The original and more descriptive title of this booklet was “An Essay on the Fundamental Principles of Operative Occultism.” The earliest copyright given is 1978, so that date may be the one of original publication. It consists of the main essay and a short appended paper. The essay breaks down into several series in different categories.
The first category is “seven cardinal requirements [which] constitute the fundamental ethic of occultism” (19). These “requirements” are on the whole sound enough. Of special note and interest is the adjuration to “shun all kinds of psychism and phenomenalism,” although this part also includes some funniness about “a comparatively high degree of Chelaship” (13-4).
Hall then inventories seven considerations for undertaking training in occultism: access to a teacher, duration of study, obligations of secrecy, hazards of black magic (“Dugpa sorcery”), the ban on commodifying the mysteries, the importance of equilibrium (of mind, body, and spirit), and the esoteric value of profane arts and sciences.
A third heptad is an inventory of the sat chakras. He identifies these with the seven churches of Asia from the Apocalypse, although without crediting James Pryse, whose Apocalypse Unsealed had provided this correlation in much greater detail as early as 1910. Hall does switch the attributions for Smyrna and Pergamos, while qualifying all of his attributions with “probably.” Hall writes, “The story of these centers is clearly set forth in the Book of Revelation, where the seven seals, the seven trumpets, the seven vials, and the seven voices all refer to the spinal centers and the various mysteries concerning them” (37).
Finally, he runs through the eight limbs of raja yoga, or “eight steps of the Yogi School,” devoting two or three paragraphs to each. Among these, he especially identifies pranayama with raising Kundalini in the central column of the body, and warns about its dangers to “the average Occidental” (40).
The paper at the end of the booklet is “A Synthetic Elemental Cross,” in which Hall expounds on cross symbolism generally–emphasizing its universal rather than Christian provenance–with particular reference to a Rose Cross emblem he had designed in 1923.