creative visualization_ the art (small)

8/3/2019 Creative Visualization_ the Art (Small)

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Revised edition published in 19~7 byRed Wheel/WeisEf, LtCP.O. Box 6J2Vorl, Beach, ME 03910-0612Copyright 1997 The Estate or Edward C. PeachAll riqhts reserved. No part of this publication may be repro-duced or transmtted in any rorm or by any means, electronic ormechanlcat, inc[ud.ing photocopying, recording; or by any infor-mation storage and retrieval system! without permssion ill writ-ing f rom Red Wheel/WeiseL Reviewers may quote brief pas-sages, Oriqinat Eoition first published in 1967. copyright TheI::sLate of Edward G. Peach.Library o r CQngress Cataloging-in-Publication Data

Ophicl.Art &: Fl'actice D r creative visualization /Ophie!p. em.

Rev.ed. of: The art &: practice of getting material tningsthrouqn creative visuatlzatlon ..1967.lncludestndex.

ISBN1,5786300 1-0(pbl~: am . paperjL lmagery (P~ycILOlogy). 2. Visualization .. 3. Creative

ab il ity. L Ophiel , Ar t &: practice of ge):Ung material thingsthrough creative visuallzatjon. II. Title:131'3.67.0651!;)97133.5'.2-dc2 I 9651424

Typeset in bcngulatPrinted in the United States of AmericaBJ09 OR07 06 05 04 03 02 q I10 9 8 7 6 5 4 3 2

The paper used in this publication meets tile rninlmun require-merits of the American .Nklti.onal Standard for lnforrnationSciences-c-Permanece of Paper for Printed Library MaLerialsl39 .48-1992(R 1997) <

1dedicate this book to all those who are endeavor-ing to better themselves, mentally. physically, andmaterially through the study, practice, and applica-tion of the occult.I hope you wilJ acquire the knowledge and under-standing to use the material otiered in this book.And, through its successful practice, f hope you at-tain the happiness you desire.


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A MESSAGEFROM OPHIEL

[Publisher's Note; Ophiel dledin 1988 andalthoughIhis message is .dated, and Ophieloan't answerreader'S question,'>, we left the introductory material:(


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Saturn, the tester. I wish quite often that lrlldn';have this ;defect(?), For then I could live in peace,in < ), tool's paradise like the others!

This defect consists of not being about to nc-cept self-styled prophets+.saylngs and teachingswithout raislnq ,th:e fplloWing awkward question: Iswhat they sPYtrue? And the test is: Does what theysay work, -andproduce results? Arid if what they saydoes not Work, then it is not true, and into thegarbage: with itl.

But out o r all these years of turmoil and searchhas come something for you! I have .Iound that pea"pie-ali people,-have: certain definite powers.Powers 'of which the,Yare often not aware of having.and powers that seem almost divine!

t1encefQrth your o~je:s::tivein life should be thediscovery and development. of yom personal pow-ers, for your Lise and b'eilef lt to bring you happi-ness, and enligh:tenment,~md iIlumnatib~.iwrote this book to bring to YOWdefinite work-able knowfedqe-about oncor your powers-s-thepower of creative visualization.

If .you will stop, analyze, examne, and, consider.you must find that our physh;;al~e~islli1nceonslsts al-most wholly of "things" comng lntoour personal-llfe-physical-exislence-surrourfdings; These physicalincoYning thingS are of two types. or kinds. The firsttype isme,ntal-emotiQnal-circl!m~tantial"events; andthe other type is material. As students, you should bedeeply interested in the modus. operaridi o f y ou r pow-ers of rh:ental-v:isualization


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do in this book Is to direct your attention to yourlatent powers, those powers that you. possess now.I wi II re peat-c-you. all of you. possess powers.which, if used properly-c-are able to handle the ere-ation of circumstances favorable loy,our physicalbeihg, -One of these powers is the power of crea-tlve visualization:

DD not worry about not learning to use the lawsof these powers perfectly .. If you learn the lawsranduse them, as well as you can, they will work, maybea littleslower, but they will work. Do rernember thatall the things that you have now, thihgs that yOU donot want, you brought to yourself by the uncon-scious use of these laws, and you did not specialpractice on that didyou?

Also have no feat a-bout using the laws. Theselaws, theernbodimentof your powers, areas mucha part of you as your life is. There Isnothtrrq wrongin using them. The only wnmg is.In not uslnq themand allowirtq.physical life fa hurt YOu.'

NQW go to it..Make your life the life yo;u Want.Go~do----uo,

CHAPTER 1

'TlIEAKT ANDPRACTICE OF C,KEATIVE

VISUALIZATIONr+illions of human beings surfer from the "slings and.u i(}\\IS of .outraqeous fortune." riot knowi ng that we",1(;11possese rnany powers which. if used properly,f qllldc;nable' us: to control OJ~rnraterial physical ex"1,,1('I1Ce to a large; extent, and relieve ourselves of a.h II (If trouble. One Of the unknown. unused powers.\1. '1' pbssess is the power of creative vtsualtzauon.

Creativevieuallzatlou is the name" for amagical"jJt:ration wherein we create in ourrmmds eye," qrill our imaginatiort. the idea-imaqe of something, or'>U11.1C c.lrcumstancevor Some ctrcumstarrces w eI.)rl~!:ywould be of benefit to our physical life tOI1l'kllJand add tp, .our physical well being, Th'ls well1willU is usually called happiness,

Upon the successful comptetlon-creatlon of


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2 Tne ART AMP PKACTICE or CREAtiVE VISUAIJZATI{)MMany books have been published describing

this magical process. Creative visualization hasbeen called by various names, but all names meanthe same thing. It has been called "contacting God[or your daily supply," or "creating opulencethrough esoteric work," or "consclouslycreating cir-cumstances," or "Seven Steps," as it is called inone school. This book is another book about a ere-ative visualization system.

However, it is my intention to go much deeperinto this subject of creative vlsualizatlon. J intend togive you all the knowledge and information neces-sary to enable you to understand, use.rand practicesuccessfully the great art of creative visualization.

And I do this with the sincere hope'that you willbe able to use this great art so well that you will beas happy as it is possible for you to be.

Before we go any further into a study of a sys-tem of creative visualization I think we should stopand ask first a big question: Canand-does a systemof creative visualization really work? And if. fornow, we assume that the answer is "Yes," thensome other questions are in order, Questions suchas: How does it work? Does it work for big things,or does it work for little things only? What is thereasonable truth about it?

Wecan start our consideration, of the idea, O f theexistence of such a thing. as a systemof creative vi-sualization, by giving some weight to an old proverb:"Where.there is smoke, there is f ire," On the onehand. in bur material li fe un this 'earth, we usuallyfind that if an idea exists, even a crude superstitious'idea, thereIsalways.some kind of a truth behind it.

Tile Art and Practice of Creative. Visualizationtherefore we might think that if a system of mental

rcative visualization had absolutely nothing behindit. lhe idea of such a possibility would not evenexist.

Of course, on the other hand, there's other oldpr()verb: "If wishes were horses, beggars wouldride." This gives some weight to the contrary idea1hat visualization systemsdon't work. If such a sirn- .I)Ie process-emerely visualize what you want and it. omes to you-would work easily, then there is a.' inag! If this idea worked, there would be no poorpeople in the world-at all, nor any unhappiness ifhappfness depended upon a material supply of1'l1YSICAL1'HII':iGSthat we could just visualize andqct.Apparently creative visualization systems"work" for some people and db hot "work" for oth-rs. If a visualization system does work, it will. ap-p.arently,workat certain times, and. apparently, notwork at other times! Again a visualization systemwill work for some people instantly; and for otherpeople, it never works at all! It could be truthfullysaid that systems of creative visualization appear tone a hit or miss proposition that cannot be de-pended upon for constant results, especially on thephysical plane, where results must be expected andmust work out properly,

After much study and experience, I believe Iam In a POSiti0t1 to understand the creative visual-izatlon process. The art of creative visualization de-pends for its successful operation upon correctknowledge. correct understanding, and rigid follow-ing of deflnlte rules!

To be a litt le more speciflc. the art of creativevisualization, and all other esoteric work. involves

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work done on other kinds-of planes-the innerplanes=In addition to the work done bfl this physf-cal planet An,d lnner plane work requires knowl-edge and practfce based on that knowledge, andmore practice, andmore practice.

111 creative visuatization work, we use all 'theplanes involve-d in OUT cosrnlc existence; theetherlc, the lower astral. the higherastral, the men-tal plane; arid the causal plane. All th,ese planeshave definite' rules and laws from Which they willnot deviate one iota; .

The rules of all these' planes must QC followedclosely if you are too expect good, flnal, physical-plane end results from Inner plane operations.Even When these laws are followedclosely, intelll-gently, and correctly, there-can be other I'oeal andcosmic conditions which can prevent these secrette:chniques from working temporarily. Sqme ofthese will be noted later in this book.

1am going to Ji$1a number of inner plane laws.r intend 'to treat each of these laws in th e order ofits importance, and as completelyas I can. 'Then rwill set up the operational technique Ioreach law:


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6

The LawofReverS


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visual aid to creative Visualization work, A correctlymade 'treasure chart is of tremendous value In cre-ative visualization work. Full directions follow formaking this maglcr;tl tool.Law l'llulnber 9--The Law of E"Motions. The partthat emotions play in creative visualization work is'usually referred to very seldom. A full explanationfollows so you will understand the part emotionsplay in Ufeand.you can take full advantage of them.Law Number IO-The Law of the Reversal ofPlanes. Ordinary words are not very goOd When itcomes to explaining the: finite metaphysical opera-tions of inner being "things." Thus the fact that allplanes are reversed to each other is almost un-known to' many occultists. And this reversal also be-comes reversed at times! The lack of knowledge ofplanes reversal is anotherreason why ordinary cre-ative visualizatlon work fails,Summarles aremostly given tbrough case histories.

At the beginning of this book I said, "endless bookshave been written describing a s'e.cr'et processcalled creative visualization," and then Lsald, 'Thisbook is another nile of those books about creativevisualization systems." Now imagine that you areasl


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10mght be so natural to them that they don't evenKnow about any basic principles. It. is strange, butthere are people Iike that in the world. These peopledo things right the first time they try, without anyprevious tr


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12 Tne ART A.NIl.PMcTrce of CREA1Wf; VI5UALIZAf IONtlon is. posalble to all of US; in some degree,through the right uses of basic prtnciples. we cango on from there.

CHAPTER 2

LAWS GOVERNINGCREATIVE

VISUALIZATIONIIH~ first reason why the creative vtsuafizaj.ionI'locess does not work perfectly (as it should Work)hJf the average student is implied in the title of thisI 001


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to create clear, mental, picture images in the mind,is required: and not a11people possess this imag~creation facility naturally. I dld not have this facilittmyself, and r had to work hard to get it in enoughdegree to get positive results from m y creative visu-alization work. Ihave no doubt that those authorswho have written boolss about creative visuallzationpossessed those creative visualization mental Im-age-making abilities naturally, and it probably neveroccurred to them that others did not have that abil-ity i~ the same degree that they had it." If they didnot think that everyone possessed the same abilityas they did, then I am at a complete loss to ac-count for the fact that these people did not work:with exercises to develop this ability in their stu-dents. One thing 1can say for certain is that in thebooks Iread on this subject not one of them pro-vided any of the exercises that I amgoing to give 1:0you. This work Will enable you 'to develop your visu-alization ability as much as is needed for your cr~.ative work.

In, the beginning of my esoteric studies Iwasnot able to proceed in this art until I developed thefollowing exercises, Practice with these exercisesenabled me to learn to create clear mental imagesof the physical things 1 needed or desired, and I

[ want to call your attention again to the st range omssion ir.!practical exercises on developing mental images made by theprevious teachers of this art, Obvlously, as the, art succeededwith them, they just assumed that a u other people had this abi l.i ty. The lack of 'a positive image-making facili:ty is one of the mosjpotent factors in the failure of this kind of creative work. 110wcan you possibly succeed in'this work if you cannot visualize?

Laws (]oveming C;r~ativ~ Visualization 15

u l IIyou that when my mental creations were1 '1 on cut and clear, then my creative visuallzationIIc . eded.Now that I have emphasized the importance ofi IIVisualization, I will give you some work to

I, (It was my intention to explain al l the laws' one ne and then give the practices in the use of the

IJ in the latter part of the book. Iwill do this withther laws, but I will give you this visualization

\ I~now, so you will have something to work onhl l you are learning the rest of the laws.)

I'he visualization practice, in conrrectlon withhi first part of the mental-phyaical-creative-vlsual-Hen, will bea magical ritual. In this magical ritual

, II. will use a great deal of mental-imagination 'iniunection with physical actions. You wHl first learn, "work" the ritual physically and then "work" itI l:11tally, visualizing it as you work it. Finally youIII I) first work it physically: 2) then work it men-

J ; 3) then work it both physically and mentally atI' arne time.This is the first part of the practice visuali-

.!lon to develop this faculty inyou, The secondnl of the process will consist of work with sym-IluL, which you Will find at the end of the bookIlld on the inside front and back covers. You'Ill lso fwd directions for making your ownmbols and coloring them. In the advanced

p.I, . . l of this work you should make up your ownyrnbols anyhow.tart your first work in the following manner:The first work Jaa very seemingly simple l ltt te

tual. If you make a big mistake that will hold up


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[,6 l ' t 1 !O : AriT AND PR!lCTICE or CREATIVB VISIJALZ,NIONyour magical proficiently for E \ long time, just i_mag-ine, asIdid, that because this ritual is so simple, itdoes not amount to very much, and so neglect tolearn and do it. This simple ritual is veryhelpf:uland very powerful, Learn it and US~ it, all the Um~

Memorize the following material and memorizeltso well that you will be able to recite it easilywithout stopping to think, of what comes next Theritual sounds easy, and it is easy, but it j~ also a o r ecomplicated for it involveseorne movement al.'jdwerd-actlons. If you continue in esoteric study. andyou should, you will eventually understand themeanings of the words and. actions, but for now,work the ritual as it stands. It will still work.

'1) Touch the foreh cad and say ATOR(Thou Art);

2) Touch the lower breast and say MAL~KUTI1 (The Kingdom);,}) Touch the right shoulder and say VE e

GEVURAH (and the Power);4) Touch the left shoulder and I;'l.ayVE..

GEDULAH(and the Glory);.5) Clasping the hand and finger-s together

before the breast say LE~OL.AHM(for-ever AMEN).

This ritual exercise is the preamble to the next sec-tion which is as follows. Stand in the center of aslarge a room as you can find to work in. faGe ~ast.Visualize a steel dagger in your right hand. Newhere is YOLirfirst work to do. Find a picture of a dag-ger" or find a real dagger, or borrow one, or .~0

laws Ooveming Creative Visualization 17IIh'lhIng to get yourself a rea] dagger model to vi-ILf. . Then concentrate on your model until youu r' 'call the im9g~ of it to mnd easily.l 'he carefulness and the accuracy of your workI' ttlng up this, arid the other models fbr visual-

IH on purposes, is the degree of magical accuracyIII I \liBI attain in yOIJrmagical work."lfold" your imagined da,gger in your right hand, . 1 trace, hi the air in front of you, a,large star ac-

tiling to the outline shown iil fIgure 1. Trace theIt accordingly < ' I . S it is day (rnornlng). Or eveningIllIt)_ Practice making these stars many t imes un-vou can trace the star without any jerky motions ..II can practice making some stars on a piece ofper. Keep the propbttionsof the star gOOd.'I,tw" the star. making Your movements deliber-Iy end slowly,Arter you have perfected making these starv rnents. add the following material to the rit-I Take I tablespoonful :o f rubbing 'alcohol or

and place it in a saucer, Light the liquidStart

Start Nght TimeBanishi.hg

Morninglnvoklng


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2Q nmART AND PRAGTICEOF CRCAt'IVe VI5U,\hIZATJON

great areas of grasse's o n which graze weat herds 0fanimals. Beyond the herds start forests of trees andbeyond the forests are mountains,

And these mountains are full of minerals t h a twe use inour daily lives, and the mountain tops.


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'and note G,arefu.lly the blue coior of the {lame,(DOil't waste the whiskey or bum the house down!)Get this blue color flame fixed in your mnd. f\:Jsoremember the way [he flame wavers. Practice urltJIyou can visualize thecolor and wavering an.dr~alLthem to memory perfectly.

Now you can proceed with the main ritual. FaceBast. "Tq:ke" yoursteel-imago-dagger in your righthand, and visualize the dagger outlined in, the ' : w - e , .vering 'blue flame. Make G \ pentagram star, aq;o~(;I1n9 to the' time of the day, .and visualize the sHuoutllned in the blue flame. Then pronounce thename y t1 V H ,I YOD - !1 EH-NAV -HE t I] .

Now ;'see'" through the center of the J'i!rgeflames an outlined, star arid a beautiful dawn! Fitikto rosy :clouds, The East is thl quartet ofair, so f,eelair, lmaglne. and feel, a cool soft breeze COITI'ingfrom the dawn clouds and passing over and thrOl,1,ghyou, and through you again and again. The name .o fthis East Wind is Burus. 58 tall it by this name.

When you have turned South, make the " s t ? ! . Tand then pronounce the name ADJ'H(AnDOH~NA:l1,Through the:center of this South star, "see'; the f:ol-lowing scene. A tropical island, Warm blue sea w a -tel's Clashingoncoral reefs. Beyond the coral reefslie long white beaches, and beyond the beachespalm trees-sway gently in the hot tropical wind. ,fe,~Jt1'11.shot wind pourinq from the center of the starinto you-and warrnlnq you through and thr0ii'g~,The name of this south wind lsriotus. Soname,ltimand call him.

When you are finished with the South, erase Itgently from your mnd and Continue to make the,

18 19ll'inc, fire circle around to the' West, There makeIII1F blue flarnestar and pronounce the n ame Al;JrH11-1-IEYBHj.Visualize a waterfall tumblinq down1\" r a cliff and dashing on' me rocks at your feet," ncling up a cloud of mst and spray. Feel thisul ty spray on your face llkeagentleraln ..Fed wet-' I ' ' '" ' S and coolness through and through. The name'II this West wind is Zephyr-us/so name it andQ;3111 1 . 1 name.

When you are through with the quarter or theest. continue, with your flame d~gger~ the circleround to the quarter of the North; trace the fire-Itune star and pronounce AGLA {AtI-GAlrlAH). The'nth is the quarter .o f the .earth .element. These

Iuurters have no relation tv the usual matertalIh~as of air, f ire, water, and -earth, but are con-rrned only with the qualities of these, elements,'hnce North, the quarter of earth, is not the No~rthI' de of the Earth but lsrrorih. the quarter of earth,II I in the North quarter of earth that all the otherI 'mental forces end. I will repeat this: AU "forces"omng through to the "outer" from the " inner" endIn IIIe North quarter of the earth. Therefore earth ist~h: great end storehouse of all forces, and theseI trees are all things! You will find in earth all theIhlngs that you are locking for, the things that YOlJIII' 'd to make you happy.

So, therefore, when you.visualize the quarter of, .lIth, through the blue flame star, ym,l first visuat-(I", before you, vast fields of ripened grain and vastII ' Ids of ripened corn and other cereals, Beyondt h sse f ields are vast orchards of fruit trees loadedItl1 all kinds of'fruits, Beyond the orchards stretch


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is .clearly understood, it explains why some. st;u~dents! visualizations succeed easily while other ' s : t g edents: vtsualizatlons never succeed. no mattlfrwhatthey do, or how nard they 'visualize. In the e x : 8 . r r x a opies that follow, look for the ones where creative J t l 'sualization work was done naturally. ,

.FoJi the technique I am about to explain to Y0W(as you have no doubt guessed by now) J ha}:r'ecoined the name The Sphere. of AVa,ilf lb i ll ty (I di athis coining of names. even after [ comprainedabout others doi:ng it,-s o I feel 'guilty!")

thec;pnceRt of the ,law is so subtle that I ha'iil~decided the best way to teach an understanding. ' i fthis law is bymeans of case histories, ] will now g\:tfea number of case histories about people who h a , v esucceeded in creative vlsualizatlon werk and tl:tmpoint out th'ecorrect use of the.law in these casese

I am going to tell the very first story r eve~rHeard about creative visualization work. The fo)10'.ingis from a book written by'a Mr. Richard [ngalBS;e.Mr. Ingal.e,se was a lecturer < I n C ! occult teacher .inthis country at the turn of the century, t.11iappar-ently died in Los, Angeles about 1900 as near 'a:s rcan rind out. He arrd his wife wrote some boq~s'about esoteric study and these books are Still ~e. i~egood 'for beginners, in this line, although they are: a ,little outdated now, "

In one of h is hooks, M r. Ing,ale.se-'taH~ih,g.about the Law of Opulence Which was his name I feel that 1 should mention here that it \'V


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.24 True Af\T _"; I ' IGlPRAC;:T IC_E Of Cl}pATIVE V15UAlIZlI:rlONWewill now consider a case that I !tnow 'about

petsonally.i'1any years, ago I lived in La .Jolfa,California, and I used to attend 'a little Theosophicalmeeting that was held each week..AsIs somewhatcommon in Theosophical circles, the people wheattended came from different backgrounds and hadmany different Kinds of idea'S about the esoteric;study.

1 recall corte lady who WaB active in semi-esoteric work." She used to teach, in some k.ind ofa WPAgroup in San Diego, how to make TreasureGhatts (as we will study later) such as are taugftltby the Unity p-eople in their work. She adapted he.!'own. ideas to these Treasure Charts and thJi:lclataught them as a ~ind of creative visualization sys-tem of her own to a mixed group of people in herclasses,

The people In the cICSS,having nothing betterto db for the moment, used the idea in jest 'and,one. mail made up a chart for a bottle of whiskey',while another made a chart for a beautiful wornant

It turned out that shortly afterward. someonegave one mana bottle of whiskey and the otheliwas introduced to a beautiful womanl The. two fue~were so fri.ghtened by these happeni_ogs that tb'Byfled the classes and refused to haveanythinq more ..to do with this stuffl

At one time T owned a small rooming housethat I had. ~:one to a lot of trouble to f ix. up verynicely. I Gild not Seemto beable to g(';t any incomeout of it. J made up a chart and dedded that Iwould be satisfied with a certain income per monthfor the time being and I soon had it!

m e Sphere of AvaflaMity ll5At another time. I needed a small hafid punch

1 1 1 1 some Work that J was,doing but I was not ableI buy one. 1 did some vlsuallzatinn \Nork fo), a.ullch (frankly. without much hope, as I WaS new toIII.' game). A few days Iale r. I was accosted b y aIIunken man Who offered me a punch foj'!, a smallurn of money, I did not like' the idea Of the. manII! Ing drunk and selling something for less than It,I'" worth, so I refused to buy the punch, where-Ipon the man threw the punch dowriat m y feettd stalked inff in high dudgeon! Younerteinly

IU11 . t l not ask for more of a mracle than that!1am not sure where I heard the next story. I

.Ill't think I read if anywhere. So if I am usingy ne else's story I apologize ii i advance. A lad:Y

.,W, in a large department store. a very beautifulij It that she decided she wanted. She could notInord the hat, so she decided to get it throughn. : l ive visuallzationv Inouder to get the CreativeIsualizatfon plcture correct in her rrilnd. shey nt into the store and, leaving her old hat onUll~counter, put.on the desired hat and went to a1 \ , 1 ror to see how she looked. She wante-d to getIi: visualization picture absolutely correct in her~1tnd-When she was~hroug"l vJewing the. hat, she,' lurned to the counter and, looking about, couldIlut find her old hat! Afcer searching for a time11. called a clerk who c_alledthe departmentmnnager, and learned that another clerk hadsold1 , ) 1 ' 1 'old hat! The manager s-aid.she could h a v e 'anyhill she wanted in the department. so she walk.edI I U I . of the store with the hat she wall ted and visu-.lllzed for!


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Qnd,er-these clrcumstances. this .man was notable to move into the position he wanted, no 1l1BU"ter how much he tried to get ahead where be was.Me carne into contact wlth' a metaphysical workerwhom he allowed to do some work. for him, andthrough this metaphysical worli;, the man secured aposition in one of the large_ststores in the w()"rld,where he was soon at the very top spot and made B !terrific success of eVefything he touched.

N9W Iwant you to think: do these tw.O cases'haye anythinq in common, and, if 1;)0, what is it? ,Atfirst there seems Eo De no, connection betw6@,t'Lthese two,cases, but a closer lookshows that tliieyhave one very important thing in common. Bothpeople, had the thJngs desired, or were re'


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I/ I r I . . ,,TH~4,R1Mi l i P~,~i;:fl(;E~ C,RiiAli ' iVE V(~U!,l,\Mi'IOJ1I . I

ptact iC:e this ait, ~Qr. th'eF;eS1 of his ' ,([fe. ~,The'14'WtthIng' nedH;t'vJas:tp ;set:eqt' ~nQth'erGbj~c,t i 1 e ' n e ~ & e do r w a ,. nt ; ld , wh;;c::;hi1t;lppet1;e1 to be in his 'Spniel'eof Availabi1i~yj and when. that thing was dettr tl 'l1)-sttate~,;h~ ' w en t 0 ' 1 ' ' ' ' tQ"~aj1oth(:W anc(s.ult, c : i u o n H : l , I ' : ,, EaJ;;h successtu) pemonst:rpt i.qn a:ddeq {3 :ametJ iJUngn : ra te r ,f ;; d to h i s !fte; ; 1 !nd thus efJJar-gf!O 'his' Spht'tt~ of, Av .~71abl1i ty ., As tHe spl1ere of At(ailabjJi~l!e1Jlatg.ed' in si"zf'!,

I ."1 '" 'dtiMr tbings fO,tJ'tJ,erly not possIble, b,~came PfI ,S.SII bje; or, es.shouki be:'Said~ t~e Sphere of Av;1i1'ab#ityiQcrease;o: In siz,e ynfjj formerly impossj,ble, tf l , i I1flsbecame easily aVailable 'and were e m hand alf1!1dst~i;ltoma.tJc'~R\('For.l1eavens sake, a.l'l~, y,(~n(~',j~e.read this: over ul1:t ll .you lJXl.der_st~n


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people who were, once v~'ry poor, or in great ne,edofmoney. Because a merital, natura.l, and personalcreative visualization system was developed',money started coming to them,; but, havlngset nolimit to their objective (-at least for -this one visual-ization _creation) the tnccming flow, once started,kept btl eomtnq, and, in the end, the incoming flowtook over their lives and they continued to do noth-lng bl,lt ,get m.on'&y. All their other objectives in lirewere Jost sjgnt of, and some of these people actu-an y starved to death because they could not control-the incomtng flowof money-c-to divert, some of it to.spending patterns. 'Theyw,ere gripped by the powerof the forces they had set In motion. They couldnot spend the money for what they origi_i1,allywanted it for-a good tirne to be had in life.

In the paper, this morning. was the story of awoman who dropped dead on a Sau francis.oostreet, of starvation, and over one thousand dol-lars was fo und on her person by the po l ice lAnother example, of this sort o- f thing is TheChristmas Carol by Charles. Dickens .. Bbe.nezerScrooge turned to mak.ing money because of agreat love disappointment in his life, and he felthe needed money to make up for What he lost.Scro oqe; having once getten a flow of moneystarted his WEiY,'was not able to control it there-after. and amassing money took over his Ilfe tothe exclusion of all else.

This concludes the theoretical discussion, of'The L!lw of Limitation. I will now gi:v.ea few direc-tions to guide you in practice, and willglve moredetailed directions in the latter part ofthe book.

The teCJmiqu~,ef timttationSQ, for the tjrlle belng, what has to be done to

make your creative visualtzation work come outright? The first thing to dais' to ngute out exactlywhat objecc.or thing, or circurnstanccrsj you wantto bring about or acquire, by creative visualizationpractices.

[(avrng_ made thls decision, you (hen write out,in exact detail, a description of the object or cir-cumstancedesired, and state clearly that this- tsal!that you want from thls one operation. M


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32 The Sphere: of AvallahilityLet ys go back. to t)1e r~g picker. Now I db 'not

want to use this system to 'get a piece of carpet. Jdo not need a piece of-carpet, 1 0,0 not need to usethis system 'to get a pJ,!i:(:e'of carpet. I have lots ofpieces of carpet about me now, 1 have some extramoney available so I can buy many pieces of ca.rpelif I want them. So pieces of carpet are not my problem as itwas to the I'ag picker.

["10wev ex, while Ido have S0[1le things now, Iam not completely satisfied with what rhoIN POB-sess, and I do VIrant to use this system of creatlvvisualization to get the thlnqs-clrcurnstances-sftuatlons-possesstons that I would like to have, or dowant, or think. lwant.

On the other hand, from What I reamedaacutthe Sphere of Availabili~y, I do know that nlCl'HMofthe big things 1would Iike, to have are-not in m ySphere of Availabillty, Let's face itat this time. Alsolet us face t_hefact that we .are dealing with de.f[nltplanes of manifestatlon. each of which has di~finitlaws, and each law of each plane must be ubeyecl.There is, I n addition. the law of the last plane, thphysical plane of matter, -andthat plane is vefWhardto move, to understand, and to operate on.

What shouki I do, and what must- I do........ndwhat you must do, too-in order to make the ereative vtsualtzatton process work for us? Clearly Itwould seem that the very first thing we "middleclass" (Whatever that Isi .peopte must do is to dIs-cover exactly where we.stand and where we ale Inregard to what we want on the physical plane. Whave to pinpoint our exact posttion 'and Ktlowwhere we stand exactly. We must f ind eexa.cUy C h

11H we want and find Gut exactly where they are,I trd to our Sphere. of Availability. We must findix.adly what things are miSSing in our lives and~hese things stand in relation to our Sphere of

I . b ll lt y,fu sum this up: the intelligent an d accurate ap"

II ul of your present life's position in regilrd towants, needs. and desiresis t h E < first step in thet use of creative visuallzati on. Tlw second step isuccurate appraisal arid understandtnqof" these" In relationto your Sphere of Availability.It can be sard, quite truthfully, that we mddle people are:the most dlfficutt subjects for ere- visualization work. We have many things onI I now and many other things automatically'111ilg to us, If we Should start creative visuallza-

I 4 lor something that is automattcally comng toI would be a waste of time. and effort. In all es-dt. work you have to look out for a .sttuattonIdn you use-these powersto accomplish some-11\1hat COUld be accompllshed in another, more

I 1 '1 I. way. For example, by using ordinary plan-I you mght rind that you could trade something11:0onger W


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, 'wor~., Uat 'e r dr,WHen Y9u hav~~achieVed soh'l~,cess yotiwiIl .S'uide yours'elf by HIe cteVl:'Jopm'l\ltXqu r Sphere of AvaHf.i,bility., W lI at is w ron g, w!tli lt,alfl\ng YOlrrgpal ITI 'several easy steps in:ste:ail lone' btg hard jump? '

I will I'efel' agaHi to Mr. lngalese and his i)@ok..I" 'rl".,Iftga:iese Is the only teaoher I have' ",,,,,w' ...t,'A,,,"",.that tii6ght, 'in conrtection w i tt t creativetlon. a system of gradual .g.rowth, He called, ,.oreatlnqa "center" from \vhich to draw the ,youwant and need. E:_\(ety otbe-t'te:acher that.Ial,Ways 'strongly stressed th e idea that [n y ou rlzatien' work. under .no clrcumstance: r.ruistshould you designate from what source yoerf dsir'ed thin.gs should corns. 'That ldeanever didpeal to ~e because [ am a natural planner, 'a'Rd[ike to know at all tlQW;S where I stand, .and wl'1alam doing,'Mr. lrl :,galese tel ls a. storyabout a wbm;::tO(Wbuilt up a, center graduaUY.Sh, Is,supposed tocome to SaIl f'rarrclsco u long time ago, 10 'SG,TlwilY:, pot explained ittthe sto.ry.thls'~OrriEl.[]a f a C i l i J _ ) i - in the art of creatfve-vrsualizatiori ''it from the st-art to 'BUILD UP A GRADUAL.'CENTBR, She. first got a job by visu,alizing' it: .she got several promotions in the.same p.1;:Ic,o;.SUe visualized herself .gohig Lnlo rn(~taIDhIVsidtl\!fi0r"and after tharshe Visualized herselfpensatton worthyofthe effort.she spentfor ptber,s, ana 'sQme0ne gave her a large ,summoney io, gra,):ltudi;f for WQrK-.sh~ did, etc. ', I will 'admlt that this story does not [oHow- - - _ - 1 1-patten; as' I,aid out by man)' other teachers; "~Mt

"

i:h,e;: S-p_fJ,~fe,9fj (~'?Nab.JUf-Y 3,5, I I I,' I I ,, ' '" ms to m e thatthi~:s:ystem of, 9 J . ' a : . Q t . { ' < - I l g r o w t h is

II more sensible. t:h;;i:ndQl~a"IO:t'Qfg~ne:ral vis:~al~l'ltll without ati:yic1ea'9f 'a:(Iythingdefiuite,


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shift yom pattern quickly to dOing work that ya uImow you w ill I iK ~ to 00. *

for God"s sake. combine Inner splritual k!lOWI-edge with earthlycommon sense. The twoheeded to make a !load whole,rne creative vlsualtzation mental operatlon i s atn,Je'ma!liTHE TECHNIQUE OFLIM'ITATION

, lne oJ the main parts. of a true. maglq'l.l operation i{it .uled "The limting of the Object of the Operation."What does this mean? Mag~caloperations, involving

they do the. forces of the inner planes, deal onlywith forces, Inner plane forces are subject to innerI lane laws, and are certainly not subject to physicalIII. IH.~ laws. Thls fad practically everyone ktiows" ofnurse, but few people' realize the implications. ofUlls Fact.

Basically, when you deal with inner plane forcesYUll are dealing with forces that have no confine-nent of a ny .kihd. TWo inner plane forces occup aIngle space at the same time, Inner platte fOJcesn y off in, all directions at once. Time, as we K!' IOW it,I., not the same for them, Both start and. flnlsh atUte same time~beghining and ending at once.\Now do you see why it sometimes says In the Bible


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:1 " I38 TIIE f ,\RT AND PRAO;:rlO(O Of GRCA1;lyI lNISU,\UZATION, ' " I' , l / : JI,am th~ .ALpnaand,'t~e 6m~ga,tb~ begutning ~'dthe end?) Arid yet in ,ot~l'~dto obtain your outer !\Ie-,. ,r. I ISiPi~d'_physiGal;,pl'ane~end-re$uits' yeu b a y e to 'w,Qrkwitflinn~r ,pl~,~e,orces 'nr~t. To hand. le I:hese lno~r~laqe (or,~e:Syou, n : 1 U , S t lWm\( someth"inga'PQp_tffjeirnature and 'how to "work" them., ~.~i~n ~ortune di~qsa>,~ometning about' thls., butdtd not !,,:xpla:inthe ,full !impHcatiQITs,Yon have muchto learn a ,r l~ ) will give it to you i n ,time, and as wego along; bL\t' F o r . the presnt~l,l. y,ou have to tsnowisi at,Uie start of 'any tnaglcaloperatlon a Hn,it:fuJstbe set 'to desigNate the extent "of'what you ~ant to, I Ia~c~r:nplish in thi:'!~'particular operation. Unless.' ywudo, this, you aregoJng to have trouble- getting t'fleforces Io make.the transitlon frori; the plane of for.ce, 'to the planeof form', arid to stay there:, ,I, .,'(ou."areabLe., b.ymeans of ordinary meatalmagical;d~Hy operations. to contact and g~t'b,erforces together quickly, but unless 'the gattfered'I I , ,I I.,forces 'are q:l:Jickly conducted into a "form" here m,,I I ,this pn'ysipal platte, they w i l l flyoff as fast as N1ey, Iare gatb.el"edr~' " ""Nowapp~ars two 0'( those s~emi[l.gly , e n : d l e s sfactors that influence, 'creative visualizatton ,Work.

a:~.d ' ) t rust, that:Y0U are not going to b loW up at' e~e i rendless appearances, We will come to a~ e n a of

I . I I. I I , 'them sometim~f s~rely at the end of this boold ~t.the lack of' krrowledge about these things, ,thalIe Imakes our' w.orl , \: so futile when it comes to ~el~tng

ourselVist,hrough magical work ",', 'I I t'

'r The 90jkd YONdesire in your vlsualizatlcn work. is t i l l : ; ' ~,[j,RMthat limts the forces that your work' ga thers.' .

tne T:ecJmjque, of U1Dita'tlonWell, we might >~swe l l get it over wttn""-One of

hl'~ factors is something that yOl,l could call "toor II h of a good thing." '

To state it briefly and quickly-e-ll, is-a Law pi theII~II r Planes that once you have succeeded inget-ling an inner plane force to 'work for you, or tortnw" into 'your life, this force has a tendency toI.~pon flowing-working. An d this flowlng-wnrklngII! keep up long after you, or any other operator.

110.' achieved the original objective of the originalIdrting of the: flowiftg-w"orKin~! I note an apparent!untradlctton in the above and what 1 said before,nt there is none. really. J told you that inner plane

'11 es do not operate the .sarne as physical 'plan~111!'Ces.It is true that inner plane forces can be gath-, .c \ together quickly, and they do, and they can, f l : y'It: y as quickly. But with long persistence, and

k1tller unconscious magic techniques. you can sue-" d in getting the forces to flow for you. and then1 1 1 'Ykeep on flowinfi,!! (Consider "flow" the same asw rk") This automatic overllo.w can cause as 111 uchuiuble and disappointment in results as no flow at11'1.he simplest form of trouble that this over-flow.111 cause is to create' a condition of tension in ydutier you have received the original thing you visu-llzed for. In this tension you are vaguely dissatls-, -d with the whole creative visualized matter-Ip ration, and you feel that you want to go 'on

I ' -monstratlng the same thing-object over and over.And the other factor is that many people doI 'Jel to . that continual flowing-In pressure" and go,HI ~ccumulating the Objects". first ,wanted, beyond11reasonable need of them. This happens to

39

t, II


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I II

"

'~. """". ": ' : "./l ' .: ' "', '"I ', ,~. "

.... I( ."" ,

' , ', " . 1 1

TilE ,LAW OF_, .,' ' I ( --" ,1',,'BlrIDlNG" ,

, III . . . .1 magical operations of ,21,,1~i,tidsthe,r ;ate alwa~$

iwnklnds of forces iil'Vb1ve9. Attua!iy, any' kino Q : ~m operatidn~afiY act.ibn~ofany Ikif1,cl~ptiysic"'l or1!lner plane, magieaJ~invQlv:s tW9 kinq~~(,o~e~~tl say it amotper way, to l;nake it a8d~!:li as ,possi--t!. any and,ever:y force ih'0'u~iph'ys'idal cosrh'o&,isI ,illy a d~~ble acting ji'd;tGel ~.verY',forc~; i~dl!al i : r ; l, t'lme, andalwa:y:s has b;~en,'4:':t


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The l,aW6f Binpiflg4

theside you do, obtuse? (This, is .not too; go.od an IIlustration, but it will do to enable you to thl{lk aboutit, and to keep the concept assimple as possiple.)

rlere is a different illustration. Do you realizethat every time ~d.lidri.ve your car forward. you areexerting all equal force backward? lf you will studysome physics about the Laws of Motion, you willfind this is true.

So again I say, when w e use a physical-planeforce we do not use just one, side of the FQ'rc!, oronjy one aspect of the force. but we use both 'sidesof the force at once. As in the. simple Hlustratton orthe blanket 'and the more complex operation of theautomobile, we must use both aspects of a force orwe can't useltat all. In facta force could not exisl,even on the inner planes, jfit did notl:1


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the side you do not use:? (This is not toogood an ll-Iustratlon. b.ut It.will, do to enable yow to think aboutit , and to keep the concept as simple as possible.)

:Here is a different illustration. Db you realizethat every time. you drive your car forward. youal'ceX,erting an equaJ force backward? If you will studySOlTlC physics about the Laws of MotiuTI; you \\Iilllflnd this is true.

So again I say, when we use a . physic;al"plan'eforce we do not use just oneside of the force. oronly one aspect of the force, but we use both sidesof the force at once. AsIn the simple iIIustratlonQ,fthe blanket and the more complex operation of the:autornoblle, we must USe both aspects of a force orwe can't use itat aIL In fact, a force could not extst,even on the inner ptanes. if it did not have tW0sides to tt ,

However when 'using inner plane forces to ~fi);compltsh something on the physical plane we W'al; rtto use. only one aspect of the' force" and not botti!.aspects. There Isa reason fat this. one aspect' of aforce will bring a tfiing to us, and the other aspectof a force. witltake it away! Or to say it in anotherway-a force can bring something, to us and tftesame [orce can take it Therefore it is imperative tn all ITiagic works,and in all kinds of other works, that you must rec-ognize the existence of the other side of the forq~that you a re invoking. Remember,. when you con -

The La w of Bindillglad a force. you contact both sides of it at once,and at the same time,and both sides have equalpower. It L~the lack of knOWledge about this "s.e-cret" fact that causes so much trouble In the magi-al workings of would-be rnagiciarrs, E;itf;;Je;f,ourmagical operation works liKe mad (I mean literally)or does not work at- aLL . .

Therefore, when yon want to use a force to ac -iomplish a certain kind of work" you must use the"side" of the force that you need to accomplish thework that you want to do, be it cons truct ive. at de-tructive, and bind the other side of the force that

YOL I ,are using 89 it wi l l not function in the operationYOLI are performng!

If you do hot bind up the aile side of the forcethat you are using (the 's.i'dethat you do, not want toperate), then in any particular operation you per-form you will invoke-contact both sides of the forceat once, arid they will nicely cancel each other out.Or, to enable you to understand it better; I will putIt in a little different way, When YOlJ start a magicaloperation without a binding, you can, and often QQ~use the aspect of the force that you want to use:but as ~,imegoes on, the one-sided use Will creare atrain, or pressure, and this pressure will, sooner orIter, bring the opposing force, now concentratedby the removed dilutfon of its balancing -opposite.back into operation wilh the results, harmessenough When said this way, o r completely neutraliz-Ing all the previously done workand bringin.g bach,II conditions, physical and otherwise, to the sameondition prevailing before the maqlcal work was


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)itaitE3d. To say' it:al1otl1et' way, it,ri1'qke~(a 'ha~i:')c t l Z i t, "of,the whohil thing/ , 'lf you, will lOOk ciilr:fu,lly~ y:ou w H I : $ ~ E ' ; Ulis G : f i~

r~peated time and time, a g ~ i : n In the history of ~a.tions i~ the wdrHt.as far "bacl~as you Care to 'gb. , roue$ri.s,ee 'it ,ope:ratirig in our daJ,ly Ilves. ,evetyda ina U Qur' liHle disappointme;nts: and brt;:al\downs: ,I 'dRlliy Hvlng. ,

So now that .you k . n o w ' i3!bdut ' thE Law of Bi'tI,tI.i 'r ig~ wffat must ym l do to' make your magical. o.pella:,"" I ., t ' idt. tS' come'out t i lh t?

nH!~:op6rp.tjon of mental fll 'q,gic; yotj' ,\i(Ul 'be, (16l'ng by using the art 'of t;:reati\le vlsualizatlon: 'arsgiv;n in this 'bou~toset a Jirrr it en the: extent , < d , f.each nperation Yo u perform ........i Il have-the same , ' e f ' : fect.as binding the op)_posi te force, ' '- . ,If the,'wo,"*, you -are a,tt:emptihg to do d6esdjQi:}'t.jnvolve too great. a .distocafion of your surro.u~f.I;-,it;tl!S, if YOLo:sphere of avaHa'bUi ty i ' s , r eady to sPP1\lly' . y b , o . wi91 wt:tai:yov are wQrldng f9~ se'tting a S~lJ~ ".I:1I~lirniton the ~!ze of the operations , . x r i ~ :atreti0,fl..,hJctif)g.will' be sufficient fa;'; allndl'fr l:al purpases. !Cyou are creativelY visualizing for o$c>me, t :h ing r~al~YbIg, or if yow, a t , e attempting real mtlg~c;?li W 0 n ~ ., it, w ii l be absolutely nep:;_~~.avyto bind the o p p o s J a a idual. fon:e; , ,',

A wai to 'se.e,.t~is'.qui('.Kreyers~l' in ~ c ; t i O t J ,i:sto wa~ch ~!le,~~'\"pleatracc. ~yaq.l$. A mtinwil l win a large sum pr m o n e y 'v.:li1obwas done .. ' J } , y ;(3~lq:essfulJy inVOKil1,gpressure on inner p l a n efo,rocs. Evel1 if Itwas d o n e Ignorantly; ,thl i power of tbe 1 p . ! : i l Leven of an ignorant man, Is. v,ery .grea1 (at fime,s1, M1 th~l,1',~few minutes later'the manwlll 16s_~,J,lItha.the Won, Th~'fQt$eg a ' V : c .andthe forte. l -&Q k < lW ; ;J Y

I suggest that Y;0U'Confine youtstjllf t@ Iheg typef I spectallzed operations that I hfl\(~ ~j,ve_n'You soIi r; go one step' ata Ume~nd":gainwhat you wan~lowly. I can teHyriu,tm,ly,tha,t if you gef too.Iarqe.a1,I11ngby these ereattve :vi '$u.al izal ioh r'netli6'd~s,-un-k you ' PJ .' o: ,t ec J YOUll:s.If'by pim:lii1g', you ~te ap t toIIJse it all again w.heo the reaction takes' place,'l'uild up YOW life by the Slowet, tnot: care,r~l_ wellfI~Ollght oat riJe-lihQdS1 .have.given Ydu;. one stE5p 'at

r time, and ybtl can expecttb hd}d on to yourf/~Jfns, increase them,


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THE LA1NOFTHE BARRIER

~I'this section r ani introducing a hew subject-s-thew which pertains to the art of creative visuallza-

!~n. I have not found this law in this exact form be-ure. I have named this seventh law of creativeI,ualizationThe Law of the Barrier; An understand-I J I of this law willenable you to work the art of erellve visualization a Little more perfectly.

In the LIse of the art of crefltiye vlsuallzation11 thods to get what you want, rnw::h confusion ex-hi regarding the use of words as opposed to syrn-IlJls and pictures. There appears to' be two schoolsIt' Lhought about toe u;se of words versus picturevmbots. and neither of the two schools seems to1~'i1oWoo much about it conclusfvely.

In the past thirty yearso'f esoteric study] rancross first one 3,C1100 1of thought and then theJther school, They seemed to run in cycles. First

, ,


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, ,!SO t~E Af\ 'rA~D PK~CT[C~(dF C\EArlV,~N151!f.~LZATIOF!

I ) ,I

there. w~'u.lcI 'be scJiobls a n l . 1 'bo,Q'k, ,s; d~aLJn~ w- i t < r' ' - I, word's, rl'i~uJff~, cha,nts_ytt. And toefl there

be ,sctlools d :eaHng with mentaltures. etc, Certa1n,ly' yqu' have all heard ofhis, ~'Di'l:Yby day Jam gettjpg better andIt Is,"Day by day,in every ' w a y , ( am getting .and better." Als(;,. you n'n,\$t ha~e heardtof P""Ci r" i'~""'Mantra:s)', Chants, and ra,iry tales I 'lre full < ; > f 'li.Ke en~Gh


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52By studying, this material. and Learning the art

of creative vtsuallzation. you are entering upon ~new phase in your Life; a phase in which you canlearn to eommunrcate properly [0 and with yOiH'subconscious mind. You can learn togive your 8111b-conscious mind positive directions and have themObeyed by it in order to ,get things done, for you.At thi~ point I will part with a,couple of big:>se-crets, Big seoz:~ret,syou would never get except flt(!)~msome secret society. and then 'only under big o.atli1sof much secrecy: and yoP woukfnever be able touse them for your own "benefit- or tell them to ot}rJ,erpeople sa that they can help tbernsetves. ot.!Heavens! Again, for heavens sake, use these secretsfor your benefit, and thenfor the benefit of .othe(s.

First bi-gsetreU Your inner youIs connected almost directly with the. inner forces of the physil;,)alcosmesl!lAnd the second bIg secret! Th lnner force~ o rphysical cosmos are the emotions-feellngs of Goo;d,!.' The word e-motion means moving (sonretl1fng

moving) .. r-l0vements on the inner planes ate vitll1aHans of different. khids and of different fbrf11s.These hiller plane vibrations, as SOOT l as they ceeneInccntact with your inner plane subconsdousl)"ess,becpme "visible'; to you as your emotions!

And the converse is also rnuch more importantlytrue to you. your subccnsctousness emotions+pen-crated b y you-reach out and contact these innerplane fo~ces"andinllueuce them to your benefltlNow, with this bnperrect and incol11pleteex:pll3.'nation of the basic foundatlon of this creative ViBhl".altzatlori 0 8 1 1 o u t of the Way, we can proceed. T l ' 4 c e

The Law. of the Barrier 53I','tilon I use the words Imperfectand incomplete isjilt modesty forbids me to claim. as others do,.h"t I have given you the whole truth and wholer , ulh of be-ing, All i have given you is enough the-I'yknowledge to enable you to proceed with yourJrl" In this rut.The art of creative Visualization would be a ter-l iH ally simple matter if Wecould just "talk" our de -

Ic t visualizations into physical existence, But thatmple thing we cannot do. You cOI,.!Jdspend i'! life-

jln1 talking about What you want and still not. get"1 \ word through' to the submind. Talking: wordsm.st be linked with EMOT.ION:ALFEELINGS IN OR-I~U~TO WORK! Ye;t We cannot TtHNI\, or even oper-I cornitlUnieate, on the physical plane without the... of words.. 'and itIs by WORDS that the OUTERIIA8 TO COMMUNIC,ATEWITtl THE INNER.

lfowever .I am glad to be able to show YOI;1hatJ ii' ugh all these contradictions between words andrnotions. and emotlons and words, there is a pathI~.t does go right through it all, To explain this!lIth, Ihave invented a name for it (a practice] ab-1~lrredwhen others did it and here lam doing itpin). Thename I have Invented is The Barrier!Imagine a "place" inside your mental being

'here there exist:':'!a sort of "fence." This fence, Or1,1rrier; separates your outer being from your innerItll1g; it separates your conscious mnd from YO\.lTubconsclous mnd, You, your conscious rnlnd. isu.lstde the barrier and yOU, yoursubconsclousIhld, is inside the barrier. (This is not too good aIty of explainlnq it, but this explanatlon Is only to

Icscribe a theory so your mind can have something


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to grapple with. Don't d~ma!1d too -much frbm atheory: -assoon asyou get userlto. theldea, Oll willnot use the ,conce;ption anyhow.:)

Imagine that the ba'nier works in the ronQ~imanner: wordseome 'Up to the barrier, strike thebarrier. sink in the ba.rrier, and theu emerg~ (lfi) hl'leother side, the inner side" as emotions!GOl1versely, imagine ,emotions ,cQ.ITlinup toinside Of the barrier, hi , t t ing tn~'b ar r ier ; ' ~i~kingthe barrter, and emerging on the outer side as W0rdsl. W 'l:)e n you Can vi~uaJJie this opel 'at i iO; t i , you

made a great advance in t h . : mastery of the eS,IQt~;I!lCarts.

This theory of The Barrier may be only,vention of m y mind to help you understand:important operatiensi but you can-see for y.'0u!l~)elrthat something, like tins must be so in order,off- your Inner B,eing from YOlJr Outer BeIng.barrier dldnot exist. ~he least little word wq.t1raise a perfect hell -ofernotlonathat COUldn ' C i ? t bcontrolled. If the barrier did. not exist, the le~st ntHemobiotl' W bu . , ld ra;ise a 'storm of words tliat'bemeaningless to YO\land all others, ,

The barrier slows down both of these tran~feactions and' allows proper living to proceed Inhalfway orderly rnanrier, Understanding the Inst.tQctions rn the barrier process enables you tOH8:J'Hiler-1a te1y control th,e. barrier actions; goi 'rtg and c Q : E 1 d n g ,all asmlght be saJd_':'t.ocontrbl the tr


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The'se piotures were painted on the walls b, f thtomb and made alive, and powerful, b~ the magic orthe priests. LtJ"l11cases. urih~Ssthe priests withdrewtheWtnagic protection, these pictures preservedchild throuqhout the life; and thecni1d livell thlprotected path during physical lif~.

At tile present time I frnd that the unityare uslngthis magic tool in their work, It-seems alltie strange to find Unity people u.stng this ma,gicvice, as none of their other teachings haveeonnectton with magic that I can Iind, for theymostly metaphysical. mental teachings. But, beastt hIaY,vJeoan be thankful that the magico;l toolstili exists; and that itsus~ is open to us all. (Icalled the Unity office in this Cty and the lad:ythertells me that the Treasure Charts are still used Intheir work only she called them Treasure Hal~s.you feel 50 Inclined, ge t some. of thelr m


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,58I

"w~Qr~ansi ,stgdles for the rest of your llfe. ,~u'fflYbooks ate written ,[d f ofl'cep"Urppse only. aQ~fhatpurpose is to help you help; yourself.):so, plating a bordet-bouhda.rY Line Oil '~Qurchart's surface not only places a :P'hy:sjcaJ'J>o~:!'1td.ary Ilne .on ,you'r ,pllysical chatt',s'snrfac:e,,'''~1ft:t Italso Rl~ces' anastral boundaryUne on the ,~stralplane cOU'ltetpart of the- chart, Everyth,ing 0Jlthphystcal plane has :a counterpart o n the'lf:l:rnerplan\s, way' up to thetop of CYeafion. NoW dQ Y'OUsee wh y .(:)lil should place a QOLmdary ! i ' r n U < ; I ' n o n9h y o - u r work? For .exarnple: lam told, that "'tie de-signs of a ryg are all duplicated on the'a~'tralplane. and it'seems logical that' th~Y W O r i J l < , i '. i ] l th,ide,l'l,of s:6u:n:terpa-rts is true. ln 9'r~eJJtal c;:oll)J:lt ies,where these things are automatically Kho 'wn 0r , . I. . _ .'I. ,l ~sensed. when a rug IS desJgned ah~dwilHilen.breaks are: left inthe pattern 'of the ' rug SO,,;;u,1~~le.m~ntals who ha-ppencd to get into the as t r al ,Rattern can escape from the deSign of the rug!,!' (rftat.. ,is'alJ [.knbvJ about it. .W I1Y th_e eletnentals cqnMot, "get QUXof the ,design :;;ldeways is' beyond m~ understanding, I have heard that theyGanmov:!~ IDnlyin-a straight line; Doesn't make mu c h 'scPSE'j' il l b habsence of positive knowl~dge" May,be'they aT', .,' ,Idumb, as I nave alse.heard.) ,

I

\ III work, 'and can De -used , t P bring you thel'hing~oL!desire.

After the foreg~ing prep.arati;onS' are; fttl1shed,IIU can then start your search fqr destre-represent-lug-pictyres ,fl,nclmaterial to pfaceicn the Chart.What you are to look f6r,. and lookeveryWher~ 'fei ',Ire pictures that-embodyyour desires.

Where"do ,You~itldthese pictures:? Natwaliy, inIHIT modern wortd. you will find these pictures ihm,Jgazines, .sales pamphlets, brochures, illustratedhooks, and other sirnilar tflit1gS, It i~ fortunate, for~LJrsearch. thatevery well sought after desiredIhing in this Ufe"Is represented by some kind of aIIlaga,zine to the "trade."

For example" if tile things you desire are somepeclal kind of thing, then rind the trade -magazine[nr the thing: Y0_Udesire, Let us. say, for exam ple ,Ihat you are, interested in horses, You would secureII trade magazines for horse ~wn'ets, 'a~,d if ] those!r~agazine8 you'wotdd fmd pictures of horses whi'c:huld embody your desires, What} want toernpha-

lze here now i,$ that IT IS TJ1E.SE;ARCJt AND RfI-'iLARCIt, T11AT vou DO TO FINn PICTURes OFOUR BASlG_ DESTREOBJECTS THAT ASSlSTS

t 'lHEATLY IN IN'FLUEi:iCIN,O_, YOU.R SUBMI.'ND 'TO'fART THE il:tfNER ri A~ 'E F O R c; ,B S TO WORK TOIUUNGABOUT Y O q R D ,E SI E\B S:. When youflnd a pic-ture or il lustration that- gives you a -thriH,ar6usesdesire in YOll, then Clip it out arid tasten 'it to: Y9Ju'Ihart, F.


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Aft~r you learn. now to ,b~ifi,gmaterial things foYP!,.!fyouWHl' be able to also bring -other :chl'lt:l~es;you cart learn to heal yourself. 'and to IOPkcittiheworld differentlY.

'/

THE. LAW OFE-l ' IOTION

The word "emotion" comes from the same Toot asthe word "moving.;' An -e-motion is;afive, Th'c truthI,sthat there seems, tq be evi qerWe ,that an emotionIs actually a part of your beihg---the real' y.o,",_we carrtgc too fat into psychology here",an d I'

- \, - . ,I Inever did fully understand '.the ps:yc;holo9!Cal con-nection myseff', b ut it dpes appear t h a t . ? J . 15t:t : 'pngemotion I~ real,ly' ? .deeply connected part ,of 'Y~ur-go in some way. For example, if yotl should havea strong emQtion that is repellent to you far -som,e, ' ,reason, and you reject' it, .spllt it Q(f from your ;per-sonality, you have ~,real demon i~ the baGkgro,uuc:- i 'of your mnd th,at ls raising Cain with YO,4to .getback into contact wjth you,Years ago, When I was' first studying thel:lI,ddenpath, there was .m~GO g i l l ; > til,fli: :i:nesote.riC:Gifcle~about a thing called The Dweller on the Threshold.

The L a w of l'kMol1on 65


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No oneknew what it was exactly, but an~poke of itwith bated breathund with gre:at fear. I was nevesable to f ind out exactly what it is. and as tiin:epassed I forgot about it, and heard no more aboutit, until Istarted practiclngesoteric work.

When I had cotnpleted the preliminary worokthat led up to writlnq TheArt and Prectice of Astra1Projection; I h"ld 'settled many of the "conflicts."That is, I had welcomed back into me most of thethings that I had formerly rejected. Therefore, Wh~~I started to project using the different systems, len-countered no Dweller on m y Thre:shold. 011, therewere a few things as described in the book; thO's': .noises and various images' carne tome, but I recog-nized them for dream-projected images,and, a,ssoon as I started to work with them. they disap-peared (which was when r took them back into:me).I will admit that ] did not recognize them as proje0-tiorrs of me, wtrich .I had forrnly rejected, at thetime. I am just now cormectbtg these differentthings so .I understand them and their relation tomy esoteric work.

Icannot give a course in psychologyas Iarnriot qualified to do that; nor could 1 do it, Long dis-tance, in this little book. But in considering this Law'O f .B-motions' lamgetting close to this thresholdbusiness .. This threshold business is where theemotlons come in. Of course, in referring to crea-tive visualization, I am referring to new emotlons,and not to old ones, such as your proje cted-rejected projections would be. [ am concerned thatold emotions should interfere with newemotfons.

Now for heaven's sake don't: be suggestible,and be afraid of this work. W e probably' all haverejected projections to ;some degree in OI,W lives.Will you db this? If you feel any deep-seated emo-tional upheaval when you start. to db this work,b'rencounter an upheaval later on that you feel youcannot handle, then stop this work and go to ' < ; 1psychologist and ~sJ"for assistance. as you mighthave serious repressions that you arerxmtaotinq,This does [}.Ot happen very often and, in fact, Icannot lhiOk of a single .case that I know of per-sonally, but since there are sq lJ1any screwballs inthe world hollering about the dangers of esotericstudy, [ would rather Wahl you this way than saynothing.

The whole idea of dolng esoteric study is toclear up, or resolve, the rejected parts of yourpersonality and get them back in yourself 50 youCan go ahead to greater things. (As I said before, Idon't understand the rejection idea, .and jreitherdoes anyone else, but the main idea is to g~tcleared up and, no matter how many differentways they Say .it, that is it.) Conversely' if you feelonly a mild upheaval, then proceed to try to han-dle it yourself. and go on with your work. So toproceed-s-

One method of USing e-motions. often adVO-cated by Forme-r creative visualization 'teachers ofthe natural type, was to instruct students to "fee)"(without telling them "how" to "feel") that they al-ready had the thing desired, and were usin.g itANDthey Would get it in due time.


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6,6This idea sen'is to have ort~inallybeen

upon 611~of the fe w genuine"portIons of the .New' fes tametr t . 'The PlI'qJorte;dJesl,ls is su.pposed: to have said."WtT~te~er things , y o u want belley that yo.u nave.ttJem',ah:eady zH~dyou win nave them,"

t tave faith in Ood, I leU. you thiS: if anyones


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tryst that you can see that desire is an emo-tjon _gre


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7!Y

"

,l'hei1~,'ag


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72,are, when you 'work from a book like thls, 1amnotwriting gloriouS .Iiterature that will go down i i i . his-tory as perfett prose for all to read and copy. No..1am writing down very difficult material about avery dlfficult sll,bject. 1 feel that I must teach thiss;cre.tk_;nowkdge and esoteric practices as exactlyas it is possible to do, and in the. clearest languag.epossible. And When I thlnk that the presentation ofsome obtuse sl,lbject-poirtt is not toP clear the firsttime, 1 repeat the material in another form, or inanother way, or in the .same way, until I feel fairlycertain that the material is understood and/orcould be understoodby repetitive, reading. I expectstudents to study, and to practice as many timesas is necessary to master these concepts. At leastyou should do it if you want to understand and usethe secret arts in an effective mariner for the devel-o:pment of your true Inner powers; to help yourselfthrough this hard physical life and make this physi-cal Hfeeasier,

The iil;ltertai thatl am presenting in this bookhas never been given but before ih this way to myknowledge. When the outlines of this material wereshown to some esoteric publishers, Iwas urged t:owrite three or four books, and divide up the-rnater-ial 'among those- books, and riot give out such newand valuable technlques in one book. However Ihave much more materlal on hand now than 1 willever be able to use In my Itfetime, and so; you getall of it in this one book as you always wilt I willhotdrrothing back,

1willnow go over some of the ten laws againand provide additional material and practices.

The Law of Physital VisualizationFor those Who are not gifted with natural visualiza-tion powers; and Icertairily was not, the presenta-tion of this law, and its practice, is a Gpdsend.Certainly the abtlity to mentally visualize is ab-solutely necessary for creative; visualizatlrm. and yetnot one teacher. that I know of. has treated thismatter' with the importance it deSBfVS, let alonegiven any directions as to how to develop visuallza-tion ability. I had to Work this whole visualizationmatter out myself. I found that there. were' sev~ralways thatourmental image-making capability couldbe increased. r. have developed several-differentmethods of doing this,Tne Techntque of PhysiGal VisualizationThe second law is veryclosely related to the first,but I decided to divide them into two laws becausethe whole matter of visualization had'neve~r beentreated beforevand the importance of clear, mentalpictures, has never been emphasized in this waybefore, For your first w.ork in the. practice of mentalvisualization you 'were given a ritual to learn andpractice both mentally and physically, This ritual Isvery old and very potent when It Is done right. IITOpeyou did not n:egle.ctyour work: on that ritual. I.gave this to you in the first part of the: bOQk80 Y~cuwould have something to do while you were study-ing the rest of the book .. If you followed my di-rectiorrs. and did the ritual. you should havedeveloped some marked vtsualizatlorr ability. bynow. You should be able to work the whole ritualwhile seated; that is, on should be able to run

75


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over the whole ritual lnyour mnd's eye, rrta:kiti~ailtne rnottorts. and, mal)ing all the t11.bvemen.tsbackand torth-In your' ,milgin'atioTL fr,you haven't doneit, then don't ,get dtscouraged, but start to do itwhen you feel like it. -

IWor'kinq with ttte SymbolsNbw I.;m going to five. you some more vlsl1aliz


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to cJ~sGoverthat in about two or three weeks ofwork yn u wlU be able to bring the images back inyour imagit1;:ltiotlVis.i,OtJ easily-and in color!

When you reach this result, you will Kn0W thatyou can Visualize properl if yougo about 'it right.Allthat you have to . do is to .iooi at what you wantto visua1ize long~nough to g~t it fixed In yourmemory, (That is nol what really happens; you dosomething quite different. than merely learning torecall and vtsualjze by just 100king long enough. "The 19~okI'ngaffects the inner plane Forces, but fornow all you have to know _ishow to do it. Theeso-teric reasons for this belong to advanced work.)

You can now practice looking at pictures. or atreal things, at things that yoq want, by using the,same tech-nique- as given above. You have been tolda1'loutTreasure Charts, and [tis ln the use of thesecharts that you can practice your' vlsuailzatlon workextensively md profitably. Nothing is truer than theold saying, "Practic.emakes perfect," At least here.

Now let us-conslder the presentation of theconcept called The 5p/~ereof Availability. 'This con-cept opened up an-entirely new dimension tocreative visualization work. rteretofore the. rawassumption of creative visualtzatlon was that any-thin,g Would wcn'k if you v:isuaHzed it or tnoughtabout it long 'enough and hard enoug,h-and this istrue-but with different people the creative processworked differently. SometimeB it worked one wayand sometimes another, but .Itseerned to work f0fdifferent people In different ways at different times!

Sorneti.mes it seemed not to worls. at all, Atother times, with some people, there would be longdelays. For other people, short time intervals wasthe rule. Any of us Wn0 h


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supplY' him wlth 3t~er:nendpusamOU'qt O~,niate:ti~l ,things. I hope yqu 'Will' read the' ~d:iOV0;over untilyou' understand it (2(jtn~tetel~1.. Now 'W ~ come to you and me, anq QUr worl{with creative visualization. As.we are not the-same ,as 'the Paris rag pic~erin terms of our resources. : ' 1 ,ou r prob1'~m is mllGh grea ter than His was! 11~knew'exa6UY where he stood...a . ' t l d we do no t know ex- ,~ctJ:Ywhere westatld. Most ,aJI of us have some- 'thn1-9~ 'I f said, befo'retha.t most of usare "middleclasS,:'! .altl;roug.h there is ',3 lot of argLi.ment as to.. ,what t}1:atmeans. r mean that We are neither,ri~b" ,. . 'I, . I Inor poor, but range from fairly welJ off .to affluent. If,y'QU are, normal then you want to better yourself ', 'y'oa want-to better your matefial conditions. To ,,tt.atIY'Q'f us having only a I,.tHe,'is almost as bad as,'havl'mgnothing.Your problem then is difOC' i j l t " but itIs not in." IsubWountable, U'~irj,gthe in.~orin;ttibr aI.radygjven, :youcan restate yfi1lY present problem h l' this way:'1you.r present spbeteof availability .ls static. o~"wish to Increase your sphe:re Of iwa,HabHity so thal'l~,will grow to stlp-pLy you with the thihgs that, ybuno:w,ttlihkare necessaryfor your happiness .and phY$iQ~~ Iwell beIng. ,

So the probl'e(h,..now restated. DrCo~es U~iS.:,YQll are to find theexaetpotnt in and from WhICh Iyou are to construct or organlze yow,rw.ork on your,present sphere of availabilit,y', ThiS point.Is 'jusf,~hort of this side of your f irst desired objective, ,, In' order "fo do 'thiS, yO,Q must find ojrt eXiilctlrwhat your present' Sphere of Availability is; )::O,hl;must size~p your present Sprrete of Availability"..i:r;ll

a hard-headed manner,and. not Jo.~1yourself bywishful thiiHtihg Inany way. You 'ar{-j going to haveto start with your 'present sphere of. availability andbuild it up to the point w l ' = H , i : F e it will supplY YOLl withthe tbIngs thal; you \I,(,a.qt. .

Before .yon can start 'thts work, there are twothings that you have to Mow and do. you have to. .. , I -",know exactly what it Is you wan t to' do 'With your Hf.:in the' future, You have to ~now wna't you'want tohappen to you for the fest of your life, at least ingeneral way, if not ah exact way. Try Wtiting it a Udown as best.youcan,

Now you, have written down your goat and, asyou look: at ityou have touorterstand that whatyou want has to come to you througp ynur Sphereof Availabllity, So-now take a lo'ng hard look atyour presentSphereof Availability,

Vatu WOI"I\ noW becomes-so perspnf,lUhal I,can"not advise you any more about it. I w . i H have toleave it up to you and your examinatfon to show youwhere you stand. [ can give you a few examples asan Illustration. Let us say ttiaryou appraisal hasconvinced you that. fur the ,immediat~ time being,your job is your Sphere of Availability, Obviously toaupply you with'the things you have o~tlitied as yourdesired .obJ~~tsin life your Sphere of'Availability hasto be increased. Make a closeexaminatlon 'of YOurJOb. I khi:l\ii this tsa trite saying: but are you reallyworking well? Are you -doing the'very best youcarron your job? A s long as yoU have, for the purposesof this example" decided that your job Isyour pres-snt Sphere of Availability, then lmproverrient. of ,thissource supply is the start of ydu:r ehlargehient .of

80 Tfj~L;lW oFtile Reversal o f < the Ptsites 8]


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yoursonrce of supply ..As I said, your.workwttn yourl ife and your resources now becomes so personalthat I cannot treat it further here.The Law ot LimitationLet us now consider the 5th Law. Saine of the pras-tices connected with many of these iesoterlc tawsare little more than gO-0 ' d use of'common Se,I1s,,coupled with some understanding of the riature 0fthe inner planes. The main idea wean seerrt to ge.tabout the inner pl-anes is that they are free of theIimitatior1Sdf this physical plane, and that is true,but that freedom pertains only to the inner plane,Sand as-soon as these forces are grounded onto tHisplane they become subject to this plane's laws andthat is what we want.

Some, ideas about the ?lGtionsof the forces, o rthe inner pJ.anescan be gained from the followingwords of an occult writer of the turriof the cel1tury. Ihave in rny possession of a book written by ArthtlrEdward Waite, published ~11London in 18'98. In theopening chapterof his book. Mr. Waite makes thefoJlowing statement about the inner planes, but, h'\ arath\,!r-_jocularmood (do not take this top seriously) ..

There On the Inner Planes) all paradoxesseem to obtain actually, contradictions co-exist logit.ally. the effect is greater than thecause .and the shadow more than the sub"stance, Therein the visible melts into theunseen, toe invisible is manifested openly,motion from .place to place is accomplishedwithout traversing the intervening .distance,

matter passes through matter. There two'straight l ines may enclose-a space: spacehas a fouJth dimenslon. and untroddenfields beyond 'it; without metaphor and wlth-out evasion, the circle is mathematicallysquared. There, life is' prolonged, youth re-newed, phySic.al immQrtality secured. Thereearth becomes gold,. and gold earth. Therewords and wishes possess creative power,thoughts ate things, dasrre realises itsobject. There, . . . the hierarchies of extfa-'mundane intelligence are:within easy com-munication .... There the Lawof Continuityis susperrded by the, Interference of thehigher Law of Fantasia, ..

As I said, Mr; Waite was speakinq rather jokingly,but the above statements do giv(1;some ideas ofthe differences that are considered to be sobe-tween the inner planes and this. one.

For the purposes of your work in creative visu-alizafion, the main idea to remember is that innerplane forces are not subject to anykind of lowerphysical plane form of confinement until they aregrounded in some way. Once grounded in and onthe physical plane they are- then confined andcribbed so you can handle them.

In the mental magic type of work you w i l l bedoing you can easllygather the Inner plane forces.but they fly off in all dlrectlons at once just as A. E. Waite, The Book of Cetemonlel M,agIc (London; Wlliammder & S6n, ]9J L bTigji1aUy issued HI 1898), pp, 3.~4-,

, I,Tile, L-aWo.f'th'e Re'veP3aIQtlthtjFlanes 83, I


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e~sily.Jj9weye;r, , the';' is a wayyou cart hold th~:'5rnrfor the purposes of the simple work yeuare ~oh:mit w i l ; b~ sufficient if you conduct the~,~forces i o t ? " Ia f~hri an d the form Will,pe your' visualized pictUl:;eobject' f01'111 , ,, '0[;, if you w ; i U make a declaratinn before st;ar,t-i_rIgyour creative visualization. wadi, it will usuaptbe suffleientto blnd the forces to theextent of th 'e,..particular operation youare perfon:nrng. ny -to getInto the haJjlt of writinqdown beforehahd what~0,t:iwant to accomplish ..PiJt a oefinit,e end .to each "sep-"'Gi'r~fe,sectionof theworkyou are ~oilJ,g. Do not nit!all ybur ceeat ive viSlH;tH,zationwork togethe:r with n oend in sight. Split up ,your desire~wol'k i-n sectio;m!sand wo~k t9get one section done at a time, Quip-pleting each s,~ditjl1and closing off that section.These proced ures will act very eff'ecbtve.ly asbii'tdel'soF th~ inner plane fGlTC6S that you "capt:UF6"for yO!1T work ..

Keep in Tnin'd the stories I tol~ you about t ;hemisers who got money started toward them QiflQ.theh Gould not ,spend. the money for anything ,wb:~t i1tiieygoti~-:--,not even for food-arid ended up sta~ing to' death, This is 'more or less~eom:nlOn W)l,e", aperson has creatively visualized for money insteadof fbI' thil'l.S or circum~tan~es., Try to d6ybuT'Vi:s;U-allzatlon work for thi'~gs'and c:ii;cun1staJi.ees, andnoJJust fo r money. if you visualize for money, 'Ypucould ge t itand then ~r'iotb~ able, to .use jt fot ,theth;irtgs you want. Even ordinary events can ~ee(!:i.}::GUfrom using the money for what you wanted it for.

lance had a peculiar expetie'nce along: 'tbesellnes. Ja m writing this book' 0J'1 an 113M type't>.:!I~-ler.

B ; : v . e r 1 ; ; i ' ~hC~ 1 \ .va!",.8ware .of thi$ typ~wri ter I, wanted to'o w n ohe, [did :not rlo any ' ( e a : - i :visu"k(U'zing w b _ r k . t b .gto]Jt';: beca-Llse my SPhlSfe. :o'fAvaij'ability W?S'justabout J;l_ble'to supply one, Thewbtk. L'dier was tofInd ~he t?eS'~ s.econd-baIJJd' lyp~wiite.~' lh:a . t J eb.uJd," .. . - I "for th.e'be'stprice., I worked myseH [nto: q,lij t 'e: apitch doIng thi~atl~: it became a sort 'of 'e'iijbyabPe!ilil'"1e' (which is another thing you want to Irtcorprr("ile Into Y OU Twork-make itfun). [ran across ,QtlR'in Ho!I,Y\!Il00d anal aJ~'0~t POttgf:ttl it, out (,'di: .~n:t ,quite llke 'it, and the prtce w a s l1ighe.r t l 1 i " : 1J1 I~f e : l ; t I 'Icould pay. After some . though!' 'a'bf!ntt the 'mattei'; ,;decided to let it gO.How.ever.'on tl'ly next trip to LO~,Angeles I did tlnd Jl sple.ndid 'typ~writer w l t l : J ' an, ex;-rra rong canrage. whi,bh is what l .realty wanted. ata

I I" ,_ I '_ _. Iprice ve:r;Y'cldse to What I ' f :iad,deddec l I would pa.VNow, however, I SUII find rrlys,eLf -lo(jkli:t~lat the' pa-pers and lqqk.ipgat pri,ces,.fOl typewriters. I sUlIhave' 'a feeling 'for bu)iing a 'typew~TteF(aOd I havetwo now! In my case the' feeling is i~ot;"t00strohg,but it is there, and if it rat). awayw:itli' Me, it COtl[(1make trouble, I could :I"id up ,~buing''typ,ewr.iters''without needing them. I tpight e v e n bt;lysQD1e .rnwetypewrit~rs' at ~ ve ry good prk~dllld resell tlJ'fe.m-a t aprofit, whkh is an 'acceptabl~ course to f6HoW'~'S~W


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, & 6 : ' THE A : ~ T '1\r,i1'l:f!r\;'IGT!te!JfRE~TlVE :\(;~\jAIJZAll"'l'i, "

The,Lilw dftbe.R6v,ersfil oi' th,' rtsne 67 1


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~no taugbt dt:h~Jsto 'inv0Ke,' wi,thoti;~1binqlng : m ~ 'ether .side oJ the :f~rGe.Eve~ryUllrlg~diflts to th'ilt ,Iii,e~ih,g true. T h e m a l ic io us animal. Fh,agi1:et:isitlcOull~i',have b'een th'e'Uo'l5o'uhd sideot the 'Force eaUedldi con-struct a sequence of p:icturiq stories whi.ch",~iUbritl,gabout the desired thing or cir;c::ttms:~nces that ,youd~,si're. Donat be' too concerned 1A(1t 'l lg?J~SiH thepictures, but $l,Ippl;y your own iiTtahiatiori b~idgesto cross the mms, The main idea is to whip Up"YOUIidesire emotions so that they produce. an effeot onyou]' subconsclousness. .

In carrying out these drearus, let yourself go.Ma.,.k:e the characte rs in the' picture's saY!;1'l'cl 'dowhat yo u want them to do" J-(oM/eVerYOHbadbettern~otpicture actualpersons. that yOU kno~; doi;ngtiles:; thing.s. Re-al perisons ai~ apt to .feel yo:urwO.rk, and the fe'eling Will set up Quif


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_ 9 ' 0 ,


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a:dV0cating. Iii fact; so: natural should y6~t buildi'Ftg'ofyotlr 8ph,er\ilof AyaUahiHty become that ybll s:oftof forget'abQl!Jt It as you go about dolrtg it .

Remember [I again repeat) the object of yotLrlife should be to build up your Sphere of [(v'ail-a'bility so that It can bring you the things Y0Uw < ; I : Q f i ,and what you want should be ,what.you sl:t o~-"goal fqr;, and to set y cm t goa] you shouid do s().~oeserioue thinkit1'g and planning.

If what O1, l want Is ~ Ro!ls"Royce, ~henY . 0Umust remember that to get a Rolls-Royce youl'n.ttsthave a ROlls-Royce type of ,Sphere-Qf Ava.il( lb,f ltty,and until you do haV It, YQu won't get th~ c~.l ibwevet, there lsone positjve thing you can sa yand that ,Is this; through successive steps of bUild,ing properly, correctly, .and perfectly-and a fewotrrer tliil'1gs-you can buildup your Sphe:r,elofAvaWl.b i l i lY 50,you ca n reach th e Rolls-Royce typ&i0:fSphere of Availability suppLy base! I .do not tliinkanyone will argue against that.

I '

I .amre,~tliiig,over thesepages-and Iwonder: did .Ileave atJt~ii1g. out? Whatbbvious: fhin,g:' ~houid Ihave said? Icould 'have wtiUeJl .better prose; B~.t ifI dont ~top, I can go on endlessly .improving t'hewords Had sentences! re v I S L Ug ., revising, rev.is,ing~endlessly=-and 'if ('diO t.h,\:l'LI durn know w h e n ' [ ,would ever .get thrQu~hwith a'book atatl, . .

I will ,


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teach you to help yourselftllI have beenexpecting to be accused of wr:itlnn

too few pages on such a large subject. I must admtthat 1did not pad out the pages of this bbol{.I ..trIedvery hard to go rightto thecore D r heart ,oftltle ('cret teachings, and, in as simple language as poss]ble. to explain the basic knowledge of the: a rt ofg~ttjng material things through creative vlsuall ntion. I then laid out the tools of the trade. fQUow~ t lbypracttcat w0rkin9 directions for using the tpols, ltried to keep thingf? clear and to the point not going to much Intorapturous new thought gush aboutdivine love as opposed to cold intellectualism, forneither extreme will get us anywhere. I wr'~t~ fr)fearnesLave:rage,s,tudents-so you can understandthe material a!1duse it. So For heaven's salse, andfor your own sake, learn the art of creative vtsu IIization, and use itll -OF Ii II I

Aadept, 51astral plane. 58

6barrier, 54

CCaq~listic Cross Exer-

cise, 20e o t arblue, 18

center of supply, 3.5chants, 50clairvoyant flash, 69creative powers. 11

INDEX

creative visualization,1, 1323

Ddagger~17desire, 67dream-projected images,

64dreams, 87Dweller on the Thres-

hold, 63. ,64EEc:ldYl M. B ." 85EgypUan tombs,...5qe-motion. 52, 6'5'etherle plane, 70

F n .Index g

Teobnlque of Physka]


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form, 82Fortun~! Dion,,386:groWth'center, bui lding,34

'idea-image, 1Ingalese. Ric,hard, ;24,

29,;31,34-inner plane laws. 4) 39,

. 7 ' 0inner plane vibrations,52LLaW-Numbr L 5LaW'Number 2, 5Law N4mb~r9.! 6Law Number 4 ; 6Law N.umber .5' , 7LaWNuhlb:~r 6,1Law I"hJmber 1, 7Law Nilmber8, 7'Law Numbet 9, 8Law Number 10,8Law of the Barrier" 7,

4'9,.86Law of Binding, 7, 43,, , .83

Law of. ~he lnner: ,V I I;1Us.39

Law of'LUnitatici01 7, ,40,BQ

Law of Physical Visu~~i-zatlon. 5. , 73L,lW of the Keversal6f'Planes,S, 69

La w of Sphere of Avail-abi lily,,G ; 27'

Law of the Treasure, Chart, 7, 5'5, 87

Limiting, the Obj'e:


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ABOUT THE AUTHOR

Ophiel was one of America's best known teachers 0 'esoteric study, tie didn't follow any "school" ,thought, but studied every tradition, distilling mformution, and making it available to people who wanted tt>start to learn about secret traditions, or who want ~dto work with Extra Sensory Phenomena. His Art anllPractice series (including The Art and Practice OfCreative ViSUalization, The Art and Practice of ilslmlProjection, TheArt and Practice of tiie occult, The Altand Practice of Talismanic Magic, The Alt and Practi ('of C,abala) is probably one of the most practical s l..of instructions ever written for beginning student .His work has received rave reviews from many teachers who started their study with Ophier s books.Ophi.el taught classes and worked with readers bmail, while living in the state of California. He renr ,Ito San Francisco, where hedied from heart failure I}August 17, L988 at the age of 84.


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creative visualization_ the art (small)

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