she may shapeshift her astral double into a leopard, as well as how to astrally project in the first place. Dagdagiel alters and refines the abilities which the sorcerer exhibits when in the astral planes and she may impart psychic powers. According to Linda Falorio:

Dagdagiel is seen here as sensual, debauched Venus, depicted as abhorred Alphito—the White Sow, Phagmo Dorje—wallowing shamelessly, enmired, in sheer orgasmic delight. She is the profligate mother, who, not recognizing her own offspring eats them with gluttonous desire. Her retromingent vulva—the secreting part, represents the Womb of Time, the Eye of the Void, the Gate for the Aeon of Maat, and indicates that She is High Priestess of the Mysteries within, Who bows before No Man.

Dagdagiel teaches the witch to perform or dispel and/or defend against rituals of cursing. She presides over dark fairy magick and the mastery of the Green Ray of nature, and she assists in the magickian’s attainment of communion with Nature sprites or elementals. She is presides over loss, death, decay, the sharing of consciousness by sorcerers, rebirth, the prospering of life, the sorcery of empathy, the process of becoming putrefied, creation of thoughtforms, retroversion of the senses, love magick, sex magick, drunkenness of the sense, sexual prowess, and the act of coming-into-being. Quoting Linda Falorio:

The powers of Dagdagiel are those of drunkenness of the senses, the ability to see the world aglow with colored lights. Here is appreciation of, and mastery of the Green Ray  of nature, with the possibility of communication with and cooperation with the Devas., who are the elemental Sprites, or Spirits of Nature. Here too are sexual prowess and fecundity; here is the power of communion with all life, the ability to make life thrive and grow. Here especially is the retroversion of the senses, the power to merge with all forms of life, with all creatures, human and otherwise, with all races, cultures, creeds, the power to merge with all aspects of existence, to merge even with those which seem naturally repugnant to narrowed senses—without fear of harm.  And here is the ability to find in this merging inspiration, divinity, forgetfulness of self, orgasm, bliss. For here is the power of Love which denies none, and “conquers even ravening beasts.”

Dagdagiel is a described as a reflection of the Empress debased to the station of prostitution—an initiate of the highest sorceries of sexuality who presides over the baleful Sinistral aspects of nature. Dagdagiel is an embodiment of ancient power who bears the mark of the Scarlet Woman known as Mactoron and Babalon—a personification of the Sphere of Saturn. The name Dagdagiel literally translates to “Babalon.”

In Frater 414’s communion with Dagdagiel, she is recorded to have said: “I do not need your adorations! Look about you, all is my adoration. (She reveals all around us lush fields of grass, trees, water, blue sky, bright sun, and frolicking animals)… I am of Venus, and thou knowest love. I am the force that brings Chokmah and Binah together, the seduction of those opposites.”

Royalty (Empress) and criminality (Harlot) are both instantiations of an ethos of the one-against-the-many, where the prostitute rebels against the customs imposed upon the second sex and champions the pursuit of female liberation in doing so. The harlot-becoming of the empress signifies her attainment of enlightenment and awake-ness, whereby she is liberated of the entrancement which previously subdued her. Her act of becoming can be illustrated symbolically, according to Kenneth Grant, by the serpent’s attainment of the gift of prophecy via the inspiration of the Numinous (Divine).

Every planet has something of a yin-yang nature to its astrological influence—well, half a yin-yang. Each planet has a subtle subverted aspect of its influence which reflects the nature of one other planet. The subtle aspect of Venus’s astrological influence mirrors the influence of Saturn, as the subtle aspect of Saturn mirrors the aspect of Venus.

It would appear that Dagdagiel represents the Saturnian Undercurrent of Venus, called Venus Illegitima by RHP Occultists. She would thus, perhaps, be the Saturnian emanation within Venus.

Frater 414 describes the appearance of Dagdagiel during his communion with her as follows:

A woman appears in royal robes of turquoise. An odd crown rests on her head; it resembled the triple flame of my wand as a spiral, but what an off white color. He skin was milky white. She had dark hair and was beautiful. She walks from the left to the right, then back again, looking at me oddly.

Dagdagiel appeared to me as a gigantic, bald white head with black eyes, levitating adorned with tattered grey robes. Saturnian indeed. Her deathfulness represents the juxtaposition of the old and the new, hinting to another world buzzing with fertility and a new-ness of life.

The chant I use to summon Dagdagiel is “Liftoach Pandemonium, Et Germinet Dagdagiel,” meaning “Open the Infernal Plane, and Bring Forth Dagdagiel.” Since this chant has the additional effect of presencing Qliphothic energy, another chant is in order: “Zuhalma, Dagdagiel, Bakshorilon” will be useful, being that it consists of invented magickal names for her. The pronunciation, with syllables equating in their sound to English words appearing in all caps, “ZOO-HALL-muh, Dagdagiel, BACK-SHORE-ILL-ON.”

“Val-Ceph-Ged, Drun-Orth, Dagdagiel ” should be a useful chant as well, with Val-Ceph-Ged being 193 in Enochian and Drun-Orth translating to “fifty-five.”

The following dissertation upon the pathway over which Dagdagiel presides may be confusing to the reader, so I provide the disclaimer that an understanding of it is in no way necessary to work with the archdemoness Dagdagiel, as I knew none of it before I summoned her. I owe the contents of this dissertation entirely to Nightside of Eden by Kenneth Grant and Qliphothic Wor(L)ds by Cort Williams.

The Venusian Qliphothic pathway of Dagdagiel known as the Whore corresponds to the letter Daleth, signifying a door, which door permits the entrance of the Goetic sorcerer to and from her pathway in the form of the gallows—the deathly womb; the vulva inverted. This tunnel embodies the final stages of beauty during which the bestial aspect beneath is unmasked, concealing the senescent gorgeousness in a primal countenance.

The fourteenth tunnel is the one through which the Qlipha of Ghaghiel (Uranus/Baelzebuth) supplants Sathariel/Satorial (Saturn/Lucifugus Rofocalus), the one by which the power-zone of the work of the sword is connected to the power-zone of the work of the wand—two works which are truly identical in nature. This is the base of that pyramid of tunnels which balances atop Ain within the abyssal void, described as the Temple of Mother Earth built within the City of Whoredom. It is a tunnel related to dream work and congress with the astral body.

Cort Williams writes:

For the Black Adept who traverses the tunnel, this is the journey outwards from the womb of Satariel backwards into the phallus of the Dark Sovereign, the transformation of self into Pneumatic Seed, opening the towards the exalted Qliphah of Ghagiel and that which lies beyond.

According to Linda Falorio:

This the 14th Tunnel’s door is fashioned as an oyster-shell, which is a symbol of male sexual prowess and staying power—yet it has the salt-sea scent and shape of the feminine organ. Outside the shell we find the Chaos of the spider’s web; within, the web becomes a network of “infinitely corroding light” whose interstices are black holes in interstellar space. These black holes are the midnight crossroads between dimensions, they are transcosmic vortices through the Void that suck us unaware into the Twilight Dreamtime; they are vortices that first spew out then suck the Universe back upon itself into Non-being…

…The need to work with the energies of Dagdagiel may be signaled by experiencing an inner lack of joy, the feeling of inability to appreciate life’s simple, sensual pleasures. One may feel out of touch with one’s body, emotionally unable to reach out to others, however one may wish to do so. There may be a sense of premature physical and/or emotional aging that results from bioenergetic body-armoring, and which may be signaled by experiencing irrational anger at, and abhorrence of pornography. Here we find emphasis on rationality and analytic thought, with inability to live through the senses, to stay in the present, having too much focus on the future. Here too, we may find lack of perspective, with fearfulness, and an inability to relax, to enjoy, and to go with the flow of the moment.

The siddhi of this tunnel, being called the distillation of love philtres, is, according to Grant, “a euphemism for the vaginal vibrations emanating from the virgin in the form of sexual magnetism that attracts the Creative Light to her womb.”

55, the value of Dagdagiel’s name in Gematria, which name means , is known to be the mystic number of the Sphere of the Earth representing the divine mother in her child-bearing of the son of light. 55 relates to silence and the Craft catalyzed by the feminine divine. 55 relates to copulation and birth and a name of Ma’at signifying death and termination as well as the Hebrew words translating to “the Bride” and “the Daughter-in-Law.” These Hebrew words are symbols of an immanent return—cliological procession—where cliology is the discipline of science examining aeons.

Other Sources: Liber Obsidian Obscura, Tree of Death and Qliphoth, Liber Azerate, Thelemic Qabbalah Volume III, Gematria and the Tanakh, Sekhem-Apep, and more.

https://vkjehannum.wordpress.com/2017/06/06/dagdagiel/

Through the retroversion of the senses we achieve inspiration, drunkenness of the senses, with the ability to see the world aglow with colored lights.

The Shadow Tarot

“The Virgin of God is enthroned upon an oyster-shell; she is like a pearl, and seeketh 70 to her 4. In her heart is Hadit the invisible glory.”

Aleister Crowley, Liber CCXXXI

“The fourteenth tunnel is suffused with the kala of Venus … The name of its sentinel is Dagdagiel. She may be evoked by vibrating her name in the key of ‘F’ sharp accompanied by a crooning or lilting sound … The sigil of Dagdagiel shows the letter Daleth reversed and in the form of a gallows from which hangs an inverted triangle above the letters A V D. The triangle is the inverted pyramid set in the Abyss with its apex in the Void (Ain), for this reciprocal tunnel is reflected into the gulfs beyond Kether.”

Kenneth Grant, Nightside of Eden

excerpted from . . .

The Shadow Tarot

© Linda Falorio, 1995, 1998

              Dagdagiel is seen here as sensual, debauched Venus, depicted as abhorred Alphito—the White Sow, Phagmo Dorje—wallowing shamelessly, enmired, in sheer orgasmic delight. She is the profligate mother, who, not recognizing her own offspring eats them with gluttonous desire. Her retromingent vulva—the secreting part, represents the Womb of Time, the Eye of the Void, the Gate for the Aeon of Maat, and indicates that She is High Priestess of the Mysteries within, Who bows before No Man.

This the 14th Tunnel’s door is fashioned as an oyster-shell, which is a symbol of male sexual prowess and staying power—yet it has the salt-sea scent and shape of the feminine organ. Outside the shell we find the Chaos of the spider’s web; within, the web becomes a network of “infinitely corroding light” whose interstices are black holes in interstellar space. These black holes are the midnight crossroads between dimensions, they are transcosmic vortices through the Void that suck us unaware into the Twilight Dreamtime; they are vortices that first spew out then suck the Universe back upon itself into Non-being.

Crawling upon the sigil in a ring of fire are the Spider, Snake, and Scorpion, all symbols of Serk, Weaver of the first web, Caster of the first Circle. On the right is Odudua, also known as Erzulie Bon Rouge, the Goddess of Love, and the Goddess of Death—for is not Love called “the little death”? Refusing none, She gives herself to all without distinction. Her consort, the Beast Shugal, beckons her within these dream dimensions, where together they distill the ultimate love-wine, the blood essence, the milk of Life. The Shakti answers with the sign of Koth, or, Kotha, the voluptuous Goddess of Desire, “whom Satan, beholding, desireth!”

MEDITATION:

          The need to work with the energies of Dagdagiel may be signaled by experiencing an inner lack of joy, the feeling of inability to appreciate life’s simple, sensual pleasures. One may feel out of touch with one’s body, emotionally unable to reach out to others, however one may wish to do so. There may be a sense of premature physical and/or emotional aging that results from bioenergetic body-armoring, and which may be signaled by experiencing irrational anger at, and abhorrence of pornography. Here we find emphasis on rationality and analytic thought, with inability to live through the senses, to stay in the present, having too much focus on the future. Here too, we may find lack of perspective, with fearfulness, and an inability to relax, to enjoy, and to go with the flow of the moment.

The powers of Dagdagiel are those of drunkenness of the senses, the ability to see the world aglow with colored lights. Here is appreciation of, and mastery of the Green Ray  of nature, with the possibility of communication with and cooperation with the Devas., who are the elemental Sprites, or Spirits of Nature. Here too are sexual prowess and fecundity; here is the power of communion with all life, the ability to make life thrive and grow. Here especially is the retroversion of the senses, the power to merge with all forms of life, with all creatures, human and otherwise, with all races, cultures, creeds, the power to merge with all aspects of existence, to merge even with those which seem naturally repugnant to narrowed senses—without fear of harm.  And here is the ability to find in this merging inspiration, divinity, forgetfulness of self, orgasm, bliss. For here is the power of Love which denies none, and “conquers even ravening beasts.”

Danger lies in lack of discernment and judgment when seeking ultimate oblivion “in the kisses of Nu.” Danger lies in the dissipation—physical and moral, including diseases such as AIDS—which are attendant upon total hedonistic surrender to impulse, and immersion in sensual desire without thought of future consequences, and especially without thought of mothering those things we love.

Qabalistic Correspondence

Her qabalistic attribution is Daleth, meaning ‘a door’; the door that permits of access to her house or womb, and egress from it. This tunnel backs the first Reciprocal Path on the Tree of Life

Planetary Correspondence

Her cosmic power-zone is Venus. This tunnel backs the first Reciprocal Path on the Tree of Life; its infernal counterpart is the base of the pyramid which, when inverted, is balanced upon the point of the Ain in the void of the Abyss.

The Call of  Dagdagiel

The name of its sentinel is Dagdagiel. She may be evoked by vibrating her name in the key of ‘F’ sharp accompanied by a crooning or lilting sound.

The Sigil of Dagdagiel

Her sigil should be pained in vivid sky blue on a circle of bright rose rayed with pale green.

The sigil of Dagdagiel shows the letter Daleth reversed and in the form of a gallows from which hangs an inverted triangle above the letters AVD, AVD (Od) is the magick light. The triangle is the inverted pyramid set in the Abyss with its apex in the Void (Ain), for this reciprocal tunnel is reflected into the gulfs beyond Kether.

The Gematria of  Dagdagiel

Her number is 55, which is a mystic number of Malkuth, the power-zone of Earth. Fifty-five, as 5 x 11, resumes the formula of magick (11), set in motion or powered by shakti (5). It is also the number of DVMH, ‘silence’, which is the formula of woman (shakti) when she becomes pregnant with the child of light produced by the next kala. The word HIM, ‘to swell’, is indicative of this condition; and IHM (a metathesis of HIM) means to ‘conceive’, ‘to have sexual intercourse’, and ‘to create’, 55 is also the number of KLH, ‘the bride’, ’the daughter-in-law’, which suggests the cosmic bride Malkuth, the daughter of IHVH, she that is the final term () of manifestation.

The Verse of Liber CCXXXI that is Ascribed to Dagdagiel

The daughter is the symbol of imminent return; of the incipient reversion of manifestation to its primal state of non-manifestation; of being re-becoming non-being. In the present Aeon the Son is the Child, but in the coming Aeon of Maat the Child will be the Daughter, for at the end of that Aeon Malkuth will once more return to its sleep of dissolution (pralaya) prior to a new manifestation.

The idea of matter coming to an end recalls the statement in AL (I. 66) : « The Manifestation of Nuit is at an end. »[1] The title of the Atu of this Path is The Daughter of the Mighty Ones. The theme is repeated by the word MUT (a form of Maat) which also adds to 55 and which signifies to ‘shake’, ‘waver’, ‘totter’, ‘fail’, ‘decay’, ‘die’. It derives from the Egyptian word mut, meaning to ‘end’ or ‘die’.

The Egyptian Deity Correspondence

The implication is that the pyramid is the magick light or Fire Snake suspended from a gallows in the form of the Woman of Night[2] whose vagina (daleth = door) is here reversed. This peculiarity shows that she is an initiate of the highest sexual mysteries and that she possesses the special mark[3] of a Scarlet Woman.

The Animal Correspondence

Her totems are the dove (the Typhonian bird), the sparrow,[4] and the sow. In a holograph note in his personal copy of Liber 777, Crowley notes against this path (column xxxvii) : « The Sow = type of Venus which matches Mars = boars . » By this means that as the virgin basks in the idyllic light of romantic or unrealized love, the sow wallows in the sty of sensuality. But the comparison of the Sow of Venus with the Boar of Mars comports another mystery which may be fathomed only in terms of the Draconian Current. The sow (Babalon=whore) is the qlipha[5] or outer shell of the Goddess. Her inner mystery involves the kalas or Kali Herself, for She is the ultimate Mother. In New Aeon terms, therefore, Mars is the cosmic power-zone assigned to Ra-HoorKhuit as the child (Har) of the present Aeon, because the blood associated with this zone (of Mars) is not the blood of the male shed in battle, but the blood of the female that embodies the child.[6]

The dove also is attributed to the 14th kala.[7] The dove was the bird of blood (feminine source) before it became the bird of air (masculine spirit). First was Mars-Kali-Typhon, then came Venus-Nephthys-Nu-Isis.

The Magical Power Correspondence

The magical power corresponding to this kala is, traditionally, the ability to distil love philtres. The phrase is an euphemism for the vaginal vibrations emanating from the virgin in the form of sexual magnetism that attracts the Creative Light into her womb.

In the verse of the grimoire pertaining to this kala, it is written : « The Virgin of God is enthroned upon an oyster-shell; she is like a pearl, and seeketh 70 to her 4. In her heart is Hadit the invisible glory. »

The oyster is the typical aphrodisiac; the virgin is drunk upon its shell and seeketh 70[8] to her 4.[9] In her hesrt is Hadit (i.e. Set, the Devil Himself), the invisible glory that motivates her desire. The virgin thus becomes the whore, or, in the language of magical symbolism, the entranced priestess becomes enlightened or awakened; the pythoness becomes oracular, being inspired with the divine spirit. Hence the magical formula of this kala is Agapé, the number of which is 93, which is the number of desire or will (Thelema) and of the Devil (Aiwass) Himself.

All aphrodisiacs and ‘all soft voluptous odours’ are ascribed to this kala, the presiding deiteies of which are hator, Aphrodite, Kapris, Cottyto, and, in the tantric systems, Lalita,[10] the sexual aspect of shakti (power).

The African Deity Correspondence

It is, however, upon the African Tree that the most significant attributions are to be found. In the primordial magic of Equatoria this 14th kala is ascribed to the goddess Odudua, the goddess whose secret temple at Ado, near Badagry, swarmed with the consecrated priestess of her cult. They earned it the name of the City of Whoredom, of which Babylon was a later type. To the Ogboni[11] she was known as Ile, the Earth.

The 14th ray or kala unites the cosmic power-zone of Odudua (Binah) with that of Once or Anansi (Chokmah), symbolized by the Spider which later became the supreme symbol of the Cult of the Obi (Obeah). These two power-zones are the field of activity of the Obeah and the Wanga, the ‘work of the wand and the work of the sword’.[12]

The symbolism of this verse (from AL) has been explained at some length in Kenneth Grant’s book Aleister Crowley and the Hidden God; here it is necessary to draw attention to the symmetry of the spider’s web. In the tunnel underlying the 14th path the web is not structured upon a plane surface but occupies various planes so that – from the point of view of an observer working upon this path – the criss-cross filaments produce a crazy geometry. From within the tunnel, and viewed from behind the Tree, however, the web is seen to form with infinitely tenuous threads of gossamer light the curious apertures of darkness that admit to gulfs of space between the back and front of the Tree. At the midmost depth of this tunnel the primal magical spell was cast and the first of all magical circles (webs) was formed. It is here that the Snake and the Spider meet in one symbol. The snake is OB, the lunar current from which Once weaves his web. Serk,[13] symbolized by the scorpion, thus unites the spider and the serpent in one glyph. The ‘work of the wand[14] and the work of the sword’[15] are identical. Their fusion is the work of the Obeah and the Wanga which is accompagnied via the 14th kala.

The Inhabitant of  Dagdagiel

The word Aud (Od) which appears in the sigil of Dagdagiel is the magical light which flows from the yoni of Odudua. In this tunnel of Odudua, therefore, this appears as the pyramid; it is the triangle (yoni) in a further dimension and surrounded by the web of filaments, or by the ring of fire, with which the spider and the scorpion are respectively associated.

In his Magical Record, Aleister Crowley speaks of the tunnels or caverns of fire through which he was guided by a spirit fox during his higher initiations. The fox or jackal, as already shown, is a zoötype of Shugal, the god-form of Shaitan-Aiwass. Its complement is the amorphous entity Choronzon, the Guardian of the Pylon of Daäth which forms the apex of the pyramid an dis the gateway to the network of tunnels that slope down the back of the Tree.

The spider’s web is the network of tunnels that leads to other dimensions, for what appear as mere interstices on a flat plane when the spider has emerged from its hole are – in the depths of Ile (the earth) – intra-spatial voids and dream-spanning gulfs of cosmic immensity. The Obeah and the Wanga are therefore the dual modes of transformation whereby the human entity is translated into further dimension via the vortices of the void.

The Disease Correspondence

Dieseases typical of the 14th kala are syphillis, gonorrhea, and nymphomania. These are glossed by the attribution to this kala of the most abhorrent of African fetishes, Champana, the deformed deity whose symbol is a gnarled club leprous with red and white spots. The element of nymphomania is evident in the succubi or shadow-women generated from the yoni of the Goddess whose magical weapon is the girdle. The connection with the dream mechanism is obvious although there is a more esoteric explanation. The shadow-woman is the means of dream control for it is through her cincture or magical circle that the dreamer enters dimensions that lie on the nightside of the inverted pyramid which is a projection of the yantra of the Goddess. The formula has a sexual basis and all that can be divulged[16] has already appeared in my Typhonian Trilogy.

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