The Satanic Bible by Anton Szandor LaVey.pdf

Called "The Black Pope" by many of his followers, Anton LaVey began the road to High

Priesthood of the Church of Satan when he was only 16 years old and an organ player in a

carnival:

"On Saturday night I would see men lusting after half-naked girls dancing at

the carnival, and on Sunday morning when I was playing the organ for tent-

show evangelists at the other end of the carnival lot, I would see these same

men sitting in the pews with their wives and children, asking God to forgive

them and purge them of carnal desires. And the next Saturday night they'd be

back at the carnival or some other place of indulgence.

"I knew then that the Christian Church thrives on hypocrisy, and that man's

carnal nature will out!"

From that time early in his life his path was clear. Finally, on the last night of April, 1966 -

Walpurgisnacht , the most important festival of the believers in witchcraft - LaVey shaved his

head in the tradition of ancient executioners and announced the formation of The Church Of

Satan. He had seen the need for a church that would recapture man's body and his carnal

desires as objects of celebration. "Since worship of fleshly things produces pleasure," he said,

"there would then be a temple of glorious indulgence..."

INTRODUCTION by Burton H. Wolfe

PREFACE

PROLOGUE

THE NINE SATANIC STATEMENTS

(FIRE)

--BOOK OF SATAN--

The Infernal Diatribe

[I] [II] [III] [IV] [V]

(AIR)

--BOOK OF LUCIFER--

The Enlightenment

I. Wanted!: God - Dead or Alive

II. The God You SAVE May Be Yourself

III. Some Evidence of a New Satanic Age

IV. Hell, the Devil, and How to Sell Your Soul

V. Love and Hate

VI. Satanic Sex

VII. Not all Vampires Suck Blood

VIII. Indulgence... NOT Compulsion

IX. On the Choice of a Human Sacrifice

X. Life After Death Through Fulfillment of the Ego

XI. Religious Holidays

XII. The Black Mass

(EARTH)

--BOOK OF BELIAL--

The Mastery of the Earth

I. Theory and Practice of Satanic Magic:

(Definition and Purpose of Lesser and Greater Magic)

II. The Three Types of Satanic Ritual

III. The Ritual, or "Intellectual Decompression", Chamber

IV. The Ingredients Used in the Performance of Satanic Magic:

A. Desire

B. Timing

C. Imagery

D. Direction

E. The Balance Factor

V. The Satanic Ritual:

A. Some Notes Which are to be Observed Before Beginning Ritual

B. The Thirteen Steps

C. Devices Used in Satanic Ritual

(WATER)

--BOOK OF LEVIATHAN--

The Raging Sea

I. Invocation to Satan

II. The Infernal Names

III. Invocation Employed Towards the Conjuration of Lust

IV. Invocation Employed Towards the Conjuration of Destruction

V. Invocation Employed Towards the Conjuration of Compassion

VI. The Enochian Keys and The Enochian Language

(The nineteen Keys will be listed here in chronological order.)

• The First Key

• The Second Key]

• The Third Key

• The Fourth Key

• The Fifth Key

• The Sixth Key

• The Seventh Key

• The Eighth Key

• The Ninth Key

• The Tenth Key

• The Eleventh Key

• The Twelfth Key

• The Thirteenth Key

• The Fourteenth Key

• The Fifteenth Key

• The Sixteenth Key

• The Seventeenth Key

• The Eighteenth Key

• The Nineteenth Key

INTRODUCTION

Burton H. Wolfe

On a winter's evening in 1967, I drove crosstown in San Fransisco to hear Anton Szandor

LaVey lecture at an open meeting of the Sexual Freedom League. I was attracted by

newspaper articles describing him as "the Black Pope" of a Satanic church in which baptism,

wedding, and funeral ceremonies were dedicated to the Devil. I was a free-lance magazine

writer, and I felt there might be a story in LaVey and his contemporary pagans; for the Devil

has always made "good copy", as they say on the city desk.

It was not the practice of the black arts itself that I considered to be the story, because that is

nothing new in the world. There were Devil-worshipping sects and voodoo cults before there

were Christians. In eighteenth-century England a Hell-Fire Club, with connections to the

American colonies through Benjamin Franklin, gained some brief notoriety. During the early

part of the twentieth century, the press publicized Aleister Crowley as the "wickedest man in

the world". And there were hints in the 1920s and '30s of a "black order" in Germany.

To this seemingly old story LaVey and his organization of contemporary Faustians offered

two strikingly new chapters. First, they blasphemously represented themselves as a "church",

a term previously confined to the branches of Christianity, instead of the traditional coven of

Satanism and witchcraft lore. Second, they practiced their black magic openly instead of

underground.

Rather than arrange a preliminary interview with LaVey for discussion of his heretical

innovations, my usual first step in research, I decided to watch and listen to him as an

unidentified member of an audience. He was described in some newspapers as a former circus

and carnival lion tamer and trickster now representing himself as the Devil's representative on

earth, and I wanted to determine first whether he was a true Satanist, a prankster, or a quack. I

had already met people in the limelight of the occult business; in fact, Jeane Dixon was my

landlady and I had a chance to write about her before Ruth Montgomery did. But I had

considered all the occultists phonies, hypocrites, or quacks, and I would never spend five

minutes writing about their various forms of hocus-pocus.

All the occultists I had met or heard of were white-lighters: alleged seers, prophesiers, and

witches wrapping their supposedly mystic powers around God-based, spiritual

communication. LaVey, seeming to laugh at them if not spit on them in contempt, emerged

from between the lines of newspaper stories as a black magician basing his work on the dark

side of nature and the carnal side of humanity. There seemed to be nothing spiritual about his

"church".

As I listened to LaVey talk that first time, I realized at once there was nothing to connect him

with the occult business. He could not even be described as metaphysical. The brutally frank

talk he delivered was pragmatic, relativistic, and above all rational. It was unorthodox, to be

sure: a blast at established religious worship, repression of humanity's carnal nature, phony

pretense at piety in the course of an existence based on dog-eat-dog material pursuits. It was

also full of sardonic satire on human folly. But most important of all, the talk was logical. It

was not quack magic that LaVey offered his audience. It was common sense philosophy based

on the realities of life.

After I became convinced of LaVey's sincerity, I had to convince him that I intended to do

some serious research instead of adding to the accumulation of hack articles dealing with the

Church of Satan as a new type of freak show. I boned up on Satanism, discussed its history

and rationale with LaVey, and attended some midnight rituals in the famous Victorian manse

once used as Church of Satan headquarters. Out of all that I produced a serious article, only to

find that was not what the publishers of "respectable" magazines wanted. They were

interested in only the freak show kind of article. Finally, it was a so-called "girlie" or "man's"

magazine, Knight of September 1968, that published the first definitive article on LaVey, the

Church of Satan, and LaVey's synthesis of the old Devil legends and black magic lore into the

modern philosophy and practice of Satanism that all followers and imitators now use as their

model, their guide, and even their Bible.

My magazine article was the beginning, not the end (as it has been with my other writing

subjects), of a long and intimate association. Out of it came my biography of LaVey, The

Devil's Avenger, published by Pryamid in 1974. After the book was published, I became a

card-carrying member and, subsequently, a priest of the Church of Satan, a title I now proudly

share with many celebrated persons. The postmidnight philosophical discussions I began with

LaVey in 1967 continue today, a decade later, supplemented sometimes these days by a nifty

witch or some of our own music, him on organ and me on drums, in a bizarre cabaret

populated by superrealistic humanoids of LaVey's creation.

All of LaVey's background seemed to prepare him for his role. He is the descendant of

Georgian, Roumanian, and Alsatian grandparents, including a gypsy grandmother who passed

on to him the legends of vampires and witches in her native Transylvania. As early as the age

of five, LaVey was reading Weird-Tales magazines and books such as Mary Shelly's

Frankenstein and Bram Stoker's Dracula . Though he was different from other children, they

appointed him as leader in marches and maneuvers in mock military orders.

In 1942, when LaVey was twelve, his fascination with toy soldiers led to concern over World

War II. He delved into military manuals and discovered arsenals for the equipment of armies

and navies could be bought like groceries in a supermarket and used to conquer nations. The

idea took shape in his head that contrary to what the Christian Bible said, the earth would not

be inhereted by the meek, but by the mighty.

In high school LaVey became something of an offbeat child prodigy. Reserving his most

serious studies for outside the school, he delved into music, metaphysics, and secrets of the

occult. At fifteen, he became second oboist in the San Fransisco Ballet Symphony Orchestra.

Bored with high school classes, LaVey dropped out in his Junior year, left home, and joined

the Clyde Beatty Circus as a cage boy, watering and feeding the lions and tigers. Animal

trainer Beatty noticed that LaVey was comfortable working with the big cats and made him an

assistant trainer.

Possessed since childhood by a passion for the arts, for culture, LaVey was not content merely

with the excitement of training jungle beasts and working with them in the ring as a fill-in for

Beatty. By age ten he had taught himself to play the piano by ear. This came in handy when

the circus calliope player became drunk before a performance and was unable to go on;

LaVey volunteered to replace him, confident he could handle the unfamiliar organ keyboard

well enough to provide the necessary background music. It turned out he knew more music

and played better than the regular calliopist, so Beatty cashiered the drunk and installed

LaVey at the instrument. He accompanied the "Human Cannonball", Hugo Zachinni, and the

Wallendas' high-wire acts, among others.

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