Table Of Content■
INDEX
The DKMU Egregores......................................5
Ellis.....................................................................21
663......................................................................32
Ino.......................................................................41
50
Zalty.............. 60
Red King...... .71
White Queen .79
Conjunctio... .86
Enu / Nul. 92
Egregore Notes.................................................99
Chapter of Tara Flower.................................101
Chapter of Avianna Ringtail.........................111
Chapter of Frater Theodbald.......................152
Ellisian Banishing...........................................164
7 Gates of Khaos...........................................168
Transvocation of Xaoq,...... 169
In the Hall of the Red King 174
THE DkMU EGREGORES
Frater E.S.
t
M HESE CONSTRUCTS have been regarded as
masks atop a series of archetypes, conceptual aggregates
given a mouth with which to speak, psychological tools for
enhanced meta-programming, or imagined as non-physical
presences with their own unique attributes and personalities,
depending on the preferred style of the practitioner. Some
call them Godforms, some call them Egregores, some call
them Archetypes, and others call them examples of Model 6
‘designer divinity.' They have been cited as being
representative of the ultimate relativism of ‘proper' cultural
belief systems versus self-created ones. Their secret thesis is
as such: “There is no inherent power to any symbol or
paradigm but for the power granted to it by an individual or
group. Grant us with such power, and we shall come alive.”
The DKMU entities emerged by means of a
seemingly random series of events and/or discoveries had by
ritual or technique, etc. held between various practitioners
over several years. They are said to be emanations of the
156/663 current, or by any other title (or none at all), the
current that began with the Linking Sigil and then expanded
by the Chelsea Working in 2007, and empowered for over a
decade by all subsequent operations.
[5]
Agents of initiation they may be, exercising their
particular signatures through various channels of creative
approach. Whatever the case, these constructs may serve as
post-modern representations of processes more difficult to
describe within ordinary languages, or semiotic antidotes for
particular long-held beliefs or mental complexes which would
not have had any discernible effect if they were not
externalized to such a degree as to be called egregores, or
spirits with their own distinct personas. It does appear that if
they are not but in part treated as external entities in their
own right, they feel no dire need to approach.
The practitioner should note that the example callings
illustrated here are merely that: examples. They are but
preliminary callings presented in order to strike up a cognitive
relationship with such entities, and by no means represent any
semblance of a complete ritual or ceremony. They may be
expanded upon, or redesigned to serve as personal callings.
They are meant to be lengthened, discarded, or to only give
one an idea of the sort of linguistic elements often used in
encouraging ‘entities' to arrive within magickal space. The
same goes with the symbolic items, and materials. They all
denote a simple framework, and are wanting for alteration.
THE BIG WHEEL
Several variations of the ‘Big Wheel' exist; all of them
illustrate the DKMU egregores, and usually in order of their
chronological emergence, beginning with Ellis. A symbol
representing Khaos is often included in the center of the Big
Wheel, pointing to the mythological conception that
everything, including the Universe, the Gods, and human
consciousness once emerged from Khaos (or Xaos). Some
variations include numerous other symbols, attributions, etc.
Due to the archetypes being created or discovered
haphazardly over the course of several years, looking at them
in this fashion points to some curious synchronicities (one
[6]
being the Red Queen, Ellis, landing opposite the Red King by
happenstance) which has in turn led to some theories
regarding what it is we might actually be looking at.
One theory posits the Big Wheel as a modern
shamanic-alchemical map of the psyche, and the archetypes
themselves as teachers or guides concerning various lessons,
insights, powers, or states of consciousness. Some have said
that the first five archetypes represent a particular initiatory
process, whereas the other opposite five represent the
fulfillment of said process, and perhaps the start of another
process. In this style, the mirror works going directly across:
Ellis Red King
Example: Magickal connection & reality as a dream.
663 White Queen
Example: Death/rebirth & mastery over attachment.
Ino Conjunctio
Example: The mystery & acceptance of the mystery.
Trigag Black Queen
Example: The shadow self & mastery of the unseen.
Zalty White King
Example: Fulfillment & mastery of the visible/the world.
Another style of viewing these uses the left & right
sides as a mirror instead of going directly across (aside from
Ellis and the Red King):
Ellis Red King
Example: Magickal connection & reality as a dream.
[7]
663 White King
Example: Death/rebirth & the master of the visible.
Ino Black Queen
Example: The mystery & the mistress of the invisible.
Trigag Conjunctio
Example: Dissolving of things & combination of things.
Zalty White Queen
Example: Meeting with desire & mastery over desire.
Another theory posits the Big Wheel as a ‘Magickal
Initiation Machine' wherein the practitioner works with each
archetype in the chronological order in which they emerged,
in the style of a marathon of evocations/invocations. More
often than not, however, a specific egregore is worked with
whenever one feels the calling or need. A variation of the Big
Wheel is seen below, crafted by Nicholas Yeats, using runes
to symbolize finer details.
[8]
X V
Some prefer to use an Octogram to symbolize the
first eight, with Enu & Nul (the Black Queen & White King)
imbedded as hidden aspects of Conjunctio. The Nameless
Sigil is held in the center of this variation. The mirrored
archetypes in this model are (directly across):
Ellis Zalty (Connection & Fulfillment)
663 Red King (Initiation & the Dreamer)
Ino White Queen (Mystery & Pathway)
Trigag Conjunctio (Dissolution & Combination)
Likewise, some prefer to use a simple pentagram
formation with only the first five (Ellis, 663, Ino, Trigag, and
Zalty) included. This wholly depends on the user.
[10]
