Tag Archives: albertus magnus

The Petit Albert

The Spellbook of Marie Laveau: The Petit Albert is a pseudonymous work of Albertus Parvus Lucius translated by Talia Felix, available from Hadean Press, presumably from some version of the 18th Century French «Secrets merveilleux de la magie naturelle et cabalistique du Petit Albert», itself an apparent translation of a 13th Century Latin original. Although the cover states that this is the spellbook of Marie Laveau, the connection is apparently only circumstantial and speculative, according to the translator’s introduction. It is, however, a work of period significance, so may be of interest in itself.

Talia Felix's translationg of Petite Albert from Hadean Press

“The Petit Albert is a collection of recipes, talismans, and occult secrets attributed to several authors, chief among them Paracelsus, and compiled by a pseudonymous narrator who stresses that the secrets contained therein ‘do not in any way surpass the occult powers of nature; that is to say, of any of the known beings that are scattered throughout this vast universe, which are in the skies, in the winds, on the land and in the waters.’ This cautious reminder did not change the opinion of the Catholic Church in regards to the Petit Albert–it was a book of black magic and therefore to be avoided at all costs, an attitude which assured the book’s popularity among nobles, farmers, and priests alike.

From its first printing, the Book of the Fantastical Secrets of the Petit Albert made its way into the most rural of French hamlets and eventually to the colonies beyond, where it became a great success in the Caribbean and North America – especially in Québec in the north and in New Orleans in the south. It is there that the Petit Albert was almost certainly used by the hoodoo and voodoo practitioners of the nineteenth century, including the Voodoo Queen herself, Marie Laveau.

In The Spellbook of Marie Laveau: The Petit Albert, translator Talia Felix presents the full text of the Petit Albert in the English language, and offers a compelling argument that the Petit Albert was most likely one of the spellbooks in Laveau’s arsenal, if indeed she was literate at all. At the very least, as Ms. Felix states in her introduction to the book, ‘it presents a period-correct view of the sort of magical knowledge that was likely to have influenced the real and genuine life and works of the famous Marie Laveau, and of New Orleans Voodoo as a whole.'” [via]

 

Aleister Crowley is acknowledged as one of the Earth’s historic alchemists in an article about acting

Aleister Crowley is acknowledged as one of the Earth’s historic alchemists in an article about acting at “Nicolas Cage: alchemist and shaman?” by DJ Pangburn. I suppose it’s novel that Crowley is being called out as an alchemist, in a positive light. (The snide comment I want to make is, “why the prejudice against alchemists from other planets?” But, I won’t stoop … Oops.)

 

“Earth’s history is rich with alchemists—Albertus Magnus, Hermes Trismegistus, Nicolas Flamel, Isaac Newton, Aleister Crowley, Alejandro Jodorowsky, Paracelsus, John Dee, Terrence McKenna and even Carl Jung. Alchemy was a proto-science that paved the way for modern science (chemistry, modern medicine, physics) but also had a spiritual, shamanistic aspect.

This is not to say that alchemists and shamans were and are officially coterminous, only that they both aspire to a better understanding of existence through various means: mysticism, magic, study, and drugs (which we know shamans have done, though whether Alchemists ever did is uncertain. In fact, McKenna attempted to synthesize alchemy with shamanism in various lectures, and described alchemists as pursuing a ‘magical theory of nature’ (like Shamans) in the film ‘The Alchemical Dream.'”

 

“Ghost Rider was an entirely new experience, and he got me thinking about something I read in a book called The Way Of Wyrd by Brian Bates, and he also wrote a book called The Way Of The Actor. He put forth the concept that all actors, whether they know it or not, stem from thousands of years ago — pre-Christian times — when they were the medicine men or shamans of the village. And these shamans, who by today’s standards would be considered psychotic, were actually going into flights of the imagination and locating answers to problems within the village. They would use masks or rocks or some sort of magical object that had power to it.

It occurred to me, because I was doing a character as far out of our reference point as the spirit of vengeance, I could use these techniques. I would paint my face with black and white make up to look like a Afro-Caribbean icon called Baron Samedi, or an Afro-New Orleans icon who is also called Baron Saturday. He is a spirit of death but he loves children; he’s very lustful, so he’s a conflict in forces. And I would put black contact lenses in my eyes so that you could see no white and no pupil, so I would look more like a skull or a white shark on attack.

On my costume, my leather jacket, I would sew in ancient, thousands-of-years-old Egyptian relics, and gather bits of tourmaline and onyx and would stuff them in my pockets to gather these energies together and shock my imagination into believing that I was augmented in some way by them, or in contact with ancient ghosts. I would walk on the set looking like this, loaded with all these magical trinkets, and I wouldn’t say a word to my co-stars or crew or directors. I saw the fear in their eyes, and it was like oxygen to a forest fire. I believed I was the Ghost Rider.”

 

I’m not convinced that “alchemical” is the way to describe the technique Cage uses, but it sure does sound like a magickal aspect of theatre, and related to aspecting and similar techniques from the more ecstatic traditions, modern and historic, but also the idea of assuming a Godform in more ceremonial rituals. Of course, that also brings me to think about one of the quotes from Florence Farr posted last week, actually Iamblichus quoted by Farr, “The Priest who invokes is a man; but when he commands powers it is because through arcane symbols, he, in a certain respect, is invested with the sacred Form of the Gods” [via]