Greetings! I would like to welcome everyone to the Papers in the Attic blog page. If this is your first time here, please take the time to review some of our previous posts. We wish you all the best during this holiday season. Stay blessed!
We would like to thank all of our readers for their support over the years. We are happy to announce that during the last three months, our page views and subscribers have been the highest ever, since we have started this page. It was announced earlier, that our last post would reveal the identity of the Mad Arab and how the Simon Necronomicon was created. Since we appreciate all the support that we have received, we will also reveal the identity of “Simon” in this article. While we have retired the Papers in the Attic blog page, the majority of posts and pages will remain. Feel free to book mark this page for your own reference work also.
The Identity of the Mad Arab
One of the prominent mysteries of the Necronomicon Tradition is the identity of its narrator, a figure known only as the Mad Arab. The Mad Arab is a component figure. First, the example of the Mad Arab descended and ascending, into and from the Netherworld is reminiscent of the goddess Ishtar herself. In the Simon Necronomicon, we read:
“For this is the Book of the Dead, the Book of the Black Earth, that I have writ down at the peril of my life, exactly as I received it, on the planes of the IGIGI, the cruel celestial spirits from beyond the Wanderers of the Wastes.”
In the Magan Text, we are told concerning Din.Gir Ishtar:
“ISHTAR, Daughter of SIN, she set forth…To the Black Earth, the Land of CUTHA”
In previous posts, we illustrated that in such cases, the Goddess Ishtar was symbolic of a class of magicians. For more information, please view our Return of the Ancient Ones article. Another similarity that further reinforces that the Mad Arab is symbolic of the Goddess Ishtar can be found in how Din.Gir Ishtar ascended from the Netherworld. We read the following in the Magan Text:
“Upon the corpse of INANNA
Sixty times they sprinkled
The Water of Life of ENKI
Upon the corpse of ISHTAR
Sixty times they sprinkled
The Food of Life of ENKI
Upon the corpse
Hung from a stake
They directed the Spirit of Life
The Dark Waters trembled and roiled.”
In the Magan Text, we see that Din.Gir Ishtar’s resurrection was heralded by the stirring of the “dark waters,” also known as egura, sometimes egurra, in Sumerian mythology. The Simon Necronomicon also mentions the following in its Book of Calling:
“This is the Book of EGURA, the Dark Waters of ABSU, Realm of ERESHKIGAL, Queen of Death.”
The “stirring of the dark waters” in the Necronomicon Gnosis is symbolic of the “calling” after one’s initiation. In any event, we see that Din.Gir Ishtar’s ascent was marked by the “stirring of these dark waters.” (The reader should note that the Magan Text’s version of Ishtar’s Descent is not a mistaken version of the ancient Mesopotamian mythology, but an esoteric of initiation, using this very same mythology as a template.) We also read of these same “dark waters” stirring in the Mad Arab’s experience:
“A wind has risen. The Dark Waters stir. This is the Book of the Servant of the Gods . . .”
Here, we can see that like the Goddess Ishtar, the Mad Arab went through the same initiation. We can therefore, say that one aspect of the Mad Arab is Din.Gir Ishtar herself. This was further emphasized in a previous post entitled, Enochian Meaning of the Term “Mad Arab.” The article illustrates that the meaning of the term Mad Arab is in fact an attribute of the Goddess Ishtar:
Enochian English Meaning
Mad God or Your God
Ab Daughter of Light
The Necronomicon Gnosis seems to imply that in the same manner Christians initiate themselves the mind of Christ, through some symbolic act relative to his life’s work, followers of the Goddess Ishtar would initiate themselves into her mysteries by making the same journey into the Netherworld as did the Goddess. In the introductory notes of the Simon Necronomicon we read:
“But what of INANNA, the single planetary deity having a female manifestation among the Sumerians? She is invoked in the NECRONOMICON and identified as the vanquisher of Death, for she descended into the Underworld and defeated her sister, the Goddess of the Abyss, Queen ERESHKIGAL (possibly another name for TIAMAT). Interestingly enough, the myth has many parallels with the Christian concept of Christ’s death and resurrection, among which the Crucifixion (INANNA was impaled on a stake as a corpse), the three days in the Sumerian Hades, and the eventual Resurrection are outstanding examples of how Sumerian mythology previewed the Christian religion by perhaps as many as three thousand years – a fact that beautifully illustrates the cosmic and eternal nature of this myth.
Therefore, the Goddess of the Witches has two distinct forms: the Ancient One, Goddess of the Dragon-like telluric Power which is raised in Magickal rituals, and the Elder Goddess, Defeater of Death, who brings the promise of Resurrection and Rejuvenation to her followers those who must reside for a time after death and between incarnations in what is called the “Summerland”.”
The other figure, perhaps a more personal identification of the Mad Arab, is Aleister Crowley himself. The Simon Necronomicon description of the Mad Arab gives many descriptions of Aleister Crowley’s life events. When these are observed in their total, the Necronomicon Gnosis reveals itself as the missing initiatory system of a deep mystery. For example, we read in the Simon Necronomicon the following:
“The wolves carry my name in their midnight speeches, and that quiet, subtle Voice is summoning me from afar. And a Voice much closer will shout into my ear with unholy impatience. The weight of my soul will decide its final resting place. Before that time, I must put down here all that I can concerning the horrors that stalk Without,”
The Mad Arab’s mention of the “voice” is reference to Aleister Crowley’s work, The Vision and the Voice, wherein he describes his journey through the 30 Aeythrs. Here is one example, that we later read in the Simon Necronomicon:
“KUTULU raises his head and stares up through the Veils of sunkun Varloorni, up through the Abyss, and fixes his stare upon me; wherefore I must with haste write this indeed,”
The words of the “Mad Arab” as they appear above, is a direct lift from what is written by Crowley concerning the 1st Aethyr. In Vision and the Voice, we read:
“The great and terrible Angel keeps on looking at me, as if to bar me from the vision. There is another forcing my head down in sleep.”
This comparison of the Mad Arab’s narrative to Aleister Crowley’s journal has been observed by others. The Mad Arab in his First Testimony, wrote the following:
“I did not bear the same markings as the stone, but I had the feeling I could almost read the characters, but could not, as though I once knew the tongue but had since long forgotten. My head began to ache as though a devil was pounding my skull, when a shaft of moonlight struck the metal amulet, for I know now what it was, and a voice entered into my head and told me the secrets of the scene I had witnessed in one word: KUTULU.”
“The word Tutulu was heard by Crowley during an initiation into the Aethyr of Zaa which he underwent in Algiers on November 24th, 1909. Its appearance in his vision of the 27th Aire suggests a perichoresis with the Necronomicon Current. It is probable that the word transcribed by H.P. Lovecraft as ‘Cthulhu’ is a variant form or corruption of Tutulu,”
Not only does Kenneth Grant reveal that the “Mad Arab’s” experience is reminiscent of Crowley’s work, but he also gives a clue that the Simon Necronomicon’s take of the Mad Arab mythos derives from Crowley by pointing out the similarity between the words Tutulu and Cthulhu.
Once again, we face another similarity, which further identifies the Mad Arab as Crowley. In the Mad Arab’s First Testimony, we read:
“The lines of my life have been obliterated by my wanderings in the Waste, over the letters writ in the heavens by the gods.”
Aleister Crowley was known as the “wanderer of the waste”. This phrase “wanderer of the waste” appears many times in the Simon Necronomicon as “wanderers of the wastes,” signifying a class, the Ishtar-Class of adepts of whom Aleister Crowley was a part in his reverence for Babalon.”
How Was The Simon Necronomicon Created?
The method behind the Simon Necronomicon’s creation has been just a great a mystery as the grimoire itself. In a Wikipedia article, under the topic Simon Necronomicon, we read:
“The introduction attempts to establish links between H. P. Lovecraft, Aleister Crowley and ancient mythology (including Sumerian, Babylonian, Assyrian, and Chaldean myths and rituals), and draw parallels to other religions (such as Christianity, Wicca, Satanism and Hebrew Mythology).”
The ancient Mesopotamian source material that was used in the creation of the Simon Necronomicon is quite apparent and is listed in the tome’s bibliography. However, the heart of the Simon Necronomicon’s workings, is based on its Gate-Walking rituals of initiation. This is the central thesis of the grimoire itself. Erroneously, many have tried to discredit the work of “Simon” by stating that the Gate-Walking rituals derive from Western Ceremonial magick. Nothing can be further from the truth.
In the Lovecraftian fictional account of the Cthulhu cult, which appears in the Call of Cthulhu story, we are told that the cult’s was centered in Arabia, with some immortals living in China. The Mad Arab, according to Lovecraft fiction, spent some time in Babylon, and received substantial knowledge of its ancient mysteries. This is apparent in Simon’s version of the Necronomicon. However, the rites of the “deathless Chinamen” form the basis of the Gate-walking rites of initiation.
Different than popular opinion, the gate-walking initiation is based on ancient Taoist practices. When the Simon Necronomicon was released, these practices were not known to the West, nor was the information pertaining to such, translated in English. This means that “Simon” had to have a knowledge of the Chinese language. We can clearly see that such is the case, when we review the works of Taoist Priests that have now expounded about their ageless tradition in English. Professor Jerry A. Johnson, in his long sought after work, Daoist Magical incantations, Hand Seals, and Star Stepping, writes the following about the “star stepping rituals” of the ancient Taoist tradition. This information is identical to what appears in the Simon Necronomicon. Notice what is written in Johnson manual, cited above, on pages 103-104:
“This star is also known as “The Gate of the Moon,” and it represents entry into the spirit realm. When working specifically with just the “Clarity of Yang” star as a magical portal, the altar should face the North. It is also important that the magical Seal used to open the celestial gate be engraved onto a silver talisman, during one of the three days of the Full Moon, and that no sunlight ever be permitted to shine onto this Seal. The incense used to access the spirit realm of the First Star is Camphor.
The Second Star in known as the “Essence of Yin:” It is the star located at the outer bottom edge of the Dipper’s bowl, and it is sometimes called “The Revolver of the Sky.” This star is also known as the “Gate of Mercury.”
The Third Star in known as the “True One:” It is the star located directly on the “floor” of the Dipper’s bowl, just before the star known as the Underworld, and it is sometimes called “The Rotator of the Sky.” This star is also known as the “Gate of Venus.”
The Fourth Star in known as the “Underworld:” It is the star located at the outer edge of the Dipper’s bowl, and it is sometimes called “The Lever of the Sky.” This star is also known as the “Gate of the Sun.” It is considered to be the energetic portal to the “land of the Midnight Sun,” and was sometimes known by the name “Mysterious Darkness” and “Black Obscurity.”
The Fifth Star in known as the “Red One:” It is the star located on the Dipper’s panhandle, and it is sometimes called “The Balance of the Sky.” This star is also known as the “Gate of Mars.”
The Sixth Star in known as the “Northern Bridge:” It is the star located on the Dipper’s panhandle, and it is sometimes called “The Generator of the Sky.” This star is also known as the “Gate of Jupiter.” The Northern Bridge leads directly to the Celestial Gate. It also contains an “invisible” star that orbits the Northern Bridge.
The Seventh Star in known as the “Celestial Gate:” It is the star located on the tip of the Dipper’s panhandle, and it is sometimes called “The Harmonizing Light of the Sky.” The Celestial Gate provides the Daoist sorcerer with the final entrance to the celestial realms. This star is also known as the “Gate of Saturn.”
While these practices comparisons are made by “Simon” in the Gates of the Necronomicon book, we can see that the gate-walking initiation derives from Taoist practice. If we compare, for example, what is written by Johnson, a Taoist Priest, concerning the “Gate of the Moon” with the information in the Simon tome, this becomes perfectly clear.
Johnson wrote: “This star is also known as “The Gate of the Moon,” and it represents entry into the spirit realm. When working specifically with just the “Clarity of Yang” star as a magical portal, the altar should face the North. It is also important that the magical Seal used to open the celestial gate be engraved onto a silver talisman, during one of the three days of the Full Moon, and that no sunlight ever be permitted to shine onto this Seal. The incense used to access the spirit realm of the First Star is Camphor.”
Simon Necronomicon: “This is his Seal, which you must engrave on his metal, on the thirteenth day of the Moon in which you are working, having no other person about you who may watch you in its manufacture. Being finished, it should be wrapped in a square of the finest silk and lain aside until such time as you desire its use, and then, it should be removed only after the Sun has gone to its rest. No ray of sunlight should strike the Seal, lest its power be rendered nil and a new Seal must needs be cast.”
Many practitioners of the Simon Necronomicon often find the I Ching useful in their work. Based on the information above, we can see why the two work together. This also explains some of the dream imagery of the “Jade Maidens,” or the Asian woman, appearing in the dreams of many Necronomicon Initiates that is erroneously mistaken for the Goddess Ishtar.
Lovecraft’s idea of a cult that was centered in Arabia and had immortal members who lived in China, while set in as an underlying theme in some of his fictional stories, does hold some validity to a historical empire that stretched from the Pacific Ocean to the regions of ancient Mesopotamia, is explained in the Yi Jing Apocrypha of Genghis Khan. It is possible that the producers of the Simon Necronomicon was also aware of this fact, as it takes us into the origins of the Vasuh letters.
The Vasuh letters appear heavily in The Ivory Tablets of the Crow, which claims that they are ancient symbols, some appearing on Japanese petroglyphs in Okinawa. However, these markings also appear in the Simon Necronomicon. These glyphs are older than the Simon Necronomicon, as they represent combination of different Asian mudras for various “power calls” from the Kuji-Kiri and other systems, and studied in the legacy of the Art of Ninzuwu. Here is an example below:
The Identity of Simon
The editor, known as “Simon” was indeed a composite figure, but consisted mainly of the work of Peter Levenda and the legendary Kenneth Grant. It seems that Levenda may have been more of a patsy for Grant.
While having a few associates involved in Thelema, Levenda’s was unknown to the majority of the community. Yet, he had a deep and profound knowledge. Levenda is also fluent in Chinese and due to such, would be the only possible candidate to be able to translate and structure the Simon Necronomicon’s initiatory aspects after the Taoist texts written in Chinese. He was the president of the international division of Ortronics, Inc., a telecommunications company based in Asia.
Kenneth Grant was a direct student of Aleister Crowley. He was also Crowley’s personal assistant and secretary. In turn, he was allowed to read from Crowley’s extensive library on occult subjects, and performed ceremonial magic workings with him, becoming a high initiate of Crowley’s magical group. What is interesting about this, is that Grant started writing about the “Necronomicon,” since the Simon tome has been come out, and in detail more than any other writer.
Today, we celebrate the effort of what teamwork means. We have come to an understanding, and a solving, of what has been described as pop culture’s favorite grimoire. None of this, however, could be solved if it wasn’t for the efforts of the brave men and women who put their lives and psyche on the line in hopes of achieving and understand what ancient mysteries stood before our ancestors. We celebrate a new year and a new day of understanding. I wish you all the best on your spiritual journey. Stay blessed.
Warlock Asylum (The Dark Knight)
Categories: alchemy, Crowley, cthulhu, Cult of Cthulhu, Cutha, Dan Harms, Enochian, Freemasonry, Gate-Walking, grimoire, I Ching, initiation, Invocation, ishtar, Ivory Tablets of the Crow, Kenneth Grant, Kutulu, Lovecraft, Mad Arab, magical art, magick, Mesopotamia, Necronomicon, Necronomicon Tradition, new age, O.T.O., occult, occult books, Simon Necronomicon, Taoism, Taoist, Warlock Asylum