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Opuscula Magica #1
Opuscula Magica Volume I: Essays on Witchcraft and the Sabbatic Tradition
Opuscula Volume One contains nine essays written between 1990 and 2003, including one previously unpublished. This volume also includes an Author’s Introduction never before published, as well as an expanded version of the interview with Chumbley in The Cauldron. The essays reflect a degree of magical insight, clarity of vision, and creativity seldom equaled in occult writing to this day.
- GenresOccultWitchcraft
152 pages, Hardcover
First published April 1, 2010
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240 people want to read
About the author
Andrew D. Chumbley
29 books66 followersAndrew D. Chumbley was an English practitioner and theorist of magic, and a writer, poet and artist. He was Magister of the UK-based magical group Cultus Sabbati. Chumbley’s writings presented a unique and innovative form of modern religious witchcraft to the world’s esoteric milieu that deviated significantly from the better-known Wicca.
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Displaying 1 - 3 of 3 reviews
March 3, 2021
This book is super expensive, rare, and fairly short, but thankfully it’s really good as well. Chumbley seems to have been a man who really walked the walk, and there’s a lot of insight to be gained from his writings.
Btw - if you’re interested in buying it off me, shoot me a private message. I have vol 2 as well, both in mint condition, and some other rare / out of print occult texts in my collection :)
Btw - if you’re interested in buying it off me, shoot me a private message. I have vol 2 as well, both in mint condition, and some other rare / out of print occult texts in my collection :)
September 29, 2024
Opuscula Magica Volume I is a mesmerizing compilation of essays that draws readers into the esoteric depths of witchcraft and the Sabbatic Tradition, showcasing the unparalleled vision and mastery of Andrew D. Chumbley. This collection, spanning over a decade of Chumbley’s thought and practice, serves as both an academic treatise and a mystical handbook, inviting initiates and scholars alike to contemplate the transformative power of witchcraft as it exists within the liminal spaces of history, myth, and personal gnosis.
The nine essays included in this volume, some of which have been long out of print or difficult to obtain, explore a range of topics fundamental to understanding Chumbley’s unique magical philosophy. His writing is often dense, intricate, and infused with poetic language, demanding the reader’s full attention. Yet the effort is richly rewarded: Opuscula Magica is a work that weaves together the strands of folklore, ritual praxis, and deep mystical experience, revealing the hidden roots of the Sabbatic Tradition while simultaneously demonstrating its continued relevance in contemporary practice.
One of the most striking features of Chumbley’s essays is their ability to navigate both historical and experiential dimensions of witchcraft. He moves seamlessly from discussions of early modern witchcraft to personal encounters with the numinous, from the folklore of the cunning-folk to the metaphysical subtleties of the Sabbatic Gnosis. In essays like “The Leaper Between,” Chumbley delves into the witch’s role as a liminal figure, one who traverses the boundaries between the seen and unseen worlds. The image of the witch-leaper—a figure poised between realms, embodying both darkness and light—is emblematic of Chumbley’s approach. His writing is alive with a sense of paradox and ambiguity, challenging simplistic definitions of good and evil, shadow and illumination.
The inclusion of an expanded version of his interview from The Cauldron is particularly valuable, offering readers a rare glimpse into Chumbley’s own reflections on his work and the development of his practice. His responses are thoughtful and revealing, providing context for his more cryptic writings and shedding light on his motivations as both a practitioner and a writer. This interview stands as a testament to Chumbley’s humility and his commitment to the continual unfolding of his own magical path.
One of the hallmarks of Chumbley’s work is his use of language as a magical act in itself. Each essay is crafted with an attention to rhythm, cadence, and imagery that evokes the very mysteries he seeks to articulate. In “The Horns of the Moon,” for example, his exploration of the ophidian current—the serpent power that winds through many of his writings—is rendered in such a way that the words seem to pulse with the very essence of the serpent’s coiling, twisting nature. This alchemical use of language transforms the text from mere description to a living embodiment of the forces it describes.
For practitioners of the Sabbatic Tradition, the essay “Hekas Hekas Este Bebeloi!” is a crucial inclusion. Here, Chumbley outlines the structure and purpose of Sabbatic rituals, emphasizing the importance of deed over doctrine and the central role of personal revelation. He offers a vision of witchcraft that is deeply individualistic yet grounded in a shared mythic substratum—a web of symbols, dreams, and experiences that binds together all who walk the crooked path. This approach positions the Sabbatic Tradition as an evolving and living current, one that must be experienced directly rather than merely studied or repeated.
What makes Opuscula Magica truly exceptional is Chumbley’s willingness to engage with the darkness inherent in the magical path—not as something to be banished or feared, but as an essential component of spiritual growth. His essays are filled with references to the shadow-side of initiation, the trials and ordeals that test the practitioner’s resolve and ultimately lead to greater self-knowledge. Chumbley’s own experiences, subtly woven into the text, lend a visceral reality to these themes, making it clear that his writings are not theoretical exercises but the fruits of intense personal exploration.
The final essay, previously unpublished, offers a fitting conclusion to this volume, encapsulating Chumbley’s views on the role of witchcraft in the modern world. Here, he speaks directly to the reader, encouraging a path of self-discovery that honors tradition while embracing innovation. He does not provide easy answers or simple formulas; instead, he opens doorways, inviting the reader to step through and discover their own path within the labyrinthine corridors of the witch’s craft.
For those unfamiliar with Chumbley’s work, Opuscula Magica may initially appear daunting, even opaque. But for those willing to engage deeply, to wrestle with the complexity of his thought and the intensity of his vision, this book offers profound insights into the nature of witchcraft, magic, and the human spirit. Chumbley’s essays do not just inform; they initiate. They lead the reader into a space of reflection and transformation, where the boundaries between self and other, human and spirit, light and dark begin to blur.
The nine essays included in this volume, some of which have been long out of print or difficult to obtain, explore a range of topics fundamental to understanding Chumbley’s unique magical philosophy. His writing is often dense, intricate, and infused with poetic language, demanding the reader’s full attention. Yet the effort is richly rewarded: Opuscula Magica is a work that weaves together the strands of folklore, ritual praxis, and deep mystical experience, revealing the hidden roots of the Sabbatic Tradition while simultaneously demonstrating its continued relevance in contemporary practice.
One of the most striking features of Chumbley’s essays is their ability to navigate both historical and experiential dimensions of witchcraft. He moves seamlessly from discussions of early modern witchcraft to personal encounters with the numinous, from the folklore of the cunning-folk to the metaphysical subtleties of the Sabbatic Gnosis. In essays like “The Leaper Between,” Chumbley delves into the witch’s role as a liminal figure, one who traverses the boundaries between the seen and unseen worlds. The image of the witch-leaper—a figure poised between realms, embodying both darkness and light—is emblematic of Chumbley’s approach. His writing is alive with a sense of paradox and ambiguity, challenging simplistic definitions of good and evil, shadow and illumination.
The inclusion of an expanded version of his interview from The Cauldron is particularly valuable, offering readers a rare glimpse into Chumbley’s own reflections on his work and the development of his practice. His responses are thoughtful and revealing, providing context for his more cryptic writings and shedding light on his motivations as both a practitioner and a writer. This interview stands as a testament to Chumbley’s humility and his commitment to the continual unfolding of his own magical path.
One of the hallmarks of Chumbley’s work is his use of language as a magical act in itself. Each essay is crafted with an attention to rhythm, cadence, and imagery that evokes the very mysteries he seeks to articulate. In “The Horns of the Moon,” for example, his exploration of the ophidian current—the serpent power that winds through many of his writings—is rendered in such a way that the words seem to pulse with the very essence of the serpent’s coiling, twisting nature. This alchemical use of language transforms the text from mere description to a living embodiment of the forces it describes.
For practitioners of the Sabbatic Tradition, the essay “Hekas Hekas Este Bebeloi!” is a crucial inclusion. Here, Chumbley outlines the structure and purpose of Sabbatic rituals, emphasizing the importance of deed over doctrine and the central role of personal revelation. He offers a vision of witchcraft that is deeply individualistic yet grounded in a shared mythic substratum—a web of symbols, dreams, and experiences that binds together all who walk the crooked path. This approach positions the Sabbatic Tradition as an evolving and living current, one that must be experienced directly rather than merely studied or repeated.
What makes Opuscula Magica truly exceptional is Chumbley’s willingness to engage with the darkness inherent in the magical path—not as something to be banished or feared, but as an essential component of spiritual growth. His essays are filled with references to the shadow-side of initiation, the trials and ordeals that test the practitioner’s resolve and ultimately lead to greater self-knowledge. Chumbley’s own experiences, subtly woven into the text, lend a visceral reality to these themes, making it clear that his writings are not theoretical exercises but the fruits of intense personal exploration.
The final essay, previously unpublished, offers a fitting conclusion to this volume, encapsulating Chumbley’s views on the role of witchcraft in the modern world. Here, he speaks directly to the reader, encouraging a path of self-discovery that honors tradition while embracing innovation. He does not provide easy answers or simple formulas; instead, he opens doorways, inviting the reader to step through and discover their own path within the labyrinthine corridors of the witch’s craft.
For those unfamiliar with Chumbley’s work, Opuscula Magica may initially appear daunting, even opaque. But for those willing to engage deeply, to wrestle with the complexity of his thought and the intensity of his vision, this book offers profound insights into the nature of witchcraft, magic, and the human spirit. Chumbley’s essays do not just inform; they initiate. They lead the reader into a space of reflection and transformation, where the boundaries between self and other, human and spirit, light and dark begin to blur.
July 20, 2022
Collection of some very good essays. I strongly appreciate what he has to say about art, dreaming and personal practices although I don't consider myself a witch in any fashion right now.
Displaying 1 - 3 of 3 reviews