by Donald Tyson
In the center of the circle of twelve seals, place the key of Nyarlathotep, who is the soul and messenger of the dancing gods, as well as of Azathoth, for the dancing gods are extensions of Azathoth, as is Nyarlathotep himself. Inside the upper point of the altar triangle put the Elder Seal, so that it is inside the triangle but outside the circle of the dancing gods. Wear the seal of Nyarlathotep around your neck, and the orange sash of Nyarlathotep at the waist of your black robe. The exception to this rule are those Lords who have received the mark of Azathoth upon their astral bodies at the chaos mount—they should wear the seal and sash of Azathoth to show their allegiance to him.
Light the three altar flames so that its triangular boundary is actualized on the astral level. Stand in the south at the base of the altar, facing north—the starting position for all rituals within the stone circle. Speak the opening words, or if you work the ritual where you may be overhead by the uninitiated, subvocalize them in your throat:
On this vernal [or autumnal] equinox, when day and night are equal, and cosmos and chaos stand in balance, I honor the twelve dancing gods who order and regulate all earthly events.
When the rite is conducted on the night of the spring equinox you use the words “vernal equinox,” and when the rite is conducted on the night of the fall equinox you use the words “autumnal equinox.”
Take up the key of Nyarlathotep and walk around the altar widdershins until you stand before the orange stone of Nyarlathotep. Strike the stone gently with the key so that the key gives forth a ringing tone. Continue around the circle counterclockwise in a complete circle, striking each stone as you pass it, until you have returned to the stone of Nyarlathotep. Strike the orange stone a second time to join the end of the circle with its beginning on the astral level. Speak the words:
The circle is joined!
Visualize orange rays of astral light linking the stones of the circle, so that the stones stand at the points of a heptagon. Return widdershins to stand at the south of the altar, and replace the key of Nyarlathotep in the center of the triangle.
Take up the seal of Adonaios, which is linked with the zodiac sign Leo and with the sun. Carry it widdershins to the yellow stone of Azathoth. Touch the seal to the stone to establish the link between Adonaios and the lord Azathoth, who rules over him. Carry the seal of Adonaios widdershins to the gate of Azathoth, which is the yellow rod on the right side of the altar triangle. Extend the seal in your hand across the threshold of the yellow rod, holding it over the center of the altar at the level of your heart. Speak the words of praise:
Adonaios, I honor you and praise your works in the name of Azathoth, your ruling lord. Look with favor upon this circle, and confer good fortune upon those who serve the will of Nyarlathotep, your soul and messenger.
Touch the seal disk of Adonaios to your forehead, kiss the disk on its rim, and press it over your heart center beneath your folded hands. Visualize a yellow light glowing in the air above the altar that is similar in color to the rim of the seal disk of the god. It is the color associated with Azathoth. Let it shine outward so that it fills the stone circle with gentle light. The light of lord Azathoth carries the blessing of Adonaios into the circle, so that it falls upon the heads of those who stand within its boundary.
Walk around the circle widdershins to stand in the south, and return the seal disk of the god Adonaios to its place within the altar triangle. If you perform this rite alone, take up the disk of the god Yobel, and perform the same series of actions in honor and praise of Yobel that you performed in honor of Adonaios. The words of praise addressed to each god are the same, save only that the name of the ruling lord is changed. The disks are taken up in an ordering that defines the solar and lunar sects of the zodiac signs. The correct sequence by which the gods are praised is listed below.
Adonaios (Leo): “name of Azathoth” (Sun)
Yobel (Cancer): “name of Dagon” (Moon)
Cain (Virgo): “name of Nyarlathotep” (Mercury)
Galila (Gemini): “name of Nyarlathotep” (Mercury)
Abel (Libra): “name of Shub-Niggurath” (Venus)
Harmas (Taurus): “name of Shub-Niggurath” (Venus)
Akiressina (Scorpio): “name of Cthulhu” (Mars)
Athoth (Aries): “name of Cthulhu” (Mars)
Yubel (Sagittarius): “name of Yog-Sothoth” (Jupiter)
Belias (Pisces): “name of Yog-Sothoth” (Jupiter)
Harmupiael (Capricorn): “name of Yig” (Saturn)
Archiradonin (Aquarius): “name of Yig” (Saturn)
If you work the Rite of the Dancing Gods with another initiate, you will alternate in praising the gods, first taking up a disk and speaking the words of praise, then allowing your companion to take up the next disk and speak the words of praise, and so to the last of the twelve disks. If more than two conduct the rite within the circle, each shall in turn take up a disk and speak the words, and all shall visualize the color of light of the god’s lord filling the circle, as indicated by the coloring of the rim of the seal disk.
All circumambulation around the altar is widdershins. Those working the rite shall space themselves equally around the circle—if two, the leader of the rite shall stand to the south of the altar in the starting position, and the companion shall stand opposite in the north, and shall preserve this distance whenever there is the requirement to walk about the altar. When it is the turn of the companion to take up a disk, the leader of the rite, who began it with the first disk, shall stand opposite in the north when the companion takes up the next disk from the south.
When a god is praised who is linked to one of the lords of the inner gates, the seal disk of that god is extended above the altar; but when a god is praised who is linked to one of the lords of the outer gates, the seal disk is extended beyond the stone circle in the direction of that outer gate, even as is done in the worship of the seven lords during the daily rites. Through the seven gates of the lords are the blind forces of the twelve dancing gods invoked, each through his or her particular gate.
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The Long Chant
1
O-do bu-ta-mo-na ki-ka-le
(Odo butmona cicle)
Be opened, the mouth of mystery.
2
U-me-di u-pa-ah-he zod-on-gu
(Umd upaah zong)
Be called, the wings of the winds.
3
Zod-am-ran i-al-per-e-ji
(Zamran ialprg)
Appear, the burning flames,
4
I-zoda-zoda-zod pi-ad-pa-he
(Izazaz piadph)
Framed in the depths of my jaws.
5
No-quod-i Ya-i-da
(Noquodi Iaida)
You servants of the Highest,
6
Panu-pi-re mala-pi-re-ji
(Panpir malpirgi)
Pour down your living fire;
7
Vau-nigi-laji o-de im-u-a-mar-e
(Uniglag od imvamar)
Descend and manifest
8
Mi-cala-zod-o i-oi ko-me-sala-he
(Micalzo ioi comselh)
Your power in this circle,
9
O-de i-oi o-re-ri
(Od ioi orri)
And in these stones,
10
O-de i-oi pi-re di
(Od ioi pire d)
And in this holy triangle.
11
O-zoda-zod-ama ji-vi i-zodi-zod-o-pe
(Ozazm givi izizop)
Make of me a mighty vessel
12
O-ma o-de va-o-anu
(Oma od vaoan)
Of understanding and truth,
13
; Di-es ar-jide-ko
(Ds argedco)
Who invokes
14
Do-o-ai-pe qo-a-ala ma-da
(Dooaip qaal mad)
In the name of the creator
15
Te-lo-ka vo-vi-me
(Teloc vovim)
Him that is fallen,
16
Bala-zoda-reji do-si-ji oxi-ai-ala
(Balzarg dosig oxiayal)
Steward of the dark throne.
17
Yiii-eee! Nyar-lath-o-tep!
(Iä! Nyarlathotep!)
Hail! Nyarlathotep!
18
Ka-na-le A-za-thoth
(Canal Azathoth)
Artisan of Azathoth,
19
Dari-lapi o-sa o-de go-he-da
(Drilpi os od gohed)
Greatest of the twelve and one
20
Di-es ka-he-sa o-sa kala-zoda
(Ds chis os calz)
Who are twelve in the firmament.
21
Tore-zod-u o-de zod-am-er-an
(Torzu od zamran)
Arise and show yourself!
22
O-la sura-zod-asa a-da-na
(Ol surzas adna)
I swear obedience
23
Da-e dar-i-lapa ba-be
(De drilpa bab)
To the great work,
24
Ma-da yada-na-he ka-hil-da-o
(Mad iadnah childao)
Divine jewel of knowledge,
25
A-zodia-ji-ere kon-jame-pehe-la-jah
(Aziagiar congamphlgh)
The harvest of human souls;
26
A-re ba-ba-lonu
(Ar babalon)
To winnow the wicked;
27
Fi-fala-zoda lev-itah-monji
(Fifalz levithmong)
To root out the beasts;
28
Vi-ru-den o-ar
(Viruden or)
To beautify the ground.
29
Di-es para-di-zoda pa-sa-ba-sa
(Ds paradiz pasbs)
That virgin daughter
30
No-an ba-ba-lon-da
(Noan babalond)
Become a harlot,
31
Er-em ta-tah-en
(Erm tatan)
Ark of wormwood,
32
Zod-on-ak pa-tara-lax oh-de mo-ma
(Zonac patralx od mom)
Clothed in rock and moss:
33
Go-ho-lor ti-la-ba
(Goholor tilb)
To lift her up,
34
A-oi-ve-ai ma-ho-rel-a
(Aoiveae mahorela)
Star in the dark heavens,
35
Ex-en-tas-er lu-kif-ti-as
(Exentaser luciftias)
Mother of all brightness;
36
O-ah-li ti-la-ba ox-i-ay-al
(Oali tilb oxiayal)
To place her on the mighty seat,
37
Vi-vau e-la
(Viu el)
Second of the first.
38
O-le i-mu-a-mar
(Ol imvamar)
I dedicate myself
39
Fi-fi-sa oi vau-nu
(Fifis oi vaun)
To carry out this work
40
O-la doo-ai-nu o-da ka-ni-la
(Ol dooain od cnila)
By my name and blood.
41
Bo-la-pe zod-or-ji
(Bolp zorge)
Be you friendly to me;
42
Zod-ir-do no-ko ma-da
(Zirdo noco mad)
I am the servant of the same god as you,
43
Ho-a-tha-he Ya-i-da
(Hoath Iaida)
True worshipper of the Highest;
44
El-a-pe zod-ir yo-i-ada
(Lap zir ioiad)
For I am of him that lives forever.
This incantation, known as the Long Chant, is in the language of the Enochian angels, as delivered to John Dee, who is said by some to have made translation of the Necronomicon for his own study. Its use is the calling forth of Nyarlathotep and the servants of Azathoth known as the Old Ones through the gates of Yog-Sothoth to the stone circle. Yog-Sothoth is not called, but others are called through his gates, and in the opening of the gates Yog-Sothoth is manifested. The chant may be used to open the six ways of the six directions to the black throne, but not the seventh way of the center, which is opened by silence. The Long Chant also serves to open the way of any working of magic in accord with the will of Azathoth.
Each line of the chant is printed here in three forms, first in the Enochian language as it is to be intoned on the breath, second as the Enochian words were penned on paper by John Dee, and third in translation as spoken in the common tongue. Each line should be voiced first in Enochian, and then in English. The second version of each line is not to be uttered, but shows the correct writing of the Enochian text.
If the disciple who seeks the black throne is so fortunate as to have a partner in the rite, each line of the chant is intoned by both, first by the seeker in Enochian, and second by the helper in the rite in English. In this way a rhythmic chant is made back and forth across the circle from one to the other. If the seeker works the rite alone, he must voice both forms of each line, first in Enochian and then in English.
The spoken form of the Enochian lines of the chant may appear strange and uncouth to the eye, but there is purpose in its structure, for in the Enochian language, each separate letter is a living spirit, and must be noticed on the breath when speaking Enochian words, in order that its power shall become actualized. Only when it is voiced aloud does the spirit of an Enochian letter acquire being in this realm of reality, and is then able to express its force in the world. Unspoken, it remains uncreated. It is for this reason that Enochian words contain no silent letters, but each letter contributes a part of the sound of the word, be it ever so small a part.
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