Sacred Magick

 

Sacred Magick, published in 1879, is a book of occult philosophy and Mina Germond’s only work and key text within all arcane magickal studies. Though the work has often been criticized as the plagiarized writings of a hysterical woman, with scholars noting how Germond extensively copied ideas from many other occult writers of the time while drawing her own conclusions, it is still recognized by modern scholars to be a fundamental work within Western Occultism and Witchcraft.

Sacred Magick discusses occult science and the hidden and unknown forces of the universe, exploring such subjects as; curses, omens, dimensions, familiar spirits, elementals, psychic phenomena, magick, spirits, angels, demons, dreams, time, and the complexity of the totality of human beings.

The book is argued by many modern scholars such as Mathew Laurence-Gray to be a fundamental work within Occultism. Germond gathered a number of beliefs within the magickal community and interpreted them in relation to current developments within science and through the insight she gained through her experiences within the arcane practices. In doing so, Sacred Magick reflected many contemporary beliefs and engaged in a discussion that appealed to intelligent individuals interested in practices of magick and Witchcraft. It was Germond’s combination of original insights, backed by scholarly and scientific sources that accomplished a merging of science and spirituality that had never before been academically presented.

Detractors often accuse Germond of extensive plagiarism, a view first seriously put forth by Gérard Encausse shortly after publication. He expressed that, “Sacred Magick combines religion, spiritualism, pseudoscience, and fantasy in a mélange that presents superficial research and unacknowledged borrowing.” In later works published by Encausse some of the material originally presented in Sacred Magick appeared within it unaltered, drawing in question among those in the occultism community as to the true author of Sacred Magick. Germond asserted when questioned that she, without any contributions from Encausse or any other published occultist, authored her work.

Chester J. Farrar, a contemporary journalist and magician, described Germond’s work as “an assortment of absurdities, pseudo-science, mythology, and folk-lore, arranged in chaotic fashion, with an utter disregard of logical sequence.” While it is unarguable that Sacred Magick makes use of many sources that were popular among occultists of the time, occasionally directly copying lines of text, Germond was a woman who had original thoughts and unprecedented insights to some of the most complex theories within occultism. Through her writing she sought to integrate the history of the occult sciences and esoteric movements with the practicality found within folk magick and European Witchcraft and in doing so she formulated a unique and powerful expression of thoughts and ideas that would be proven to catapult magickal practitioners into the modern era. Occultism gained a level of sophistication through the adoption of many of Germond’s insights presented within her work, Sacred Magick.

 

The Blood Omen

The Blood Omen
(as translated from original text)

And when She carries Her child it can be heard, as it were the knocks of a wormwood beetle; come and see. Behold the earthen beds of Her garden; and the blossoms that grew once were colorful: and now lay dead; the soil bleeding.

And when She carries Her child it can be heard, as it were the call of a barred owl; come and see. Behold the lodging given unto Her that she lives therein to take shelter; and that She should sleep for many a season is twice stricken by the warmth of Thor.

And when She carries Her child it can be heard, as it were the song of the coyotes; come and see. Behold lo, the corpse candles; those that flicker. And hang above the land when it is hidden by the darkness; two measures for her; and three measures for him.

And when She carries Her child it can be heard, as it were the caw of the crows; come and see. And behold a murder; and they fall from the heavens, as the power of flight is taken from their wings. And as they drop dead upon the ground Kermes’ hail descends from Elysium.

And when She carries Her child it can be heard, as it were the shrieks of a fisher cat; come and see.

Behold the coffer of treasures that were assembled for the Beauty of mankind, and for the memories they possess; Their walls are shattered by the echo of Mjölnir, the remnants collected by He who doth not judge and whose own blood remains upon and within.

And when She carries Her child it can be heard, as it were the screeches of the hawk; come and see. And a black serpent from the blossom’s earthen bed slithers upon the ground beneath Her feet

And from under the cover She opens Her eyes from slumber to find it upon Her chest; tongue flickering against Her lips that She should speak as it is fulfilled.

And when She welcomes Her child, twenty-one days before the date, lo, there is a great pool of crimson as the Moon sheds Her blood and He withdraws behind the curtains. And all the children are murdered before their birth by the hand of Eir; and all the mothers, and all the sisters, and all the daughters say to the child, Take us within, and merge with us for the Great Day of Vengeance is come; and none shall be able to stand against thee.

And when She welcomes Her child, before the Sun is at its peak, there is silence about the space of thirty breaths. And the Ancestors which stood before The Mighty Ones; and to them were given Her child. And Her child does not cry, bearing the Mark of Blood; is given much power that shall be harnessed within, a timeless and everlasting power that is irrefutably attributed to Spirit within the blood. The child which bears the Mark shall merge Spirit and Blood and pour it out upon Midgard avenging the wrath of The Mighty Ones upon mankind.