Grimoire for the Apprentice Wizard

20 Grimoire for the Apprentice Wizard

drops to one, and the probability goes up to ten. Once

more, and the improbability becomes a virtual cer-

tainty. Even if the odds are a million to one against,

like in winning the lottery, if more than a million

people play, then at least one is virtually certain to

win. This is why there are so many coincidences and

synchronicities. In an infinite multiverse, all improb-

abilities must be finite. Nothing we can imagine is

truly impossible. The only real question is, what are

the odds?

In this context, doing magick as “probability en-

hancement” consists of increasing the odds (probabili-

ties) in favor of our desired outcome. It’s like piling

rocks on the high end of a seesaw until the balance

shifts, and the other end goes up. Every bit helps—

not only large boulders, but even small pebbles and

grains of sand; it just takes more of them. When both

ends of the seesaw are off the ground and level, the

balance is 50:50, and it hinges on the fulcrum (bal-

ance point). At that point, it doesn’t take much to tip

the balance one way or another—or even to pivot the

whole thing into a different alignment entirely.

The trick is to find the cusp. A cusp is an intersec-

tion between fields of alternative probability. At such

places the potential as to which of these alternatives

the probability wave will collapse into is in delicate

balance—things could easily go either way. At a cusp,

it takes little energy to move between the intersecting

states, and “probability enhancement” by a Wizard

can have very large impact because of a domino ef-

fect of probabilities changing outward through space

and time like ripples in a pond as a result of the change

he induces through his practice of magick.

Archimedes, a great Wizard and inventor of an-

cient Greece who discovered many principles of me-

chanics, said: “Give me a lever long enough, a ful-

crum, and a place to stand, and I will move the world!”

This is a basic principle of Wizardry, and we will re-

turn to it frequently in these lessons, as we create le-

vers, recognize fulcrums, and find a place to stand....

Lesson 7: The Colors of Magick

In almost every discussion about magick, the first

thing that comes up is the issue of “black” or “white.”

Of course psychic energy itself—like electricity—has

no “color.” There is no black or white, not even gray;

it is morally neutral. But we can use that energy for

many purposes—just as we can use electricity. It’s

the use of that energy that we are talking about here

when we say “magick.” And it can be used for good,

evil, or anything else the practitioner wishes to use it

for. The purpose for which it is used is determined by

the ethics of the practitioner. Throughout history, there

has been an unfortunate tendency to over-simplify the

use of magick (and far too many other aspects of life)

into just two choices: “good” and “evil.” And these

have been traditionally expressed as “white” and

“black.” Certainly these distinctions are valid for many

practitioners who do, in fact, choose between such

simple alignments. But most Wizards are more com-

plex than that, and we see magick in terms of a rain-

bow spectrum of hues for many purposes.

In fact, the use of colors in magickal workings

has acquired traditional associations with the Elements

(Earth, Air, Fire, Water, Spirit), the planets, and the

purposes of the spells. In the tables of correspondence

that you will find in this Grimoire, you will see listed

in every grouping the appropriate associated colors.

These may be used for the colors of candles, robes,

lights, altar cloths, wall hangings, and even talismans

and other objects used in the spell. Correspondences

of colors and purposes are not absolute, however, and

may vary somewhat among different cultural tradi-

tions. There are also overlaps where some colors may

blend into one another.

Here is a basic spectrum of colors of Magick as

used by myself and many other magickal folk:

Red—(Fire) Physical work, as in healing of people

and animals. Also physical passion and sexuality.

Red is the power color. Red is the color of fire,

inspiration, vitality, pride, anger, bravery, strong

emotions, purification, arid places, aggressive

music (especially drumming like a heartbeat), and

lightning storms. Red is the best color to ward off

danger. Use it for stability, grounding, prosperity,

and physical health.

Orange—Pride and courage; heroism and attraction;

kinship and prosperity (as in a good harvest). Or-

ange is attuned to warmth, friendship, abundance,

spirit, will, principles, theory, and alertness. Like

gold, it is associated with passionate music, the

rustle of Autumn leaves, and natural sounds at dusk

or just after a storm. Use orange for fluidity of

movement, pleasure, and connection.

Yellow—(Air) Mental work; meditation, will, intel-

lect, and communication. Another version of gold,

yellow is the color of friendship, goodness, and

faith. Golden yellow is the color of charm, trust,

Summer, bright sounds such as children’s laugh-

ter, and upbeat music. Pastel yellow tends more

towards Spring, psychic endeavors, and creativ-

ity. Yellow is a terrific color to improve balance,

self-esteem, charisma, divination, and creativity.

Use it also for strength of will, vitality, purpose,

and effectiveness.

Green—(Earth) Vegetation, as in gardening and

herbalism; fertility and prosperity. Hope, joy, de-

light, growth, and change are all aspects of green.

Forest green is connected with fertility, the body,

courage, and classical music or wilderness sounds.

Ivy green represents the emotional aspects, cop-

ing with grief, cliffside ponderings, and hushed

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