The Devil's Pitchfork: The Three Pronged Fork of Sorcery
The Devil's Pitchfork: The Three Pronged Fork of Sorcery
Occult rites have their power from the eternal uprising and persisting of the power of wholeness experienced as countless inter-related strands of power, which is the Weird. To truly access the power to perform sorcery, one must, for a moment, consider the wholeness as a singular power, an all-around manifesting power with a seeming of many parts. Every intention, act, phenomenon, or experience is the arising of the Weird as a totality. Everything is, in a manner of speaking, present here and now, present within every other thing, tied to every other thing. Whatever you desire, whomever you desire to affect, they are present now, in the wholeness.
The "terrible oneness" or the wholeness/totality is the underlying origin-power of all things including sorcerous arts. Without the totality of power, the wholeness of things that excludes nothing and binds all things, sorcery would not work. Without this Weird-connection, the poppet designed in the shape of a recipient of a sorcerous work would be so much clay or fabric, with no connection through which the power could affect anything. Without this connection, knowledge and communication could not pass between two beings; fire would not burn wood, light would not suffuse the eye and mind, and there would be no birth. There would be no reality, and no experience possible.
The sorcerous Master's pitchfork has three prongs; every spell, conjury, charm, or working of Art has three aspects that together make a powerful wholeness, a complete and effective working. The first prong or aspect is the world itself- containing as it does the relative objects that you may desire, the persons you may wish to affect, or the place or thing you are working towards or with somehow. The second prong or aspect is the working; the words and actions spoken and done by you to make the working. So, in the first two prongs, we have the object of the working and the method- and the method may be a grand creation of sorcerous areas or circles, combined with the burning of incenses and resins and the boiling of philters and various worts, combined with sacrifices and chants and dancing- or it may simply be a poem which states- with the darkling force of creativity that all real sorcerous poetry must have- what you wish to see occur.
The third prong or aspect is the missing prong that the vast majority of occult specialists these days lack: and this prong is simply the knowledge, the certainty on your part- that the world and the working, the first two prongs, are not ultimately separate. Without this awareness, the inner triangle of manifestation which IS your spell cannot be complete and the spell will not work. The mind is the third leg of the sorcerous tripod, the bridge that brings together the world and your working's intentions and specific activities. It makes a totality, completes the loop, as it were. The mind brings it together, perceives the wholeness, and the power of transformation can flow in the womb of that triple-yet-one force, and manifest in the “outward-appearing” world. Metaphysically speaking, three-ness is one-ness, oneness with the possibility of fertile, arising newness of situations and forms. The fire of creativity is what drives that one-ness, that wholeness, to make new forms, new situations, and new creations seemingly emerge.
The pitchfork is one tool, but with three prongs. Three and one meld into one another, back and forth- just as the stang has two "horns", two prongs, but it is one stang- Wholeness and multiplicity working alongside one another. Our minds are great Weird-powers themselves, with the capacity to join all things that seem separate into oneness. When your will and intention flows into that oneness, things begin to happen. But there can be no mental reservation or hesitation on your part- you must believe in the connectedness of things, in the wholeness of things, so much so that there is no room for doubt. Such a mind will feel the truth of this ancient belief. Such a mind can perceptually "bring any forces together", directed by will. The secret is deeper- the forces can be "brought together" because they are already together.
Even though master sorcerers know the very best and most effective types of power manipulation through word and deed, it really doesn't fully matter what your "working conjury" is, nor what the details of your working are. If you have an intention, if there is a person (for instance) that needs relief from an illness, and you know this person, have seen them or their image, and if you have a simple poem created which calls for a healing for them, then all of the powers are in play.
From that point, the work means entering into the "space" of mind in which you understand and fully accept how the world and that person, and you and your working are all tied together in one great wholeness, and that the speaking of your poem (though the recipient is a hundred miles away) is still "occurring" in the precise same unitary metaphysical field as that target-person, and furthermore that your will and memory and familiarity with this person further tightens your bond with them, cementing that bond in your mind, then you cannot fail to affect them. If you did not believe in this connection, nor have a conscious awareness of it, your mind cannot become the bridge nor manifest the "three pronged" power, the whole power of the spell. There is no possibility of magic, then.
You cannot fail to affect them, however, if you know what you must know and do what you must do, as they and your conjury are one. Words- and sympathetic magical gestures- are simply that powerful, when used under will and with mystical conceptions of wholeness and connection- words were, as they say, originally magic and even today maintain much of their ancient magical force.
The world and its parts and peoples, the acts of spell-work and especially the spoken word, and your awareness of the oneness of all these things: that is the pitchfork wielded by the sorcerous spirit.
